Page:Fugue by Ebenezer Prout.djvu/257

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Chap. XIII.]
Fugue.
239
Hummel. 1st. Mass
\new ChoirStaff << \new Staff \with { instrumentName = \markup { \caps "Violini" 1 & 2. } } \relative f' { \key g \minor \time 4/4 \override Score.Rest #'style = #'classical \override Score.BarNumber #'break-visibility = #'#(#f #f #f) \partial 2. f16 g f ees d f ees d c ees d c | bes bes' bes bes bes aes f d ees f d ees c d bes c %eol a! bes c a bes c d bes ees f ees d ees g f ees | d f bes d c d c bes a c bes a g bes a g %eop f g f e f g a f bes c a bes g a f g | e f g e f g a f bes c bes a bes d c bes | %eol1 a c f e f g f ees d f ees d c ees d c | bes c bes a bes c d bes ees f d ees c d bes c %eol2 a bes c a bes c d bes ees d c d ees g f ees | d f bes d c d c bes a c bes a g bes a g %eol3 f g f e f g a f bes c a bes g a f g | ees f g ees f g a f bes c bes a bes d c bes | a c bes a } \new ChoirStaff << \new Staff \with { instrumentName = \markup { \center-column { \caps "Soprano." \caps "Alto." } } } << \new Voice \relative e'' { \key g \minor \stemUp r4 r2 | R1*3 %eop R1 R | \override MultiMeasureRest.staff-position = #4 R R %eol2 R \revert MultiMeasureRest.staff-position r4 e f cis | %eol3 d4 g8\rest ees d c! bes d | c bes a f g4 e' | f8 s } \new Voice \relative a' { \stemDown s4 s2 | s1 s s %eop s s | r4 a bes fis | g r8 aes g f! ees g %eol2 f ees d bes c4 a'! | bes c f, a | %eol3 d, e\rest r2 | r r4 c | f } >> \new Staff \with { instrumentName = \markup { \center-column { \caps "Tenor." \caps "Bass." } } } << \new Voice \relative e' { \key g \minor \stemUp \clef bass r4 r2 | \once \override MultiMeasureRest.staff-position = #6 R1 R | r4 e f cis | %eop d d8\rest ees! d c! bes d | c bes a f g4 e' | f f bes, d | g, r r2 %eol2 r2 r4 f | bes r r2 | r4 f8 f bes c d bes | c4 f, r2 | r4 } \new Voice \relative a { \stemDown a4 bes fis | g r8 aes g f! ees g | f ees d bes c4 a' | bes c f, a %eop d r r2 | r r4 c, | f r r2 | \override MultiMeasureRest.staff-position = #-6 R1 %eol2 R1*4 } >> >> >>


The subject and answer of this fugue were quoted in § 64, when we remarked on the rarity of the first voice being silent during the answer. We have selected this extract to explain what we said before, and also because it is a very good illustration of an independent accompaniment to a fugue; but considered merely as a fugal exposition the counterpoint of the voices is pitiably weak.

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