200
Fugue.
[Chap. XI.
After the entry of the answer in the treble (bar 16), we have in bar 21 the inverted subject in the bass, imitated in stretto and in direct motion by the tenor in bar 24. This subject is henceforth treated both by direct and inverse motion, and mostly in stretto at two or one bar's distance till bar 114, at which point a full close is made in the tonic key. We have thus far a fugue on one subject complete in itself, and the whole piece might end here. Bach, however, makes his cadence the starting point for a new departure.
401. We give the cadence closing the first part of the fugue, and the commencement of the second exposition, which is too long to quote in its entirety.
