Chap. XI.]
Fugue.
195
This subject, like the other, is four bars in length; it is also treated in six parts by the addition of entries for two violins; but the irregularity of the intervals of reply show that this exposition belongs to the fugato (§ 358) rather than to strict fugue.
390. To the counter-exposition succeeds immediately the combination of the two subjects, of which we quote the first bars. For the sake of clearness, we here give them in open score.
![\new ChoirStaff << \override Score.BarNumber #'break-visibility = #'#(#f #f #f) \override Score.Rest #'style = #'classical \override Score.TimeSignature #'stencil = ##f
\new Staff \relative a' { \key d \major \time 3/4 \mark \markup \small "(a)"
r8 a16 b cis d e cis fis e d cis | b d cis d e d cis d e d cis b |
a cis b a d2 ~ | d4. e8 cis4 | d8[ fis16 e] d8[ cis b a] |
g e e'4 e | fis16 g e fis g2 ~ | g8[ fis16 e] fis8[ a g fis] | e }
\new Staff \relative a' { \key d \major \clef alto
r4 a a | a8 g g4 g | g8 fis fis b16 a g8 fis | e a, a' b a g |
fis2 fis4 | g e8 a a a | a g16 fis e8 e16 fis g a fis g |
a4 ~ a16 e fis g a g a b | cis s_"&c." }
\new Staff \relative d' { \clef tenor \key d \major
R2.*4 r4 d d | d8 c c4 c | c8 b b e16 d cis8 b |
a d, d' fis e d | cis }
\new Staff \relative a { \clef bass \key d \major
\tiny a16 g a g fis8[ e d b] | e4 r8 e16 d cis8 a |
d d'16 cis b a g fis e fis g e | a e fis g a g fis g a g fis e |
d cis \normalsize d e fis g a fis b a g fis |
e g fis g a g fis g a g fis e | d e cis d e8 fis e d |
cis16 a b cis d cis d e fis e fis g | a8 } >>](http://upload.wikimedia.org/score/8/9/89upmmb105nel55oix40ftwhxitifs4/89upmmb1.png)
