Page:Fugue by Ebenezer Prout.djvu/72

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

54

Fugue.

Chap. IV

opportunity. The first E, being the resolution of the F in the preceding bar (the chord being the dominant seventh), must of course be the third of the tonic, and must be answered by B; the: second E is treated as the submediant of G, and answered by the submediant of C—viz., A.

129. We give a few more illustrations of the same point.

J. S. Bach. Cantata, "Gott ist mein König."

$\new ChoirStaff << \new Staff \relative c'' { \key c \major \time 3/2 \partial 2 \mark \markup \tiny { ( \italic a ) } c2^\markup \bold "S" | e e a, | d d g, | c a d | b4 a g } \new Staff \relative g' { \clef alto \key c \major g2^\markup \bold "A" | a a d, | g g c, | f d g | e4 d c } >>$

Here the second note of the subject is regarded as the sixth of the dominant, and all the rest is plain sailing.

Mozart. Mass in F, No. 6.

$\new ChoirStaff << \new Staff \relative f { \clef bass \key f \major \time 3/4 \mark \markup \tiny { ( \italic b ) } f4^\markup \bold "S" f f | bes4. e,8 e e | f4 f8 f f f | bes2 a4_\markup \tiny { ( \italic a ) } | g8. a16 g4 f | e } \new Staff \relative c' { \clef tenor \key f \major c4^\markup \bold "A" c c | f4. b,8 b b | c4 c8 c c c | f2 d4 | c8. d16 c4 bes! | a } >>$

Here the presence of the subdominant prevents our regarding the subject as being in the dominant key till we reach (a), where the third of the scale is treated as sixth of dominant, and answered accordingly. There is an implied modulation (§ 118) in the subject, for it is very rare to find a subject ending on the leading note. It is almost invariably regarded (as here) as the third of the dominant key.

130. In our next example

Handel. Concerto Grosso in C

$\new ChoirStaff << \new Staff \relative c'' { \key c \major \time 4/4 \mark \markup \tiny { ( \italic a ) } c4^\markup \bold "S" d e8 g, a b | c4 d8.\trill c32 d e8_\markup \tiny { ( \italic a ) } c e fis g4 } \new Staff \relative g' { \key c \major g4^\markup \bold "A" a b8 d, e fis | g4 a8.\trill g32 a b8 g a b | c4 } >>$

the change is not made at the earliest possible moment (in the first bar), for this would have disfigured the subject too much.

$\relative g' { \time 2/4 \override Score.TimeSignature #'stencil = ##f g4 a | b8 c, d e | f4 }$

&c.

The mental effect of the music is distinctly that of the key of C, till we come to (a) where the double significance of the third of the scale is very clearly shown. The first E, being followed by