146
Fugue.
[Chap. IX.
![\new ChoirStaff << \override Score.Rest #'style = #'classical \override Score.BarNumber.break-visibility = ##(#f #t #t) \set Score.barNumberVisibility = #all-bar-numbers-visible \override Score.TimeSignature #'stencil = ##f \set Score.currentBarNumber = #76
\new Staff \relative c'' { \key e \minor \time 2/2 \override TupletBracket.bracket-visibility = ##f \override TupletNumber #'stencil = ##f \bar ""
c4 \tuplet 3/2 { b8 c g } a2 ~ |
a8.[ fis16] b8.[ a16] g2_\markup \small "Coda." ~ |
\tuplet 3/2 4 { g8[ b a] g[ fis e] } dis16 c'8. ~ \tuplet 3/2 { c8 e, d } |
\tuplet 3/2 { b' e, g } cis4 ~ cis \tuplet 3/2 { a8 dis4 ~ } |
dis4 \tuplet 3/2 { b8 e4 ~ } e4 \tuplet 3/2 { dis8 fis4 ~ } |
fis \tuplet 3/2 { e8 g4 } r2 |
\tuplet 3/2 4 { r8 c,[ fis] a[ dis, fis] c[ b d] fis[ a, c] |
g[ fis a] c[ fis, a] e[ dis\fermata dis'] } e4 ~ |
\tuplet 3/2 4 { e8[ d c] b[ a g] a[ fis g] a[ b c] ~ |
c[ b a] g[ dis e] e[ cis16 a c8] } d8.\mordent e16 |
e1\fermata \bar "||" }
\new Staff \relative d' { \clef alto \key e \minor \override TupletBracket.bracket-visibility = ##f \override TupletNumber #'stencil = ##f
\[ dis4 e fis2 ~ \] | fis8.[ dis16] b8.[ dis16] e2 ~ |
e4 r \tuplet 3/2 4 { r8 dis,[ e] fis[ g a] |
g e'4 ~ } e4 \tuplet 3/2 { e8 fis4 ~ } fis ~ |
\tuplet 3/2 { fis8 g4 } g4 ~ \tuplet 3/2 { g8 a!4 ~ } a ~ |
\tuplet 3/2 { a8 b4 ~ } b4 r2 | R1 |
r2 << { a,4\fermata } \\ { fis } >> r8 r16 fis' |
g4 ~ \tuplet 3/2 { g8 fis e } dis8.[ e16] fis8.[ e16] |
dis8 r << { \override TupletBracket.bracket-visibility = ##f \override TupletNumber #'stencil = ##f s2. | \tuplet 3/2 { r8 b d! } c4 b2\fermata } \\
{ \override TupletBracket.bracket-visibility = ##f \override TupletNumber #'stencil = ##f \stemUp \tuplet 3/2 { r8 fis g } fis4 ~ \tuplet 3/2 4 { fis8 g a! ~ | \stemDown
a8 gis4 ~ gis8 gis a ~ } a4 gis_\fermata } >> }
\new Staff \relative f, { \clef bass \key e \minor \override TupletBracket.bracket-visibility = ##f \override TupletNumber #'stencil = ##f
\[ \tuplet 3/2 4 { fis8[ g a] g[ fis e] dis[ c' b] a[ g fis] |
g[ a b] a[ g fis] e[ \] e' d] c[ b ais] } b1 ~ |
\repeat unfold 5 { b4 ~ \tuplet 3/2 { b8 ais' b } }
\tuplet 3/2 4 { fis8[ g dis] e[ b c] } | dis,4 r r2 |
r c'4\fermata r8 r16 ais' | b1 ~ |
\tuplet 3/2 4 { b8[ cis dis] e r ais,, } b2 |
e ~ \tuplet 3/2 { e8 dis e } e,4\fermata } >>](http://upload.wikimedia.org/score/0/r/0r9xsozt1ac3o4mwiewl2ul8x31r46f/0r9xsozt.png)
299. The first section of this fugue contains only the exposition. Though the subject is announced in an outer part, we do not find here the additional entry spoken of in § 186; perhaps because of the extent of the subject, which is the longest of any in the 'Forty-Eight.' The exposition ends in the 18th bar, and is immediately followed by the first episode (bars 18 to 23). As this episode does not introduce a new entry in either tonic or dominant key, but modulates to the relative major, we see
