Page:Fugue by Ebenezer Prout.djvu/198

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180
Fugue.
[Chap. X.

Beethoven. 1st Symphony.

\new ChoirStaff <<
   \new Staff \relative c'' { \key f \major \time 3/8 \partial 8
     << { r8 R4.*11 r8 r c( <f a,>) q-. q( | <a f>) q-. q( |
          <bes e,> bes16. a32 g16. f32 | e8[ e] } \\
        { c,8\(\pp | f)-.[ f-.] f( | a)-.[ a-.] a( |
          bes)-. bes16.-. a32-. g16.-. f32-. | e8-.[ e-.] e_( |
          f g a) | bes8._( c16) a8-. | g r g _~ | g[ c] c _~ |
          c b16.-. c32-. d16.-. e32-. | f8-. r f,_( | e-.[) e-.] e_( |
          c') c e,( s4.) | r8 <f a> <a c> | <bes g e> q q |
          <bes g>[ <g e>]_"&c." } >> }
  \new Staff \relative f { \clef bass \key f \major
    << { r8 R4.*5 r8 r f^( c')-.[ c-.] c^( | e)[ e-.] e^( |
         f) f16.-. e32-. d16.-. c32-. | b8-.[ b-.] b-.^( |
         c) c16. b32 c16. d32 | bes8 bes16. a32 bes16. c32 |
         a8 <a f>( <c a>) | s q <c f> | c c c | c4 } \\
       { s8 s4.*5 R4.*4 r8 r g,_( | c) c c_( | e) e g |
         f f, r | f' f, r | c' e g | c4 } >> } >>

Although the commencement of this passage looks at first like the subject and answer of a fugue, a moment's examination of the counterpoint accompanying the answer will show that we have here only fugato. The rhythm of subject and counterpoint are identical, and the style of the whole passage is distinctly homophonic rather than polyphonic. After the end of our extract, every attempt at imitation is abandoned.

362. We conclude this chapter with two more modern examples.

Mendelssohn. 'Elijah.'

\new ChoirStaff <<
  \new Staff \relative b' { \key aes \major \time 4/4 \partial 2
    << { r2 R1 | R1 r2 bes4 bes | bes4.. bes16 bes8. bes16 aes8. ges16 | f4 } \\
       { s2 s1 r2 f4 f | f4.. f16 f8. f16 ees8. des16 |
         des4 ges _~ ges8. ges16 f8. ees16 | des4 } >> }
  \new Staff \relative e' { \clef bass \key aes \major
    << { s2 r2 ees4 ees | ees4.. ees16 ees8. ees16 des8. c16 |
         des4 des2 bes4 | ees4. des8 c8. c16 des8. ees16 f4 } \\
       { c4 c | c4.. c16 c8. c16 bes8. aes16 | aes4 g aes a |
         bes bes, ges'2 _~ ges8. ges16 ees8. ees16 aes8. aes16 bes8. c16 | des4 } \\
       { \tiny \stemDown s2 aes, aes4 c | ees2 } >> } >>

In this passage the small notes on the bass staff indicate the real bass of the harmony, which is given to the orchestra. It will be seen that here no two consecutive entries are at the same distance of interval.

363. In our last illustration,