Chap. III.]
Fugue.
39
97. Our next examples are more modern—
Mendelssohn. 'Christus.
![\new ChoirStaff <<
\new Staff \relative b, { \clef bass \key bes \major \time 4/4 \partial 8*5 \mark \markup \tiny { ( \italic a ) }
bes8^\markup \bold "S" d[ f bes8. bes16] |
bes2 bes8 f g a | bes4 bes8 c des2 | c }
\new Staff \relative f { \clef tenor \key bes \major
f8^\markup \bold "A" a[ c f8. f16] |
f2 f8 c c d | ees4 ees f ges2 | f4 s } >>](http://upload.wikimedia.org/score/7/a/7av5licy0x22s9cljtipqkmhyke4vxl/7av5licy.png)
Schumann. 'Faust.'
It is only needful to remark that in the latter part of example (a) there is a modulation. The principle by which this part of the answer is regulated will be explained in the next chapter.
98. In Cherubini's Treatise on Fugue we find the following example of a real answer to a subject going to the dominant through the third of the scale—
Cherubini. Treatise on Fugue.
Cherubini gives this without a word of explanation; it is clear, therefore, that he did not regard it as an irregularity.
99. Two more passages will complete our illustrations of this point—
Clementi. Gradus ad Parnassum, No. 45.
Verdi. Requiem.
