Boston University

OpenBU http://open.bu.edu
Theses & Dissertations Dissertations and Theses (pre-1964)

1938

A translation from the French of

André Gedalge's Traité de la
Fugue.

Buell, Laurence Fiske

Boston University

https://hdl.handle.net/2144/19090
Boston University
 BOSTON UNIVERSITY
GRADUATE SCHOOL
'rb.eeis
A TRANSLATION FFOM THE FRENOtl OF ANDRE GEDALG.Et S
,
TRAITE ,ml ~ FUG{J;§
WITH INTRODUCTION AND NOTES
by
laurence F. Buell
(B. Mus., Boe\on University, 1933)
submitted in partial fulfilment or the
requirement$. tor the degree of
Mae ter · of .AJtte

1938
 Ale.ove.~~
"3(%'.74+ 1
.:BO
AM \ q3<;(
L

••• :PREFACE
'flmi;E OF OONTEN'rS
I
'RANSLATOR•s INTRODUCTION VIII
OHAPTER I •••GENERAL DEFINI'riONS l
. .
Etymology .... easeut1al parts of tne fugue.
OHAPTER II ••• THE SUBJECT
Necassa.ry. cb.aracter1st1cs of the subject •••
rhythm .... melody ••• scope ••• length ••• modal1 ty .... tonali-
ty ... he$d ot the subject.
CHAPTER III ••• THE ANSWER 8
Det1n1t1on .... tonality of' the answer ... the
order of modulations inverted from the order estab-
l1.sb.ed f'or tb.e subject ... the tonic in the answer. -.gen-
eral rut~. as ••• fundamental ha.:rmonies ot tb.e answer 1den-
tical with-those of the subjeat •• ~purpGsa of these
rules ..... the real fugue and tb.e real answer ..... the tonal
fugue and the tonal answer ••• modulat1on to the domi-
nant vta Qharaoter1st1o alterations ••• spee1al modula.
tiona of the fugue and aonoern1ng exclusively the
head and the ending of tne subject ... tonal attribution
ot the first, third, f1ftn, and seventh deg~aes of the
tGn1o according to their plaee at the beginning ot the
ending of the aubjeot ••• barmonio function of these
 11

'nl.:r1oue degrees ••• ths $ttewexe tc a subject beg1nntns and

$nd1ng on the tonic or median\ and not sounding the
fif't!h ei 'bner as a . passing tone, an em'bell:lsbment-.
' '
02:1 as
'
a eb.ord. tone .... th.e answer beginning on the dominant •••
th.e aubdominant altered a. t tb.e beg1nnlng of' the subject
••• tables of answers to subjects wh1on basin on the dom-
lna.nt ••• theory nt· the tonal role of the dominant., ... the
answer to the subJeet wbioh, beginning on the tonio or
medlant; goes to the dc:nnimu'lt. or to the seventh (not
altered in minor) followed by the· dominant either dl-
reotly or: by eoundl.ng ottu~tr degrees. 11 • tonal tu.not1on of'
these' degrees ••• how i_t is answeradw •• tables of answers
I I ~, ' '

to ~'bjaots proceeding ~rom tt.\nio to dominant. •w'Mte stlb-

dom1bant ot the prin<Jtpal key considered the ssvaa.tn of
the
.
~omin~nt key.': •the retw:-n
l
of tb.e subject to tbe prin-
e1pa1 key after a modulation ••• the real answer to a tonal.
subjeat ... tlle answer to a. aubJe~t mochtlattns to the dom-
. ·!·
; ...
lnant v1a eba.racter1st1o a1terat1ona of th.1s key, e1the:r
w:r1tt$n· C.r understood 1:n the harmony-. .. subJeets analyzed
from this angle ••• mutation and lts effeots.~.the answer
..
to a ~etuwomat1c sub3ect.uanswe:r to a sUbjeet beginning
on t~e seventh degree in ma~&r. in minor, on the altered
\
aubd,minant, on the supewtonio, subc!iom1nant, or sub-
me,nt .. , SWIIlllQI:'Y.
 '1

111

81
. . . . . .

•
'

Definition~ •• qualities of tb.e c:n:mnte:raub3ect., •

.,.
o.'ballge in ·the oountetr-subJect.- .en'h'ance of the ooU!lte:r ...
SUbJ eo t • • • use , Of the delayed entrance "' * • the fugue des1g-
nated. by the number· ot counta:rosubjaots • ., .eonstru<tt1on of
the counte:rsu.bJeot ~· ... seeking th.e fundamental. tta:rmoniea
• ~ i

••• the f1rst plan of the oounta:raubJ$Ctu .the eht'Ol!lat1c

countersubject., jr,syaopttc te:bles .. 4

OHAP'fER V.- •• ~ EXPOSI~ION lOB

Def1n1tions •••$ntraneee ot the oountet-subjact
••• \he subJect repeated in a voice of ·oo:rreapondtng
ra~e •• *entrances o·f the anE~we:r ••• coda of the subj eot
... ~reoond. eoaa ..... 1ntr~duct1on of a. new figure.- ,tha
u.ni:son
i
avoided
'
... tree parts • ., t'd1spos1t1on
'
of the parte
in ~ expostt1on oi' two, th1"ae. or four pax-ta tr1tb. one,
two, .•., tn:ree countex-subjeota~. ~:m.cdel.s Qf exposi tiona .s.n
~wd 1 three, and four parts.
CHAPTER VI~·~THE COUNTER EXPOSITION 174
ty. ~ .po&!ltion of the
Definitions,~ ~tonal!

oountat-subjectu . . d1spos1t1on of two, tnree·, and fov

I

pa~ts ••• model of a cou.uter e~pos1tion in four parts .....

i)b,~ ti:r~t section ot the fugllEIJ•

•
I .
: CHAPTER VII • ~ • THE EPISODE lSJ.
!
Definition ••• the use of tmrmonio progressions..,
i
obe.:racter1at1ts of the episode •• '"origin or .the themes.-.
 1v

i
• • •l>J'epa.rat1on. • .analysis of tne expoa1 tion from the
1

pt.Jlttt of v1ew.o~ the cnotoe.of themes to~ the episode-. ••

•
! ' ., - .

co11etruot1on of the melc;di<J ltns .... h&X'monlo and melodic

plan ... ~~plan of .execu'b1on:. ... :ttea.l1aa.t1o~. "'.the ep:t.sode OJ1
one or U1o:ra
.
thetnes. ••• theme of the. un1~l)n&l
' .
episode
. . ... .,
' .
melOdic inv-errM.on. if 11diapoeit1on cf. tb.e 1mita:t1Qn.S.-.
prooae_ding to 'bb.e oons\ruot1on of the episode"' ... c.onstruc-
t1.o:n of the "anoni·c epi.sods~~ jltb.e episode Gn sutu.tessivEl
tb.ame~h., •ttSe Of cont:rar1 mot10rl• uUSS Of stmple ret~o­
grade and oon'\;ra:t!'y motions combined ..... aupenta.t1on •••
dltn!.nu.ti~n ... augmeatatlon and dtmS:nution oom.b1ned w1tb.
contrary a.ud ret:r<:Jgrade mot1on.a .. udoubla augmente:tion...
double ·a.tmtnution .. # 1Foonclus1:on. . .
CHAPTER VIII ., ~ ~STRET!OS
· Def'1n1t1one>lli"-"'tne ~a.nonie st~etto*,.disposi- .
tlon of tha volaes v ~t .un1$CnS ~V:~ided .... tb.e 1nvert$d Oata•

on:l.c etrat to" •• inoomplEJte o_a~on .....s.n.terruption ot tne

subj,Efot and answer ......:liona.lt ty,. • ,.bmrmonte eonco:rde.noe ot
the •ntrancet:t.r• ,.fr~e strettps ••• l~okong for mater1e.l
tor ~:rti(let.tos ... -.tlanon1~ st~sttoa·rea.l~zed by. tne a14 of
a an:a;pplemen\ary barmon1o part .... eanona and stratton· .at.
rrsren.t lnterve.:t.a.-. .Gque.l·· epa.n1ns of.' tne entra.noea.. • •
41
pre~ratolry d1apos1t1on of four pa:rte ••• trregula~ en-
e- :t:ra.n~es 0 \r 'th$ st:re'ttt~h •• na.m:1nS th.e at:rN~ttOEh, .strettos
of thec..s~~J an •. , •etrattos oomposed of .eQlllb:l.ned ntsrl.at
of b~tb. subject and oountersub3eett •• o~~:stretto 1n contra.%7
 v

I
mo~ion ..... atrettos in parallel and contrary motion,•• .,
s~~etto 1n dim1~~tib:ctt.- ... st~etto 1a all8mentat1on4 .,.

•
' ; '.

fiianon1o ,:atl'etto in pa.l'allal and o~t,ltrary motion &.nd

in ausms:ntat1on .. ".at~etto in ·~cmb1ned ~~mentatlon and
dtnd.nutton ••• atretto in :retrograde motion ..
OHAPT:Em IX 40 • ,; 1'HE PEDAL 290
. . .
Def'ln1t1on .. 4 .biU"mnnlo rules .... function ot the
p~~l •• .., double .pedal•
.
·tf ..position
. . -· ot the pedal ••• domi-
nantr p~~a,l ... *tonj,.o pedal ••• the c~mented simple and
mul.t!ple pedal. •
. OHAPTER X~~.- .:MODtltA'fiONS OF. TaE. FUGtlm · )06
Second aeotion Qf the ~ua ••• ne1ghbor1ng

key~··•orde:r
l
ot moduJ.a.ttonain
.. .. '
the fugue 1n Which. the
sub3tot e.ppeax-s 1n ~jor; in minor.t ... lengtn ot tne
ep1~ode~--dtmens1ons ot tne fugue ••• modulations to the
I . .... . ...
opp,sita mode*"'~transpos1t1on of. tb.s ....
subjceet to 1ib.$
. I - •

OJ;>p~a~te mode~
CHAPTER XI « • ., CONSTRUCTION OF THE STRE'fTO 315
Tonal~~7 and diaposi~~f?n or the(rl~st and las\
st:rett<>s ..... ,pJ:to~ess ot const~ctlon ••• atretto made up
or only t~agmenta of' the aubj~~~ and anewar ... .,strettos
a.:t.t~natlng W1 th sub3.~ct and counte~~n.a'bjee:i; ••• atrettoa,
I
a.lts:rnat!ng w1th an ep1sode ... .,ep1a~de "!1th1n a atretto
• ·~·4lonnellt1ng the epis~e and the stretto. t.const:t'UO-
tion of the atr~~to as a· whole ••• posi t1on of th.e pedal
• •• tn.ver"bed strat to. * "oonolus1 on of the fugue ..... an
 e mpte'analy~aa~
CHAPTER· XII-. •• THE FUGUE AS A MUSICAL COMPOSITION :545

• th$ der<relo,pment Of
.

1:\
.
· MUsical qualities of ttie fugue. uthe fu.gus as
l!l.US1ce.1 idGB·aHt00tl.t1.n\\S.ty Of Wr1t-
1ttg and melodto line ....use of tb.e pa:rraat oa.den•e •••tb&
style or· the fugue~., .expl'ess1ve ril>le ot the oountf1Xiaub-
ject and tree parte~ .~Ull11iy •f style~~ .,untty of exp:res ..
sion. ~ ~~haracter and style Qf tb.a episode ...musical
.,1 •

cb.olce -af themes ••• mel.od1~i inventton. .... varylng oonnee-

tions of the stret~o with the last episode at the see-
ana' section Of the· fugue1t • .:mueioal f'Unotion Of the
pe{ia1 .... 1.ta logical p()s1t1on- ... t:ta Ulporta.n~e ... tts
I .. .
musieal stru<ttura, following the position wh1ob. 1e
I

assigned to it in the tugue •• ~melod1c cont1nu1ty or

the stretto ... ent1!'e mus1oal plan of the stretto-. ~~~;
pos1t1on or tbe tonto pedal.., .oonolus1on of· tne fugue.
CHAPTER XIII •. ~- IN1.-RODUOTION OF A NEW SUB• 397
JECT AND SOME UODIFIOAf:tONS WifiOH ONE MAY PRODUCE IN
TiiE :lUBJECT IN THE MIDDLE OF A FUGUE.

· 'i>et1nit:ton of a new subject." .1ta style •••

its Charaeter, • .tts qua.lit1.as .. • .ite musioal struetura
..... tts 'lenstn..., .how it d:tf'fera from the pr1no1pa.l

•• s~bject and its countereubject •~nt1tQ poalt1on tn the

fugue. • .new sub3eot aeoompa.n1ed or not bY
subjeo~ •• ~ordar or modulations-of a fugue containing
a counter-

.a, new SU'bj.eCtu .-proeese Of $0r1Strttet1on Of a new

 v11

s.ub3·eet ... :..analysis of a sac b. fugue conta.1n1ng two new

subje.<tts, •• genettal. pX'og:ress or a fugue· unde%' these

• oom;d1 t1ons., .mod1f1oat1ons wb.tob. oa.n be· applied to a

subject in its rb.ytbmt 1ta leqtb.J·i:ta1n1t1al tone:
1.ts ftna.l tons• •• mod1t1ca.tions u thtit answer •
/
,_.__ .. -

.CHAPTER XIV .. ., • THE PROCESS OF FUGUE WRITING _.._ 428

GENERAL SUDARY.
,• ; I '

e.t'ra-ing for countersubjeets •. :aew sttbjEutt• st:rettos

and·ea.noaa ••• expos1tl.on .... ~conduct of the fugue •••
s txo~ttoe., ... general· su.nunar.v ~ •• <~~ompleta process of
aom*os1n$ a fUStuH lat, ·a senera.l melodic and bal'm1n1o
I, . . .-
sob.~ma; !nd, a plan of axee:utton; ~d,. a rea.l1zat1on
of the entire fugue ••. models ·of fugues.
!I)

FUGUE SUBJ EOTS PRESENTED FOR STUDX' 439

•
•
T11ils veat1ae le dlvt.!ted lnto three part at ltl the tir•t
par-t are etu41e4 1n detail """ seneral ~Pules or tne tusue, and
par~~oulat'l;. thoiiJ& soverntn& the sebool tuaueJ the seeond PAH
18 devotf4 to tne va~lous to~e wb1eb the ru&ue may take from
t~e point ot 111ew ot ccmpoa1t1onJ the tblrtl pa~t treata the
tuaue 1n tte f!elatton \0 musd.. eal evolution.
1 t.U,f!tln&u1eb between tne aobool f'ugue1 and. tbe tuaue ae
a ll$Glcal oompos1t1on beeauee t eonstder tne fugue ~ a st1le
ot eQflpoi1t1on, but am. excerctae 1n muatcal rhetcr!.cJ an arbS.-~
tra~ ana eonven~lon.l tore waleh ln praott~e does not t1n4

ebs,lu'e appliea\ton. It.la questionable wbetber or no' a

i .
stud, or the ru;ue 1e praetteal, so tbe neceeettyfo~ tte etu4J
tlere 1e ObY1ous. I revax-t. ·when opp.ortunlty affords,. to the
:rules. appllect 1n tb.e or161na1 examples ot the maet.er1. and
_parlletal.arly tnose of J. s. Baoh. It seems to me leg1t1m~.te.­

.. la
.
4I t~eatlee on the tugue•t'o tavoke the aervtoea or the
111W1Tf-.ct,?Fll§ t P ZL
I

I 1. t nave not
41st1not1on between vooal and
Md& a..ft1'

• tnstwnelll.\121 fugues; aesumlng that tn.e· roles are the same tor
bot. • ant tne:t; tile d1t·rerenoes wtd.oh eo our are due only to ttl&
nat e of tb.& voloes and the 1natrwnentth
 "· .. •.

