Page:Fugue by Ebenezer Prout.djvu/124

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106
Fugue.
[Chap. VII.

240. We now give some episodes suitable for our four-part exposition. Although in actual practice, it is neither necessary nor expedient that all the episodes of a four-part fugue should be in four-part harmony, yet, as the episodes we are now writing are simply meant as illustrations of the method of composition, and as our previous examples have been in three parts, we will write these in four. As before, we begin by completing the last bar of the exposition.

\new ChoirStaff << \override Score.BarNumber #'break-visibility = #'#(#f #f #f) \override Score.Rest #'style = #'classical \override Score.TimeSignature #'stencil = ##f
  \new Staff \relative d'' { \key d \major \time 4/4
    d8 cis b4 a r8 e' | fis e16 d cis d b cis d8 r r4 |
    g8 fis16 e dis e cis dis e8 r r4 |
    a8 gis16 fis eis fis dis eis fis8 cis ais4 | s2. }
  \new Staff \relative f' { \clef alto \key d \major
    fis16 gis a8 e b' e,16 fis e d cis d cis b |
    a8 r r4 a'8 a16 g fis g e fis |
    g8 r r4 b8 b16 a gis a fis gis |
    a4 r r2 | b,4^"S" e d_"&c." }
  \new Staff \relative b { \clef tenor \key d \major
    b8 cis16 d e fis d e cis d cis b a b a g |
    fis8 r r4 d' a | b r e b | cis r fis cis | s2. }
  \new Staff \relative a { \clef bass \key d \major
    a4 ~ a16 gis fis gis a8 a, b cis | d4 g fis r |
    e a gis r | fis b ais8 ais16 gis fis g e fis |
    d8^"CS" e16 fis g8 a b4 } >>

This episode is founded on the first three notes of the subject, treated sequentially in the bass, imitated by inverse movement in the tenor, and accompanied by a semiquaver figure in the upper voices, which is an imitation, partly inverted and partly direct, of the tenor part in the first half bar of the passage.

241. We not infrequently find in fugues that an episode is founded, not on subject or countersubject, but on one of the incidental counterpoints. To illustrate this, we construct our next episode in this way.

\new ChoirStaff << \override Score.BarNumber #'break-visibility = #'#(#f #f #f) \override Score.Rest #'style = #'classical \override Score.TimeSignature #'stencil = ##f
  \new Staff \relative d'' { \key d \major \time 4/4
    d8 cis b4 a16 cis d e fis e d cis |
    b8 cis16 d e d cis b a8 b16 cis d cis b a |
    g8 a16 b cis b a g fis8 b4 ais8 | b4 cis d r | s }
  \new Staff \relative f' { \clef alto \key d \major
    fis16 gis a8 e b' e, r r4 | d8 e16 fis g8 r cis, d16 e fis8 r |
    b,8 cis16 d e8 r ais, fis' e16 d fis e |
    d8^"CS" e16 fis g8 a b fis b4( | s)_"&c." }
  \new Staff \relative b { \clef tenor \key d \major
    b8 cis16 d e fis d e cis8 r cis d16 e |
    fis8 r b, cis16 d e8 r a, b16 cis |
    d8 r g, a16 b cis8 r r4 | b^"S" e d r8 g16 fis | s4 }
  \new Staff \relative a { \clef bass \key d \major
    a4 ~ a16 gis fis gis a8 e a4 ~ | a g2 fis4 ~ |
    fis e ~ e8 d cis fis | b,4 r r8 b'16 a g fis e d | s4 } >>