Page:Fugue by Ebenezer Prout.djvu/123

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Chap. VII.]

Fugue.

105

238. For our next episode

$\new ChoirStaff << \override Score.BarNumber #'break-visibility = #'#(#f #f #f) \override Score.TimeSignature #'stencil = ##f \override Score.Rest #'style = #'classical \new Staff \relative d'' { \key d \major \time 4/4 d8 cis b4 a8 r r4 | r4*1/2 a16 b cis8 d e4 r | r8 b16 cis d8 e fis16 g fis e d e d cis | b8^"CS" d4 cis s8 } \new Staff \relative a' { \clef alto \key d \major a8 e ~ e16 fis e d cis8 d16 e fis8 g | a4 r r8 e16 fis g8 a | b4 r r2 | b,4^"S" e d } \new Staff \relative f { \clef bass \key d \major fis16 gis a4 gis8 a16 b a g fis g fis e | d fis e d cis d cis b a cis' b a g a g fis | e g fis e d e d cis b8 d16 e fis8 e | d8 cis16 b ais fis gis ais s4 } >>$

we take the codetta in the second bar, which precedes the entrance of the answer, treat it sequentially, with imitation in the fifth above between the two upper parts, and accompany it in the bass with a semiquaver figure, developed from the figure

$\relative d'' { \override Score.TimeSignature #'stencil = ##f \override Score.Clef #'stencil = ##f d16 e d c }$

the second crotchet of the first bar of the alto part.

239. In both the above episodes we have returned from A to D, before going into B minor. In our last example in three parts we will make the modulation direct.

$\new ChoirStaff << \override Score.TimeSignature #'stencil = ##f \override Score.Rest #'style = #'classical \override Score.BarNumber #'break-visibility = #'#(#f #f #f) \new Staff \relative d'' { \key d \major \time 4/4 d8 cis b4 a8 cis4 b8 ~ | b a16 gis a8 cis b d4 cis8 ~ | cis b16 ais b8 d cis e4 d8 | cis g'4 fis8 eis e d cis | b^"CS" d4 cis s8 } \new Staff \relative a' { \clef alto \key d \major a8 e ~ e16 fis e d cis d e fis e fis d e | cis8 e r4 d16 e fis g! fis g e fis | d8. cis16 b8 fis' g16 fis e d cis ais b d | e d e fis g a b a gis d' cis g fis b ais e | d8 e16 fis g fis a g s4 } \new Staff \relative f { \clef bass \key d \major fis16 gis a4 gis8 a r r4 | a,16 b cis d cis b a cis d8 b r4 | b16 cis d e d cis b d e8 r r4 | R1 | b4^"S" e d } >>$

This episode is made from the first part of the countersubject, which is accompanied by a new semiquaver figure in the alto, freely imitated in the tenth below by the bass.