![\new ChoirStaff << \override Score.Rest #'style = #'classical \override Score.BarNumber.break-visibility = ##(#f #t #t) \set Score.barNumberVisibility = #all-bar-numbers-visible \override Score.TimeSignature #'stencil = ##f \set Score.currentBarNumber = #40
\new Staff \relative g'' { \bar "" \key c \major
\[ g2^"S"^\markup \small "Final Section." e4 c | d e f g8 f \]
e4^"?" a g8 f e4 | a g f8 e d4 ~ | d e8 f g4 c, ~ |
c8 b a b c2 ~ | c4 b8 a b2 | c1 \bar "||" }
\new Staff \relative b' { \clef alto \key c \major
b4 r \[ c2^"A" | b4 g a b | c d8 c b4 c | d e8 d \] c4^"?" f, |
bes4. a8 g4 a8 b | \[ f2^"S" e4 c | d e f g8 f | e1 }
\new Staff \relative g { \clef bass \key c \major
g4 r r2 | \[ g2^"S" f4 d | e f g a8 g | f4 g a bes8 a |
g a g f e4 f8 e | d \] e f g a4 e8 fis | g2 g, c1 } >>](http://upload.wikimedia.org/score/2/1/21dwk649qnlt6svofcfmg5sm37rxqvd/21dwk649.png)
341. After the explanations given of the last fugue, this will need but few remarks. Note that in all the stretti the last voice to enter always has the subject or answer complete (§ 252). Observe also, as showing how much variety is possible in a subject well adapted for the purpose, that none of the stretti here given are identical with those in three parts made from the same subject in §§ 264, 265. The incomplete entries are, as before, indicated by S? Where the entries are at irregular distances, they are marked with S, whether they resemble subject or answer.
342. Now let us look at the episodes. The first is made from the sequential inversion in the bass (bars 13 to 16) of the last notes of the subject, accompanied by sequential imitations in treble and alto of a variation of bar 4 of the subject, by direct motion. The second (bars 25 to 30) is a canon in the fourth below between treble and bass, founded on the first part of the countersubject, and accompanied by a florid counterpoint in quavers for the alto. The third (bars 36 to 40) is another piece of canonic imitation between treble and bass, now at half a bar's distance, made from the beginning of the answer in a varied form, while the alto has partial imitation (mostly rhythmic) of the first notes of the subject. Note in bar 43 the transient modulation to the subdominant, to avoid the awkward progression of a tritone in the alto and bass.
343. For our last illustration we write a four-part fugue. We take the first half only of our subject, so as to make the piece
