204
Fugue.
[Chap. XI.
This third subject is then treated both by direct motion and by inversion (see bars 213 and 222); and at bar 232 a half close in D minor is made which leads to the final section of the fugue, in which all three subjects are combined. Of this section Bach only lived to write seven bars, which we give exactly as they are found in his autograph.
![\new ChoirStaff << \override Score.Rest #'style = #'classical \override Score.BarNumber.break-visibility = ##(#f #t #t) \set Score.barNumberVisibility = #all-bar-numbers-visible \override Score.TimeSignature #'stencil = ##f \set Score.currentBarNumber = #232
\new Staff \relative d'' { \key d \minor \time 4/4 \mark \markup \tiny {(\italic b )} \bar ""
d4. cis8 d e16 f e8 d | cis4 r r8 e^"Free Part." f g |
f e d cis d2 ~ | d4 cis8 d e2 ~ | e4 d8 e f g a f |
d4 e8 fis g a bes g | e4 r r2 | s1 }
\new Staff \relative a' { \key d \minor \clef alto
a8 g f e d4 r | r8 e \[ f^"S2" g f e d cis |
d a d e f e d f | e a, e' f g f16 e f8 g | a g f g a2 ~ |
a8 g16 fis g8 a bes2 ~ | bes8 a g f e d e g | f4 \] s2. }
\new Staff \relative f { \clef tenor \key d \minor
f8 e16 d a'4 ~ a g | a r r2 | R1 | r2 \[ bes^"S3" | a c |
b4. cis8 d2 ~ | d4. cis16 b cis2 | d8 \] e d c b a b d }
\new Staff \relative b, { \clef bass \key d \minor
bes4 a bes2 | a4 r r2 | r \[ d^"S1" | a'2. g4 f1 g a d,4 \] s2. } >>](http://upload.wikimedia.org/score/i/h/ihc0s8mapa0h5o7h18tv2ctk8cv59cm/ihc0s8ma.png)
403. A triple fugue, constructed on this plan, will clearly contain four sections, instead of the three with which we are familiar in other fugues; for there will be one for each separate exposition, and a fourth for the final combination of the three
