Page:Fugue by Ebenezer Prout.djvu/29

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Chap. II.]
Fugue.
11

36. Less commonly we meet with subjects that begin in the key of the dominant, and end in that of the tonic. Two examples will suffice—

J. S. Bach. Mass in B minor.
\relative e' { \clef tenor \key d \major \time 3/4 \partial 4. \override Score.BarNumber #'break-visibility = #'#(#f #f #f) \mark \markup \tiny { ( \italic a ) } e8^"Key: A." a e | cis16 b cis d e8 cis e cis | a cis16 b a8 cis d^"Key: D." fis | b, d16 cis b8 d e g | cis,8 e16 d cis8 e a, g' | fis e16 fis d8 }
Handel 'Rinaldo.
\relative g' { \key f \major \time 4/4 \partial 8*5 \mark \markup \tiny { ( \italic b ) } g8^"Key: C." a a16 g a8 b | c g r c f^"Key: F." f16 e f8 bes,! | e e16 d e8 a, d d16 c d8 g, | c c16 bes c8 }

In the second of these subjects, the close looks at first as if it were in the key of C. That it is not so, is proved by the auxiliary note in the last bar being B flat, and not B natural.

37. It is also possible, though somewhat rare, for a subject to begin in the tonic, modulate to the dominant and return to the tonic, as in the following example—

J. S. Bach. Cantata, "Sehet, welch' eine Liebe."
\relative b' { \key e \minor \time 4/4 \override Score.Rest #'style = #'classical b2^"Key: E minor." e, | r4 e' b^"Key: B minor." cis | d2 cis4 b | ais fis e' d8 cis | fis4 e8 d cis d b cis | d cis d e^"Key: E minor." dis e cis dis | e }

38. Occasionally, instead of tonic and dominant, the two keys employed for the subject are tonic and subdominant. The following passages

Handel. 'Alexander's Feast.
\relative a { \key d \minor \clef bass \time 4/4 \partial 8*5 \mark \markup \tiny { ( \italic a ) } a8^"Key: G minor." bes d fis,8. fis16 | g8 bes^"Key: D minor." cis,8. cis16 d4 }


J. S. Bach. Mass in B minor.
\relative a' { \key d \major \time 4/4 \partial 8 \mark \markup \tiny { ( \italic b ) } a8^"Key: G." ~ | a b b c c b c d | b a^"Key: D." g fis e d'16 cis! d8 g, | fis4 e d8 }

begin in the subdominant and end in the tonic. In our next examples

J. S. Bach. Fugue in E minor.
\relative b' { \key e \minor \time 4/4 \partial 2. \mark \markup \tiny { ( \italic c ) } b4^"Key: E minor." c4. c8 | b4 e8 e, a4 d8 d, | g4 c8 e, fis^"Key: A minor." a gis e' | c2 }
Mendelssohn. 3rd Organ Sonata.
\relative e { \clef bass \key a \minor \time 4/4 \partial 2 \override Score.Rest #'style = #'classical \mark \markup \tiny { ( \italic d) } e4^"Key: A minor." f8. d16 | gis4 r e8. e16 f8. d16 | gis4 r4*1/2 gis8 a b c e^"Key: E minor." | dis c b a g a bes^"Key: D minor." dis | cis bes a g f4 }

the subject begins in the tonic and ends in the subdominant. In example (d) we also find an intermediate modulation to the dominant.

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