Contents.
ix
CHAPTER VI.—The Exposition and Counter-exposition
page 81
Exposition defined, 178—Order of entry, 179—Relative distance of voices, 180—How this affects choice of voice for answer, 181—The last entry best in an outer part, 182—Exposition of a two-part fugue, 183—Order of entry in a three-part fugue, 184—Place of countersubject, 185—Additional entry, when advisable, 186—Example, 187—Codetta, 188—When is a codetta needed before the entry of the answer, 189–191—Codetta between second and third entries, 192, 193—Example of an exposition in three parts, 194–197—Exercises, 198—Order of entry in a four-part fugue, 199—Alternation of subject and answer: exceptions, 200—How a four-part exposition differs from one in three parts, 201—When an exposition ends in the tonic key, and when in the dominant, 202—Cases in which all the voices do not appear in the exposition, 203—Example of a four-part exposition, 204, 205—Irregular expositions: an "octave fugue," 206—The Counter-exposition, 207—Often only partial, 208—Frequently introduces the first stretto, 209—Counter-exposition by inversion, 210—Counter-exposition quite optional, 211—Directions for work, 212.
CHAPTER VII.—Episode
page 92
Episode defined, 213—Its use for modulation, 214—Difference between episode and codetta, 215—The material for episode: sequence, 216—Use of imitation, 217—Example of episodes developed from subject of fugue, 218, 219—Ditto from countersubject, 220, 221—Ditto from codetta, 222, 223—Various devices used in episodes; example by Handel, 224–226—Episodes formed from entirely new material, 227, 228—One episode sometimes the inversion of another, 229—General principles; the importance of sequence, 230—Need of variety in each episode, 231—The freedom allowed to the composer, 232—The number of episodes variable, 233—Long and short episodes, 234—Fugues without episodes, 235—Examples to follow the expositions given in the last chapter, 236—Episodes for the three-part fugue, 237–239—Ditto, for the four-part fugue, 240–242—The chief essentials of good episodes; directions for work, 243.
CHAPTER VIII.—Stretto
page 109
Meaning of the word, 244—The old rule, 245—A stretto not indispensable, 246—Subjects should be designed for stretto originally, 247—Examples of stretto on a subject not so designed, 248–250—Interval of entry, and number of parts; closest stretti should come last, 251—Incomplete entries, 252—Varieties of stretto, 253—A subject and answer specially written for stretto, 254—The various stretti: in two parts, 255–263—Ditto for three voices, 264, 265—Ditto for four voices, 266, 267—How to invent a subject suitable for stretto, 268—Stretto in the counter-exposition of a fugue, 269—Canonic stretto, 270—Regularity desirable in the entries of a stretto, 271—Subject and countersubject used together in a stretto; stretto on a pedal, 272—Stretto made from modified subject, 273—Stretto by inversion, 274—Ditto by augmentation, 275—Ditto by diminution and inversion, 276—The stretto maestrale, 277, 278—Stretto in the exposition of a fugue; close fugue, 279, 280—In a close fugue the answer will be in the same key as the subject, 281—Examples of stretto by Mozart, 282–284—Example by Mendelssohn, 285—Ditto by Spohr, 286—Ditto by Brahms, 287—Necessity of analysis by the student, 288—Exercises to be worked, 289.
