Page:Fugue by Ebenezer Prout.djvu/117

Chap. VII.] 225. The following episode

begins with repetitions of the first four notes of the subject (or answer), after which the same material is employed as in episode (b); but the notes of the countersubject are now used against a different part of the subject. The episode from which we shall next quote is too long to be given entire.

Here the last notes of the subject and countersubject (instead of the first, as hitherto) are developed. The first four bars of our extract show a sequential treatment of a one-bar theme; at the fifth bar, the subject is in the bass, and is accompanied by the countersubject in inverse movement. At the ninth bar, the close of the subject is in the middle voice, and is accompanied by the countersubject, in direct movement above, and in inverse movement below.