II

h1$heet authority on the subject) tha oomposer who has made the

• fugue one of tb.e most beautiful and aomplata man1f'estat1ons of

'
musical art..
a.ttent.ioa.t 1;0
I feel somewhat embar.ra.sed• I oonfees,. in ealling
tb.1s particular po!.nt, for 1t seems reasonable to
suppose that th.e examp:bes offered to students tor th.a study or
an art be dl'awn from the me. stars of · this art. However • this le
- Where I am inaugurating an important innovation in the nxa.:tter
of material for musical stuay. and am rsserv1ng the right to
go· oontl'a.ry to the generally accepted customs, the t:radition,
and the school fo:t'm ..
Now if one admits as useful to the study of the general
p:rooeed1ngs e. student fol"m or fugue • he would not, from the
point ot view of' art and in tne best 1ntereat·s ot th.e pupil, be
too stx-ongly opposed to the usual ou.stom in the various schools
ot ~ons1dering this ro:rm the ul t1ma.te goal of th.e study of the
fugue, and to the aim of creating, with the aid of a set ot
rules, a apec1al style in eaon·school-the ;st:lf! ,g! the house,
as it is 3oldngly called.,'
Th.e only point on wh1cn theorists are agreed is tb.1sl
not to use the examples ot the masters·as models. Further •
.
tb.ay set themselves up as' examples -themselvas and their kind-
not realizing that a few ·l1bert1ea of writing o:r form are 1n-
euff1o 1ent . to nullify the a.u th.ori ty of Baob, Handel, l!o za.rt •
and Beethoven to th.e1r own advantage.. Because Fatis. Bazin,
and their sucoesso:rs neither thought nor wrote in the manner ot
 l
h•

III

Bach, 1\ does not f'ollow that eve:cy-one should think or wr1 te as

· tnt:Jy did, and t~nEl h.cs the ·right, -judging each. on.e by his own
work, to refuse tb.em tb.e authority which..they attribute to
themselves, tor th.e benifit of others ..
Has anyone ever thought of d1$aa.rding Pascal, Bossuet.
oorneUle, · o:r MollieX*e tn a treatise on rheter1oat on the pretext
that certain grammarians are not· in accord with them? Oan not
one do ln the realms of' music .that wh1on he would ao 1n the
realm or literature?
Without looking further f'o:r a perfect elte.mple of the
school &tyle, one could mention, a.s though 1t were directly
concerfted with it. the tendency whl~h there 1s in certain ·seo-
tions t$ overempttas1se the harmonic .structure of the tuguEh .
Be«aause the study of na.:rmony has been ·advanced to poss1bly an
ex~essive degree,. one tends to forget that in the fu.gue, aa in
the cQunterpoint of wh1on the ,fugue 1s the nighest application,
tb.e ha,rmonic sucoeaa1ons are the result and not the cause of .
the ·melodic progression of th.e pa:rtfih· It is impossible, then,
to teach the fugue a·ocording to th.e rules or harmony 9 One oe.n
not, for example 1 c11eregax>d. in the fugue the second inversions
or 1tb.e
, major or m1nor seventh Jtas'b because they are sao·ond in-
veJstons. but we must consider tb.e point of view ot oountet'-
• po~nt and say that one must not employ simultaneously th.e fourth
(a dissonance) and the third which is 1 te resolution. Thera-
tore, in the fugue• .chords do not exist 1n the sense 1n wb.1oh
 I .

IV

the word is usually used 1n a treatise on harmony, but are oomb1-

• na.~1one ef' notes wb.iob. result from tne melodic progression or

·the parte.
Studentsmust thoroughly unders1iand that a fugue is con-
structed b.o:rizontall.y.~ so to apeakJ the .melocU.e indepen.ttanoe
ot the VtU.oes is 11m1ted only by the ne~ess1ty of produotlng, at
least on'tb.e first beat or eaob mea~ura, ~natural oonoord ..
Oonseque1atly, simultaneous passing tones a.re ~mployed frequent-
ly, and llarmonio analysis, as one would apply it to a series
or eonoortla • has no real just1f1cation.
Neverthel$.ss- although f:rom ths point of v1ew of strict
counterpoint th1 s seems to me ha~.ful :ra tb.er than useful- I
have deslgnated eaoh. time they appear -in the examples cited,
the .passages wb.1ch tna school. oona1ders lioenses, w1tb.out
always giving any reason tor it other than tna.t given by the
seb.oolj namely, that 1t 1e not done. These rema:rke are of'
value only to students who $re studying for exam1nat1onsJ
others need not be held strictly to :them.
'there are some principles in tna study of the school
fugue wbioh l nave been unable to support w1th examples borrow-
ed ~~om .tne ma.etef's; 3 them only I am aseum:1ng the .reapons1.b1l1ty

i. 2 , Tb.e fugue style 1 s not polyph.on1o {this bas no

meaning)·· • bt.it :rather pQlymelod.1ch The art or counterpoint 1s
that manner of writing whicn will produce a stmult~neous sound-
ing 'of'; not misctellaneous sounds, but several melodic parts .
of stm1lar or different oharaoter and rhythm.
3.. Because the masters have never appl1ad them•
 v

tor c~ee.ting them myeeltJ I ha'V"e done it only wb.ere I have

found 1mpoeetble to do eth.erwiee, tor wb.en one has so many
~t

• and· so f lne model a ·to su.bm.i t, I feel it best to employ thEJm, 4

'
tne me, Jlle adsum gu; teoi does not seem to me an appropriate ·
point of departu~e ..
'fhe contents of this treatise hava·baen assembled ova:t>
a long period of studyJ they are the result or a da.1ly oontaot
with students at the time when I would substitute for my
teach.e::r, Ernest Giraud., or when .M. Ma.ssenet did me the honor
of entrusting to me 1n class tne d1:reqt1on of the studies in
counterpoint and fugue. I alwayff noted with muon oa:re the
' .

questions which were asked and the difficulties which they

involved. It was thus that I became aware of the def1ciane1es
of all the teats in use~

Im coordinating this material I nave proceeded as meth-

odically as poss1b~e, tey1ng to, avoid all t.1.f't1rmat1on.! Rr,&Qt~,

"dividing eaoh or the difficulties into ae many parts as neoes.

sary and required to d1seolve them,"
In analyzing and .comparing various fugues of tne masters,

4. I thousht it well to cite examples borrowed f:rom the

fugues ot my best pupils. It seems to me that the school f\lgue
being exelusively the work of the student, I ought to show the
begtnne:r, as whole models, some entire fugues written by their
p:recteoessors during th.~ course of their studies. satisfied that
thus they will realize better the ~ght of dexterity that they
oan acquire· through the school, and will force themselves to
attain t<a it in their tu:m, and i f possible do still better, by
avo1d1ns precisely the faults which they would otherwise 1nsert
1n tb.e1r models ..
 VI

' I .na.ve taken from them the styles and prooeed1ngs 11 wb!.le enJcr-
ing ccmmc.m. usage. i'as$t.tm1ng that tnere 1s an Ol'der among sub-
jects wbiob. does not proceed naturally one trom th~ oth.e~ .. "

:It was thus that, putting e.s1da as exoeptiona those

th1nge tha.t are round in one fugue but not found 1n otnsrs., I
was able to oonvlnce mysalt that all the anamolias and d1ff1oul-
t1Eas wntch. as-e present 1n th.e study of the answer are removed
and disappear 1f one admits the pr1nc1ple that tnaoret1cally
'mE FIFTH DEGREE OF THE PRlNOIP'AL KEY· OF THE atmJEOT SHOULD

ALY1AYS Blt CONSIDERED NOT AS tftE DOMINANT OF THIS KEY, BUT AS

THE TONIC or THE DOM!N~T KEY~ ~ne tonal end harmonic eonae-
quencee of this postulatUID a:t"e su.gh tnat the answers to tb.e
most diveree.subJeots can be analyzed 1n acco~danee wlth
strict tradition.
~he gene~al v1aw to wh1cn I nave always given myself
has permitted me to develop os~tain pnases of this treatise to
a great d$gree, and to bring back into the oommon :rule many
cases whidh up to now nave been con~idered exceptions and
forming separate categories, wh1oh confused tb.e students.
A eou:roe of great embarra.sment to ttuam 1e the ep1soc1•;
I have been able to ssaure myself, through an already aneiant
pra.<rt1.oe • that by following the method I 1nd1oa.te these d1ff1-
5
culties can be easily surmounted.
s"' ··'!'E' goes without saying tna\ the different p:rooesses
wb.ioh 1 analyze during the couttee or th1s t:raatiaa are not a.bso-
lu:te: they are merely 1ndicat1ona intended to guide. students
througn the earyt stages of their study or fUgU$·&nd to give
them an elementary wQrlt1ng met.h.od.
 VII

, tf" some of the examples are a little long 1t ts due to

I .

the rridi:ty or tbe subj60t and the d1f'f1culty in e;gpla1n!.ng 1 t

• ol.e~rly
I
ha.v~
without. ttepet1t1on
. of the same terms;
torl'Jed myself' to be. as brlet as p¢tss1ble ..
:t wt.sn to make it elea.r th!:l.t
at any rate. I

the fugue 1s neither, as

some think, the art of creating more or laser musioa.l oomb1na-
t1ons, Ol" as others olcd.mt the pretext fo:t' cz,1t1o1~1t.tg the
favorite tormula.e ot thoae.wbo di4n't. even invent tb.em.and
hold to them all the more because tbey form ~h.e1r only artistic
ad.~nmeu:th, I wish. that 1t mlght btl tnada claat:t to all that tb.a
fugue, elven 1n its academia f'o:rtn, is a powerful means of ex-
pt".esains mustoally tb.e ideas and feal1ngs 1n a lallguaga aa rtob.
as.11i 1e varied! I w1sll students were oonv1nce6. that, eepee1al,
ly ·aoa.aem1cally, one must 1ook for tlle best examples of th.1s
language not 1n th.e pedants e:l.the:t' past ox- present, but in the
masters; . I would th.at the. study of. the fugue be stripped ot
1ts. b.e.rnu:>nio subtleties by which tb.e student, wag constantly
trapped, and that he fo~get more and mora that harmonic wr1t1ng
is purely conventional and that ita usa 1s necessarily l~m1ted

by a number of tlorab1nat1one, :rastric'bed ~nd always the aa.m.e,

1 k

~ile fugue and contrapuntal W%'1 ting are e.lo.·ne conaistant wi ttl
~on1o .and
) .
melodlo t.nvention and the progres$vot tb.e art.
·,
1

I W1sh finally tnat tne.stud,ent w:ould produce• in ap1te of the

gross ~p1r1cism ~n1oh exi$ts 1n the teaontng of the fugue-. a
semblemc:sa ot metb.od and logic.
 VIII

~oshow tl:m t th.ese things are neoeesa:ry e.rtd possible. is

the· pu:rposa of tb.ia book. I ask tnat in judging my wOt'k the ·
• ~eader w1ll eons1der it as a wnol~ and not merel;v in 1ts details ..
'<>

I ba"'G.made ·evety' $ftol't to·make·this W,Ork·a-usetUl. oont~1but1on

tO: must cal ar.~, and I hop$ to see hera ptooot that I tw:va atzcoeea...
ed. A" any ftte, one should. stve me cretlit ttu1t .n± nave ~not
:taken my pnaciplsa from :roy prejudices, but :J:atner f'rom the
nature or th1nss~"
 IX

• TRANSLATOR'S INTRODUCTION

This ttteatise is unquestionably tb.e most exhaust1ve, and

autnorita~1ve work on ttta sl.lbJ'eot of fugue that has ever been
published, and as tar as Qan be determined; it is the only text
wb.iob. prescribes a def1a1 te form of fugue for the student to
follow, called the school, or aoa(lem1c style of fugue.
By sollool fugue we m~an 'that form of fugue wh1oh is
p:reaor1bed by th.e Paris Con.ae~a:tox-:- 1 in whioh Gedalge was an
ins~ru.otor,
i
and the rules to:r which a:re set forth in this
vol~e. It is a very str1ot to~, designed primarily for the
serious student wb.o desires an adequate foundation on wn1eh to
bass h.1s later attempts in th$ tree fo:rm.
Wlltile Gedalge has fully 41soussed tb.e general principles
of fugal technique, he bas also given a wealth of speo1f1o
appl1oat1ons, both through comparison and example, most ot
which nave bean borrowed from the masters.
I feel that in view of the value of this text, as ex-
pressed by numerous present day musicians, and also by the faot
that it ls used in many schools a.nd. conservatories, 1nclud1ng
~· Har~rd and Boston University, 1ts tr$nslat1on 1s a ver,r
worth wh.1le project.
 X

'
i: I
j Andx-e Geda.lse, composer and author 1 was born 1n Paris on

•
Dedember 27th., 1856. Although. dtl1gEn1t search he.s been made,
. I .
I J:.iave been unable to diS<I()V'er anywhere any faots cone em 1ng
e:l.the~ his aneestry or his early lite exoept that h.e was edueat-
ed in ill!te. I.qoee in Paris.. :tn 1864 he entered the Paris. aon-
serve-tory as a pup:tl of
' I . • .· .
Gu~aud *

His wife, AmaliE! A:;Leltanc'i:rw (n'e D1 0b1gny de Fexar1eres) ,.

was born 1n Paris on February 2l.st, 1865111 She won first prize
in ba~ony at the Paris O~nservatory 1n 1884, and the~eafter

devoted herself to t.he teacblng of mus.1o. She published "Las

Glo1:res.! Musicales du Monda" ln. l888c~t

In ~89l·Gedalge wrote the. music for and produced

Oar.re*!=J pantomime "Le Pati~ Savoyard" {No~veautes). He took.
the Prix Crescent 1n 1895 with b.ts "·Hal.ene*', wb1ch 1s a ly~ic
d%'ama S.n two acts" About this same time he wrote **Vaux de
V1re", a ehoral wo~k for solo 1 o~o~us, and orcnest~, and the
ballet ttpnoebe", a comic opera"
Th.1s same year he was made professor or counterpoint
and fugue a.t the Pe.:r1s <lonse:rvato:ry. While teaching b.e oon-
t1nued his wr1t1ns and oompos:Lng. Among his works are two
lyric dramas. "Lida ~ and ..La Force de Cadin" l two sonatas
for violin and piano; tb.ree .sympnantes J some ohamber music,
e COncertos, fugUe$, melOdies, O%'Ch.estral suites, a string
qua.:rte:t 1 and some piano p1eoes.. He alao w:ttote the "H1sto1re
Popula1re de le. Mus1que't and "L1 Enasignement d:a. Ch.a.nt".
 XI

1n fta.noe •

• DUring'nis student days in the Oonaarvatory Gedalge

showed unusual talent; 1t1. f'aot his ability was auob. that his
teachers, Gu1raud and Massenet 1 ent:rusted much or the class
d1reot1on of' study to h1t!h It was tn1s experience 1 coupled
With. a na.\1'\1'& ab1li ty, Of OOUttse, WhiCh Jna.dS ll1m the 'ttnUst.ta.l
' !

tea.Qh.ett he was • It was as a teaob.t:Jr of counterpoint and

fugue the. t Gedalge %'$ftderad n1 s' most valUable $e:rv10$ to·. the
musical profession. tor a large ·number of recent and oontempo-
. ' '

ra:I.''JI composers are products of 111e teach.1l'lf:5• It was doubly

important since this 1nstruct1()n·was received duzt1ng the
critical and tormat1ve periods of their liveth From his olasees
have emettged some ot the best mus:ioians ot the modern. Frencli
School, and it was due to his tnetruot1on that they acquired
tha.t virtuosity of writing wh1ob. is one of tb.e1:tt ch.a.raoter1st1cs ..
Among the bast known or his pupils we:r~ Ravel, Schmitt, Eneaao,
Honegger, Koeohlin., Ladmir-a.ult, Duoaesa, and M1lhaud.
Gadalge died on February 5th, 1926. It 1s both strange
and tra.gtc that so great. a. ma.n ta so slightly known.
, A word on Gedalge' a own preface may not be out ot place~

H1a·~souss1on of "l1bert1es" 1n the works of th:e.masters may

be, at first sight, surpr1s1ng,and pe::rbe.ps confusing. He 1s
I - .

