As the fugue is for only three voices, and contains no crossing of parts which might render it difficult to follow, we give it, to save space, on two staves. The student will by this time be sufficiently accustomed to analysis of fugues to render it superfluous for us to mark, as hitherto, the entries of the subject.
353. An unusual point in the exposition of this fughetta is, that the third voice enters with the answer instead of the subject. The group of middle entries appears to commence with the subject in the tonic key; but the following reply at bar 25 shows that the entry in bar 20 is really the answer to the subject in the key of G minor. Further entries in the same key, now at the octave, are seen at bars 33 and 37, after which, without a second episode, the final section, containing two entries of the subject succeeded by a coda, follows immediately. This fughetta is really a complete fugue, much condensed—a sort of "Liebig's extract" of fugue.
