Page:Fugue by Ebenezer Prout.djvu/113

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Chap. VII.]
Fugue.
95

freely imitated by the treble in contrary motion. It must be noticed that, though the fugue is for four voices, both the episodes are in three parts. This is very common in four-part fugues; it would be bad for all the voices to be continually at work throughout. Three-part, and even two-part, harmony is often met with, especially in the episodes, furnishing relief and contrast. In the four-part fugue in F minor (No. 12 of the same work), five out of the six episodes are for three voices only.

220. In our next example the episodes are formed from the countersubject. The subject and countersubject of the fugue are the following—

J. S. Bach. Wohltemperirtes Clavier, Fugue 14.

\new ChoirStaff << \override Score.Rest #'style = #'classical \override Score.BarNumber #'break-visibility = #'#(#f #f #f)
  \new Staff \relative c' { \key fis \minor \time 6/4 R1.*3
    r4 cis^"A" dis e2. ~ | e4 dis8 eis fis4 ~ fis eis8 dis eis fisis |
    gis4. fis8 e gis fis e dis2 |
    cis8 e_\markup \tiny \italic "Codetta." fis gis a4 ~
      a8 fis gis ais << { b4 ~ b8 b b a a gis_"&c." } \\
                        { s4 fis cis b } >> }
  \new Staff \relative f { \clef bass \key fis \minor
    r4^"S" fis gis a2. ~ | a4 gis8 ais b4 ~ b ais8 gis ais bis |
    cis4. b!8 a! cis b a g2\mordent |
    fis2. r8^"CS" cis' cis b b ais |
    ais b b a a gis gis2 ~ gis8 ais | bis cis dis4 gis, cis2 bis4 |
    cis4. b8 cis dis e4. cis8 dis eis | r4 fis,,^"S" gis } >>


We have quoted the codetta preceding the entry of the third voice, because (as we shall see directly) it is used at the beginning of the first episode, though it does not appear in the others.

221. This fugue contains three short episodes.

\new ChoirStaff << \override Score.Rest #'style = #'classical \override Score.TimeSignature #'stencil = ##f
  \new Staff \relative f' { \key fis \minor \time 6/4 \mark \markup \tiny { (\italic"a") } <<
    { fis8 a b cis d4 ^~ d8 b cis dis e4 ^~ |
      e8 d d cis cis bis bis4 cis2 ^~ | cis4 bis2 cis8 } \\
    { cis,4. gis'8 a b e,4. a8 b cis |
      fis,2. _~ fis8 fis fis e e dis |
      dis gis gis fis fis e e4 } >> }
  \new Staff \relative a { \clef bass \key fis \minor <<
    { a4 r r } \\
    { fis4. eis8 fis gis a4. fis8 gis ais |
      b b, b a a gis gis a' a gis gis fis | fis4 gis gis, cis } >> } >>


\new ChoirStaff << \override Score.TimeSignature #'stencil = ##f
  \new Staff \relative e'' { \key fis \minor \time 6/4 \partial 2. \mark \markup \tiny { (\italic"b") } <<
    { e4 d2 | d4 cis2 ^~ cis4 b2 ^~ | b8[ gis a cis] } \\
    { cis2 fis,4 | b4. e,8[ fis gis] a2 d,4 | cis2 } >> }
  \new Staff \relative a { \key fis \minor \clef bass
    ais8 b b a a gis |
    gis fis e b' a gis fis gis gis fis fis eis | eis4 fis } >>