.obv~ously bearing down

.
on. some authors wno have attempted to
berate tae authority ot the masters because ot a tew liberties
 XII

I
"'
tn their wrtt1ng and romn·. Wb.e.t he says, in substance, 1e. that
whUs te~hn1oally their .f'u.gues seldom even approximate the

• I
pre~cribed sob.ool form., .the liberties the masters take do not
detract from their authoztity and do not render their work less
valuable 'as an object. of study, for in spite of these liberties
,r tney ha.ve maintained the broad general pr1ne1ples on which the
school fugue is ba.ssed. The student, W'r1t1ng school fugues, · '
is obviously forbidden these liberties •.
The remainder or the pretaoe •. I think,. is s\lf'f1o1ently

Geda.J.se•·s use ot oerta.1n terms, the Engl1sb. of whioh

usually nas 8. different oonnota:t1on,. may prove contusing t·o +~ DJ'f!..
u.na.ocustomed to Frenoh usage, so :t wUl attempt to explain the
sense 1n wh1oh they are intended&
a) REALIZATION-Gedalge uses this ·term to 1nd1oata a
oomplata wolt'k1ng-out&: th.a f1nal solution or a problem.
b) DISl?OSI'.ttON 'fhis is used merely to indicate the
artangemant of the parts.
o) Gedalse raters to double 1 tXt1pla, and qu.adruple
fugue as those navins, a sub~eo't and one, tswo. or three counter.
~ subjactli1 respectively. These terms are not so unif.~stood.
toaay. All the authorities I have studied. those who have made
an.v· mention of double, tJtiple, or quabuple fUgue, have refe:re4
to them };a. a ~as conta1n1ns two, three, or four subjetJta ra-
'
speot1vely, u:raspectiva cOf' the number ot countersubjacts,. 1'b.a
terms a•e so understood todaF~
 XIII

I 1'e$l tha.t a b!'1$t comparison and l!tasum4 of other well

kll~ t.sxts on tb.e ·tugu~ is, called f'c:t.', so X nave made a th.orc.n.-.gn
stu<\r of' those by IU.gst Prout, Ob.eru.b'-n1 • Fuxt KoeohlinJ and
Dubois.
H'-sga 11 .after a ~elim1nary eba.pt:er- 1n which he defines
thEr fugue and 1ts various parte" and eXplains ~Mta oonstl'uot1on
of tna resular fo.u.r vo~oed tugu$., has devoted a sepal"ate che.p,...
te.r to aaea ot 1ta most important 41v1s1ons; !• .!.•• subjeot,
answer, eounte:r.eubjeot, episode:, st~etto, mttb.od of a.newer1nglf
and pedal.~ this is followed by a ob.apter on ths oonstrue:t1on
of the :f'ttgu$ as a whole ..
'fhe text ia amply ·111ust~.ated with examples taken from
'bhe; WOX'U Of the g:raat. fusUS Wl'1 ters -Saob, Randal,, Ha.ydn tr and
Mo~art. As e.n appendlX Higgs ha~ added a collent1on of' fugues
placed 1n open score and· systematically analyzed. The purpose
of tb.is 1s to giV$ the student a.n opportunity to practtoe
aoera reading and to s1mpl1t;r his work 1n structural analysif!l .. ·
'fb.e higher toms $t fusal. w:r1 t1ng have been merely
touched upon for the book 1s 1nt:etade& only as a prime!', as
stated in tne preface. Hie;gs mentions ·double fugue 1n def1n1ng
counter$Ubje~t. He conaide:re tbs oountersubjeot a eeoond
subJect when 1\ appears at oxr near the beginning ot the ·p:r1nc1-
pal subject. This ts not a s•narally- aocepted vtew.,
ll$ further states that the denom1ne.t1on ot fugue.1r1th
two or tl'U'tee sUbjects oan at most be applied with. any. p):'Opriety
 XIV

I
i;o 1b.ose oe.Hs where the several subj e<:t 'ta enter s:tmultaneOllsly •
o,.... ~early 1a0. · Oht~t-ublnl, ·howeve:r., objE:Joi;s 'to this on the g~ound

• i
tha.t. all that aeoompanies tb.a principal
"· }
aubject.., is bu-t
to 1t, p.lild of tile na.ttU'eor a. oo\tt1te:rsubj$ct.
Riggs gives two plans whttth may be followed when us1ng
.
acnH~ssoxay
(

two aubl(Htts 1n a double fugue& ,

1 ~ ':fltey xna.:v be' Qomb1ned ~t the outset of th~ fugue,. and
be .$1nlultaneouslr devaJ.lop~d.

, 2" One subJ eo\ may ftrs:t be t:l!ieated alone, as 1n $1m~e

fugue, aad be.ve tha second subjeQt 1nt:rcauoed by itself 1n ·a.

sepa:rate exposition. ·nu,1ns tb.e later course of the devellop-
ment the two subjeets may ·be ~8Dlbined •

..I a the pretaoe to h1 s book FU'Gtm, Eb,eneaer Pr~ut · t:toptpl1-

m$nts H.isas fo:r having w:rttten tb.e best tx'ea.t1se on the tusue
in the Engl1stl language. ana makes spee1al re:rerenoe to hie
clea.r and oone1se sxpoa1t:1on on fugal answer. Making otne~

compar1sens b.e furtb.er ·states 1bat Fux. 1s one of the standa~ .

authorittee on the subj.eo·t. a.nd that hle stteoessor, Cb.arub1n1,
merely a4opted FtUtt a X"UJ.as. takiflS little account of Ba..<lb.' s
refGrmat1on of th.e t'ug11e.io J?~out expla.1ns 'tb.a.t b1s obJ.eot was
to tound b.1s te~ch1:ngon the pmot1o-e of the great. oomposers
who have brought .our art to tta present b1gbly advanced state ..
P.1'out. bas an -exceU.ent dlso·u.se1on of tb.e o:risin or the
 t.onal an.swer wh!en I teel ta wol'tb.Y o.f rsp:roductionl.,

•
· ••our mod.eran ece.lea, al"e an qutg,..owtb ot tbe old Eolesiaa-
t1o,a1 scale~ whiob. wel"e oomp:r1sed ot ~wo modes, identical except
that on$ was a tourtn below the other. It the seale went from
tonio te · tonie • w1 tb tna donli.nant _in tb.e m1ddle • 1t was <Jalled
the autnentto mode*' If tne s<;al.e went tx-om dominant to dom1ttant,
w1 tb. the :t;$n1o in the middle;, 1t waa known as tlle plags.l mods. I

The aoe.le was <U.v14ed into two unequal sections by either tb.e
. tonto or the dcmt1ne.nt. (The wh~ te note so·ale on Ji ts authentic
and: the white note seale on A 1a plaga.l. The domlrmnt d1v1des
the. auttu~nt1o scale and· tb.e tonto divides tbe plaga.l scale) .•

®.
The lowe:r half' of th$ auttlentio scale includes a. f1ftb,
w~ile the upper half has only a fourth,. In the plaga.l seal$
the .lower half includes a fourth., while the upper section 1n..:.
eludes a fifth~ The old rule tor fugal answer compelled a
subject 1n eith.e!r section of' the authentio seale to be answered
in the corarespond1ng section or the plegal seale; and y1,ce
versa. Hense, if a subJect went from tonto to dominant 1n the

lt~Pl'out; Ebeneser-FUGUE
London, Augener Ltd.; 1891. PPr·32, 33
 XVI

l
low~Xt- aeetion Of 'lha e.utbellt'b1c seale, the answer .woul.d proceed
frar
I
dominant to tonto 1n the ·l.(;)Wer half or tha ple.ga.l scala .•t
.I 'rh.i $, in brief* · ie tb.e O:t'igin of tb.e tonal answer .,
! Prout's volume 1s; to· some extent, sim1l.al' to that of'
H1ggs" In n1a introdu.etory etua.pter h~ defines simple, double,
tr1:Ple,, and aocompan1ed tugue. ae also makes a d1stinc1U. on
between fugue and canon. He tnen gives a general description
of the fugue,. d~fin~u~ its par\s., a:nd detinea fugues in inversion;
augmentation, and diminution.. He has dewted an entire ob.apter-
to eaob Of the ma.1n diViSions Of the fugue., and has Called a.tten..
..
tion to tb.e ba%tmon1es 1mplted tn th.e eubjaot. and to the fact
that some imply a modu:t.ation from major to minor and :!3tse VEtrsa,
a.s well ·as to otb.ar keyJh ·
~:La first mention of double fugue \f1 1n connection w1tb
the oourltex'sub.tect.. He mentions the fact that some theorists
eoas1de;r the counteraubjeot a. second subj·aet and ref'er to such
f'usues as double fugues. H& protests th.is bel1e·f on the ground$
tna.t the oountersubjeot ce.n not be considered a. second subject
ut-alaes 1t does not appear 1n the first exposition, but later
ha.a an independent exposition of its own, and is not at first
used a.e a.n a.<.ulompan1ment to th.a subjeat with which it is not
combined until its own separate exposition is completed.
PrOUt has discussed double fugue more fully tna• any of the otL\ar
• .. ·;, ,··'· 1::·.

autno~e examined.
Re defines double fugue as a fugue tn which there are
two aub3$Cts. These subjects should be both melodically and
 XVII

l!'bytlea.~ly
r .
eontra.stfld 1n crier tbat eaeb 1119oy bs easily
.
rllleOg-

n1seHt· A double f'ugue stu:>uUl be written for at least fou~

• .
i
I
vo1oess. 11kewise, a ~e should b.a.ve one more vo1oe than 1t
has subj eats.,
Se bas groupec;l double fugues into two classes;
1. Tlloea in whloh. ttte ·two subjects e.xos announced
simultaneously-a.
2,. Th.oae 1n. wh.t.ob. eaeh subjeot bas a separate and
complete exposition before the two are heard 1n combination.
The first enjoys more common use. Tbe. two subjects mustt of
oour.se, ·ba W%'1ttan in doubl$ oo.tmterpoint.
In the first class tna ae~ond subject frequently starts
a beat or a. half beat after the fi:t'at subject 1n o:rd.e:r that
they may .be batter d1st1ngu1she4il?l Prout further states tl:lat
while tb.e two subj.eots must not naeesae.:r1ly ata:rt together,
tb.ey must finish together~ OnEJ g:rea t d1fference between tbe
simple fugue and tb.e double fugue is that there are often
fewer episodes in th.e double f'ugu~- ':his resul ta from tha fact
that the. strett1 in the doub1a fusue a~e built on a single
sub~ec~ and usually taka tba plaoe of the· episodes-
The essential dlfferanoe between the two classes, aa

24 Tnia is an obvious eoatrad1ct1on to what he says on

page XVI, •• -. .a.nd 1s not at first used as an acaompa.n:1ment to
the eu.bj e<rt ......
 XVIII

Pl*o~ potrats Ollt, 1s that 1n .tb.a s~acond the two subjects do not
I .
ap~r· togetb.$r unitU the latter pa.rt, or cl.1max of tbe f'U.g.\U~,
I
I

•
tb.u~ produc 1ng an erreot · <>f much gra.nd.ure,. Oo-cae tonally the ·
! . '

f'tt'et' subject wUl have a r~gular ex.poe1tionj while the second

su.bjeo' asu.b'ject ·ta only given a partial exposition. A fugue
ot 'bh.~s t,ypa conta.1ne tblt'$e diati.not seationel
1. 't~eatmant of the ftrat subject separately •
. 2. '&ea.tment ot tl1:$ second subject separately.
)-f Trea.tm.ent ot both su.bjeots combined.
As both ·sub3ootu have tb.e1r axpoa1t1one 1n the t()n1o and domi-
nant keys, the:t"e is .ueu.ally ve:ry little modtalation4
· !\'out defines triple tugue as one wh1tb. oonta1na tb.ree
'
i
subjee'ts.. 1'b.e first· req_u.1e1te tar E.ntob. a fugue 1s th.at tne ·
tb.re$ eubjeots -be written 1n triple counterpoint. 'fba •subJects
.should sound almul t.e.n~oual.y, f1n1ah1ng together, alth.ougn not
neoesaarily· starting ·together.. In a. tour- voiced fugue 0 after
tnrea of the voices have·snnounoed the three subjects,. the
tourtll voice should enter with. the answer to the first aubjee",
wb.U.e 'bwo of' the other voices sound tb.e other two answers.
The rams.1nin8 vo1os may either sound a. free part or remain
sUen'b. the three subJects are then sounded again, only 1n a.
i
diirferent tonality and d1apoalt1on.,. followed by the three
I
anlewers.· Th.e expos1t'1.on .is complete as soon as- all the subjects
!

• h~lve been heard ( e1 tner as subJect or answer) 1n eaeh of the

votoes. · · 'J:b.a same eubjeot should not. be b.eard twice tn the
same voice. These rules are amply illustrated.
 XIX

I ...
su.bjee1u:~, all of wh1oh mu~t be written· 1n q~uple countettpoint.

•
I .
Tb.S~e are very ra.r~. ~be tou:t." subjects a;ra seldom announced
' ~ '
I·
tosethr:tr ~nd. it 1s not neeesse.:ry that eaoh subject ba heard 1:n
ever.r voi,ee of th.e expos1t1on. · Na1ther is it essential. the.-t
all the subjects end together. On the whole 1t is a. much. free!'
form.
At the end ot S$4h ab.a.pter Prou~ 1neludes a brief
sumt:naty and an assignment for the s-tudent.. Although ot.ner
writers' b.av$ CQnfined. their examples to fugues, Prout includes
fugal wJi1t1ns f':rom string quartets, mt:tsaea, operas, anthems,
. ,• ~ .- .,
. '·
a.n4 ean'\a.ta.s by Snh.uma.rm, Mendelssohn~ Brab;ma. and others.
···At. the conclusion ot the main body of the text Prou.t
bas devoted some space to a dise'luseion of two variations of
fugal e1tin8 known as tesutta. and ~uQto, a.a well as the
't$Chn1q\1e Of building e. fugue on a. ehora.le theme, and ot oon-
strueti.ng an accompanied fugue.
In tlle open1ng pages of Cowden' s translation of Ob.eru.b!t\1 1 s
TREATISE ON COUNTERPOINT AND FUGUE• there is a memo1:r of '
Cnerub1n1. This book was adopted tor use in class$s at the
Par1s Conservatory and the Royal academy or Musia in London.
Tbis book was superee;dad bf GedalSeta~

The fiJ>st part of the book is siven over to a study ot

e counterpoint.
Hamilton's translation ot. this work differs from Cowden's
in that he has d1v1ded lt 1nto books and chapters for greater
 aonven1sno~ of :ref'erfi\tnoa, and baa completely omitted the use ot
tb.e a ol.~f Eh He oon~d.ders tht.h'!le an obstacle 1n the student's
prcgreas.
Oharub1n1 first defines tugue 1n genet'al an,d. then
proceeds to develop th.e va:r1o~a component ptil'ts 1 chapter by
enaptel' .., ae oonoludes w1th some general :remark!.
Oberub1n1 has indicated tb.e aouroe of' only a. ftSw of
b;is examples. Most of tb.e section on tusue naa been devoted
to$ perpetual·analysis of tne·tone..l fugue 1n two parts, tonal
fugue 1n three parte w1tn one couuteraubjeot, atf'tGt' fugue 1n
three parts, tonal tusue in tot~%' p~rts ·wttb. one oountersubj~o.t,

tonal fu&ue in fouta part.s with two co~n.te:rsubject.s, a ob.romatS.c

fugue in· four parts with. tb%'ee oountersubjeota,. 'a hiehlY de-
veloped \onal f~gue 1n G1$ht parts, and a atr1ct fugue 1n
e1gbt pa:t'ts ..
The first part of tl'lS book l?RACfiO.AL RULES FOll LEARNING
COMPOSITION, translated from ~"s GRADUS AD l'ARNASSUM
{written originally 1n Latin about 17,25), is devoted to th.e
ve.J>ious kinds of counterpoint. In his opening oba.pte~ Fux
speaks or. fugue ·tn general; than dwell a upon tuguera 1n two,
three, and four parts. Tb.ie ts followed by e. diaousaion of'.
double counterpoint in general, a~ the, octave, tenth, and
twGlttb.. Ra datinae double counterpoint as an "artful compos1-
.
tion 1n which. the parte ara 1n.verted 1n such a manne~ that tb.e

' uppermost beo~es tne lowermost and~'PP. versa~ so that w1tnout

a.ny oth.llill' alteration a double melody ar1sesn. He o.ittils ~wo
 XXI

gen(fJra:t.·· nlest
1. ••tn order better to dtat1ngu1sh tb.a subjects one
! ~ ~

:f'rotn anothe~- a d1vel:'s1ty OUf3ht to ex1st in the progression of

the sUb3eetaJ 1• .!", 1t sb.ould be arranged eo that one par it
cOnsists· ot long notes while the othe:r appee.rs 1n notes ot
. . .
sho!'ter value. In· this way thG c:U.tfe~$110S in,, tile pal'te will
ba made more consp1ououa and all mannel" of confusion avotded.
a. ttTha subj$ots must be arranged so tha.ii one
follows the other at a abort tnt~a.l.

