Page:Fugue by Ebenezer Prout.djvu/148

281. In speaking of the answer of a fugue, we pointed out that a subject in the key of the tonic must have an answer in the key of the dominant. But if this is done with a close fugue, we shall have the music in two keys at the same time. In this case, therefore, to keep a clear tonality, we do not put the answer in the key of the dominant, but simply transpose the subject a fourth or fifth without leaving the key. In example (a) of § 279, the answer is just as much in the key of B flat as the subject.

282. As all our examples till now have been from Bach and Handel, we will conclude this chapter with some extracts from the works of more modern composers. Next to Bach, the greatest master of all kinds of scientific writing is unquestionably Mozart. We saw this in the specimens of canon by him given in our last volume; and he is no less great in fugal writing. One of the best, though one of the least known, of his masses, is No. 12 in C. This work contains three fine fugues, in one of which, the "Et vitam," we meet with a peculiarity of form, deserving mention. A partial stretto occurs on the first entry of the answer, and this is seen against each succeeding entry. We quote the exposition.

Mozart. Mass in C, No. 12.