Page:Fugue by Ebenezer Prout.djvu/61

This page has been proofread, but needs to be validated.

Chap. III.]

Fugue.

43

Handel. 4th Oboe Concerto.

$\new ChoirStaff << \new Staff \relative c'' { \key f \major \time 4/4 \partial 8*5 \mark \markup \tiny { ( \italic b ) } c8^\markup \bold "S" a f a c | a f r c'16 a d8 f4 e16 d | c8 a4 g16 f bes8 d4 c16 bes | a8 } \new Staff \relative g'' { \key f \major g8^\markup \bold "A" e c e g | e c r g'16 e a8 c4 b16 a | g8 e4 d16 c f8 a4 g16 f | e8 } >>$

Handel. Anthem, "Let God arise."

$\new ChoirStaff << \new Staff \relative f' { \clef tenor \key bes \major \time 3/2 \partial 1 \mark \markup \tiny { ( \italic c ) } f2^\markup \bold "S" d | bes g ees' | c a f | d } \new Staff \relative c'' { \clef alto \key bes \major c2^\markup \bold "A" a | f d bes' | g e c | a } >>$

Padre Martini.

$\new ChoirStaff << \new Staff \relative g' { \key c \minor \time 4/4 \partial 8*5 \mark \markup \tiny { ( \italic d ) } g8^\markup \bold "S" c ees g g, | aes g' f a, b16 aes' g f ees_"&c." } \new Staff \relative d' { \key c \minor d8^\markup \bold "A" g bes d d, | ees d' c e, fis16 ees' d c bes } >>$

Schumann. 'Paradise and the Peri.

$\new ChoirStaff << \new Staff \relative f' { \key d \major \time 4/4 \partial 4 \mark \markup \tiny { ( \italic e ) } fis4^\markup \bold "S" | b4 fis8. b16 d4 b8. d16 | fis2._"&c." } \new Staff \relative cis { \key d \major \clef tenor cis4^\markup \bold "A" | fis4 cis8. fis16 a4 fis8. a16 | cis2. } >>$

Hummel. 3rd Mass.

$\new ChoirStaff << \new Staff \relative a, { \clef bass \key d \major \time 4/4 \partial 4 \mark \markup \tiny { ( \italic f ) } a4^\markup \bold "S" | d2 fis | a4. g8 fis 4 e | dis b' b a | g fis e d | cis a'2 g4 fis2 e4 d | e1 d4 s } \new Staff \relative e { \clef tenor \key d \major e4^\markup \bold "A" | a2 cis | e4. d8 cis4 b | ais fis' fis e | d cis b a | gis e'2 d4 | cis2 b4 a | b1 | a2 } >>$

These are parallel cases to those given in §§ 94–99. In all of them the subject begins with tonic harmony and the answer replies with dominant harmony. Notice in example (f) an incidental modulation to the key of the supertonic minor. The imitation is here exact (§ 83).