lie cites an enmmple of' double fugue, stating that tne

oountersubJect
.
need// not always be sounded at the beginning of
thE:J p:r1n:eipa.l subject, but ro:e va%'ietyt s sake 1.t may enter
muon la:b&%', according to the nature of the· p:r1nolpal subject.
'I'r1ple e.nd quadl'uple fugue are not mentioned. He ax-
plains tb.~ prlnci.plea ot d1m1nut1on, ve.rlat1on, and antioipa t1on
of' notes • and oonol\:tdes w1 th soma general rules c.onceming the
answer~ Fux 1s vetJy brief in his trea.'ftmant •.
Koeobl1n'li ETUDE SUR L*ECRITURE DE LA FUGUE n•icoLE la a
V&'1/9 exha.uatiV'e study.,. Ha 1s obviously sympathetic witn the
student wno 1a just beg1nn1i1g h.is etudy of th.e fugue., for he
makes it a point to enlar.ge u.pcm tb.e phases or melodic line,
rb$"tb.m, na:rmon1o relat1ona!l1ps, modulations, eito. Fle bas cited
' . ·, I .
and analyzed 1n de taU nwnaJt-ous examples from Andre Gede.lge, ef
• wnom ha ·.was a pupt.l .and tor whom ·b.EJ n.a.s nothing but p:ralse ..
Koecb11a is Gedalge's suo.oesaor ln the realm ot French Ufont:ra-
puntaliets,..
 -l'
Roeohl1n often refers to Geds.lse, his treatise, and to
bJ.a sarvf.ng as. tutor- !n Massenat's elass.- He a.tt1"1butes thQ
• tb.ottough understanding ot the true polyphonto style or ths
Fran(Jb. mus1aians of tne·ttmEf to tb& tradition 1n whioh. they
were aature.ted as pup1ls or Ge.dalge •
.In his f1rst chapte~. Koechltn d.$f1nes the principal
pal'ts of the t'ugue.
:r:n tb.e second ebapter be d1soussea the va:r1oue rules of
melOd.i•O end ha.JtmoniO movement, bal'ID.on138t1on, Sttepenslone., and.
modUlations.· Passing tones, embellishments, ant1o·1pe.tions. and
appogietull'as all. reoe1ve due oons1derat1on.. Tb.ase are illustrat·
ad: 't*lith. examples from pupils' fugues, wh1oh a:tte rendered partie ...
ula.rly valuable as they are contrasted w1 th examples taken
from the WELL-'!'EMPERED ·OIAVIOHORJ:l. Here he also includes a
41aoues1on of double embelllehments and onrome.tio narmony,
! .
In a later cb.a.pter KoeenU.n s2.ves tables showing the
vartous.poss1ble diapos1t1on ot vo1ees under varying oondit:i.ona.
He a.lao emphasizes tb.a tmportanee of learning to read the 0
oleteh This is followed by an allB.lya1s of a. taw examples wb.:lch
are a bit ambiguous from the point ot view of melodic line and
tonal1ty, as well as expoa1tlone with two and tnrae oounte~sub­

Jecta ..
1'b.era is no mention of' double, t:r1ple, or quadruple fugue.
Tb.e:re is a lengthy discussion of" episodes, pedal, and
st:rett1 .. ·The sou:rcea of all h.is eampl.E'is ara cite4. Koaeb.lin,
 XXIII

1n ~tt1ng an. example of stretto ta-ken. from Geda.lg.e, sajta that

G$~lge*s·tmi:ta.·U.ons succeed each.· &th$tt in a ttte.nne:r oom:pe.taa.ble
'
• to that of Baef1·.,. . rta cttes the l1bert1EH!J Ba.cb b.a.e taken as·
cemps;rsd· with the :rulGa which are applied to the seb.ool fugue.
rte eont1nuee witll a· very full and. complete discuss ton of the
a.nswel', countersubject,. a.nd tile various ba.rmonic and malodl$
cU.tf'1~ul tlea tne student is l1kel.y to encounter.. ae concludes
with some general ~emarka on the frae fugue. 'flle inf'luenae
of Ge4alg$ can be seen throughout the book.
Koechlin b.as ·Cited nwnarous exs.mples or entire fugues.. For
th.~ moat.partth.ey-ara taken from·the Frenob. School or fugue
writers (Dubois, GounOdi P:ranek, Massenet, G1ra.ud, Ba1nt-Sa.ens,
Gada.lset and. Charpent1er). Oomparat1vely few a:ra taken t:rom
Bach, and tb.$ maj orit;r · of them are from· GGdalge •. some ot
Koechl1n' s own fugues are of comparatively recent date, many ot
them being written between 192' and 1930 ..- He admits that Baab
oould eay mol'e 1n a fugae th.an any ·one elEJe • but he queet1 ons
whether or not Baen has said averytb.1!15• He ma1ntains that
a mla,~1c1an can reveal much of hla true personal1'ty in a fugue.
xoaebltn • s fugues a.ra of. anotner epo<tb, and reveal a dit·:re:rent
tnougllt '· musioally, from tb.oee of Bach-. There 1 s muon 1n
favo~ of hie ar-gument.
Tb.a 'rRAITE DE OONTREPOIN'f ET DE FUGUE, by Dube1s,. bas

e navet:r, a$ fa:r as I can determine, been translated 1n'bo Engl1sh-

~1a wo~ld bt a worth. whlla:. pro3,ect fo-r -some ambi t1oua and
 XXIV

properly qualified student,

i
I

The t1:rst paJ:'t ot th.e volume t~ea.te ot oountet'point. ·

• ThE!' aeoond part. wnieh. is devoted to fugue, begins with a general
view- of the fugue in which h.$ ne.a def1rted its V$:raioua parts 1M

He tb.en gives tb.e general plan of the four voiced fugue ...
'He ae.ys that the object or hie t,ree.tt.se is to give tne
etu¢1Enit examples of beauty from the maatera-exa.mples which.
appeal to both the ear and the eye or the aens:ttive musician.
One noticeable feature of' this book; which seems to me to be ot
sp~c1al value~ is ·tne insertion of' a definite pupil aes1gl'lment
at the end of each toptea.l discueeicm.
His trtaatment of ·tne coda, eXpositions in two, three,-· - · 1
·

and four parts, episodes in two. tnr~e, and four parte, with
modlf1oat1ons, is a$paoially fine. This is succeeded by an
eqU(llly adequate disousston or the atratto in two, three, and
four parte, and the pedal, both. interior and exter1o~. Here be
he.a inserted nUlllerous examples. Many of' hie examples a.re
taken from Maseenet 1 -rnomas, who was a· pup1J,. ot Guiraud, and
other prise winners in f'ugue writing c-ontests. Likewise, maf11
or his eaa.mples a.re unidentified"
there is no mention of double 11 triple, o:r quadruple

n1s collection of fugue subjects is taken from those

~ used at the Paris Oonaervatory. or whioli he was direoto:r, and
trom those given in the oompetit1on tor the great Prix de Rome.
 Dubois UsfS!s a wealth or exampleth IJ:wo unusual examples;
wo±'tny Of note, are one in seven voices , containing two

• co' tersubjeots, and ons 1n four voices and two countersubjeets

with which he took first
he wa~ a
pri.~e

pupil of Ambroise Thomas ..

'
in tb.e competition of 1851, whUe

As tor this present volume, Gedalge's own treatise. 1t

oan be said Without reservation tnat it·1s the most exhaustive
stuay of the fugue that bas eve~ bean publiehad. It was
originally intended to ba written in three parts, or which I
i
th1~ treatise was the first part. When I say his work 1s
&xhaust1ve I mean h1s work as a whole as well as his treatment
of the var-ious divisions or the fugue. H!s d1aoussion or the
auswer~_for inatanoe, b.V far exceeds the corresponding section
1nany ot the other 'ttexte examined, with the poss1bl~ exception
-·
or those by Prout and Koecbl1n. His rules ror fugal answer
are muoh eas1er of comprehension. Hie two rules are as followst
l. Any nota,; natural Ol' altered, appearing in the
subject in the tonic seale• must be reproduced 1n the answe~

by the note,-aatural or altered, placed on the corresponding

degl:ee of the dominant scale, tllia dominant key nota being
considered the ton1o of the answer.
, 2; Any note, natural o%' altered, appearing in the
eubJee.t · tn the dom 1nant seale (this dominant key, through mod-
- ulation, baoom1ng ·the tonic of the subject) must be reproduced
in the. answer by the note, natural or altered, placed on the
cor~eaponding degree of tne tonic aoals, this tonio key note
 XXVI

I
I
beefing the t_e>nio of the answer. so that the subjeQt :regards

•
'
.... tl'l$ ~fifth e. a the tonto ..
This view throws muon light on the d1ff1cul ties usually
invclvea. in th$ study ot tne answer.
His treatment of tne stretto is a.ls.o tar superior to
that of the other e.uthora• and b$ supports h1s views with a
wealtb. of ejtamples taken from the masters, as well as many
taken f1"0tl1 the work$ of hie own pupUth
In regard to the examples used tor study • Gedalge
ma1nt&.ins that it is natural, and customary. to revel't to the
work ot tne ~asters 'o obtain tne beet e~mples 1n any field
or endeavour. Koeohlin, f'o:r example. takes exoeption to this
view and says that raaent and oc::mtemporary m-1 te:rs ahll pro-
ductng mus1o whtcn is just aa worthy of study aa that or the
masters. He further stat&s that the masters d~ not represent
tha ptnnaele of acb.1evemant.. Gedalge indicates tb.e source of
all of' b.i.s examples, while many or the auth.ors studied na.voe not.
we assume that where recognit1on is not given the examples are
original with. the autboJ~.

He makes it a point to state that h.e is fully cognizant

w1tb the difficulties students enoounter 1n thai~ etu~ias, and
tha, he ha$ made a special effort in hi~ book to throw 11ght

•
upo~ 'lihe more difficult ·problems. H$ elaima to have become
fam1llar w1th these problems in hie own ·student days when ha
' .

asa1~ted Maseenet in his olass work. For instance. one ot bia

 XXVII

simtfe truth.s, as he points 1t out, ·ts that a ,,f'ugue 1a w:ttitten.

b.o:rt.,tzontal.l.y rather trum hax-raon1-oall;y ..

• .I
I

quadruple: fugue., He has dotle nothtng mo:re tha.n to attempt to

define the te:rma, 1n wh.t<Ht attempt he fails miaerabl.J!• From
1nto:rmat1on gatnared from other t$::tts, I have cleared this
point 1n an·$a.rl1e:r section of thls 1n.troduot1on'.
, Gedalge ha.s one Ghapter wh1<1fh be oalle th.e NEW SUBJECT.,
According to b.1m there may be one, two, or three or these new
sub3ects. He does not suggest that he oons1d$re this double,
t~iple, or quadruple fugue, although. th.eoret1oally 1t is auoh.
H1a t-Ules fer tbe treatment of these new subjects are not the
same a~ tho$e proposed by otner authors on-~he subJect of
double, triple; and quadruple fugue. so there is ample opo:rtunity
to q~est1on his 1n.tent1ona.•
'
Aside from thaas few points his t~eatment'"-of the fugue·
is fundamentally the same as that of the other authors.
Gadalge. ot ooursa. ta the . only one who has restricted his te:~t'b

to the treatment ot the sohool fugue; tb1s will naturally result

1n a few seeming contradictions and <U.screpanoies which w1ll no -
longer appear as such when one tully realizes that a different
form of fugue 1s under oons1dera:M.on ..
I

•
. I
3· p 12.
• OHAPTER Ir
GENERAL DEFINITIONS

l. . A FUGUE IS A MUSICAL COMP06I 'liON BUILT UPON A

SINGLE THEME ACCORDING TO THE RULES OF REGULAR PERIODIC
IMI!fATION.
2. t.rne name fugue <&:ue,., ,fl1Qb.t). comee trom the
ex1u;•emely 1mltat1-ve cbs.raotE.l~ of this type of eompos1t:ton, 1n
wb.1ob. the theme alternates continually trom voloe .\o -,otce, eaeb.
vo1oe taking it up after the p;reoeciing voice baa completed 1t.
3 ... A fUgu.a, ,lloweveril .is not me:raly the imitation of a
tb.ema in all the parts of a onorus Ol' oronestra.; it must
observe certain rules o,f modulation and wr1t1ng, and must employ
all tne ax-t1fioes of oount·e:rpo1nt • both simple and double,, to
aocompanr the pr1no1pa.l theme and present it 1n va:ry1ng aapee~Jts

(imitations in parallel, contrary, and ret:rograde mot1on1

aUgn1entation, d1minutton 1 oanf:tn,. ato~).

4. , THE THEME OF THE FUGUE IS CALLED THE su)!je,at ..

5• . THE IMI'fAlfiON OF THE SUEJEOT IS CALLED TKI answer,. .

•
6 ... one may wr1t$ a fugue in the f0ll~1ng med1at
a.) For vo1oes alone - called a vocal fugue •
b) For any 1net:ruments 1 a1tne:r alone or in combination
(piano, organ, viol.in, qua.rt.et. or orob.astra) callE;td e.n
 L
i

inst~~ental fngue.
e) For voices and instruments combined - called a

• I

voqal a.nd 1nstrmnenta1 fUgue, or an aooompan1ed :fugu.Eh

7• Tb.e ohara.ote:tzt of ·the fugue may va:t";r aocord.ing to tb.e

subject or the medium of expression- votoas or instl:'Utnents . . . .
chosen by the composer; but wba~ever the character, the style
of the t-.gue due to the exclusive use ot imitation, must neveJ:t

s. · The essentia:X. parts of the School Fugue aret

a} THE SUBJECT«
b) . THE ANSWEfh

c) ONE OR MORE COUNTERSUBJECTS.

d) ~ EXPOSITION
.e) THE OOUNTEREXPOSITION. 1
f) THE DEVELOPMENTS OR EPISODES, WHICH SERVE AS A

TRANSITION TO.'J!HE DIFFERENT TONAl.ttTIES IN WHICH·THE SUBJECT

AND ANSWER APPEAR~

g) THE. STRETTO.
b.) . TH.E PEDAL.

1. The use of the Oountere.xpositlon la optional; it

appears only in certain oases wn1ob. will be pointed out and

-
stutlied later.
•
THE SUBJECT

9. Not every musical th\Sme or melod1o phrase is

neoeseer1ly an appropriate tu.gus subj$'0t .. 1
lO. A fugue subject is necessarily lim1 ted by the
following very specU.al strlot oond1 tioxuu
a) rufCTHU ..

b) MELOD'!' •
o) LENGTH"
d) MODE

a) TONALITY •.
ll. RH!'THM OF THE SUBJECT.. Tb.e subject must not 1nolu.de
a great number of different or d1ss1m:1lar rhythms; two or three
are ~ff1<J1ent. They should be of ths same .style, and in the
school fugue - which 1s tbe only one under discussion here -
one $"hould be os.reful when w.i-1 tins sublsots which include
alternating binary and te:rnary rb;thrns>~

1.· The subjent of a fugue must form a clearly defined

melodic pbl'ase or complete musical sense and must not be
1nte~:t"up1;ed. as atte most melodto pb.J'ases, by one or mora patl.ses •
on the dominant*
 l2. MELODY OF !~!HE SUBJECT. Tb.a melody of a vocal tugue ;.~

' '

eubjeet must not exoeed the interval or a. minor seventh between

·• its lowest and highest n·¢tes! it :ts even preferable to confine
lt to th.t!l sixtb so that tb.e s.nswe:r ma.v be written well w1th1n
the. Q:ompa.se or ths voices. In the instrumental fugue we are
limited only by the range of the instruments employed •
.
1,.
!
The meloq of a sub3aefi oaght to maks possible
... .

man1 tmi~tiona in var1uus combinations. and should lend itself

I
to ~t lea~t .one oa~o:g wbioh la l.1nked to the a~bjeot and anewe:t'
-- a Q~non 1n two - pa~ta outl1n1ns a complete
.
and lnvartible
b.an.ony 1 ~3,•e., a subject f'urnlsh1ng a good l>aas pe.rt to tb.e
ooumta:rsubjeot2 and ;v1oeval:'ss..
14,. The melody or a s~bjeot enould always lend 1tsalf to
e. natural hal"mon1sat1on 1n tour parts, or when heard in the bass,
should determine this harmon,*
15.. LENG'rH OF THE SUBJECT.. It is diff1oult to establish
an average length for a sul)Jeot;. one will :note f:rom the following
that a few notes and one or two rhytbms are s~ffioient material
for a f'ugue of major p:J:toport1ons,. provided one is able to usa
and combine all the :rE:u;ources of c_our.rte:rpoS.nt ..

