Page:Fugue by Ebenezer Prout.djvu/75

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Chap. IV.]
Fugue.
57

Kirnberger.

 \new ChoirStaff <<
  \new Staff \relative a { \clef bass \key bes \major \time 2/2 \partial 2
    a2^\markup \bold "S" | bes b | c g | aes a | bes d, |
    ees e | f g | a1_\markup \tiny { ( \italic a ) } | bes2 }
  \new Staff \relative d' { \key bes \major
    d2^\markup \bold "A" | ees e | f c | des d | ees g, |
    aes a | bes c | d2. e4 | f2 } >>

Let it be noticed that this subject might have been considered as in the key of B flat throughout; it would then have taken a real answer. Kirnberger has preferred to regard it as in F until the last two bars. The tonal change might have been made after the B flat in the fifth bar; but this would have altered the form of the subject needlessly. The point, to illustrate which this passage is quoted, is the treatment of the A in the penultimate bar. It is first regarded as third of dominant, and answered by D, and then looked at as leading note of B flat, and answered by E natural. We saw in § 88 how two notes in the subject were answered by the same note; here is the converse—the same note in the subject has two different notes in the answer.

136. The answering of one note by two is sometimes to be met with in the case of the dominant and supertonic, as in the following passage—

J. S. Bach. Fugue for Clavier, in A.

 \new ChoirStaff <<
  \new Staff \relative a' { \key a \major \time 4/4
    a8^\markup \bold "S" a a a b4_\markup \tiny { ( \italic a ) } r8 b
    cis b16 cis dis8 cis16 dis e4 }
  \new Staff \relative e' { \key a \major
    e8^\markup \bold "A" e e e fis4 r8 e |
    fis8 e16 fis gis8 fis16 gis a4 } >>

Here the supertonic at (a) is first answered by the supertonic of E, and then treated as dominant of E, and answered by dominant of A. Evidently had it been so regarded the first time, it would have utterly spoilt the answer.

 \relative e' { \key a \major \time 4/4
  e8 e e e e4 r8 e8 | fis e16 fis gis8 fis16 gis a4 }

137. Sometimes the dominant is answered first by tonic and then by supertonic, even when there is no modulation.

Handel. Anthem, "I will magnify thee."

 \new ChoirStaff <<
  \new Staff \relative e' { \key a \major \time 4/4 \mark \markup \tiny { ( \italic a ) }
    r8^\markup \bold "S" e e e fis4 cis8 d |
    e4 b8 cis d a a d | cis a d cis b cis16 d e8 d | cis4 }
  \new Staff \relative a' { \key a \major
    r8^\markup \bold "A" a a b cis4 gis8 a |
    b4 fis8 gis a e e fis |
    gis e a gis fis gis16 a b8 a | gis4 } >>


Handel. 'Belshazzar.'

 \new ChoirStaff <<
  \new Staff \relative d'' { \key g \minor \time 4/4 \mark \markup \tiny { ( \italic b ) }
    r8^\markup \bold "S" d d d ees2 ~ | ees4 d2 c4 ~ |
    c bes a4. a8 | g4 }
  \new Staff \relative g' { \key g \minor
    r8^\markup \bold "A" g g a bes2 ~ | bes4 a2 g4 ~ |
    g f e4. e8 | d4 } >>