bass, which is to some extent independent of the voices; the bare fourths in the sixth and seventh bars are filled up by the instrumental part. We see here that, though the interval of entry of the voices is quite regular, it is not that of fugue subject and answer as regards the third and fourth voices; we have here therefore a passage of fugato.
360. The following well-known extract from the 'Creation' is given in short score to save space, and the independent orchestral accompaniment is omitted.
Haydn. 'Creation.'
This example is somewhat similar to our last; but while the first three entries are at regular distances—each a fifth above the preceding—the treble is only a fourth above the alto.
361. Similar passages to these are of frequent occurrence. As fine examples may be mentioned, the passage in the Offertorium of Mozart's 'Requiem' to the words "ne absorbeat eas tartarus, ne cadant in obscurum," and the beginning of the allegro of the chorus, "Praise ye Jehovah's goodness" in Beethoven's 'Mount of Olives.' We merely refer to these, and prefer to quote for our next illustration a fugato of a totally different style—the opening bars of the slow movement of Beethoven's first symphony. We condense the orchestral score on two staves.
