![\new ChoirStaff << \override Score.BarNumber #'break-visibility = #'#(#f #f #f) \override Score.Rest #'style = #'classical
\new Staff = "up" \relative b' { \key fis \major \time 2/2 \partial 2 \mark \markup \tiny { (\italic"b") } R2 R1*3
r2 bis4.\trill ais16 bis | cis4 r gis ais |
b4. ais16 gis fis8 eis fis gis |
ais bis cis ais dis4 fis, | fis eis8 }
\new Staff = "down" \relative e' { \clef bass \key fis \major
\change Staff = "up" \stemDown eis4.\trill dis16 eis | fis4 r cis dis |
e4. dis16 cis \change Staff = "down" \stemNeutral b8 ais b \change Staff = "up" cis |
\stemDown dis eis! fis dis gis4 \change Staff = "down" \stemNeutral b, |
b\mordent ais8 gis fis4 \[ fis'^"CS" |
fis eis r e | e dis r dis8 eis | fis4 ais, bis2\trill | cis4 \] } >>](http://upload.wikimedia.org/score/f/i/fitk181574rjuda2atbyk11stan555d/fitk1815.png)
the countersubject (C S.) is mostly in longer notes than the subject, though at the beginning of (a) contrast is secured by accompanying the quavers of the subject by semiquavers. Let the student play the countersubjects by themselves, and notice how different they are from the subjects, and at the same time how thoroughly suited to them in character.
163. Our next illustration shows the opposite case—
![\new ChoirStaff << \override Score.Rest #'style = #'classical \override Score.BarNumber #'break-visibility = #'#(#f #f #f)
\new Staff \relative a' { \key a \minor \time 4/4 R1*2
r4 \[ a^"A" g c | dis, r r8 a' fis b| g \] }
\new Staff \relative e' { \clef bass \key a \minor
r4 \[ e^"S" c f | gis, r4 r8 d'-! b-! e-! |
c-! \] a-! fis-! dis'-! e, \[ e'32^"CS" d c b a8 c32 b a g |
fis g a16 ~ a32 g fis e dis e fis16 ~ fis32 e d cis b8. c32 d
d8.\trill c32 d | e8 \] } >>](http://upload.wikimedia.org/score/6/w/6wnhle6h2cjnvh72wfxlatzo1mwyq9b/6wnhle6h.png)
Here the countersubject does not enter with the first note of the answer; but between it and the subject are a few notes of codetta (§ 62). This often happens; sometimes, as will be seen presently, only a part of the subject or answer is accompanied by the countersubject. In the above passage we see a subject in long notes accompanied by a countersubject of very short notes.
164. On its first appearance, in company with the answer, the countersubject should be in the same key as the answer. In the example last given the answer is in E minor, and the counter-subject is no less distinctly in the same key. Sometimes, however, as in our example to § 67, the key of the answer is not clearly defined by the countersubject until nearly the close.
