Page:Fugue by Ebenezer Prout.djvu/116

98 figure taken from the codetta is now allotted to the two lower voices, and is seen in the alto by free inversion, and in the treble by augmentation.

224. As all our examples hitherto have been from Bach, we will now give one by Handel. The second of his 'Six Fugues for Organ or Harpsichord' is particularly rich in interesting episodes. We first give the subject and countersubject.

In the first episode that we shall quote,

the first notes of the subject in the bass are imitated at half a bar's distance by the treble, and also accompanied by the countersubject in the middle voice in double counterpoint in the tenth; the passage is twice sequentially repeated, after which an inverted cadence brings back the subject.