Page:Fugue by Ebenezer Prout.djvu/93

Chap. V.] contains an entirely fresh idea, as in the examples previously quoted.

167. It is in general desirable that the countersubject should contain some distinct melodic or rhythmic idea, which may be used later for codetta or episode. A particularly fine example of this will be seen in the twelfth fugue of the 'Wohltemperirtes Clavier.'

Notice here the strongly marked contrast between the subject and the countersubject. This fugue contains altogether six episodes (bars 16–19, 22–27, 30–34, 37–40, 43–47, and 50–53), all of which are founded on the first six notes of the countersubject—

168. Not infrequently the countersubject accompanies only a part, and not the whole of the subject or answer.