Page:Fugue by Ebenezer Prout.djvu/41

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Chap. III.]
Fugue.
23

modulates to the dominant, it is always to the dominant minor; and the same rule holds good when the first modulation that is made is on the entrance of the answer. This will be seen from the two following examples—

J. S. Bach. Wohltemperirtes Clavier, Fugue 4.

 \new ChoirStaff << \override Score.BarNumber #'break-visibility = #'#(#f #f #f)
  \new Staff \relative g { \clef tenor \key cis \minor \time 4/4 \mark \markup \tiny { ( \italic a ) } R1*3
     gis1^\markup \bold "A" | fisis2 b | ais1 |
     gis2 a! ~ | a4 gis8 fis gis4 cis_"&c." }
  \new Staff \relative c { \clef bass \key cis \minor
    cis1^\markup \bold "S" | bis2 e | dis1 | cis4 dis e2 ~ |
    e4 dis8 cis dis4 gis | cis, dis8 e fis2 ~ |
    fis4 e dis cis | dis2 cis } >>

J. S. Bach. Wohltemperirtes Clavier, Fugue 20.

 \new ChoirStaff << \override Score.BarNumber #'break-visibility = #'#(#f #f #f)
  \new Staff \relative e' { \key a \minor \time 4/4 \mark \markup \tiny { ( \italic b ) } R1*3
    r8^\markup \bold "A" e16 dis e8 fis g g16 fis g8 a |
    b16 a g a b8 c dis, b r e |
    fis16 g e fis g a fis g a8 g fis b |
    e, fis16 gis a b c d e8_"&c." }
  \new Staff \relative a { \clef bass \key a \minor
    r8^\markup \bold "S" a16 gis a8 b c c16 b c8 d |
    e16 d c d e8 f gis, e r a |
    b16 c a b c d b c d8 c b e |
    a,4 g8 fis e c' b a |
    g16 fis e fis g8 a b16 a g a b8 c ~ |
    c b16 a b8 e ~ e d16 cis d4 ~ | d8 c16 b c4 ~ c16 s } >>

67. If the student will examine the various counterpoints accompanying the answers we have given, he will see that (like the answers themselves) they are in the key of the dominant. Were it otherwise, the feeling of tonality would be obscured, for the music would be in two keys at once. Occasionally, however, the harmony of the dominant key is not clearly defined till toward the end of the answer, as in the following passage—