! 2. [T~l'lslator' s not-9_-. Gedalge uses ff.BS!e.r:, but th1s is

witllOut doubt a t;vpogmphioal error on tb.e part or· tha

•
publ~shars. Oountersubjeet 1s ooft'eo1t!J .
 -I
I
16,. TGo long a fugue subject pre eants the following
I .
d1ff1oult1es~

•• /
c~ao'lier
!
a) The entrances are too far apart and the .1m1te:t1ve
ot tb.e fugue 1s 1mpa1:red considerably; 1r tt does
not disappear snttrelr·
b) The same .notes and the eame figures are repeated-
this produces monoto.ey ..
c) If lt does not ··repeat,· the subjsct 1nelt.tdea too
gxaE*at a 'V'&.r1ety of' melodJ.o and X'by'thm1o patterns, which
1ntenupt·th.e·un1ty of' the fugue~

11. W1 th too ah.o:rt a subje~t the entran~es a.nd

modulattoiu~ are too f'~!qu.en:t; 1:t creates wee.kneas and dest;t?o,-s
the teeltng of tonality.
18. MODALIT!' OF THE SUBJECT • A fugue aubj ecat should
oomf1ne iltsel.f entirely to one of the tw() modes, MAJOR or MINOR.
Atr9' sub3ect wb.i~b. presents a combination of the two modes should
be :re3ected entirely.
19" TONALITY OF '.ritE SUBJECT. A fugue su\bjact should be
tonal. • .b.! • ,
a) It must be b.eaJt;~d entirely w1thtn the tonality of a.
s1ttgle key (that of the tonic of tllts key).
·b) If 1t modulates, it sb.ould be confined to the more
1mtned1ate harmonies ( toni:o an.d dom1nan1i of tbis kay) ...

• In other wo:rds- 1 tb.e su.b3aot Gan modulate only ft!mn ton1e

to doD11aa.nt a.nd v'-ga versa. •· consequently_. an, modulation other
tha.n tb.e.t from tonic to dominant and vice versa, ought,
 .6

tb.ecrett.e~lly, to be oonsider$4 as obl'omat1Qt and not as.

affecting tba gene3:'al tonal1 ty of tl:la subJect.

••
Tills pr1no 1ple 1 s ot great 1mporta.noa t.n the tonal
~elations of tt:te su:bjec" to the anewe:£>. But it :ts of' val.ue
onl~ :f'roiil tbe point ot view of these relation.s, for aside from
th.em, the subjeot could be considered as modulating to othe:r
deg~eee than the dominant it the a<$o-1d.entals employed suggest
th.esEt modulations fo:r a short p~1od., Howeve:r;
... the subject
must ~amain, ror the most part, in the p~inc1pal key.
20., Th$ sub.jeot may begin in the tonic and go to the
dominant or v;,oe versa; 1'fl may also begin and end in the
dominant; iqany casu~, it must remain tox- ttte most part 1n the
principal ~ey, the prtnoipal chords of which should appear.
21. THE HEAD OF THE SUBJEO'l. TiiE RRXTHMIC OR MELODIC
FIGURE WHICH APPEARS Are THE BEGINNING OF A SUBJ20'l IS CALLED

THE 1lee.4_ pf, :tge. ~u'bJeo,!. It m~at b.e of' eba.l'PlY def'ined
eha~a.Ct$r troDl the poin-t of view ot rhythm, melody, and exp~as;-

sion, and may be heard suacessi vely two or more times ~1 thout

1nterx,"UP~1on. i'h.ia :r.-epati'&ion gives a part1oula:rly energetic

and exp:reesive ob.aracter to ae:rt~in eubjet1Hit. (See below,
examples 7 • 8, 9). :aut it '-s absolutely necessary 'to avoid any
repetition of the rb;yttunta or melodie pattern of the b.ead of tb.e
subject ai tb.er in tbe middle or at the and of the sttbJeot •

•
7
• CHAPTER III
•

THE ANSWER

22. Atte~ tne ent1~e subject bas been heard in one part;
another part imitates it" THIS IMITATION IS CALLED THE ansWer . .
2:5. TONALITY OF THE ANSWER. 'l'b.a 1n.terval at which. this
1mitat1Gn is pal'fGl!nted oan not be chosen arbitrarily • tor by
dat1n1t1on the atUlWe:tt must be followed immediately by a new
entrance of' the subject 1n iille tonic.
24. The a.nsw~tUf• then, must neoeasar1ly submit to the
same ru.l$s of modulation as the subj$Ot, 1"$•• if it modulates,.
it· does so within the limits of the two keys or the more
prominent b.a.rmon1as (ton1Q' and domi.nant keys of the subject}.
25• MODULATION OF THE ANSWER,.. But if' tb.e order of
modulations wex-e the same 1n the answer a$ 1n th.e subject, the
1mltations would be in the unison o~ in the octave, either of'
whloh would be monoto~ous~

26.. We are .agreed, then, to reve~se 1n tb:e answer the

order of modUlations esta.bl1sb.ed in the subjeot, :resulting as
~ followss
a) As long as the subjeot remains in the tonic, tb.e
answer :remains 1n the dominant. ~, .. e., at the fifth above or at
 b) Conversely, wb.enevax- t.b.s subject modulates to the
4f dom,.nant, the answer 1s found in th.e tonic ot th$ su.bjeot• 1.-e .. ,
at the folll'th. abov& GX' at the fifth belt)w.,
'J.1 • We aee • then, the. t WHEN THE SUBJECT WHICH DOES NOT

MODULATE BEGINS ON THE TONICt THE TONIC OF THE ANSWER IS THE

DOMINANT OF THE PRINCIPAL KEY.
Conversely, WHEN TliE SUBJECT MODULATES,. IT HAS FOR ITS
I
FIRST NOTE THE FIFTH OF ~RE TONIC KEY 1 AND WHEN THE ANSWER
MODtJLATES .OORRESPiJ>ND.ING4t, IT HAS FOR I ~S FIRST NOTE THE FIRST
DEGREE OF 'fHE TONIO OF THE SUBJECT,*
Renoe, the two toll.onns rules apply to all fugue
subjects without exaepti"'n"
28.· Rt.TLES OF THE ANSWER... RULE I. • ANY NOTE• NATURAL OR
' ·; . ~ .
ALTERED, APPEABING ItJ THE SUBJEOT IN THE TONIC SOALE 1 MUST BE
REPRODUCED IN ~HE ANSWER BY THi NOTE 1 NATURAL OR ALTERED, .PLACED
. '
ON '!HE CORRESPONDING DEGREE OF THE' DOMINANT SCALE" THIS DOMINAN1'
KEX' NOTE B!ttNG BEGARDED AS THE TONIC OF THE ANSWER.

In. this oase the answer imitates ttlQ sub3eot note for nota,
altell:'at1on f.or alterat1e»n, at tile f3.fth above or s.t tbe fourth
below.
29~' Rtr.LE II-. ANY lifO~E, NATURAL ,OR AL'.fERED, APPEARING IN·
THE SUBJECT IN THE DOMINANT SCALE '(THIS DOMINANT KEI, TRROUGH
MODULATION, BECOMING THE TONIC OF 'lHE SUBJSQT) MUST BE
REPRODUCED IN THE ANSWER BY ~HE NOTE, NATURAL OR ALTERED,
PLACED ON THE CORRESPONDING DEGREE OF THE TONIC SOALE CTHIS
 10

I
TO~IC KEY NOTE BECOMING THE TONIC OF THE ANSWER, SO THAT THE
SUBJECT REGARDS THE FIFTH DEGREE AS ITS TONIC) .
In this case the answer imitates the subject note for
note, alteration for alteration, at the fourth above or at the
fifth below.
30. FUNDAMENTAL HARMONIES OF THE ANSWER. . These two rules
have as their immediate c-onsequence the following princ,iple ~
THE FUNDAMENTAL HARMONIES DETERMINED IN THE DOMINANT
BY A GIVEN FRAGMENT OF THE MELODY OF THE ANSWER, OUGHT TO BE
SYNONYMOUS WITH THE FUNDAMENTAL HARMONIES WHICH THE CORRESPOND-
ING FRAGMENT OF THE MELODY OF THE SUBJECT. HAS DETERMINED IN
1
THE TONIC, AND vice versa.
31. These rules, it is easy to understand, aim to re-
strict the fugue to the general tonality of the first degree
of the subject.
If the answer always confined the imitation of the
subject to the fifth above, then, when the subject modulated
to the dominant, the answer would modulate to the dominant of
the dominant,~., to the supertonio. This, however, is not
permissible in view of the distance of the tonic and supertonic
keys from each other.
32 • THE REAL FUGUE. WHEN THE SUBJECT DOES NOT
MODULATE~ THE FUGUE IS SAID TO BE A REAL FUGUE, AND THE ANSWER

I See sees. 39, 70, et ~·

 11

THE !J!ON'AL FUGUE. WHEN THE SUBJECT MODULATES fO THE

DO~ttNANT 1 !liE FUGUE I.S SAID TO- BE .A 'bOiUI.l f!SlJS 1 AND 'rftil,
... ,::.·
' .
.
.ANa~ IS CALY.Jm A :P~Uil answer~ - ·. " ''.

3)• MODULATION THROUGH OHARACTIGRISTIC ALTERATXONfh

Generallf it 1s ,oasi"bl·e to- modulate from BX\V key wt:tatevett ttl
1'tts dominant. 'l'hls is done:
a) In major, by the ascending e.l terat:ton{t:J) (or ~

oanoellins a b) pla.c>ad bsfo%ie th$ eubdom1nant of the ton1e,

- or bafo.:ra th$ aevanth degree of the dominant*
b) In. minor:
1. By 'bhe ascencU.ns altazoat!on <tP (or ~ oanoelling
a b) pla.o~d befot'e th.e subdom1nant and aubl'lled1ant or the tonlo •
wn:Lob. bec.~me respeot1vel:v tb.a seventh and t:n.aperton1o Of the
dotnina.n'fi..,
2.., By the descumdlng a.ltera. tS.on ( b) { or q
_oanoell1ng a.. UP placed before tb.e seventh. of' the tonto, which
becomes ·the mediant of tbe .dom1nant.
we ce.n af)cept J,n pr-1nciplat ·then, .tl:la.t any subject
wb.t.on1 tollowing 1ts mode, pr~sents or suggeSJts on$ or the oth$1"
of these alterations in i'tls l:tliimorq • modulates to the
dominant-. ·
w~ must be oa.:retul that the aforeea.ld- alterations are
simply ebromat:l..<~s and do not affect tne t onaltty of' tbe srtb3ect.
A deta1le.d ana.:tya1s of the atibJeot, .ba.X'mQnically', is
necessary to avoid S%TO.l'S and a result1ng faulty answer.
 l I
I
f ~4" SPECIAL MODULATIONS OF THE FUGUE. The preeted.1ng
! i
rule, oo.mmcm to any eo:rt ot musical ptu-ase, whether or not it
'
isia su.1tabl.e ru.su.e subjeo'fl, is not the only ll'U.la wniah applies
I
to ltne modulation or the aub~t:H'tt., There are other conventions
pe\)u.liar to ·the fugue, al.l ot Which a.im to keep the answer in a
oloser relation of tonality t~ tne sub3eot, and wb.i<th oonoe:rn
eulus1vely the begtnn1ng and the ending of' tb.a subject~

These conditions a~e summarized in tne four following

rules, wh1C:h make 1 t possible to assign exactly to each note
of. thEJse pa:rts or the subj ~'' the degree which 1t occupies,
wb.ather in the tonic or in th$ dominant. !hess rules ara tna
corolla.t?y of the a.forment1onad pr1no1plet 'lmE FUNDAA.tENTAL

fURMONIES DETERMINED IN THE DOMINANT BY A GIVEN FRAQMENT,OF

M!¢.0DY
, FRJM mE ANSWER_. SHOULD BE SYNON'niOUS WITH THE FONDA-

MEk~L HARMONIES WijiCR THE CORRESPONDING FRAGMENT OF MELODY

OF THE SUBJEO'i' HAS DETERMINED IN THE TONIC, AND v~ca VEI%'S9. •

35• HARMONIC FUNCTION OF THE FIRST DEGREE ..

BULE I. 'rHE FIRST DEGREE OF THE PRINCIPAL KEI OF THE
SUBJECT IS ALWAYS CONSIDERED THE ROOT OF THE PEttFECT TRIAD ON
TilE TONICs
a.) WHEN IT IS HEARD AS THE FIRST OR THE LAS'!' NOTE
Ol? THE StmJEOT:
 13

b) WilEN t HAVIMG STARTED ON THE DOMINANT OR THE

MEDIANT{ OR, IN SOltE EXOEPTIONAI.a OASES ALMOST FOREIGN 1'0 TFl'E

SCHOOL FUGUE, ON ANY OTHER DEGREE) • THEl" HEAD OF THE SUBJECT
PROCEEDS TO ~dE TONIC EITHER DIRECTLY OR BY SOUNDING VARIOUS
NOTES OF THE SOALEt

r
. ,.r_, - . --- -·

t• I .ol " j
.. ·-- ·-

. .,
riJIT ~I
... r
I
(I) I
;-A.:-r;--
\ , rv•
.-L J.
....
..,

r ..." .A
, '\"' ...
.. -- ---
1 rPr-- r---
'R- .J~ \
.\
Ill
'ito'l I
I"
II'
" ""'I i""
'
II> I H)
ln•JJ A· it
I' rtt•
I"" v
- /
J·••t•
l
i ,..
1"1.c
~
....
!
I 2.. The Arable numerals placed under the tonic 1nd1oate

•
tna.ii the .intervals e.re calculated with r$gard to the tonic of
the key atgnature~
 14

'6,. HARMONIC FUNCTION OF THE THIRD DEGREE.

, RULE II • 'J:HE MEDIAN'f{ THIRD DEGBEE OF TliE SCALE OF THE

e ~INCIPAL KEI OF THE SUBJd)IS ALWAYS CONSIDERED, HARMONICALLY

AND TONALLY• THE THIRD OF THE PERFECT TRIAD 4&N THE TONIC:
e.) WREN Xf IS HEARD. AS THE FIRST OR THE LAST NOTE OF
THE SUBJECTs
!\ _±Ill ,.. -e~~-=
~ P· I \ r p
1'\b r 0 "-' I T ll F
lL
1:1
' .
t I
'
• '
:r J 3
- ----· l--· .------ ·-------------
,.
~'
or ··----··-
§"'

P14~d
' v
,..
f/Clli\111"1'
-
9

b) WHEN 11 HAVlNG STARTED ON THE DOMINANT OR ANY OTHER

DEGF.EE • \~HE SUBJECT PROCEEDS TO THE MEDIANT EITHER DIRECTLY OR

BY SOffiJDtNG VAE!OUS NOTfS OF THE SOALEt
· f\ e }';b of- B .\ 0
-o
I
•
Q.
I
m,;-.,t=----:,..-,.-1-~r------"Jf----irl--t--=-p~ -=~===
• I I" i.o"" I
0 D
3 3
.r...
J' D
- Lh.
-~
...
AI • ffq 1-IV'l·

3 "f. HARMONIC FUNCTION OF THE FIFTH DEGREE.

RULE III. THE DOMINANT OF THE PRINCIPAL KEX OF THE
SUBfEOT tS ALWAYS CONSIDEP.ED T~ TONIC OF. THE DOMINANT KEY(THE
ROO* OF THE PERFECT TRIAD ON THE DOMINANT;
a) WHEN IT- IS HEARD AS THE FIRST OR THE LAST NOTE
!

OF THE SUBJECT:
 15

G- -, C ~ - - - - - - - '- --· ~ G-
' ? •. •· • r --~- -----··
fti'~./Tf-"'----L'-e-J-:-~'r--tt-
'+-¥+...-rl----f"':..___.e~-+-
ri-L'--- ··-··-- .
'"' .- ttrt•rt
) J • • ........ l
. I
~

Oonsaqttantly, a~ subJect bagtnning or ending on the

dominant 1s con.s1da~ed, !. [>l*i{!ri, as modulating to the dominant ..
b) WHEN:. HAVING STARTED ON THE TONIC OR THE MEDI:ANT
(OR ANY DEGF.EE OTHER THAN THE FIFTH) 1 THE HEAD OF THE SUBJECT
PROCEEDS TO THE DOMINANT EITHER DIREO'l'LY OR BY SOUNDING VARIOUS
NOTES OF THE SCALE;
_\
C.--. G ~
I"
c,.., --, ;;:. . --· ¥-··
..., . ···-----

'Ll"
l'l t"
_I
'
I
I'\.
'
I
~
1/").
1-. I' "
. ~ '·
0
-·-··-----· --· -,.....
.. J'
:J
··-•
T" '·
0
--
I._,
~ u .I Ci

Mol• H(}f y.,vv\. -

c----, G- c- - -~I G-
I ,,,... .. ...
I'
\ I
I"
I
I
IJ'
"\ -
r
Do

I"'
I
~-=.:_~
-L----
....... I I
I
~
:/ I
..!...
·• - -
I 1
. .l.
&--
lr"\• •
I• II' ~
0 (} 'r."\.
••
,., I• 0
~ J 0 -~ 0 0
[ii'

!4A1 · Het ""N'l·

Ccmssquently, any subject which prooeeds, a.t the begin-
- ntng[, f:ram the tonic o~ tb.e mad1an't to tile dominant • is eo~s1de:r­
ed. as modulating to the dominant.
 :5$"' HARMONIC FtJNC'J!ION OF THE SEVENTH DEGREE.,
RTJI.IE IV • THE SEVENTH DEGREE OF THE SCALE OF THE PRINCIPAL
• KE!: OF THE SUBJECT{ UNALTERED IN MINOF?·} IS ALWAYS CONSIDERED ''l'HE
Tiill!U> OF THE PERFECT TRIAD ON TiiE TONIC OF THE DOMINANT KEY~r.

a) WHEN THE HEAD OF TD SUBJECT PROCEEDS FROM THE

TONIC OR THE MEDIANT TO THE DOMINANT BY SOUNDING THE SEVENTH
l(tALTERED IN MINOR)l .
c---
... --f-·1 G;:;.: .
.,... --- _J
p
f' \ I ·-- :.:--...-
l / ..... ll ~ l """f'
II I .,./.

