Beethoven. 1st Symphony.
![\new ChoirStaff <<
\new Staff \relative c'' { \key f \major \time 3/8 \partial 8
<< { r8 R4.*11 r8 r c( <f a,>) q-. q( | <a f>) q-. q( |
<bes e,> bes16. a32 g16. f32 | e8[ e] } \\
{ c,8\(\pp | f)-.[ f-.] f( | a)-.[ a-.] a( |
bes)-. bes16.-. a32-. g16.-. f32-. | e8-.[ e-.] e_( |
f g a) | bes8._( c16) a8-. | g r g _~ | g[ c] c _~ |
c b16.-. c32-. d16.-. e32-. | f8-. r f,_( | e-.[) e-.] e_( |
c') c e,( s4.) | r8 <f a> <a c> | <bes g e> q q |
<bes g>[ <g e>]_"&c." } >> }
\new Staff \relative f { \clef bass \key f \major
<< { r8 R4.*5 r8 r f^( c')-.[ c-.] c^( | e)[ e-.] e^( |
f) f16.-. e32-. d16.-. c32-. | b8-.[ b-.] b-.^( |
c) c16. b32 c16. d32 | bes8 bes16. a32 bes16. c32 |
a8 <a f>( <c a>) | s q <c f> | c c c | c4 } \\
{ s8 s4.*5 R4.*4 r8 r g,_( | c) c c_( | e) e g |
f f, r | f' f, r | c' e g | c4 } >> } >>](http://upload.wikimedia.org/score/o/2/o2g98g3vumv9yq59dxfq582jzq664ds/o2g98g3v.png)
Although the commencement of this passage looks at first like the subject and answer of a fugue, a moment's examination of the counterpoint accompanying the answer will show that we have here only fugato. The rhythm of subject and counterpoint are identical, and the style of the whole passage is distinctly homophonic rather than polyphonic. After the end of our extract, every attempt at imitation is abandoned.
362. We conclude this chapter with two more modern examples.
Mendelssohn. 'Elijah.'
In this passage the small notes on the bass staff indicate the real bass of the harmony, which is given to the orchestra. It will be seen that here no two consecutive entries are at the same distance of interval.
363. In our last illustration,
