Page:Fugue by Ebenezer Prout.djvu/82

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64

Fugue.

[Chap. IV.

149. Chromatic subjects usually take real answers, unless there be a modulation expressed or implied.

J. S. Bach. Toccata in F sharp minor.

$\layout { \context { \Score \remove "Timing_translator" \remove "Default_bar_line_engraver" } \context { \Staff \consists "Timing_translator" \consists "Default_bar_line_engraver" } } \header { tagline = ##f } \score { \new ChoirStaff << \new Staff \relative f' { \key fis \minor \time 6/8 \mark \markup \tiny { (\italic"a") } r8 fis^\markup \bold "S" fis eis e e | dis d d cis16 } \new Staff \relative c'' { \key fis \minor \partial 4. \time 6/8 s8 cis^\markup \bold "A" cis | bis b b ais a a | gis16 } >> }$

J. S. Bach. Fugue for Clavier, in E flat.

$\new ChoirStaff << \new Staff \relative e { \clef bass \key ees \major \time 4/4 \mark \markup \tiny { (\italic"b") } ees4^\markup \bold "S" bes' a aes | g ges f bes | ees,8 } \new Staff \relative b { \clef bass \key ees \major bes4^\markup \bold "A" ees d des | c ces bes ees | aes,8 } >>$

Mozart. Mass in C minor.

$\new ChoirStaff << \new Staff \relative c'' { \key c \minor \time 4/4 \partial 2 \mark \markup \tiny { (\italic"c") } c2^\markup \bold "S" ~ | c4 b g bes ~ | bes a f aes | g c2 b4 | c8 } \new Staff \relative g' { \key c \minor g2^\markup \bold "A" ~ | g4 fis d f ~ | f e c ees | d g2 fis4 | g8 } >>$

At (b) the leap of a fifth is answered tonally, but the chromatic passage itself is exactly repeated. The answer is in the subdominant (§ 71.) At (c) other notes occur between the chromatic notes.

150. Sometimes a composer has chosen to consider a modulation implied where there is no real necessity for it.

Mozart. Quartett in D minor, No. 13.

$\new ChoirStaff << \new Staff \relative d' { \clef bass \key d \minor \time 4/4 d2^\markup \bold "S" cis4 c | b bes a4. gis8 | g4 f e8 f16 g a8 g | f } \new Staff \relative a' { \clef alto \key d \minor a2^\markup \bold "A" fis4 f | e ees d4. d8 | d4 c b8 c16 d e8 d | c } >>$

Here a real answer, as at § 149 (a), would have been much more usual, and (with all respect to Mozart, be it said) much better. The threefold repetition of D spoils the form of the answer.

151. If there be a modulation before the chromatic notes are introduced, such notes must be considered as belonging to the new key, and answered accordingly—

Handel. 'Jephtha.

$\new ChoirStaff << \new Staff \relative a { \clef tenor \key a \minor \time 4/4 \mark \markup \tiny { (\italic"a") } a2 c | gis4 g fis f | e s } \new Staff \relative e'' { \key a \minor e2 f | cis4 c b bes | a2 } >>$

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