Chap. IX.]
Fugue.
165
more concise. A short subject is frequently advisable with a larger number of parts; with a longer subject there is often danger of the fugue becoming straggling and tedious. As we intend to combine the theme with itself in stretto as much as we can, we will write no countersubject (§ 176). We will also introduce some points not illustrated in the preceding fugues. We will make a larger number of modulations, giving middle entries in G, A minor, D minor, F, and E minor (all the nearly related keys) before we reach the final section of the fugue.
![\new ChoirStaff << \override Score.Rest #'style = #'classical \override Score.BarNumber.break-visibility = ##(#f #t #t) \set Score.barNumberVisibility = #all-bar-numbers-visible
\new Staff \relative c'' { \key c \major \time 4/4 \tempo \markup \small \italic "Allegro." \bar ""
\[ c2^"S" b4 g | a b c d8 c | b4 \] a8 b c4 e |
f8 e d c b c a b | c2. f4 | b,2. e4 | a,2 ~ a8 b c d |
g, a b c d2 ~ | d8 c b4 a2 | g4 a8 b c4 d8 e | f4 e8 f d2 |
c2^\markup \small "Middle Section." r }
\new Staff \relative g' { \clef alto \key c \major
R1*2 \[ g2^"A" e4 c | d e f g8 f |
e4 \] f8^\markup \small "Codetta." g a2 ~ | a4 d, g2 ~ |
g4 c, f2 ~ | f4 e d8 e fis g | fis4 g2 f4 ~ | f e8 d g4 f8 e |
d4 g a g | g2_\markup \small "Episode 1." r }
\new Staff \relative c' { \clef tenor \key c \major
R1*7 c2^"S" b4 g | a b c d8 c | b4 c8 d c4 g | b c2 b4 |
c g e' d8 c }
\new Staff \relative g { \clef bass \key c \major
R1*9 \[ g2^"A" e4 c | d e f g8 f | e \] f e d c b e fis } >>](http://upload.wikimedia.org/score/f/i/fi5l52dz38zf3tk5dcckc1ppv6ydmaa/fi5l52dz.png)
