is an inversion of the preceding, the augmentation being now in the bass. By the substitution in the third bar of B natural for the B flat of our preceding quotation, a modulation is effected to the key of the relative minor. The figure of the codetta is maintained in the upper part till the end of the episode, the last two bars of which are in two-part harmony only.
223. In another episode in the same fugue, of which we give only the beginning,
the codetta has only a subordinate part; it evidently suggested the arpeggio figure which is seen in the bass in the second half of each bar. The chief figure here is the sequence, the theme of the upper voice being a modification of the subject of the fugue. In our last example from this fugue,
![\new ChoirStaff << \override Score.Rest #'style = #'classical \override Score.TimeSignature #'stencil = ##f \override Score.BarNumber #'break-visibility = #'#(#f #f #f)
\new Staff \relative b' { \key ees \major \time 4/4 \partial 2 \mark \markup \tiny { (\italic"d") } <<
{ bes8 f' d bes | bes'2 ^~ bes8 ees, c aes |
aes'2 ^~ aes8 d, bes g |
g'4 ^~ g16 c, d ees f ees d c bes aes bes c | f,4 } \\
{ d8 r r4 | r16 bes' ees g des bes des g c,8 r r4 |
r16 aes d f c aes c f bes,8 r r4 |
r8 bes aes2 g8 ees _~ | ees16[ d] } >> }
\new Staff \relative b, { \clef bass \key ees \major
bes16 f' d bes aes f' d aes |
g8 g' r ees, aes16 ees' c aes g ees' c g |
f8 f' r d, g16 d' bes g f d' bes f |
e c' g e f c' aes f d bes' f d ees bes' g ees | bes'8 } >>](http://upload.wikimedia.org/score/k/6/k6g9evlmzt2b0npd8ytfp20s37ogy4v/k6g9evlm.png)
the same material is used as in our quotations (a) and (b). In its general character this episode much resembles (a); but the
