Page:Fugue by Ebenezer Prout.djvu/137

Here, as in our last example, the answer leads and the subject replies; but a deviation is made from the usual practice, inasmuch as the tenor, which had the answer in the first exposition, has it again here, and the bass (as before) has the subject; but with the other pair of voices, the usual plan is followed, the alto now giving the answer instead of the subject, and the treble giving the subject instead of the answer. The irregularity is probably due to the fact that Bach intended to invert the canon on its repetition by the upper pair of voices. Canonic imitation in stretto is not uncommon in a fugue; the student will see other instances of it in Nos. 20 and 46 of the 'Wohltemperirtes Clavier'; but it is seldom met with so early as in the counter-exposition; more frequently we find it in the middle or final section of the fugue.

271. Though, as has been already said, the imitations in a stretto may be at any interval, it is generally advisable to observe some kind of order in the entry of the different voices. Our next example will illustrate this point, as also that mentioned in § 252, that one voice in a stretto may discontinue the subject as soon as another voice enters with it, but that the last voice that enters should complete the subject. The student will find the subject, answer, and countersubject of this fugue in § 169

J. S. Bach. Wohltemperirtes Clavier, Fugue 24.