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Chap. VII.]
Fugue.
105
238. For our next episode
we take the codetta in the second bar, which precedes the entrance of the answer, treat it sequentially, with imitation in the fifth above between the two upper parts, and accompany it in the bass with a semiquaver figure, developed from the figure
the second crotchet of the first bar of the alto part.
239. In both the above episodes we have returned from A to D, before going into B minor. In our last example in three parts we will make the modulation direct.
This episode is made from the first part of the countersubject, which is accompanied by a new semiquaver figure in the alto, freely imitated in the tenth below by the bass.
