Page:Fugue by Ebenezer Prout.djvu/130

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112

Fugue.

[Chap. VIII.

in the stretto of a tonal fugue. It would therefore be quite feasible to introduce the answer against the last bar of the subject thus—

$\relative c'' { \key c \major \time 2/2 \override Score.TimeSignature #'stencil = ##f \mark \markup \tiny { (\italic"a") } << { c2 b4 g | a b c d8 c | b4 c d e8 d | c d c b a4 b8 a | g4 } \\ { R1*3 g2 fis4 d | e fis g a8 g } >> }$

&c.

As this passage is written in double counterpoint in the octave, the answer could also be introduced above the subject.

$\relative g'' { \key c \major \time 2/2 \override Score.TimeSignature #'stencil = ##f \mark \markup \tiny { (\italic"b") } << { R1*3 g2 fis4 d | e fis g a8 g } \\ { c,2 b4 g | a b c d8 c | b4 c d e8 d | c d c b a4 b8 a | g4 } >> }$

&c.

256. We will now reduce the distance of entry by half a bar, bringing in the answer, per arsin et thesin, on the second half of the third bar.

$\relative c'' { \key c \major \time 2/2 \override Score.TimeSignature #'stencil = ##f << { c2 b4 g | a b c d8 c | b4 c d e8 d | c d c b a4 } \\ { R1*2 r2 g2 e4 c d e | f g8 f e4 f } >> }$

&c.

The student will see that at this distance of entry, it is impossible to complete the subject. Note also that in consequence of the bare fifth at the end of the third bar this stretto cannot well be inverted as the last one could.

257. If we next try to make a stretto with the answer at two bars' distance, we shall have either to discontinue or to modify the subject on the entry of the answer.

$\relative c'' { \key c \major \time 2/2 \override Score.TimeSignature #'stencil = ##f \mark \markup \tiny { (\italic"a") } << { c2 b4 g | a b c d8 c | b4 d e f8 e | d4 c8 b a4 b8 a | g4 } \\ { R1*2 g2 e4 c | d e f g8 f | e4 f g a8 g } >> }$

&c.

It would, however, be possible here to continue the subject unchanged to the end, if we make the imitation in the octave instead of the fourth. We shall have to shorten the first note of the imitation (§ 57).

$\relative c'' { \key c \major \time 2/2 \override Score.TimeSignature #'stencil = ##f \override Score.Rest #'style = #'classical \mark \markup \tiny { (\italic"b") } << { c2 b4 g | a b c d8 c | b4 c d e8 d | c d c b a4 b8 a | g4 } \\ { R1*2 r4 c, b g | a b c d8 c | b4 c d e8 d } >> }$

&c.

This stretto, like that in § 255, will also invert in the octave.

$\new ChoirStaff << \override Score.Rest #'style = #'classical \override Score.TimeSignature #'stencil = ##f \new Staff \relative c'' { \key c \major \time 2/2 R1*2 | r4 c b g | a b c d8 c | b4 c d e8 d_"&c" } \new Staff \relative c' { \clef bass \key c \major c2 b4 g | a b c d8 c | b4 c d e8 d | c d c b a4 b8 a | g4 s2. } >>$