IU I 3 I ) I 3 :J I
··- ·-
lr-.•
I' I
0
0
.. 1-·?
I' J ., •
0
(I --
rr n
J I 0
n
...... ...- I
A
0
;:;_ X

!
'b) WHEN THE SUBJECT ENDS ON T-HE SEVENTH DEGREE OF THE
•
PlUNClPA~ KEY( UNALTERED IN MINOR) t

s LM Ab 0 , ,. ,.. .... , '

,..
A.t •
;JDtr-.
.~-r-:t=.----
"' l) I
• t" \ I
A
. \ "I-'
.....:r'-.1'
)
b .,.. I l

) • 1
,,.... __;_:_ --~·-·n·
Ill
----····-···--

~··
6 ~ I
7"1>
.... •
IU ..,.

Cl'anaequen.tly., S."lJ'' $Ubjeet ending on the seventh degree

J2. we know that in tl:la minor key today,. the seventh is

oons1de:red a U:bromatloall;y alterea aterval.
 J:(

I
'
ofithe pr1no1pal key 1a oona1uered aa modulating to tne dominant
anti ands on the th1:rd degree of tb.e pe:rfeot triad on the tonic
• of .the aominant k$y,.. (In mino~, the altered seventh always
preserves 1ta eha.rae:te%' ot leading tone anct can not btl used to
terminate a subject).
The results or these Jiules, as they affeot tb.e answer,
will be developed iu the following paragraphS.
3~. THE :NON...,MODOL.ATING SUBJEOf. THE REAL ANSWER. A
SUBJECT DOES NOT MODULAfE (REAL FUGUE) WHEN IT BEGINS AND ENDS
ON THE TONIC OR MEDUNf WITHOUT SOUNDING THI FIFTH. In this
o-ase tha answer reproduces it note fo.r nota in th.e dominant,
i •. e. • at tb.e fifth. above ot" at the fourth belowt

/\ey { /i
41. J..~ !J I.. I
--·-9-· .a "'
....
JfA .l/eef
L I _j_ I
I

I·

/. ~
lulte..,rof
,.;.
B J.. lJ J
n
J...
A/11.1 we., 1- w
'f"
..,..,
.I
I
"' 0_
u·
2t .11-1.' Jl .:r

4. The Roman ~e~als placed under the notes 1nd1eate

the degrees wh1eh oontain the fttndamen'al harmonies determined
by the melody of the subje~t and ot the answer.
 -18

f\ey ofG

' JqJ.je. c. t I ::l""'

Ill'
~ T....,
1~.1'11

"'" Ill
- -.,
-.~ I II•
--~ At
··-·---
·- ...
·~-

~-

'": -~~

1
·r I
t
II I :;}
•
"''ii'
•
I
"' I
1.7
'-.....: I-'' ......
I
.2: '
. AI'1-/W~I-
~ ite.yofO 1 ~ J
......
II'
..1
. " - r-... !3-
I I
'
,...
" I I J
.II
J
r r I •
.~
:t
-6·
I
,
~~

-v
.I
"' I •
lE I--~~.t-JZ :r

IIVkc~.t tJ fC l-/1-2..,-P :1-11 ·-·: J -

/
J-4 .t I

;S,lriect
';T
n;;;
T U.
••
I
- ...
I
~.
··~

v
. .. . ~

If-
t l. ......
'
3·
) II , ,
fcer
" !If-
d' D .......
1-11.::t-1! 3-l.f 3 ~ ~ .J-
'li ·al:!IO
~·
r
, . ,. •••• 'I'
t .t-
.
I
---------
· A,.,.Jwe 1-
I"'"' "'riA

""
~,
lo'

LJ.=-1-' '-'
'. : .::r-1!-:t. Jll-.1.- 1Z . ~
. 4~. A SUBJEO! DOES NOT MODULATE(REAL FUGUE)WHEN. BE-
. 1 .
GINNING 4UD ENDING ON THE TONIC ORMEDIANT, IT DOES NOT PROCEED
IMDDIA TELY TO THE DOMINANT OR TO fliE SEVENTH FOLLOWED BY THE
DO.MINANf, BUT SOUNDS THE DOMINANT EITHER AS A PASSING TONE:; AN
l!.'MBJiU,LlSHMENT, OR AT SOME TillllE DURING ITS OOURSE;
AIV'\ill'lo/1- ~

~~ c: Ir- 'U±fi~r
3.. J
r 'ittlJh r,,miJWtf#jfj
'f . 1 J 117 Lf .r I 76 I; II I; 7 . J ,_ f''l 1
. . ,. ~ ; N ~ 1X 1..

By omitting tb.e melodic passing tones of this subjeot.

tb.e musical sanae is as follows 1

•
 19

·; ln the first measure the 4om1nant 1e heard onl.y as a.

pa$s1ng tioneJ 1~a the second measUX's, and on th.a first beat of
• the tou~th rneasure 1 it is a pa,..t of a. p:rog:ressions finally. -
on tna last beat ot the f,:>urth measure, it is agaln a paee1ng
tone"'
Tn1s must, tben, be answered l1terallyt
ke.,y ofI AJ..~2 'Ii {o 1- ~
,a ":f. -, f
f 11~ /1. ~
, ~ "' 61 t rJ ~J 7 ...--t--t F-f
i
s~),. e c t lLL _f
Itt•
I .l.r •
/. ·IP .,. , -- I .
.I
L-':-J \...-'"""
6.r, J
!J ~ (,
~-
j,~
111.

......C fV"IiM1\- "':J II f .f 1~ 6 ., .f'.J Q.l 7 .......

Iv SILL"
R
.... I!'
J_
... •I
.Jf_
l_
.......-
_y 1'1"''

Er-tt-1!-Ai=--:r-tz-~~ i-I

I J r ,_, ):;.,S"J ,.
-II' .
.IlL~
~ _ll"u
\
'
0•
I
,.
..-
J
I ,
' ---------
-·---·

~ ~ 1.

E.fvle~i- I 3 ~ { tt 3 J.f J 1. J I
--
,..,. .. ••
I
_p_
---
--~---

I-1Il-ll 1

... _fl.
... -- --- -
--
-··
--
II#
#l
,.
y ~ ~ " ~ ........... ~
'
llhD ft1aJ· --.... ·--
..., ,.u
\" v 1--__,..;
1 ..
l_tl!_

~
r"
.
~-...-~
 20

, I J. 1 - -tr -p-o ..... ,.

- '* -·-····-
-:A ·---
i f -...
-·r "' r r -· ----.
~"~.t-ie c. t II
..
r
• -.-
C7
I
'-J''
......
.. ----

y. Ill>
£h /11'1}:
Ill
Ill'
IIJ~b
Ill /U
I
.
i. J- 2. ;
~·
I
.,
3 &- !;"· I
.r~ll-· -r--t) -~--·
,.,r(,J.t. j

-------- - .

- -- - ".-,f-if.IJ. L- --..- .
..
-- ....
llJ J
... ~t- ;.
f-
J111 Lie. c..i
~ . tl "jf I I
I
I .
II II
J"": 1 J_ 3-~ ~~.r- If-~ .? J., 3

'A A<\ ., ., e, "'

I"
ll'\
A """' .N\• I J---h l
" - ·. --

42. TRE SUBJECT WHICH BEGINS ON THE DOMINANT-Tfl!i: TONAL

ANSF...R. ANY SUBJECT WHICH BEGINS ON THE OOMlNAll'l' IS CONSIDER-

ED AS MO.DULA'riNG TO THE DOMINANT. The dominant in this case 1a
understood as the tonto or the dominant ot the subjeot{Sec. 37)_,
and it must be answered by the ton1~ of the pr1no1pal key;

:1 l:.,a,..,: e,. of C
ifi.l -
I.F
 43. THE RETURN TO THE PRINCIPAL KEY.. In Ordett to be
tonal, tb.e subjeot must, for the most part., maintain the tonality
~ ot its f1rs~ degree; 1~ must, then, reenter in this tonality
wntle· sounding 1ts principal ha:rmonies ..
CONSEQUENTLY t THE DOMINANT ONCE HEARD AS THE FIRST NOTE
OF A SUBJECT 1 AND UNDERSTOOD AS THE TONIC OF THE FIFTH DEGREE.-
ALL THE NO'!ES WHICH FOLLOW SHOULD BE OOriSIDERED AS NOTES OF
'1'~ PRINCIPAL KEY UNLESS THEY ARE AFFECTED BY AN ALTERATION
CBARAO'l'BRISTIC OF THE DOMINANT KEY, OR UNLESS THIS ALTERATION
IS UNDERSTOOD IN THE HARMOI\'Yi'i THESE NO!Ea WilL BE ANSWERED
BY THE CORRESPONDING" NOTES OF ~m DOMINANT KEY ..

_..,. . --t:=J~r~~--
01 .... Ill
--.-~-
l .,
Ill) ~ .:r ty
I I J.J. -r ~ ~ .r· ·6 ;(.. .r
~ A! f1e{- -o- 4hMdJ-- - - - -
.
i'J,
- ~~- -± ..

~n .
··- ......
b 0 - -·
.
l
43 2.. I 2, .] 'I
J-' ~ J'

44. IF, ON THE CONTRARY • THESE NOTES ARE AFFECTED BY

AN ALTERATION CHARACTERISTIC OF 'l'HE DOMINANT (WRITTEN OR UNDER-
STOOD) ; THEY WtiL BE ANSWERED BY TSE CORRESPONDING NOTES OF

TfUt TONIC•
 22

,.., p - "' • I
_Ll _!;; _
·-·
.!._

Ill I 7 ~ 76.r6/
,._ I ' 4 1 2.. I i-t-
-- -- -0:--,.....
I
~

(;. M"J·- ,_ - ~r-- /)- r--- --

f)
--6-:~- tt:_#:_f ·f· -[!··-.. -~ t$
(, J.... b l.j :t~
I 7 ~ 1 7 I I J ~

It is evident tnat the ~ pllif.OSd before the 1! ( f1:rst note

illi the second measure of the subject) is a obromatie accidental
.
a~ doae not affect ~he tonal1ty of :P ma.jl'fr, in Which kay the
subj$ct begins.. "'the tonality is affimt~l:ild by tll.e t,t twice planed
before the .g, by th.e lla%'Blon1c sense of the first fragment; and
finally by 1ta melc41c sense, wniob :can be :reduoed to the tol•
lOWingt

1]1..J 7 I 'tJ
 We sea from tb.ie eample now carefUlly one must analyze
a subject 1f b.a wishes to d1ii!t1ngu1sh. betwaen ob.romat!.o and
41t .to~al alterations•
45• HAl1MONIO FUNO'l'ION OF 'l!HE ALTERED FOURTH AT THE

BiGINNING OF THE StmJEC'fg EXCEPTION- WHEN A SUBJECT BEGINS

/

ON •THE DOMit~ANT FOLLOWED BY TilE ALTERED FOURTH WHICH RETURNS

IMMEDIATELY TO ~HE DOMINANT, ~HIS AL~ERED FOURTH ALWAYS PRE•
SERVES IfS ROLE OF LEADING 'l!O:NE OF THE DOMINANT. THIS IS AL-
WAlS ANSWERED DY '!'HE LEADING TOR, PRECEDED AND IMMEDIATELY
FO~WED BY THE TONIC KEY NOTE.·
G M-J·- -~-,C.

3 I

46. Aside from this, whe:re the al ~rsd fourth f'o:r-ms

'

some sol't of embell1sbn1ent of the dominant, this nota always

retains 1 ts chaX»aoter of a.l tared tourtn of t~e principal key*

.
1"'-'\l"''·--i c-"""''"""·
--------

1 4 31...1 1£"1 I
 N.. B. Auoo~ding to this ~ule, tne tour~n de~ee of tne
dominant key should nave, 1n the ~an.swet;t, the same altax-ation
whicn the fourth des~ae or th.e tonic key has in the subJect.

II) ~ I ~ __L ··- __ ... ...

.
~,

I
fiT
..II ~--

-
-~·
-I
l ..,
11 '

I "•
•• I ...
IS'~
~~ _l
f-.!!-·
·---·-
---··
··-·
........ _
..,

In tb1s ~$sa. if we·Qnswered this alte~at1on by the

corresponding alte:tiation, the ansW$~ would imitate the sub ...
Set-t at a apeu1t1o. time in contrary motion,. 'However, this
is not psrm1ss1ble;: tor we are oblige-d to answer 1t in
obl.1que motion.
41_• · AtmWER TO A OHR~fiO SUBJECT. This· a.nOme.ly
o.cours every. time \he su.bleot, 'bes1nn1ns c>n tha dominant,
proceeds immediately to th$ mediant or the tonic in desc-ending
oJU.oma t-1o movement,
It follows that th$ f'1rst degree of the p);'1no.1pa.l key
1Er 1den\1ca.l w1th th.e subdom1nant in the dominant $CalEt.

wa must ;t'$peat th1e su.bdom1nant in th$ answer, tb.$n, until

we oan :regain a real. 1m1:ta.t.!.onJ;
 25

ll 9-~-11-,V. fi!:.P__ --,.-

I
~
I I
I
T.\M1l-i G- --
'I-t
'# '1-.
]
1-::-t
J
~n_C/44/--JG-7- ._-
'

,_ ..,_
I
- p --
' :;
I ~- 3·
~- t-

G- '14J:--
:n
--~c---.:-------
'11-#f .,. , _.,. • " ,_
--,
'II .. I. ....._

48. One can ss<a from th.esa examples how, in this type
ot ~bjeet, the tb.ams ts d1at1gur$d: when the answer 1m1ta.tee
1t; e.lso the adv1se.b11.1ty of having, more often, e. :real
anawer to e.ny- ohromat1<t s'l;lbjeot deseand 1mmed1ate1y from the
dominant to the mediant or the toni~.

This is. not so true when th~ subject, before ·sounding

ttle1 e:b.:romatically altered fourth; appears on Gome othe:r dagtoee l
1n this case the answer toll. owe the general :rule( sea sao·,.. 92
et f~S. on J)Jpservatlong cong$r~'as .tlle
,. .. ~bl'_oma'h1e: ~Hl;)~e~.Y
 . .I •
--, -,
-J:i ..... ..
r
_j_
...... A>
....

•
_I·
I
"'
~ .11 -, .s-- u-~ , ] - ' .s-
~ illr flllaJ--\G---
11.1
~ -----
:1..
- '
h.
II ~ I

I b s- '1- -~ - I

49. Following are two tabl.es 1llu.stxo~t1ng the various

problems wb.1cb. aubjEutts may present while. p:receeding from the
·dominant to tb.e t:onic- with. the answers oppositet
:3UBJECT (descending motion) ANSWER

. )

·~ I
0
Q e }

II~ Pr r I= I·"Ff'r q :-':¥j·~~r=

)
rrr*d .

11gr r 1 9
4 fff
)
tT~¥1 '

.IIi t r \() ·- -· --~] ljt: g-ttl 0

~
Ill~ e· r r r I o ===f ~- F' r r r'la ]
 -·

•
 . 28

• (ascending motion)

tt- . ·- ---l
llf I " - 9
6 If~ --~

r--=t e tfJ?
11B 1

----·-a
~rrT-rr I e r "tr~~:- --u ·f

r· rni-"--c=~¥1 Jlrt-rfft_E?__ _ ::~-?J

') e~cazrr=:-%1 IRH iff I Q c_::· ~
) ..

