figure taken from the codetta is now allotted to the two lower voices, and is seen in the alto by free inversion, and in the treble by augmentation.
224. As all our examples hitherto have been from Bach, we will now give one by Handel. The second of his 'Six Fugues for Organ or Harpsichord' is particularly rich in interesting episodes. We first give the subject and countersubject.
Handel. Six Fugues, No. 2.
![\new ChoirStaff << \override Score.BarNumber #'break-visibility = #'#(#f #f #f)
\new Staff = "up" \relative d'' { \key g \major \time 4/4 \mark \markup \tiny { (\italic"a") }
r2 r8 \[ d^"S" d d | b4 g a b | c8 c, c c c c c c |
fis c ~ c b a g' fis4 | \stemUp
g8[ \] fis^\markup \tiny \italic "Codetta." g a] b4. c8 |
a4 r8 d^"CS" c4. d16 c | b8 a g fis e d cis b |
a4 a' g4. a16 g | fis4 }
\new Staff = "down" << \clef bass \time 4/4
\new Voice \relative g' { s1 s s s \change Staff = "up" \stemDown
s2 r8_"A" g g g | fis4 d e fis |
g8 \change Staff = "down" g, g g g g g g |
cis g ~ g fis e d' cis4 | d }
\new Voice { R1*5 s1 } >> >>](http://upload.wikimedia.org/score/n/1/n19t5g0uysgd6uqkpsurfnkb8uaclpb/n19t5g0u.png)
In the first episode that we shall quote,
the first notes of the subject in the bass are imitated at half a bar's distance by the treble, and also accompanied by the countersubject in the middle voice in double counterpoint in the tenth; the passage is twice sequentially repeated, after which an inverted cadence brings back the subject.
