Page:Fugue by Ebenezer Prout.djvu/119

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Chap. VII.]

Fugue.

101

We give extracts from two of the episodes.

J. S. Bach. Organ Fugue in D minor.

$\new ChoirStaff << \override Score.Rest #'style = #'classical \override Score.BarNumber #'break-visibility = #'#(#f #f #f) \new Staff \relative c'' { \key d \minor \time 4/4 \partial 2 \mark \markup \tiny { (\italic"a") } << { cis8 r r16d s8 | r16 e, gis b c e a, g r a c ees d c b a | bes d, g a bes d g, f r g bes d c bes a g | a_"&c." } \\ { g16 bes a g f8 e16 d } >> } \new Staff \relative a { \clef bass \key d \minor << { <a e'>8 r r4 | a8 r r4 <a fis'>8 r q r | <g g'> r r4 <g e'>8 r q r | <f c'> } \\ { a,8 s s4 | a8 s s4 d8 s d, s | g s s4 c8 s c, s | f } >> } >>$

$\new ChoirStaff << \override Score.TimeSignature #'stencil = ##f \new Staff \relative c'' { \key d \minor \time 4/4 \mark \markup \tiny { (\italic"b") } << { c8 b c d e f e d | c b c d e d e fis | gis } \\ { a,8 gis a b c d c b | a gis a b c b c a | b } \\ { s1 s4. f8 a } >> } \new Staff \relative c' { \clef bass \key d \minor << { <c e,>8 r r <f gis> <e a> r r <f gis,> | <e a,> r r <d f,> <c e,> r r <c a> <d f,>^"&c." } \\ { a,1 _~ a _~ a1*1/2 } >> } >>$

Another good example of the same kind will be seen in Bach's great Organ Fugue in E minor,

$\relative e' { \key e \minor \time 4/4 \partial 4 e4 | dis8 fis dis fis d gis d gis cis a' cis, a' c, ais' c, ais' | b,4 b' a8 g fis e | fis1 | e4 }$

228. In both the cases. just referred to, the episode is of a more florid character than the subject of the fugue. In the great fugue which forms the finale of Beethoven's Sonata, Op. 106, the theme of which commences thus—

$\relative f { \key bes \major \time 3/4 f8 r \afterGrace a'2\trill { g32[ a] } | bes4 r8 bes16 a g f ees d | g4 r8 g16 f ees d c bes | ees4 r8 ees16 d c d c bes }$

&c.

we find an example of a different kind. Here is an episode in the key of D major, which itself begins like the exposition of a fugue—

Beethoven. Sonata, Op. 106.

$\new ChoirStaff << \override Score.Rest #'style = #'classical \override Score.BarNumber #'break-visibility = #'#(#f #f #f) \new Staff \relative a' { \key d \major \time 3/4 \mark \markup \tiny { (\italic"a") } << { r4 a^$ g | fis g a | d, e fis | g2 fis4 | e2 $ a4 ^~ a2. | b4 c d! | a g fis } \\ { R2._\markup \italic "Dolce e cantabile." R | r4 d_$ c | b cis $ d _~ d cis2 | dis4 e fis | fis e d! _~ d e a,_"&c." } >> } \new Staff \relative a { \clef bass \key d \major R2.*4 r4 a^$ g | fis g a $ ^~ | a g fis | b cis, d } >>$

After this episode has been developed for 29 bars, Beethoven

Page:Fugue by Ebenezer Prout.djvu/119

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