Page:Fugue by Ebenezer Prout.djvu/55

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Chap. III.]

Fugue.

37

both begin with the notes of the tonic chord. Observe at (d) another instance of the lengthening of the last note of the answer.

Haydn. 'Seasons.

$\new ChoirStaff << \new Staff \relative c { \clef bass \key c \major \time 4/4 \partial 4 \mark \markup \tiny { ( \italic c ) } c4^\markup \bold "S" | g'2. e4 | bes'2. a8 g | f4 a g f | e } \new Staff \relative g { \clef tenor \key c \major g4^\markup \bold "A" | c2. b4 | f'2. e8 b | c4 e d c | b } >>$

Haydn. 5th Mass.

$\new ChoirStaff << \new Staff \relative c { \clef bass \key c \major \time 4/4 \mark \markup \tiny { ( \italic d ) } c2^\markup \bold "S" g'4 g8 g | e4 c a'2 | g4. c,8 f f16 f f8 f | f4 e d2 | c4 s } \new Staff \relative g { \clef tenor \key c \major g2^\markup \bold "A" c4 c8 c | b4 g e'2 | d4. g,8 c c16 c c8 c | c4 b a2 | g } >>$

94. We now give a number of examples where the leap between tonic and dominant has a real answer, because the subject begins with the notes of the tonic chord—

J. S. Bach. Cantata, "Es ist dir gesagt.'

$\new ChoirStaff << \new Staff \relative e' { \key e \major \time 4/4 \partial 2. \mark \markup \tiny { ( \italic a ) } e4^\markup \bold "S" gis fis8 e | b'4 e2 b4 | cis8 dis e4 e a, | b8 dis e2_"&c." } \new Staff \relative b { \clef alto \key e \major b4^\markup \bold "A" dis cis8 b | fis'4 b2 fis4 | gis8 ais b4 b e, | fis8 ais b2 } >>$

J. S. Bach. Cantata, "Bringet dem Herrn Ehre seines Namens."

$\new ChoirStaff << \new Staff \relative d'' { \key d \major \time 4/4 \mark \markup \tiny { ( \italic b ) } d4^\markup \bold "S" fis8 e d4 a | e' e8 fis g2 ~ | g4 fis8 e fis4 d | e a,8 b cis d b cis | d2 } \new Staff \relative a' { \clef alto \key d \major a4^\markup \bold "A" cis8 b a4 e | b' b8 cis d2 ~ | d4 cis8 b cis4 a | b e,8 fis gis a fis gis | a2 } >>$

J. S. Bach. Sonata in D.

$\new ChoirStaff << \new Staff \relative d'' { \key d \major \time 6/8 \mark \markup \tiny { ( \italic c ) } d8^\markup \bold "S" d16 d d8 d d d | fis a d, fis a d, | fis_"&c." } \new Staff \relative a' { \key d \major a8^\markup \bold "A" a16 a a8 a a a | cis e a, cis e a, | cis } >>$

In all these instances, taken from the works of Bach, the answers are real. After what has been said, no further explanation will be required.

95. In the works of Handel we find a real answer in such