1j cPtt!ttFl llfffll£fl~

~~ r~~)@ er r e1° d Itt :[r ,~*r 10 4J

•I '. ri1WCWIT1 ttttr- ·trrrteri~- ·J.
! . tt'
i[Et]d __Q__I . I ~- etat . , I
 ~f6ffEliJf~c~
• ~ eI 5
0

~ t±=i==:ri 3
~~t s=, -1

11~ r n r1 D J I¥ t-t=r r 1
fF~rp: I II r ID+t~¥1
FW·.tdttnm lftljjtriJrl
50. All fugua subJects of tb.:t$ sort can be represented _
b.V tne following se:hema tio plan. wh1f.th indica tea the degree
atteoted by eaeh d1aton1o o]1t ol:u'onw..t1rtt 1.ntt:Jmtal when ttw
sub3ect, beginning-on the dominant, sounds otha:r notes before
p:ro~eed1ng to tlte t<>nio c~ dominant~
.G/11/eri- -,c,- --.~-- ~ _...:.!!

{w1e~t00€~~----~-~-~-~~~·~·----~--~~~~~~~~
I_
 30

•
51.. P:ra.O't1cal applitla~1on of the pr~O:$ding t.ablea to
sor4e heads ot subjects prooead1ng from th.e.dom1na.nt to the tonic:

.fVJJ,.Je ct
I·
i
'A tl"tJ'WC. ...

___._
~b 7 I
 JU J;'- c,f

• ~~~ e~ .ll~~~~~~!~~-[~--~---~~-=---~-~-·>
.... J ...
1

- ----,

t
. ---- ·-··· i

A'M•t- -1
• --
"'
-~ I I
• IT :...!•l 1
;f) I f £-; 7 1 !
i DIJM'II---- A:f
Tm
--r -;a ___ .J
:Ill
l•IT,-'
.....
I.

...l .
Jilt . ... ··-
:1
8
....
s- 6-H 1 I

I
------~-=1
 32

.Jl\•D
~
~,.,., ___ G , ~lt.M·--
- -·-·--- ·--- ..
·-
1.1:• D
lLL • ~ ..
. -----

I IS ') 'I
~ G#W\( Ill\. q"";~.-
.Li.n
.on-~-- .rD. I
bP ..L ... 11:;
I ..•. .. - ...

t
6
' I

fA-wLJ'ee.-i
1].

AMJ~ive#-
 33

~ nC~----
r
-1>.
1 C.------- ... u
s~i;"ec.-t
I
_lll_ _j,
.ll!.
II) ~ i t ) J :t I
Itt·. c..""''"""--' G-~ -
A M J'/lv e-J.. I
ll
ll)·--·-
J1 __
II'
I
1.. •-t_
.1

't
lu

t I
--=----
::l"'"'!i.l!l

J
_! I

t.
-. - ....
I

~lt-MtlJ· --,G.-- - ~ ~---- ~

l -~~ -- ~--d"}·-i.... -.. r r ·
J'Mi/ee.f ..

1-J&'l I~ :J
/!""' llfl?- 84~i_-- tD--- - :- -·IIi
A""t"""e.l- I - I

52"' fHEOR! OF THE TONAL ROLE OF THE DOMINANT. W~ have

just seen tbat a sttbJ$ctt beginning on the dominant of the prin-

cipaJ. key actually begins on :the tonic of tb.e dominant key, in
order to return finally to the p~1nc:1pe.l key. Anoorcl1ng to the
'
same principle. th.e dominant ot the principal kay once heard in
the head or the subject--or returning to 1t during its first
' .

melodic movement-always assumes the oharaeter of the tonic or

tbe dominant key.. Obrtously, any subjeet which p~ooeeds im-
mecii'-tely from tb.e ton1c.t(or tne median~)to th.e dominant(or the
save$th)of the principal key. modulates via the same to the
ton1e(or the mediant}ot the dominant keN'• In other words• such
a subJ act. tbroUgb. 1 ts fundamental harmonies, forms a ca.denoe
to tJe dominant ..
i

53.. In· order to proceed to the dominant, the first.

 ·:
i.

•
I
melodic movement or a subject beginning on the tonto o~ medtant
always appears 1n one or the fOllowing forms;
a) Di:reo tl1 c

b) By soundins th.e medlant immediately before the

dond.nan~:

l) wnether the med1ant proceedta without 1nuer:rupt1on

to the tonic~: or
2) whether various degrees othe:r than tb.e f1f'th{ of'
the p:tt1nc1pal. key) a:t-e heard 1n any order,..: These various degrees
ars interposed between the tonto and the media.nt, and the latter
proceeds immed1a tel;r to the dominant:

lil~r ~
0
r r r i• r r r I
c) By beginning on the med1a.nt followed by the tonto.
either tmmed1ately or w1tn the interposition ·Of o~er deg~ees

(othe~ than the fifth)ot tne scale of the principal key, the .
tonto in all oases procseding lnlmediately to the dominant. ana
these degrees oceupy1ng an a~bitrary order 1n the melody of
tb.e subject:
 ,,
Il
d) By beginning on the tonto or mediant and soundiqg
other. degrees or the . soale before sounding the dominant, pro-.
v1ded th.e last note heard immediately before the dominant is
neither the tonio nor the mediant:

54. In the first three cases it is obvious that all

the notes prececU.ng the dominant retain tonio harmony.. In the
fourth oa.ae, onoe tb.e tonic or mediant is heard as the first
nota ot the subject, it is obvious·tl'J.at the other notes a.re
1n:the dominant key.
55· Th.1s, tnen, 1e the theory of the justification
of .the tonal attribution o-f these various degrees:
We know that e. modulation always presupposes a cadence·..
Tb.ts cadence con.s1ata either of the succession of concords •;J ".1.'.

or the subdomina.nt and dominant or of one of tb.ese two con-

co*ds• or or the suooess1on ot concords of the eupertonio·
and. dominant, linking the root poai'liione or lnvrarsiona w1 th
th$ tonlo of tne key into which it modulates.
It we modulate from tne tonic of a key to it~ dominant,_
this tonic ceases to belong to the principal key, for at a
 Ij
~ivan moment. :tt becomes the subdominant of the· dominant key 8"

I·f the moaulat1on is made by th.e immediate suaeession ct the

4lt t~o notes, ambiguity is produced on a a1ngle nqte wn1oh belongs
equally to both. keys; the ~asulting oa.denee takes the term
known as tb.a ,Plaga_; ea.dench:h That is ~he etfeot p:rodueed by
the first three of the preceding examples 1n wh1cn the note
immediately preceding the dominant 1s eit~er the ton1o {fun-
damental of the ton1o ·Chord) or·tne med1ant (third of the
tonic ()b.ord). :rn praotica we can not attr1bute the role of
tl"!iad on the f1l'"at deg:rae Of th$ P:t>inoipa.l key to the tonic
chol"d a.t ttte same time that it is th.e triad on the aubdominant
ot tb.e dominant key,. We always consider it, then, that this
ono:rd, is always on tha f1.rst degree of the principal J'ey,
and we also consider the med1ant as the tl'drd degree of the
tonic triad ..
96 • It would be different if otb.sl' degrees of the
ac~le ware interposed between the tonic or the med1a.nt and
tne dominant aft.er the to:rmar was sounded. The dominant, as
firat degree of the domtnant key, would draw 1n~o thia tonal1~y

a.ll, the degrees wn!cn separate it fxoom the initial note of the
subneot- all the harmonies aftoctad by these notes naturally
becOming a part ot the oa.denoe 1n the dominant key. One can
asa'tre hitnaelf ot this,. trom any example whatever, by dete~­

m1ntng the fundamentals of the notes inserted between the

 31

5
1n1t1a.l 1note of tb.e subject and the dom1na.nt.
I,

•
-r.. -
-·· -- --

57. Hexae a.ga1n a.mbigu1 ty a.ppea.:rs on tne med1ant

( s~cond note or the subject) 1 s1n,ae it alone, as the third of'
thee triad on the first degree of the tonic key and or the
i
' ~
triad.
.
on tb.e subdominant or the dominant
.

key~ belo~
. ,~
to th$
two tonalities whi.ch have fo:ro tb.ei:r :respective tonics the
f1~st and fifth degl"ees or the sC~a.le of 0; but since the
tona.l1 ty is stronge:r in the new key than in the. t all:teady
heard~ and sinoa we can not div1da the mediant equally
between the two keys.- we would naturally be led to attribute
to:: 1t ~he function of the submediant of.' the dominant scale
an4 oons1der it the tb.lrd of the t:riad on the su.bdominant of
th~e key.

5· 'fhe purpose of the degrees of tne dominant key attl:'1-

'bu.ted to these notes becomes evident 1f 1n the examples in
SEiutit1ons· 56 and sa one omits the first note of the subject;
ttte:(J'actenoe in tb.e dom1nant kef then becomes absolu.t.ely
necessary"' ·
 :;s

I
i ' '
tij.e dominant, dC$S not sound th$ ritedia:nt, but etoas sound. 1Ta:rioU$
othe~ degrees, amb!gu1ty w~ll. bEJ p:roduoed on the toni(t, as iu
tlie first. tb.:t-$$ oases, tor the tonic oan not lose its fun~tion

of t!.rst degr-ee of tb.e p:raincipal lteyt tb.e otna:t' degrees, 'both

~:rmon1oally and tonally, can bal,ong only to tha dominant key t

--=-_:::p~..:r.::p:.. :.- - -·---· ...

ill' I

< lit M~'-· c.--- ~-

f&T.---=1:= ' ...
,....
1 X .]l,J'

59 " THE BEAD OF fHE S'Ql3JEOT :PROOEEDING 1:0 Tfl.E DOMlNANT

(OR TO· THE SEVENTH FOLLOWED ml THE D01.1IN..t.NT). IF ·THE TONAL ANS'NFJ\.,.
'

. '

By applying the p:ttecad1ns

' !
tn~o~y we &!rli"1'Ve at the following;
A eubj~o-t modulates to the domin.Etnt key when, bei01nn1ns
on the tonic or the mediant, 1t prooeeds di~eatly to the
i
I

d~m1na.nt, or to the seventh (unalttered S.n minor) followed by

;

t*e domlnant.. In this tl$SS the dominant of t:b.e principal ka.y

ia considered tb.a tonic ot tb.e domlnant key, and 1t is answ$red
'
by tl't~ tonto ot the pr1n.oipal key; likewise the ton1o is
attawered by the tonto or the dominant key, and the medie.nt
1+ a.nawere4 by the me.d1ant of tb.e dominant key {sections 35,
3G, and 17).,
 C- -- t G- -- C. - - -- I G ---
'
!J!..l. - --
--0· ._,
·····--. --;--!L~j--~~===j
,
• ~
'I

:lh~
~~~~
II h.
IIDL
I
G- __ ,

1
.
. c.-~
...
...., --,

,
__- -~
() · I
G----1 e --
' ""
I I

..... -- --- --

I
·

--

c ---:
,.
G---
...____..:::-::= c ---,~(;.-
0 J --
r
II ""' •• _#oo - -

I•
Ill'\
II
~· .
1
~
.]
I I
II> J t
G-:.&--- f c.--
~

ii)G-- Ic.-- )
11 I
-·
!
!
NIJ. ..:::, --
.) I J

N. B.. Noti~e that 1 t 1a beat to avoid beg1nn1ns a subJect

witb tb1s progression because of the unvoeal interval whiah the
answer produces.
60 • WHEN THE SUEJEOlf BEGINNING 0~1 THE TONIC OR MEDIAN!
PROO;EEDS TO THE SEVENTH (UNALTERED IN MINOR) FOLLOWED BY THE
FIFTH.- THlS SEVENTH IS ALWAYS CONSIDERED,. BOTR HARMONICALLY AND
TONAtJ'.,Y, AS THE THIRD OF THE PERFECT TRIAD ON THE TONIC OF THE
DOMI~ANT ·KEY (SEC, 38) * IT IS ANSWERED BY THE. MEDIAN'!' OF THE
PRINCIPAL KEY FOLLOWED BY THE TONIC~
 40

II\ - I

( 10

• .,
lf'.J_
I
I .}
c.--
i-;:7-·
c... --

'
J '
G ,....,,.--A '()
__,G -~~----~-

il:l! 11 ~ ,.. .fl. t' rt"} .., U c--p--

J:u,o--
,,.. l:f_- 11:/• __I I
lb. "" --

c,---~o--
I ... --
,,, l')

'"' _p
'"'
•II . " -±=:::

6l. S1m1la:rly, 1n minor, the al tared seventh p~esarves

! ' 6
1t$ charaoter or leading tone, and it is answered by the altered
seventh of the dominant key:

•
 41

,.. ---
1JJ:-b- --14--
.., ,. -----
-·-----
.........
·-
CJ
I
I ----
I
< '" G """~""·-- -- c G.~-=-· .---- ---
Ill
--- --
---
II
. t . --

62.. THE HEAD OF THE SUBJECT- 'tONAL FUNCTION OF TilE VARI-

OUS DEGREES- THE TONAL ANSWER'* A SUBJECT MODULATES TO THE DOMI-

,· NANT KEY WHEN. BEGINNING ON THE TONIC OR MEDIANT, IT PROCEEDS

TO THE DOMINANT't OR TO ~HE SEVENTH(UNALTERED IN MINOR)FOLLOWED
BY ~HE DOMlNANTt BY SOUNDING OTHER DEGREES.
ALL THESE DEGREES SHOULD BE CONSIDERED AS INTERVALS IN

THE •SCALE OF THE .PRINCIPAL KEY OF THE 5UBJEOT 1 · PROVIDED THE

NOTE !DEDIATEt,Y PRECEDING THE OOMINANT{OR THE SEVENTH FOLLOWED
'

BY 'l'HE OOMINANT}IS THE MEDIANT OR THE TONIO ..

I IT IS ANSWERED 131' THE OORRESPONl)ING DF.GRE:ES OF THE

D~N'l':
J'~ l,.ie, ~ t
i
II'\
- . -.
F. \"l - - -

...
7-J· :t F '1 ,._.1
~ ...
~----,

,_
•
'c - *""-·
- ·-j

I
f. I !
c oi'F'\t.i'A• - - - - - - - -- ~=-~,.... ;

·'*~~~-rr:rT'J::={~_l:-·- . - - ---
-- ..
• I -·
-
I ,. I 1- :J 'tl. .1 1-
Q J'1qi'--- - .- /)··
I
"
II 'l'f;
. -------
--
-··--

Jl)•• I . )... 1 I I
~
/) Mtj_·- - --. - t;--
~Ht--
....
~- . t' -·----
--
I :l.. .1 I
 42

• h
r\ H

J
Ill
•
I

1'-IJJ;IJI' I
-····----
-- .......• --

!Ill 11 -~ I 1.[ :J ) I
DMtJ·--- - - - &..:.
U_l. __ B-
• ·----

i1 r'7 I l.tJ I I

G- Jl1tlJ-------,-•
. 'D.. --
::f· ·--
~
fl~:_r~ .. ~ ,_
Dfl1 11i·---:-~ c,.
1
-~
-__::~·
----

'
-

-
~1ft
- ..
rrr ..
UR I -· -··- --·~ ~

J i I J 1 t

i,

i 63. IN ALL OTHER OASES, WHEN THE TONIO(OR THE MEDIANT) :IS
ONC~
l
REAIUl AS TliE FIRST ft!OTE OF 'l'HE SUBJECT, ONE f:lHOOLD CONSIDER
I

AS SEING IN THE SCALE OF THl!l DOMINANT KEI ALL THE NOTES WfiiOR
I

MAO UP THE FIRST MELODIC MOVEMENT WHICH LEADS THE Sti.BJEOf TO

 i .
;' iI
'f~ DOMINANT OR TO THE SEVENTH FOLLOWED BY THE DOMINANT( SEVEHH

tmlLTERED IN MINOR) ..
I

I
THEY ARE ANS\1ERED BY THE CORRESPONDING INTERVALS OF THE
TO~IC SCALE OF THE SUBJECT•
t

i ~HE UNALTERED SUBDOMINAN'r IS NO EXOEJ?'l'ION TO TilE RULEJ

i .
IN iTHIS OA SE IT IS ALWAYS CONSIDERED THE SEVENTH OF THE DOMINANT
i
KD AND IS ANSWERED BY THE .SEVENTH OF THE PRINCIPAL KErf
' '

64. Tb.e same applies to the sevsnth degree cf the p:--1n-

otpkl key( altered o:r not in mlnor)when 1t 1a uead in the t1rst ·r
melbdic movement e1 tb.er a.s ·an embellishment or as a pas sins
ton J IT IS AlJNAYS CONSIDERED THE MEDIANT OF .THE DOMINANT KEit

•
 ·44
!~
In minor, ona must also te.ke into account tae peoulta,!i-
\iJa ot the modern m1nor key:
i

1-
.. .
3'13" ~-..., t
' II II I••I l(

Or ,----A~
65. It is this rule whiab. expla1ns one of Battnt s answers
whl~b. ita sene:ral.lt ~onsl.d&:red teJ.se(Vfell:-Tet!tRl~re~ Ol,;.t;~:v3-chor§l,
i
Fu~a 18).~ Following ts the subject:

I!X\\e x rm#ftkEf&r r rq J 1
Baob. oonstde!'s tt. t.to:ttX»eotly enous.h 1 as modulating to tbe
domlnant key as early as the S$00114 note. Sittca the last note
heard before tb.e dominant Wa.a na1tb.er the tonia nor the med1an'b 1
I
I

thej notes interposed between the s on tbS second beat ot the

I

fir$t measlU'e and the 4 on tbs aeoond beat ot the second.

! - .
me.a~urs, belong harmonically to the tJadence ot n;t minor. The
x b~tore ,!(seoond notEiJ of the subJect)ls ev1dentlJ ouly a
I

aupttonie acoidental. Bach treats hla s-ubject as tb.qh it were

I
in ~b.$ foll&wing :f'o.xamt ·
 45

w~1oh would nave for tts answert

.,4s: J ~ wiJ
11-J"
]
an<t by analogy 1 1t gives the a~swel't

@\·!;J ;Jfl i5lp A

a~ not lUI owtain O:b.eodsts wOUld bave its

' ldr~t ;jj1ii JJlj-tEJ

~bts last form makes neithe~ mus1eal nor harmon1e sense.
One would better tU:tderatand the ~uthent1e1 \y of Bach 1 s answer
by $ubst1tut1ng an tit to~ the J)c wbi:oh would be answeX'ed by~.ll,ll.
or ~~ t~ansposing the aubjeot 1nto major.
! 66. In llke manner ws can explain tb.e tollow1~ answers:
..
G M'fl' --,'I)--·-----
.-
_Q_
,..
r-·
"If
"117
~--r
-,
- -
....
111
Ill"
IJNai·· G-- -;- -~-
....
-~-

Ill~
Ill.-
IUT

c 114,1·-- ( ' ; - - - - - -
fT'"
_
.....
-~
-~f---#
. ---- tf:
1-llr
.Ill

'
< 1)&- Mt!J'·- c.-----~ ~-
- ,.... -r
...... ,. + 1-J- ~
rT
• --#
..I .. .I II
 '. ,
67 " Tabla repi'eeent1:ti.6 va:r1o"'& b·agin..td.nss of subJ entt*
p~osedlns t?om the ton!.o to the dominant, w1th .a.n.swara
op~os1te•
i I
I

LA- JL

~~
i
9 I 9 4 [B>9
nJ .
., g:~
'
.

~~r ~~ =:~
0

j_ ~
~~ rr rI 1·~ ~~~~~,;:;;:;;;:',rGfHFh.--.-~f~t--r-7'rr~~i
0

J_ -
~r ~ r r 10~·~ --lrr-ttrr-r--;'ri,----,-~n--..
j
.l. N.6.
~~t U f r§J~~ 1,--rr-rNr--.-r'f~~~~J
~) 1 ~~

'~ttl=!
ljK[tiffrrl
~~~rrJ' ~
liM r r 1 0--- ~I
 47

