but by the tenor which gave the subject just before. The entry of the subject in the bass (bar 16) concludes the second section of the fugue.
420. The third section is longer. The subject is first heard in the alto (bars 18 to 20), the answer in the treble (bar 21), and again in the tenor (bar 23), followed by an additional entry of the subject in the alto (bar 26), and completed by the canto fermo on the pedals (bars 28 to 30). The treatment of the last line is on a similar plan, as the student will easily see for himself.
421. It will be noticed that this fugue really consists of four short expositions of different subjects, but that the first entries in all the lines of the choral, except the first, are accompanied by independent counterpoint. It is not necessary that all the intermediate expositions in a fugue on a choral should begin with one voice alone, though our next example will show that this may sometimes be done.
422. The above fugue is given not as a perfect model for imitation, but as showing one of the earlier and simpler ways of treating a choral in the fugued style. The following example by Bach is a much more finished and artistic piece of work.
