Page:Fugue by Ebenezer Prout.djvu/112

94 218. It is for the same reason that we mostly find the episodes of a fugue formed, either wholly or in part, from material already met with, either in the subject, countersubject, or codetta. We give examples of each. In the sixteenth fugue of the 'Wohltemperirtes Clavier,' the following is the subject.

The fugue contains two episodes, both founded on the second bar of this subject.

In this episode the figure marked with a |$\overline{  }$| is seen in the different voices in turn, by direct, and once by inverse movement. In the last bar, where a modulation is made to the relative major, the imitation is merely rhythmic.

219. The second episode is rather more elaborate.

Here the bass treats the last part of the subject sequentially, while the figure of counterpoint propounded by the alto is