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fourth and fifth, nor is it subsequently used at all. We cannot therefore consider it a countersubject. But at the 35th bar a genuine countersubject makes its appearance.

J. S. Bach. Wohltemperirtes Clavier, Fugue 4.

This countersubject accompanies every subsequent entry of the subject till the coda of the fugue. At the 49th bar a second countersubject is introduced—

Both countersubjects are worked together with the subject in triple counterpoint. Another fine example of two countersubjects introduced late in the fugue will be found in the 38th fugue (in F sharp minor) of the same work.

173. A remarkable example of a fugue with two regular countersubjects, both of which appear in the first exposition, is seen in No. 21 of the 'Wohltemperirtes Clavier.' We quote the commencement of the fugue, writing it in open score, that the separate parts may be more clearly followed—

J. S. Bach. Wohltemperirtes Clavier, Fugue 21.