206
Fugue.
[Chap. XI.
Albrechtsberger.
![\new ChoirStaff << \override Score.Rest #'style = #'classical
\new Staff \relative c'' { \time 2/2
r2 \[ c^"S2" ~ c bes | a d ~ | d c ~ | c b | c1 \] |
r2 r4 \[ g^"A3" | c b c a | b a b g | a1\trill | g4 \] b2 c8 d |
e2 c | R1*4 \[ g2.^"A1" a4 | b c d b | e2. c4 | d2. b4 |
c b8 c d4 c | b2 \] }
\new Staff \relative c' { \clef alto
\[ c2.^"S1" d4 | e f g e | a2. f4 | g2. e4 | f e8 f g4 f |
e2 \] \[ g2^"A2" ~ | a f | e a ~ | a g ~ | g fis |
g4 \] d g f! | e2. f4 | g f e \[ c^"S3" | f e f d | e d e c |
d1\trill | c2 \] b4 c | d c b d | g,2 r | R1*2 | r2_"&c." }
\new Staff \relative g { \clef tenor
R1*5 | \[ g2.^"A1" a4 | b c d b | e2. c4 | d2. b4 |
c4 b8 c d4 c | b \] g2 a8 b | c4 g \[ c2^"S2" ~ c bes |
a d ~ | d c | c b! | c \] g | r r4 \[ g^"A3" | c b c a |
b a b g | a1\trill | g2 \] }
\new Staff \relative c { \clef bass
R1 r2 r4 \[ c^"S3" | f e f d | e d e c | d1\trill | c2 \] e4 f |
g1 | R1*4 \[ c,2.^"S1" d4 | e f g e | a2. f4 | g2. e4 |
f e8 f g4 f | e2 \] \[ g^"A2" ~ | g f | e a ~ | a g ~ g fis g \] } >>](http://upload.wikimedia.org/score/l/n/lnfz604mxdo0iwmo0lhpooyc3n5e8il/lnfz604m.png)
It will be seen that each voice has all three subjects in turn, but that none has the same subject twice.
406. The form of this kind of triple fugue is the same ternary form as that of a simple fugue, and the construction of a complete piece of this character will be best shown by the analysis of a fine example from Mozart's Twelfth Mass, a work from which we have already had more than one occasion to quote.
