J. S. Bach. Cantata, "Lobe den Herrn, meine Seele."
![\new ChoirStaff << \override Score.BarNumber #'break-visibility = #'#(#f #f #f) \override Score.Rest #'style = #'classical
\new Staff <<
\new Voice \relative a' { \key d \major \time 3/4 \partial 8*5 \stemUp
a16 b cis d e cis fis e d cis |
b d cis d e d cis d e d cis b | a cis b a d2 ^~ |
d4. e8 cis4 | d8 cis16 d e8 d cis fis16 e | d4 cis b |
cis16 a b cis d e fis e d cis b a |
b4 ^~ b16 cis a b cis b a g | fis8 }
\new Voice \relative d' { \stemDown
r8 r4 r | r2. | r8 d16 e fis g a fis b a g fis |
e g fis g a g fis g a b fis e | d fis e d a'2 _~ | a4. b8 gis4 |
a8 fis16 g! a8 g fis b16 a | g4 fis e | fis16 s_"&c." } >>
\new Staff <<
\new Voice \relative a { \clef bass \key d \major \stemUp
s8 s2 | s2. s s | r8 a16 b cis d e cis fis e d cis |
b d cis d e d cis d e d cis b | a cis b a d2 ^~ | d4. e8 cis4 d8 }
\new Voice \relative a { \stemDown \tiny
r8 r a[ d, fis] | g4 r8 e[ cis e] | d4 r8 fis[ g e] |
a4 r8 a[ a, a'] | b4 r8 cis[ fis a,] | b4 r8 cis16 d e8 e, | \normalsize
r8 d16 e fis g a fis b a g fis | e g fis g a g fis g a g fis e d s } >> >>](http://upload.wikimedia.org/score/6/v/6vz1tdoynquzzrtgb56mgygj47r07y4/6vz1tdoy.png)
The subject here (as will be seen later when the two are combined) extends to the D at the beginning of the fifth bar. We have here therefore a "close fugue" (§ 279), though the answer does not enter so immediately after the commencement of the subject as in the examples of this kind of fugue previously given. The small notes on the bass staff show, as in other cases, the real (instrumental) bass of the harmony. We have here a quite regular exposition, of which (to save space) we have omitted the last two bars of the bass entry. In the continuation of the passage there are two instrumental entries—subject (2nd violins), answer (1st violins), making in all an exposition of a six-part fugue.
388. After three bars of interlude for the orchestra, there is a counter-exposition of the first subject. Here the bass leads with the answer and the tenor replies with the subject, all the entries being in the reverse order of that of the first exposition. We exceptionally find here that it is only the order of entry that is reversed; usually a voice that had the answer in the exposition will have the subject in the counter-exposition, and vice versa.
389. The counter-exposition is followed at once by the exposition of the second subject.
![\new ChoirStaff << \override Score.BarNumber #'break-visibility = #'#(#f #f #f) \override Score.Rest #'style = #'classical \override Score.TimeSignature #'stencil = ##f
\new Staff <<
\new Voice \relative e'' { \key d \major \time 3/4 \partial 2
\stemUp r4 r | R2.*6 | r4 e e |
e8 d d4 d | d8 cis cis fis16 e d8 cis |
b e, e' d cis b a8 s4_"&c." }
\new Voice \relative a' { \stemDown s2 | s2. | r4 a a | a8 g g4 g |
g8 fis fis b16 a g8 a e[ a,] a'[ g fis e] |
fis[ gis16 a] b8[ a g fis] | e[ fis16 g] a8[ b cis b] |
a gis fis4 b8 a | gis4 e8 d'16 cis b8 a | e4. fis16 g a8 d, | d } >>
\new Staff <<
\new Voice \relative e' { \clef bass \key d \major \stemUp
e4 e e8 d d4 d | d8 cis cis fis16 e d8 cis |
b e, e' d cis b | a[ b16 cis] d8[ fis e d] |
a'4 ^~ a16 g fis e d8 cis | d4. b8 e4 | a,8[ d cis cis] a[ b] |
cis b16 cis d8 cis b cis16 d | e4 e8 d e fis | b,4 a8 a a4 a4. }
\new Voice \relative c' { \stemDown \tiny
r8 cis16 b a8 gis | fis gis16 a b8 a g e | a b a g! fis e |
d e16 fis e8 fis e d | cis a \normalsize d4 d | d8 cis cis4 cis |
cis8 b b e16 fis e8 d | cis[ b a] gis'16[ b] a8[ gis] |
fis b, b' a gis fis | e[ fis16 gis] a8[ b cis d] |
e[ d cis b] a b16 cis | d4. } >> >>](http://upload.wikimedia.org/score/c/8/c8yd9d915w1bhph1mylcs0pwqx48xki/c8yd9d91.png)
