Page:Fugue by Ebenezer Prout.djvu/189

Chap. X.]

349. In the preceding chapters of this volume we have explained the construction of the most common kind of fugue—that with only one subject. Before proceeding to treat of fugues with more than one subject, fugues on a choral, or fugues with free accompaniment, there are two other varieties of fugal writing with which this is the most suitable place to deal. These are the and the.

350. The word "Fughetta" is the Italian diminutive of "Fuga," and merely means "a little fugue." It is a term of somewhat vague application; and it is impossible to lay down a hard and fast line of distinction between fughetta and fugue. For example, among Bach's works for the Clavier, we find a so-called 'Fughetta' in E minor, beginning

which is a regularly developed fugue, extending to 105 bars, with a long middle section. In its number of bars it exceeds 46 of the 48 fugues in the 'Wohltemperirtes Clavier.' This is an exceptional case; but we refer to it to show the vagueness with which the term is sometimes applied.

351. In the form most frequently met with, a fughetta is an abridged fugue, and is almost always a complete movement in itself. It contains a regular exposition; but the middle section will have at most not more than one group of middle entries, and in many instances it is omitted altogether. In such cases the exposition is followed either by an episode leading to the final entry of the subject in the tonic key, or this final entry may follow the exposition immediately, without any episode whatever.

352. These variations in fughetta form will be most clearly shown by examples. We first give an illustration by Bach of the longer fughetta, containing the regular three sections of a fugue, though all are on a small scale.