Page:Fugue by Ebenezer Prout.djvu/228

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The small notes in the bass of bars 14, 21, 25, and 26, and in the treble of bars 34 to 36, are additional parts for the orchestra. We have omitted a few notes for the violins, which merely fill up the harmony, so as to show the fugal construction more clearly; and we have not given the last nine bars of the movement, because these are merely a free coda, and not a part of the fugue itself.

407. The exposition of this fugue extends to the first note of bar 11; it will be seen that each subject has then been heard in all the voices. An additional entry of all the subjects leads to the key of A minor, the last note of the first subject being sharpened in the tenor, to induce the modulation. The middle section of the fugue therefore commences at bar 13, with an episode only one bar in length. At bar 14 is the first group of middle entries, the three subjects appearing in A minor. These are at once followed by incomplete entries of the three answers in E minor, shown, as in our preceding examples, by A—? Fragments of the subjects are then treated sequentially in the second episode (bars 19 to 21), bringing the music to the key of F. In this key the second group of middle entries, incomplete in all the voices, is made at bar 21. The third and last episode (bars 23 to 26) leads back to the key of C, and to the final section of the fugue, which begins in bar 26.

408. This final section contains three groups of entries, all of which are in stretto. In the first and second, the answer enters at a bar and a half's distance after the subject, and all three subjects are present, though, as will be seen, some are incomplete. In the third and closest stretto (bar 34), a part of the first subject is treated by itself in imitation in the octave at one bar's distance in all four voices. It will be seen that at bars 34 to 36, a fragment of the second subject is given by the violins as a counterpoint to the first subject in the voices.

409. It will be noticed that as the subjects modulate to the dominant, they require tonal answers. The subdominant in the second subject prevents the modulation from taking place till