Chap. VII.]
Fugue.
101
We give extracts from two of the episodes.
J. S. Bach. Organ Fugue in D minor.
![\new ChoirStaff << \override Score.Rest #'style = #'classical \override Score.BarNumber #'break-visibility = #'#(#f #f #f)
\new Staff \relative c'' { \key d \minor \time 4/4 \partial 2 \mark \markup \tiny { (\italic"a") } <<
{ cis8 r r16d s8 | r16 e, gis b c e a, g r a c ees d c b a |
bes d, g a bes d g, f r g bes d c bes a g | a_"&c." } \\
{ g16 bes a g f8 e16 d } >> }
\new Staff \relative a { \clef bass \key d \minor <<
{ <a e'>8 r r4 | a8 r r4 <a fis'>8 r q r |
<g g'> r r4 <g e'>8 r q r | <f c'> } \\
{ a,8 s s4 | a8 s s4 d8 s d, s |
g s s4 c8 s c, s | f } >> } >>](http://upload.wikimedia.org/score/q/h/qhwdrmatzoa2ljb9fc9thyeusq26v7g/qhwdrmat.png)
![\new ChoirStaff << \override Score.TimeSignature #'stencil = ##f
\new Staff \relative c'' { \key d \minor \time 4/4 \mark \markup \tiny { (\italic"b") } <<
{ c8 b c d e f e d | c b c d e d e fis | gis } \\
{ a,8 gis a b c d c b | a gis a b c b c a | b } \\
{ s1 s4. f8 a } >> }
\new Staff \relative c' { \clef bass \key d \minor <<
{ <c e,>8 r r <f gis> <e a> r r <f gis,> |
<e a,> r r <d f,> <c e,> r r <c a> <d f,>^"&c." } \\
{ a,1 _~ a _~ a1*1/2 } >> } >>](http://upload.wikimedia.org/score/f/i/fi11ngj7xizqv41vxomt9abk5r6xqik/fi11ngj7.png)
Another good example of the same kind will be seen in Bach's great Organ Fugue in E minor,
![\relative e' { \key e \minor \time 4/4 \partial 4 e4 | dis8 fis dis fis d gis d gis cis a' cis, a' c, ais' c, ais' | b,4 b' a8 g fis e | fis1 | e4 }](http://upload.wikimedia.org/score/3/n/3niqzqvwm7xviuanacghpah40xvpros/3niqzqvw.png)
228. In both the cases. just referred to, the episode is of a more florid character than the subject of the fugue. In the great fugue which forms the finale of Beethoven's Sonata, Op. 106, the theme of which commences thus—
![\relative f { \key bes \major \time 3/4 f8 r \afterGrace a'2\trill { g32[ a] } | bes4 r8 bes16 a g f ees d | g4 r8 g16 f ees d c bes | ees4 r8 ees16 d c d c bes }](http://upload.wikimedia.org/score/n/j/njjmut70zymaylke6cwl59mp8gnunes/njjmut70.png)
we find an example of a different kind. Here is an episode in the key of D major, which itself begins like the exposition of a fugue—
Beethoven. Sonata, Op. 106.
![\new ChoirStaff << \override Score.Rest #'style = #'classical \override Score.BarNumber #'break-visibility = #'#(#f #f #f)
\new Staff \relative a' { \key d \major \time 3/4 \mark \markup \tiny { (\italic"a") } <<
{ r4 a^\( g | fis g a | d, e fis | g2 fis4 | e2 \)
a4 ^~ a2. | b4 c d! | a g fis } \\
{ R2._\markup \italic "Dolce e cantabile." R |
r4 d_\( c | b cis \) d _~ d cis2 |
dis4 e fis | fis e d! _~ d e a,_"&c." } >> }
\new Staff \relative a { \clef bass \key d \major
R2.*4 r4 a^\( g | fis g a \) ^~ | a g fis | b cis, d } >>](http://upload.wikimedia.org/score/o/7/o7ftoxxn2c3h2vzkh3g2tqmhzqsr489/o7ftoxxn.png)
After this episode has been developed for 29 bars, Beethoven