Page:Fugue by Ebenezer Prout.djvu/44

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26

Fugue.

[Chap. III.

71. By an extension of this relation of subject and answer, we sometimes find that when the subject is in the tonic, the answer is in the subdominant, instead of the dominant—

J. S. Bach. Cantata, "Der Himmel lacht"

$\new ChoirStaff << \override Score.Rest #'style = #'classical \new Staff \relative d'' { \key c \major \time 4/4 \partial 8 \mark \markup \tiny { ( \italic a ) } d16^\markup \bold "S" e | f4. g8 e f16 g f e d c | d8 e16 f g4 ~ g8 f16 e f4 | f8 e16 d e g f e d8 } \new Staff \relative g' { \key c \major r8 | r2 r4 g a | bes4. c8 a b16 c b a g f | g8 a16 b! c e d c b8 } >>$

Here the subject is in C, and the answer is no less clearly in F. The commencement of the answer illustrates what was said in § 57, the initial notes being lengthened—

J. S. Bach. Organ Fugue in C.

$\new ChoirStaff << \override Score.BarNumber #'break-visibility = #'#(#f #f #f) \new Staff \relative g'' { \key c \major \time 4/4 \mark \markup \tiny { ( \italic b ) } r16 g g, g' g a g a f f f, f' f g f g | e g, c d e g, c d e f d e c d e f | g8. f16 e f e f g8. g16 d e d e | f g f e f g f e f8. c16 d e c d | e g c, d e g c, d e g_"&c." } \new Staff \relative c'' { \key c \major R1*2 r16 c c, c' c d c d bes bes bes, bes' bes c bes c | a c, f g a c, f g a b g a f g a b | c8 r16 b c8 r16 g c,8 } >>$

Here again the answer is in the subdominant. The alteration of the semitone near the end (B natural answering F natural) is frequently to be met with (§ 144)—

Mendelssohn. "Surrexit pastor."

$\new ChoirStaff << \override Score.BarNumber #'break-visibility = #'#(#f #f #f) \override Score.Rest #'style = #'classical \new Staff \relative d'' { \key g \major \time 2/2 \partial 2. \mark \markup \tiny { ( \italic c ) } r4 r2 R1*3 | r4 d^\markup \bold "A" b d | g4. f8 e4 d | c8 b a b c d e c | d c b c d e f d | e2_"&c." } \new Staff \relative a' { \key g \major a4^\markup \bold "S" fis a | d4. c8 b4 a | g8 fis e fis g a b g | a g fis g a b c a | b2 r | r4 g g g | g2 f ~ | f4 d g2 ~ | g4 s } >>$

Here the answer is in the fourth above, instead of the fifth below. This fugue has an independent organ accompaniment (not quoted), which still more clearly proves the key of the answer to be C.

72. If we examine the three subjects last given, we shall see that in all of them prominence is given to the dominant or to

Page:Fugue by Ebenezer Prout.djvu/44

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