Page:Fugue by Ebenezer Prout.djvu/65

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

Chap. III.]

Fugue.

47

Buxtehude.Organ Fugue in G minor.

$\new ChoirStaff << \new Staff \relative g' { \key g \minor \time 4/4 \partial 8*5 \mark \markup \tiny { ( \italic c ) } g8^\markup \bold "S" d' d d d | c16 d c bes c bes a c bes c bes a bes a g bes | a8 } \new Staff \relative d' { \key g \minor d8^\markup \bold "A" g g g g | f16 g f ees! f ees d f ees f ees d ees d c ees | d8 } >>$

In example (a) we have quoted the counterpoint accompanying the answer, to prove more clearly that the latter is in the subdominant key. The two examples by Buxtehude are very similar in the character of their subjects. In all these subjects the prominence given to dominant harmony, which we have already mentioned as a feature of all subjects which are answered in the subdominant, will again be noticed.

111. Sometimes in the exposition of a fugue the first answer is in the key of the dominant, and the second in that of the subdominant, as in the following passages—

J. S. Bach. Cantata, "Es wartet Alles auf Dich."

$\new ChoirStaff << \new Staff \relative d { \clef bass \key bes \major \time 4/4 \partial 2. \mark \markup \tiny { ( \italic a ) } d4^\markup \bold "S" d' d8 d | d4 d8 d c16 d c bes a d c d | bes a bes a g bes a c bes c bes a g bes a c | bes8 } \new Staff \relative g { \clef tenor \key bes \major g4^\markup \bold "A 1." g' g8 g | g4 g8 g g16 a g f e a g a | f g f e d f e g f g f e d f e g | f8 } \new Staff \relative g' { \key bes \major g4^\markup \bold "A 2." g' g8 g | g4 g8 g f16 g f ees! d g f g | ees f ees d c ees d f ees f ees d c ees d f | ees8 } >>$

Schumann. Neujahrslied.'

$\new ChoirStaff << \new Staff \relative f { \clef bass \key d \major \time 4/4 \mark \markup \tiny { ( \italic b ) } r8^\markup \bold "S" fis g4 ~ g8 fis16 fis cis'8 fis, | r fis b fis16 fis g8 e16 e cis8 fis16 fis | b,4 } \new Staff \relative b { \clef tenor \key d \major r8^\markup \bold "A 1." b d4 ~ d8 cis16 cis gis'8 cis, | r cis fis cis16 cis d8 b16 b gis8 cis16 cis | fis,4 } \new Staff \relative b' { \key d \major r8^\markup \bold "A 2." b c4 ~ c8 b16 b fis'8 b, | r b e b16 b c8 a16 a fis8 b16 b | g4 } >>$

112. The proper method of answering subjects that modulate into the key of the dominant will be treated in the next chapter. We now sum up our conclusions with regard to the subjects we have already dealt with. From a careful investigation of the practice of the greatest composers, we deduce the following principle:—

Though frequently expedient, and even preferable, a tonal answer is never absolutely necessary for any subject which does not fnodulate between the keys of the tonic and dominant.^[1]

↑ A merely incidental modulation to the dominant (as in the example to § 73) does not necessitate a tonal answer.

[1] A merely incidental modulation to the dominant (as in the example to § 73) does not necessitate a tonal answer.

[1]