Page:Fugue by Ebenezer Prout.djvu/147

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Chap. VIII.]

Fugue.

129

280. The second pair of entries in a close fugue is sometimes at a different distance of time from the first.

Handel. 'Jubilate.'

$\new ChoirStaff << \override Score.BarNumber #'break-visibility = #'#(#f #f #f) \new Staff \relative c'' { \key f \major \time 2/2 R1*6 c1^"A" d2 g, c f | f e d1 } \new Staff \relative f' { \clef alto \key f \major f1^"S" g2 c, | f bes | bes a | bes4 a g2 | a g4 f | g2 f | f e | f a | b c | a g4 f_"&c." } \new Staff \relative c' { \clef tenor \key f \major R1 c^"A" d2 g, c f | f e | f4 e d2 | e f4 e | d2 c ~ c d ~ d c ~ c bes ~ } \new Staff \relative f { \clef bass \key f \major R1*3 f1^"S" g2 c, | f bes | bes a | bes1 | a2 g4 f | g2 a f g } >>$

Here the tenor follows the alto at one bar's distance; but the treble does not enter till three bars after the bass. Notice that here, as the first entries are by the middle voices, the second pair of entries give the inversion of the first pair—the answer being now above the subject instead of below it. If the student will examine the various entries of the subject here, he will see that they differ so much towards the close as to render it impossible to decide with absolute certainty where the subject ends. For this reason we have not marked its limits as in our other examples.

Page:Fugue by Ebenezer Prout.djvu/147

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