Page:Fugue by Ebenezer Prout.djvu/79

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Chap. IV.]
Fugue.
61

This passage illustrates the partiality of fugue writers for treating the third of the tonic as the sixth of the dominant, and the leading note as the third of the dominant. There is no necessity for a tonal change till (a), and the answer might have been

 \relative g' { \key c \major \time 4/4 \partial 2 \override Score.TimeSignature #'stencil = ##f
  r8 g g g | b4. a16 g fis8 e d fis | g a16 c g c f, c' e,8 f16 c' e, c' d, c' | c8 }

Here we have another example of what we haye already seen more than once, that it is sometimes possible for a subject to have two different answers, both correct. The student will learn by experience, in such cases, which is the better.

144. Though, as a general rule, the transposition of the subject a perfect fourth or fifth should be strictly carried out, we often find the position of the semitones disregarded, a semitone being answered by a tone, and a tone by a semitone. This is especially the case with the subdominant and leading note, as will be seen by the following passages, selected from a much larger number we had marked for quotation—

J. S. Bach. Fughetta on "Allein Gott in der Höh' sei Ehr'."

 \new ChoirStaff << \override Score.Rest #'style = #'classical
  \new Staff \relative a' { \key a \major \time 4/4 \mark \markup \tiny { (\italic "a") }
    r4 r8^\markup \bold "S" a cis a fis d'_"*" | e b cis gis a }
  \new Staff \relative e' { \key a \major
    r4 r8^\markup \bold "A" e fis d b gis' | a e fis cis e } >>


J. S. Bach. Mass in B minor.

 \new ChoirStaff << \override Score.BarNumber #'break-visibility = #'#(#f #f #f)
  \new Staff \relative e' { \clef tenor \key b \minor \time 3/4 \partial 4. \mark \markup \tiny { (\italic "b") }
    e8^\markup \bold "S" a e | cis16 b cis d e8 cis e cis |
    a cis16_"*" b a8 cis_"*" d fis | b, d16 cis_"*" b8 d e g |
    cis, e16 d cis8 e a, g' | fis e16 fis d8 }
  \new Staff \relative a' { \clef alto \key b \minor
    a8^\markup \bold "A" d a | fis16 e fis g a8 fis a fis |
    d g16 fis e8 g a cis | fis, a16 g fis8 a b d |
    gis, b16 a gis8 b e, d' | cis b16 cis a8 } >>


Mozart. Litany in B flat.

 \new ChoirStaff << \override Score.Rest #'style = #'classical \override Score.BarNumber #'break-visibility = #'#(#f #f #f)
  \new Staff \relative b { \clef bass \key bes \major \time 4/4 \mark \markup \tiny { (\italic "c") }
    bes2^\markup \bold "S" bes4 bes | bes2 bes, | r4 bes' bes bes |
    bes4. bes,8 bes2 | r4 bes' bes bes |
    a8 bes c bes a g f ees_"*" | d4 ees8_"*" f g4 f8 ees_"*" |
    f4 g8 a bes4 a | g f e d8 c | f4 }
  \new Staff \relative f' { \clef tenor \key bes \major
    f2^\markup \bold "A" f4 f | f2 f, | r4 f' f f |
    f4. f,8 f2 | r4 f' f f |
    d8 ees f ees d c bes a | g4 a8 bes c4 bes8 a |
    bes4 c8 d ees4 d | c bes a g8 f | bes4 } >>