Page:Fugue by Ebenezer Prout.djvu/21

Chap. I.] of the dominant. (See § 71.) The answer will in the first instance be given by whatever voice has the second entry, and the choice of this voice, as will be seen later, will largely depend on what voice first announces the subject. The answer is frequently an exact transposition of the subject; in this case it is called a real answer; and a fugue which contains a real answer is said to be a "real fugue." At other times the answer is a modified transposition of the subject, alterations being necessitated by the form of the subject itself. Such an answer is called a tonal answer; and a fugue in which there is a tonal answer is called a "tonal fugue." The rules which enable us to decide whether an answer should be real or tonal will be fully discussed in Chapters III., IV.

10. The first voice, which announced the subject, should never be silent while the second voice is giving the answer. It always accompanies with a counterpoint, which may or may not be intended for subsequent use. If it be, it must be written in double counterpoint, so as to be able to accompany the subject or answer either above or below. A counterpoint which accompanies subject or answer systematically (though not of necessity invariably) is called a. We sometimes meet with fugues which have more than one countersubject.

11. A fugue may be in any number of parts, but, whatever the number, they should all (with very rare exceptions) enter in turn at the commencement of the fugue with either the subject or the answer. That portion of the fugue which extends as far as the conclusion of the subject or answer (as the case may be) by the voice that last enters is called the of the Fugue.

12. The exposition is usually followed by the first An episode is that part of the fugue in which for a while neither subject nor answer is heard. It is usually founded upon some material taken either from the subject or from one of the accompanying counterpoints, in order to give unity to the composition as a whole. The episode is also employed for the purposes of modulation, as will be seen when we come to treat of it later.

13. The close of the first episode is sometimes, though not always, followed by what is called a. This is a second exposition in the same two keys as the first, but with this difference, that the voices which before had the subject now usually have the answer, and vice versa. Sometimes the counter-exposition precedes the first episode, and follows the exposition immediately. Very frequently also it is only partial; that is to say, only some of the voices, and not all, take part in it.

14. The counter-exposition, if there be one, will generally be followed by a second episode, different from the first one. To this second episode (or to the first, if there be no counter-exposition) succeeds the of the fugue. Here a