Page:Fugue by Ebenezer Prout.djvu/45

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Chap. III.]
Fugue.
27

notes of the dominant harmony. The same thing will be found in our examples in a minor key, in which an answer in the subdominant is much more common than in a major key—

J. S. Bach. Partita in B minor

 \new ChoirStaff << \override Score.Rest #'style = #'classical
  \new Staff \relative f'' { \key b \minor \time 6/8 \partial 2
    fis8^\markup \bold "S" fis, cis' e |
    fis, b d fis, gis16 ais b cis |
    d e d cis b cis dis cis dis e cis dis |
    e dis e fis dis e fis4. ~ | fis8 e16 dis e8( s)_"&c." }
  \new Staff \relative b' { \key b \minor %bass clef in first line is wrong
    r8 r4 r8 | R2. | r4 b8^\markup \bold "A" b, fis' a |
    b, e g b, cis16 dis e fis | g a g fis e fis s8 } >>

Here the subject commences with the arpeggio of the dominant seventh; then comes tonic harmony, and then dominant harmony again. The answer is now in the subdominant, in order to carry out the important principle that dominant harmony should be answered by tonic.

73. As the possibility of a fugal answer being in the key of the subdominant has not, so far as we know, been touched upon in any existing treatise, it will be needful to give a considerable number of examples by the greatest masters—not only to establish the fact, but to enable us to deduce the necessary rules for the student's guidance in deciding when such an answer is advisable. Our next example deserves close examination—

J. S. Bach. Cantata, "Herr, Deine Augen."

 \new ChoirStaff << \override Score.Rest #'style = #'classical \override Score.BarNumber #'break-visibility = #'#(#f #f #f)
  \new Staff \relative c' { \clef tenor \key g \minor \time 4/4 \partial 4
    r4 R1*2 r2 r4 c^\markup \bold "A" |
    f4 f8 f b, b c d | ees ees d c fis4 r8 fis |
    g f!16 ees d8 ees f ees16 d c8 d | ees_"&c." }
  \new Staff \relative g { \clef bass \key g \minor
    g4^\markup \bold "S" | c c8 c fis, fis g a |
    bes bes a g cis4 r8 cis | d c16 bes a8 bes c bes16 a g8 a |
    bes a16 g f8 g aes g16 f ees8 f |
    g c, c'4 ~ c8 d16 ees d c bes a |
    bes2 ~ bes8 c16 bes a4 ~ | a8 } >>

Here the subject does not, like those previously given, begin with a note of the dominant chord; but the diminished fifth immediately following clearly indicates the chord of the dominant seventh. In the next bar is a modulation to the dominant key, the return to the tonic being made in the third bar.