![\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 = #60
\new Staff \relative d'' { \bar "" \key c \major
d4 c8 b a4 g | c d e f8 e | d1 c \bar "||" }
\new Staff \relative f' { \clef alto \key c \major
\[ f4 g a b8 a | g4 \] a b c8 b | a2 g4 f | e1 }
\new Staff \relative b { \clef tenor \key c \major
b4 c f d | g f e8 d c4 | c2 b | c1 }
\new Staff \relative d { \clef bass \key c \major
\[ d4 e f g8 f | e4 \] f g a8 g | f2 g | c,1 } >>](http://upload.wikimedia.org/score/c/u/cube0ap3s2kfimtxzovxxpyjcv2u1mp/cube0ap3.png)
344. In bars 5 to 7 we have introduced a codetta. There was no necessity for this, as the tenor could perfectly well enter with the subject in bar 5; but, as Bach frequently has such a codetta in his fugues, we have written this to show how to manage it, if it is desired. The first episode (bars 12 to 16) is made by inverting the codetta in the tenor and bass, and adding a sequential counterpoint in quavers for the treble. The first group of middle entries (bars 17 to 22) shows the first (partial) stretto, the bass entering half a bar before the regular time with the inverted subject. Here a modulation from G to A minor is made during the entries, instead of (as is more usual) during the episode.
345. The second and shortest episode is made from the beginning of the inverted subject in the treble, with a continuation freely imitated by direct and inverse motion in the alto and bass. Both first and second episodes are for three voices only.
346. The second group of middle entries, in the keys of A minor and D minor, gives a stretto at one bar's distance in all the parts—the alto entry being incomplete. It leads to the third episode, the most elaborate of the three (bars 30 to 35). It is a short canon 4 in 2, at one bar's distance, by contrary motion, and with inversion of the voices, founded on the first notes of the subject with a counterpoint of quavers. The third group of middle entries (bars 35 to 43) is again a stretto at one bar's distance; but it differs from the last, inasmuch as now all the voices have the subject complete. At bar 41 is a modulation to E minor, in which key a partial stretto, for alto and tenor only, at half a bar's distance is seen. The last short episode (bars 43 to 46) founded on a sequential continuation of the last notes of the subject, leads to the final section of the fugue.
347. This final section (bars 46 to 63) is far more extended than in the other two fugues. It begins with a stretto maestrale (§ 277), led by the treble, each succeeding voice entering at half a bar's distance, and a fourth below the preceding. At bars 51 to 57 a pedal point is introduced, with four voices above it (§ 329). Here there is a second stretto maestrale, the order of
