Chap. VIII.]
Fugue.
135
After the full explanations given of previous examples, but fewwords are needed with regard to these. Observe that at (b) both subject and answer are employed by inversion, as well as in their direct form; and that at (d) all the imitations are in the unison and octave.
285. It is not uncommon in a stretto to find the last notes of the subject slightly altered. In the fugue occurring in the course of the second chorus of Mendelssohn's 95th Psalm, we find a stretto so continuous that if the original subject
had been retained unaltered, we should have had a stretto maestrale. It will be seen that the modification is in the melody, not in the rhythm.
Mendelssohn. 95th Psalm.
![\new ChoirStaff << \override Score.BarNumber #'break-visibility = #'#(#f #f #f) \override Score.Rest #'style = #'classical
\new Staff \relative g'' { \time 6/4 \key c \major
g2. c, | R1. | r2 r4 \[ f,4^"S" g f | bes2 d4 ~ d c b \] |
\[ a^"S" bes a d2 f4 ~ f e d cis4. d8 e4 \] |
e2. d2 d4 | d2. gis, }
\new Staff \relative c' { \clef alto \key c \major
r2 r4 \[ c^"S" d c | f2 a4 ~ a g f | e4. f8 g4 \] f e f ~ |
f e f g4. g8 g4 | g2. f4 g a | bes2 r4 \[ e,4 g e |
a2 c4 ~ c b a | gis2. b }
\new Staff \relative e' { \clef tenor \key c \major
e2. e | \[ f,4^"S" g f bes2 d4 ~ | d c bes a4. bes8 c4 \] |
d4 bes a g2 c4 | c2 cis4 d2. ~ d4 cis d g2 c,4 |
\[ a^"S" b! a d2 f4 \] | e2. e }
\new Staff \relative b { \clef bass \key c \major
bes1. | a2 r4*4/1 \[ c,4^"S" d c f2 a4 ~ | a g f e4. e8 e4 \] |
f2 e4 \[ d^"S" e d | g2 bes4 ~ bes a g |
fis2. \] f2 d4 | e2. e } >>](http://upload.wikimedia.org/score/i/e/ieoc9mvm8dcsb7440lkdwd9dzgd0lv4/ieoc9mvm.png)
