Page:Fugue by Ebenezer Prout.djvu/74

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56

Fugue.

[Chap IV.

Naumann. 1st Mass.

$\new ChoirStaff << \override Score.Rest #'style = #'classical \new Staff \relative a { \clef bass \key aes \major \time 4/4 \mark \markup \tiny { ( \italic c ) } aes2.^\markup \bold "S" aes4 | g2 r4 c | a f bes aes | g ees aes g | f2. g8 f | ees4 } \new Staff \relative e' { \clef tenor \key aes \major ees2.^\markup \bold "A" ees4 | c2 r4 f | d bes ees des | c aes des c | bes2. c8 bes | aes4 } >>$

show the leading note very early in the subject treated as the third of the dominant, and answered by third of tonic. The following notes of the subject are all answered as belonging to the dominant key.

133. So strongly is the leading note felt as the third of the dominant that it is not seldom answered by the third of the tonic, even when there is no modulation—

J. S. Bach. Wohltemperirtes Clavier, Fugue 19.

$\new ChoirStaff << \new Staff \relative a' { \key a \major \time 9/8 \mark \markup \tiny { ( \italic a ) } a8 r r r gis cis a d b | e cis fis e a } \new Staff \relative e' { \key a \major e8 r r r cis fis e a fis | b gis cis b e } >>$

Here Bach treats the second and third notes of his subject as the third and sixth of E, and answers them by third and sixth of A, though the subject ends in the key of the tonic. In our next example

Macfarren. 'The Resurrection.

$\new ChoirStaff << \new Staff \relative a { \clef bass \key a \major \time 4/4 \partial 2 \mark \markup \tiny { ( \italic b ) } a2^\markup \bold "S" | a4 gis fis e | a2 b | cis } \new Staff \relative e' { \clef tenor \key a \major e2^\markup \bold "A" | e4 cis b a | e'2 fis | gis } >>$

the second bar is treated as containing a modulation to the key of E, the leading note being answered by the third of the tonic.

134. If the subject begin in the dominant, and modulate to the tonic, the process will be reversed. We shall now, as soon as possible, consider the sixth of the dominant as the third of the tonic, and the third of the dominant as the seventh of the tonic.

Buxtehude.

$\new ChoirStaff << \new Staff \relative a' { \key d \major \time 4/4 r8^\markup \bold "S" a a a a a a8. gis16 | a4 r8 fis_\markup \tiny { ( \italic a ) } g!4 r8 e | fis4 } \new Staff \relative d'' { \key d \major r8^\markup \bold "A" d d d d d d8. cis16 | d4 r8 cis d4 r8 b | cis4 } >>$

The first half of this subject is in A; in the second bar it modulates to D; and F, the sixth of A, is therefore at once regarded as the third of the tonic.

135. Our next example shows the third of the dominant in both its aspects.