Page:Fugue by Ebenezer Prout.djvu/151

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Chap. VIII.]

Fugue.

133

voice to enter (the tenor) gives the subject complete, the other entries being mostly fragmentary. Our second extract

$\new ChoirStaff << \override Score.TimeSignature #'stencil = ##f \override Score.Rest #'style = #'classical \new Staff \relative d'' { \time 2/2 \key c \major \partial 2 \mark \markup \tiny { (\italic"b") } R2 R1*2 d2^"A" e | d r4 g, | c c c4. c8 | b4 s2. } \new Staff \relative g' { \clef alto \key c \major R2 R1 g2^"S" a | g r4 c, | f f f4. f8 | e2 a | g4 s2._"&c." } \new Staff \relative c' { \clef tenor \key c \major R2 r2 c^"A" | e d | r4 g, c c | c4. c8 b2 | c e | d s } \new Staff \relative g { \clef bass \key c \major g2^"S" | a g | r4 c, f f | f4. f8 e2 | r4 g, g' g | a2 fis | g1 } >>$

is the last and closest stretto, and is founded only on the first part of the subject. In this all the voices take part.

284. The fugue in Mozart's quartett in D minor (No. 13), of which we gave the subject in § 150, is particularly rich in good stretti. We give some of the closest.