![\new ChoirStaff <<
\new PianoStaff <<
\new Staff = "up" <<
\new Voice \relative d'' { \override Score.Rest #'style = #'classical
\time 12/8 \key ees \major \stemUp <d bes>4. r4. f2. |
ees4. ^~ ees8^"S3" des ees aes, c16 bes c aes d8 c d |
g,8 bes16 a bes g c8^"S3" bes c f, aes16 g aes f bes8 aes bes | ees,
}
\new Voice \relative c'' {
\stemUp s4. c16 d ees d c bes a bes c bes c a bes c des c bes a |
g16 aes bes aes bes g aes8 e\rest e\rest e2.\rest | c4.\rest \stemDown ees' des2. ^~ \stemUp des8[ c]
}
\new Voice \relative a' { \stemDown
aes4. g8_"S3." f g c, ees16 d ees c f8 ees f |
bes,4. ees16 \change Staff = "down" \stemUp ees, f g aes bes c4. ^~ c16 des, ees f g aes |
bes c des c des bes c des ees des ees c bes2. | aes
}
>>
\new Staff = "down" \relative b { \clef bass \key ees \major
bes4. r r2. R1.*2 s2.
}
>>
\new Staff \relative b, { \clef bass \key ees \major
bes8 d16 c d bes ees2. des4.^"S1" ~ |
des4. c f2. | ees4. aes2. g4. | aes s
}
>>](http://upload.wikimedia.org/score/6/9/699fieapgs5f7ai7ukjr2jq2qsbon4u/699fieap.png)
It must be noticed that, though this fugue contains three subjects and three expositions, like the great fugue analyzed in Chapter XI., §§ 400–402, yet it is not really a triple fugue, as the three subjects are never all heard together. It more nearly resembles a fugue with two countersubjects heard in succession (§ 174).
434. The fugue on a choral affords an illustration of the general principle so often referred to in these volumes, that in proportion as the difficulty of the task increases, greater freedom is allowed to the composer. This has been amply shown in our examples. By the time that the student is so far advanced as to be able to attempt a composition of this class, he ought also to have acquired sufficient experience not to permit his liberty to degenerate into license.
