226. Two more short passages will conclude our examples from this fugue.
Here we see two inversions of the subjects of episode (b). Though the second one, in which the original countersubject is in the bass, is not developed at any length, enough is given to show that the passage is written in triple counterpoint.
In the first bars of this passage we see the second and third bars of (b) treated by inverse contrary movement (Double Counterpoint, § 454). In the fourth bar we see the inverted subject in sixths accompanied by the inverted countersubject in thirds.
227. Occasionally the episodes of a fugue are formed from entirely fresh material. In this case care must be taken that the new matter is in keeping with what has preceded. An example of episodes of this kind will be found in Bach's Organ Fugue in D minor, arranged from one of his violin fugues—
