Page:Fugue by Ebenezer Prout.djvu/102

84 190. Another case in which a codetta is needed before the answer enters, is when the subject begins on an unaccented note near the end of a bar, and ends on an accented note at the beginning of a bar.

191. A codetta is also sometimes introduced before the answer to avoid the collision of tonic and dominant harmony.

Here the implied harmony of the first half of the second bar is clearly that of a full cadence in the dominant. If we introduce the answer on the last note of the subject

the effect, as everyone will feel, is simply atrocious.

192. We much more frequently find a codetta between the answer and the second entry of the subject. The reason in many cases is the same as that spoken of in our last paragraph—to avoid the collision of tonic and dominant harmony. If the subject begins and ends with a note of the tonic chord, such a codetta will mostly be desirable.

The student will see at once that if the third voice enters here on the last note of the answer, there will be the same unpleasant effect as in example (b) of our last paragraph. Bach therefore inserts two bars of codetta before the entry of the next voice.

193. If the subject begins with the tonic and ends on the third or fifth of the tonic, a codetta is generally necessary, as the