thus giving a somewhat rare combination of canon and double counterpoint in the tenth. In the last bar of the episode, the canon is abandoned, and we have merely ordinary imitation, direct and inverted, of a fragment of the countersubject.
243. These examples will show the student how much variety of episode is possible, even with such commonplace subjects as we have been treating here. He will now see clearly what we meant when in Double Counterpoint (§ 307) we spoke of Imitation as "a most important ingredient" in fugues. In fact, imitation and sequence are the chief essentials of good episodes. Let the student now turn back to the expositions he has written as exercises on the last chapter, and utilize his material (subjects, countersubjects, codettas, and incidental counterpoints) for the construction of many different episodes, after the manner which we have shown him in this chapter. He should write five or six episodes for each fugue, varying the keys to which he modulates. For the present he should not go beyond the nearly related keys.
