Chap. IX.]
Fugue.
149
| 6. Subject (bass)—bar 42. | B minor. | |
| 7. Subject (alto)—bar 49. | E minor. | |
| 8. Subject (treble)—bar 59. | A minor. | |
| III. Final Section. | ||
| 9. Subject (bass)—bar 71. | E minor. | |
It will be seen that no two consecutive entries are for the same voice, or in the same key.
308. Before proceeding to lay down any general principles, we will analyze another fugue from the same work, constructed on a different plan, and illustrating several points not shown in the fugue in E minor.
J. S. Bach. Wohltemperirtes Clavier, Fugue 29.
![\new ChoirStaff << \override Score.Rest #'style = #'classical \override Score.BarNumber.break-visibility = ##(#f #t #t) \set Score.barNumberVisibility = #all-bar-numbers-visible
\new Staff \relative d'' { \key d \major \time 2/2 \bar ""
R1*4 | r8 \[ d8^"S" d d g,4 b ~ | b8 e, a g fis2 \] |
gis2 a4 r8_\markup \small "Episode 1." e |
a g fis4 ~ fis e8 d | cis4 d d8 b'16 a b8 d, |
cis4 r^\markup \small \center-column { Middle Section. } r8 e a g |
fis2 r8 \[ b^"A" b b | e,4 g ~ g8 cis, fis e }
\new Staff \relative a' { \clef alto \key d \major
R1 r2 r8 \[ a^"A" a a | d,4 fis ~ fis8 b, e d |
cis \] e a g fis4 a ~ | a8 d, g fis e fis g4 ~ |
g fis8 e d4 r | r r8 b e d cis4 ~ |
cis r8 a d cis b4 | a gis8 fis e2 |
r8 \[ e'^"S" e e a,4 c ~ | c8 fis, b a g \] b e d |
cis b ais b cis e d cis }
\new Staff \relative d' { \clef tenor \key d \major
r8 \[ d^"S" d d g,4 b ~ | b8 e, a g fis4 \] d |
r8 fis b a gis2 | a4 cis r8 a d cis |
b2 r8 b e d | cis2 r8 a d cis | b2 r8 e, a g |
fis e d4 r8 d g fis | e4 d8 cis b2 |
e ~ e8 g fis e | dis2 e8 d g4 ~ | g cis,8 d e g fis4 ~ }
\new Staff \relative a { \clef bass \key d \major
R1*5 r8 \[ a^"A" a a d,4 fis ~ | fis8 b, e d cis \] b a4 |
r8 a d cis b a g4 ~ | g8 fis b a gis2 |
a4 g fis2 | b1 ~ b2. ais4 } >>](http://upload.wikimedia.org/score/8/u/8uhnfwlmaxua0sqsnnit8bz0wm8e002/8uhnfwlm.png)
