Page:Fugue by Ebenezer Prout.djvu/117

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Chap. VII.]

Fugue.

99

225. The following episode

$\new ChoirStaff << \override Score.BarNumber #'break-visibility = #'#(#f #f #f) \override Score.TimeSignature #'stencil = ##f \override Score.Rest #'style = #'classical \new Staff \relative b'' { \key g \major \time 4/4 \mark \markup \tiny { (\italic"c") } << { r8 b b b gis d d d | cis g g g r d' d d | c!4 a b8 e e e | d4 b cis8 fis fis fis | e4 cis d8 e16 fis g4 ^~ | g fis8 g e2 } \\ { dis,4 s2. | s2 fis4 r | r a g4. a16 g | fis4 b a4. b16 a | g4. g8 fis d b' cis16 d | a2 r8_"A" g g g } \\ { b4 } >> } \new Staff \relative b { \key g \major \clef bass b4 b e gis, | a cis d d, | e fis g e | fis g a fis | g a b4. b8 | cis a d2 cis4 } >>$

begins with repetitions of the first four notes of the subject (or answer), after which the same material is employed as in episode (b); but the notes of the countersubject are now used against a different part of the subject. The episode from which we shall next quote is too long to be given entire.

$\new ChoirStaff << \override Score.BarNumber #'break-visibility = #'#(#f #f #f) \override Score.TimeSignature #'stencil = ##f \override Score.Rest #'style = #'classical \new Staff \relative f' { \key g \major \time 4/4 \mark \markup \tiny { (\italic"d") } << { fis8 c ~ c b a g' fis4 | g8 f ~ f e d c' b4 | c8 g ~ g fis e d' cis4 | d8 a ~ a g fis e' dis4 | e8 b e4 fis4. e16 fis | g4 b, cis4. b16 cis | d4 d e4. d16 e | fis4 a, b4. a16 b | c8 a e'4 d4. e16 d | c4 r8 f e4. f16 e | d8 } \\ { d,4 s2. s1 s s | s s s | s s4 r8 c b a' gis4 | a8 e f4 g a | b_"&c." } >> } \new Staff \relative d, { \clef bass \key g \major d4 d' c4. d16 c | b4 g' f4. g16 f | e4 a g4. a16 g | fis4 b a4. b16 a | g4 r8 g fis e' dis4 | e8 e, ~ e d cis b' ais4 | b8 g ~ g fis e d' cis4 | d8 d, ~ d c b a' gis4 | a4 a, b4. a16 b | << { r4 r8 d' c4. d16 c | b4 } \\ { c, d e f | g } >> } >>$

Here the last notes of the subject and countersubject (instead of the first, as hitherto) are developed. The first four bars of our extract show a sequential treatment of a one-bar theme; at the fifth bar, the subject is in the bass, and is accompanied by the countersubject in inverse movement. At the ninth bar, the close of the subject is in the middle voice, and is accompanied by the countersubject, in direct movement above, and in inverse movement below.