Page:Fugue by Ebenezer Prout.djvu/39

Chap. III.] continuation of the subject is imitated in the answer—sometimes strictly, at other times (as here) freely.

62. In the example just given, the answer entered before the end of the subject. In our next

the subject ends (as will be seen by comparing the answer) on the first note of the third bar, and the answer does not enter till the fourth. Such cases are of frequent occurrence. Here it would have been quite possible for Handel to have commenced his answer in the third bar; thus—

but if the student will remember what was said in the last chapter about the implied harmony of a fugue subject, he will see that at the end of the second bar of this subject there is clearly a chord of the dominant seventh implied; and the continuation we have suggested would have been far less satisfactory from a harmonic point of view. The passage introduced between the end of the subject and the beginning of the answer, which we have marked with a |$\overline$|, is called a codetta. In many cases some such connecting portion is absolutely necessary.

63. The following example

shows a more chromatic subject than those already given. Here