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Contents.
CHAPTER IX.—The Middle and Final Sections of a Fugue
page 138
Freedom of treatment of middle section, 290—Ternary, or Three-Part Form, 291, 292—Limits of the first section of a fugue, 293—Varied length of the middle section, 294, 295—Analysis of the 21st fugue of the "Wohltemperirtes Clavier," 296—How to distinguish subject and answer in the middle section, 297—Bach's fugue in E minor analyzed, 298—The first section, 299—First group of middle entries, 300—Isolated entries, 301—Return to the tonic key in the middle section, 302—The rest of the middle section, 303, 304—Final section: the coda; a dominant pedal, 305—Additional voices often introduced in a coda, 306—Summary of entries, 307—Fugue in D major, by Bach, 308—The subject, 309;—Absence of countersubject, 310—The exposition, 311—Commencement of middle section, 312—The first stretto, 313—Third episode and second stretto, 314—A codetta in the middle section, 315—The third stretto, 316—Fourth middle entry, 317—Final section, 318—Advisability of rests: method of re-entry of voices, 319, 320—The employment of cadences, 321—Order of modulation; Cherubini's rules, 322—These rules hardly ever observed by Bach, 323—Modulations beyond the nearly-related keys, 324—General rules for the treatment of middle entries, 325—Exceptions, 326—All voices need not take part in a middle entry, 327—Number of middle entries variable, 328—Treatment of the pedal point, 329—Need of continuity, 330—The last note before a rest, 331—Individuality of the voices necessary, 332—The composition of a complete fugue, 333—Should have a definite plan, 334—Specimen fugue for two voices, 335—Analysis of ditto, 336–339—A fugue for three voices, 340—The same analyzed, 341, 342—A four-part fugue, 343—Analysis of ditto, 344–347—Need of practice, 348.
CHAPTER X.—Fughetta and Fugato
page 171
Definition of Fughetta, 350—Its usual form, 351—Examples by Bach 352–354—A five-part fughetta by Handel, 355—Example by Mozart, 356—Ditto by Beethoven, 357—The nature of Fugato, 358—Example by Bach, 359—Ditto from the "Creation," 360—Ditto by Beethoven, 361—Ditto by Mendelssohn, 362—Ditto by Mackenzie, 363.
CHAPTER XI.—The Fugue on more than one Subject
page 182
Double Fugue, 365—The two kinds of double fugue, 366—How distinguished from fugues with a countersubject, 367—The two subjects must be written in double counterpoint, 368—Number of parts requisite, 369—The exposition of the first kind of double fugue; first method, 370–374—The second method, 375–377—Need for clearness, 378—The form of this kind of double fugue, 379—The middle entries, 380—The stretti, 381 Isolated entries, 382—The second kind of double fugue, 384—How it differs from the other kind, 385—The two expositions, 386–389—The combination of the two subjects, 390—Analysis of Organ Fugue in c minor, by Bach, 391–394—Limits ot variation in this form, 395—General form of this kind of fugue, 396—Small amount of modulation, 397—Triple Fugue, 398—An unusual form, 399—Fugue from the "Art of Fugue" analyzed, 400–403—The ordinary form; the exposition 404—Example by Albrechtsberger, 405—Triple fugue by Mozart analyzed, 406–409—Freedom of triple fugues, 410—Quadruple Fugue, 411—A spurious variety, 412—An exposition of a quadruple fugue by Cherubini 413—Its subsequent treatment, 414.
