Page:Fugue by Ebenezer Prout.djvu/205

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Chap. XI.]
Fugue.
187

It looks at first sight as if the first subject extended to the sixth bar. That this is not the case is proved by the second subject. If bars 4 and 10 are compared, it will be seen that they are quite different. Now it is an important rule in writing a double fugue that, though the two subjects had better begin one after the other, they must always finish together. Bar 10 proves that the second subject ends on the first note of bar 4; consequently the first subject must end at the same point, and bars 5 and 6 must be regarded as codetta.

375. The exposition of a double fugue is sometimes arranged in quite a different manner, which will be best understood by an example.

Hummel. 2nd Mass.

\new ChoirStaff << \override Score.BarNumber.break-visibility = ##(#f #t #t) \set Score.barNumberVisibility = #all-bar-numbers-visible \override Score.Rest #'style = #'classical
  \new Staff \relative a' { \key ees \major \time 2/2
    R1*9 r4 aes2^"S2." aes4 g4 aes8 bes c2 ~ c4 f d c8 d |
    ees4 r g2^"A1." | g,2 a | bes4. bes8 bes4 c8 d |
    ees4 ees8 ees ees4 f8 ees | d2 }
  \new Staff \relative e' { \clef alto \key ees \major
    R1*5 r4 ees2^"A2." ees4 | d ees8 f g2 ~ | g4 c a g8 a |
    g4 r aes2^"S1." | c,2 d | ees4. ees8 ees4 f8 g |
    aes4 aes8 aes aes4 bes8 aes | g4 bes8 aes g4 f |
    ees d c f | bes2 r | R1 r2 }
  \new Staff \relative a { \clef tenor \key ees \major
    R1 r4 aes2^"S2." aes4 | g aes8 bes c2 ~ | c4 f d c8 d |
    ees4 r g2^"A1." | g, a | bes4. bes8 bes4 c8 d |
    ees4 ees8 ees ees4 f8 ees | d4 c8 d ees4 c | aes g f bes ees,2 r |
    R1*4 r2 f' ~ f4 bes, }
  \new Staff \relative c' { \clef bass \key ees \major
    r2 c^"S1." c, d | ees4. ees8 ees4 f8 g |
    aes4 aes8 aes aes4 bes8 aes | g4 bes8 aes g4 f | ees d c f |
    bes,2 r | R1*6 | r4 ees2^"A2." ees4 | d ees8 f g2 |
    g4 c a g8 a | bes2 } >>