which sometimes in this case is an additional voice, as in fugue 20 of the 'Forty-Eight,' bars 83 to 87.
330. A few general principles will conclude this part of our subject. We have already (§ 321) spoken of the necessity of continuity in fugal writing. This necessity will be best shown by quoting a passage from Mozart's 'Musical Joke,' written as a burlesque of unskilful composers. This work is full of the most ludicrous mistakes in composition, intentionally introduced. Consecutives, passing notes quitted by leap, and similar atrocities, abound in it, but treated so skilfully that the joke is always perceptible. In the finale, Mozart introduces a little bit of fugue, thus—
Mozart. 'Ein Musikalischer Spass.
The student will see that there is here a subject, a countersubject, and a regular exposition; and yet how ludicrous the
