Chap. X.]
Fugue.
181
Mackenzie. The Rose of Sharon.'
the basses of the orchestra have so independent a part that it is needful to write it on a separate staff. Here we have an example of the modern free treatment of the contrapuntal style. Not only the interval of entry, but the form of the subject itself varies on nearly every repetition.
364. It is hoped that these examples will sufficiently show the nature of the fugato. It is, of course, far easier to write than a strict fugue, or even a fughetta, and is not of sufficient importance to require a lengthy notice; but as this volume might perhaps have been considered incomplete without it, we have devoted a few pages to its consideration.
