continuation of the subject is imitated in the answer—sometimes strictly, at other times (as here) freely.
62. In the example just given, the answer entered before the end of the subject. In our next
![\new ChoirStaff <<
\new Staff \relative d'' { \key d \major \time 4/4 d4^\markup \bold "S" g fis r8 b |
a cis, d fis e g, a g' |
\[ fis d' cis b a g16 fis e8 d \] |
cis e fis gis a a, d'4 ~ |
d cis8 a ~ a fis gis4 | a4. g!8_"&c." }
\new Staff \relative a' { \key d \major R1*3 |
%bass clef on second line of this example is incorrect
a4^\markup \bold "A" d cis r8 fis |
e gis, a cis b d, e d' | cis a e'4 } >>](http://upload.wikimedia.org/score/8/l/8li7f18qw7zddphhi453h016l2tbppc/8li7f18q.png)
the subject ends (as will be seen by comparing the answer) on the first note of the third bar, and the answer does not enter till the fourth. Such cases are of frequent occurrence. Here it would have been quite possible for Handel to have commenced his answer in the third bar; thus—
![\relative f'' { \key d \major \override Score.TimeSignature #'stencil = ##f << { fis8 a fis gis a[ a,] } \\ { a4 d cis } >> }](http://upload.wikimedia.org/score/k/j/kjg9uepvu49a1gd70t5t7yqp37kikrv/kjg9uepv.png)
but if the student will remember what was said in the last chapter about the implied harmony of a fugue subject, he will see that at the end of the second bar of this subject there is clearly a chord of the dominant seventh implied; and the continuation we have suggested would have been far less satisfactory from a harmonic point of view. The passage introduced between the end of the subject and the beginning of the answer, which we have marked with a | |, is called a codetta. In many cases some such connecting portion is absolutely necessary.
63. The following example
shows a more chromatic subject than those already given. Here