I "

~-E~~:}~ttr 'U#I~
~
mr r r I;·--j·~f r'r I'¥{
.
& ]

'Jr P r rl" Hr t rlriffi IW' P r FF¥1~1[ c:r~

i

~~~ru r rH ~
i

liB tf (J F~-d~-~: 1

~~~tt ftgl ii:j

N. B. see seth 92 oa callsmd;e.ps concemtns ohroma:tie

I
subJects.
I
j 6&,. we ean represent all sllbjects ot thls k1n4 by the
tol,ow1ng sob.ematio plan~ wnleb. slvee tile ~esree affected b7
eac1 d1atenica ·ott otuwomat1<t 1ntel'Val when the head ot the subject,
ba~ begun on the tonlo o,r mediant, sounas va.tt1ous no tee be-
. to:tte proceedag to tb.e dom1nan:b or to the seventh followed by

I
~
 tb.e domlna.nt:

J I

6t· • THE SUB DOMINANT OF THE PRINCIPAL KEY OON6XDERED THE

SEVENTH
;
DEGREm OF THE DOMINANT Kat. I t has been said previoualy
the.~ wnen the subject proceeds to tb.a dominant by sound.1ns the
!
subqtom1ne.nt of 'tbe p:r1no1pal key, this subd.om1nant must be
I' .
tretted ha:rmonloally - a.l though not altexred- as· the leacU. ng
ton of the -dominant
I
ksy~
.
Actually, in thie oase, we cona1dar
!
tb.1s sub¢tom1nant as the subton1c of the natuml soai~of the
;

dominan t;,nd treat 1t as thougb 1t wel'e ·tna leading tone'~·

.l
We
i . I
lm~ that 1n th.1e kay the s.eventh. degre.e is e. natural inte:rval~
. I.
i At any rate, real1s1ng tbat the domina:n.t of the prS.nc1- i

pall key, b.$ard under t,b.sae oondltions, c.eaaes to be a dominant

in rrder to 'beliOillEI the tonic ot the dOIII1Unt key t 11;. 1S 1111 -
 49
I
i
pcl!.uatbl.e to aonsida!' this subdomtnant a. root of' tha parf'eot
I
I

triad on tne subdominant or the tbtri of the perfect triad on .

tn~ euperton1o of tne pr1notpe.l key, s1noe nelthe:r or these
twp triads oan determine a modulation tc> the dominant. On the
oo~trary; it is lo.gital to oons1der this subdomtnant as tne
su)>ton1o O·f the latter kaJ• since; tn tb.ls ease; it becomes
the thud of the trlaci on the dom1w.ant ot the dominant, and
tb!ls trta.d 1s ln the perfe\l\ eadenoe 1n the dom1na.nt.
10. Further, one must nota, while on this subject.
that the hal'lnon1es affected by tbt.s part of the !Ulswer are
syronymoua with those wn1oh are affected b,J the co~espond1ng
i

pa2't of th.e subject. As a Jresul.t of th.e appl1cat.1on ot the

'
px'evlou~y eta.ted pr1no1p1G, ANY NOfE IN THE SUBJ'EO~ WrtiCH

BELONGS IN THE l)OMINAN! KEY MUST BE ANSWERED BY T-HE OORRESPONtl-

i
I
Ilt) NOD IN THe PRINOIPAL KEY.
!
'What is heard ot th.<& melody ot the aubjeot applies
:

~Jtott1or~ to the ha~on1ee determined by this melody.

j 71-. TOliAL AND fWU!ONIC ANALY6I5 OF THE SUBJECT .. · It

t llowa from tn1e that wa can not anal~ze a fugue subject.
I
tJtom the point ot v1ew tr>f tonallty and bs.mony 1 in the aame
~nner tba. t we would analyae 0.111 melod1e pbl'aae. In tlle fugue
I

s~bjeet, the :role of tb.e tonic ot the d.omiruu1t key e.ttr1butetl

• ~· tbe f11'tb dag:ree of' tbe prinotpal key, wben beard 1n tl19
b~ad of the subJect 1 date~ines a tonal attribution peculiar
 .
50
il

I
I

toll tb.e des:r'ees imDlad1e.tel.y preceding. the dominant .when these

I
defees a~e other than the first or third. The oorreetne.ss

• ot the answer deJ;n$nds upon the st:r1otnees <>f' this analysis.

0
1

I
1
1
!
frOm the tonal po1nt ot
I
I
I
72.

.
If, tor example, we a:na.1yze the following subjeet
. .
v~~w
.

by considering it any melodic

, .
.

pbta.se
l
• we would oonaide:r
.
the :fundamental
.
ba.X'mon1es ot tb.e
f1~at and second measures as belonging to the key of ~b•

...I ...\ "' A

L ,. ~J· iio :y;~ .
1111
..6.. ~-!- ~

<
"'
Ill r I i' - i
I
.. I J.J ~
L n
(')
"' ,-
.
-
-

_..J
. -·f

: But 1f we look at 1t from the speoial point of triew

of·~na tusu.a, tha dominant {R_b) of tb.e principal key (second
bea~ in the aeGonct l!l$aaee, to which the first melodic movement
of the bead of the subject joins) must be oons1dered tb.e tonic
I
I

of ~be
I
dominant key. As a ~eaUl.t, sinee the subject modulates
to ~:b.e dominant, the motlula.t1()tt 1nvolvea a oa.d&nC>e in th1e
key,\ and tb.1s ca.d$noe •n inclUde only the na.:rmon1ss attributed
I
to ~e notes & and s found on the third a.nd tou:rth beats of
tne ~1:r:>st mea.s\U's. 'fbat neeeasiilates attr1bUt1n.g 'lio them
I

the following tundamanta1s, wbiob are harmonles in the key

~ Of B~~

i i
 51

I"
I
I'
!I} . ~ ! Jl! I
~ il fA_L_IlJ---r--
aii~~J
lrt.•
.. l A
_ll
_,..
_r:
1

z I it ·Sc I

These baxamonies will. dateJimina. for the answer, similar

harmonies 1n the ke7 ot Eb. and the answer will be tonal:

r:11k 1

we could have conside~ed the s on the third beat or the

t$ret measure or the SQbjeot as the tbl~d or the subdominant
t~1ad 1n the key of Bb t 1natea4 of conaS.dering 1 t tb.e dominant
oil' the supertonic trlad in the same kay" 'fb.e cor~eapcmd1ng

harmony or the answe!* would have given the .s of the thit'd

!
b~at tbe role of the t~d ot the subdom1nant triad in th.e

• key of Eb. the oadenoG also being dete:rm1ned by the superton1c

followed by the dominant, or by the subdomlnant followed by
tbe dominant and procail1ns to the ton1e~
 52
\.

i
73~ It goes w1thou~ eaying that tor sentimental reasoQe
we'! oould a:rgue a a follows • "Tne}teart has ite l'teasons wh1oh the

•
I
'
re~eon doesn • t know .. " But in the present <:ase the aforesaid .
ba~on1ee in. examples (b)~ and (.c)ara logioal and compatible only ·
i
wi~b
I
a real answer, those tn $xampls a not be1ng applicable
,
i .
he*e silQ.oa 'they belong entirely to the key ot Eb and since the
li

eul\ljeot modulates to the dominant., Let us alway$ oonaidel' that

i

this method cr regarding the aubJeot harmon1oally is purely

I

tb.~Ol"etioal. having only as ita objeo.t the tonal relationship

I
'
of ~:the subject and answer, and let us rement'ber also tl'l.a.t tb.s
subject, considered alone~ can be ha:rmontaed ent1:rely d1f:te~e.nt­

ly

'
ba.~ bean b.ee.~ e1 the~ as the first note ot the sub3eo1i o):' after
i'

tb.~ tonic or med.iant, e1th$Jt followed «nt not by other desraes,.

the subJ eot must J.'eenter 1n the pr1nc1pal key.,. ALL 'rH;E NOTES
[

WUl~H FOLLOW '!'HE DOMINANT WHEN HEARD UNDER TRESE CONDITIONS

MUS~ BE CONSIDERED AS NOTES OF THE SCALE OF THE PRINCIPAL
I!

~OF
[
THE SUBJECT, UNLESS ~EY
.
ARE AFFECTED BY.' AN ALTERATION
C~07!ERISTIO OF THE l'lOMINANT KEY, OR UNLESS THIS ALTERATION
I
I

IS t.JNm:.RS'I'OOD IN THE JlArnAONY *

I
I
i
J In SUtnn"Jary;; a· subJect. ac.cord1ng to tne spec1al rules
of ~be fugue, can modulate to th.e dominant only onoe, and it
1t 'odula tee a. second t-1me 1 1 t oan be· only by means of an
i
alt~ration eha.ra<tteristtq of the dominant k$9';
 53

••
.. I
1n
IH,f"'
fll"'
-r
. 11. r Ill'
. ~-r-h--·-·-f
1 r - ...
111!/1
"' . v
.~[\t '
~tit\- G-VW\il.:-\• ~
- -11:- - -- - - --- -
i"f.V
·"11
j •:.J/
-~---.t-:.
-,.
~ _ ... ...
_
liP' lfTft
li9JII
~~tII -f~--R;-11--i"lf
..
--
' I -If
"'ll"7i~
_U
-on

""'i
till tl

u~
"""
,I _,i
""' -.----- -- .. -· -,.-

J'NI.Ja. e.cf
1'\
.II.
'
__ o......;J I
••
-r •
_j_
-

' ~

iJ,
.
•A I \ • -
. -- -
~ --..
c.~~~- A-~ -
...
- -t!iJ-
I
: 170:• II l

- ·--
i
I
A,., J'"" e,_ --'JJ •
'

E----IA __ _
 54

c,.,...._~NI·--
.., --..-
1¥ I
IF-·~ t ~~ .=--12-~~~ ~~----
4 rr ... ' I
'F
.
R I -..-
.
g-
.
K ---
·---
----.
.......
~~1J·&et
T --
1,1:'-L ~

•
'I

6· ~t-,.F~~........: e~li~le=- - - -..- 1.-:::- 14 1h..-- 'c.. - ;----..

'
.....-,.-
Ill -;-

II
• ........
'11'111> ••
•I - --
--
. ---

IJ-...i. ....'A"" I A"'""t""'•- -~-- 10-----

~ '.}
-·
-~

~ ·-w -~ ot:f•
..- .. -~-,;e -

i,f....., 'J'(!_~t I"

...- I
r
.. -~a:

'..;JB II
\ ' •
'
:7 -r~A~cs·-~to~cM. -· '
-:--tA-
liT Tf'
..... ·n ..;;;------.· ...... "'olY:Jif ID
--

! A~_,~ .... 11J·

,, b
..:!!:::"~
. -.-T --
-
• u

fS· fmt ftEAL ANSWER ~0 A !ONAL SUBJEO'l. In oerta1n

lt~lted caaas-aaide f~em CUO'JD$t!.Q nu~le<)ts-where the E.lU.bjae'h
pro¢eede to the dominan1.t bt soud1»& vat"1oua notes of the scale,
!
a real a.nawe:r 1st pf)rmiss1b1e -if the answer takea on an atstl-
mu~1cal to:mn; _or it tb.a melody of tb..e subJect 1$ too dlstortedl

--,,
;
. I I

)
Iii'
I"
~!.--""
I
.......
--- ~ I

1
l
;-rr;r
II)

.. , -,.-
·--1

-
m-;:- I
IT'
......
, • .A
"' ...ll
P'lf' T

...........
~
..
-

•
'
,-,
'

~sons
;
a~though
i
t'h 1s QV1dent that tor UW!rit a .subjeot the real answe~, I
contrary to the r\lle, 1e prettre.bla for the two
ste."ed abQ-Vel
 I,
! .

•• i
wb.~n
I
These eaa$s occ.rur vef!-'9 aeldomt
the melody of th~
.
SUblett
.
.
1s ot a movlrls oharae'be:r at. tbS
the;v ee:cur pa.X"1dl.oula.ri.;v'
.

bastnnS.ns, and au.oh: cues are east11 diaoe.-ned.

!
1

16 !I i'$:0 a sub3 eo\ sueh as the tollow1q iib.a :real answe:f.

i.e )just as desirable a$. t.he to~1 answeX" 1 Whlth. tenda to d$-
at~or tb.e meloa; of tha AbJect:
i
0 /1("'\.- -•A/tft\i.M·- .'It- - iC ,....41
.-- - -.o. -1,1.-

H-J~-:l-
a
•
.
[
. 1!1
r
•
-.-
"'--'-
'lf
u
-;~,.
-~-

I
'
tr~·
:Ev-~;
I'"

'
' '
:rnA /hl{Jtl\.- o~i r"'"'----- --- - -
.,-,. -· l--- :-
II'
11-,.D
IU
q

•
.....-.
I"
. IFf'
1£ q
~~
. -~~~-
~~
~~·
-....:
i
I'
\

Ill
-.-. .. -· ., _,..~

lf.;·~r~
--· '1!0 . iT·-- 'If
IT ~
·--.;;;:;- ...
I
l ....,;:,- "
•

If' wee ~noose the tonal answer, we must oone:tder the

I
une(ltered su.bdominant of th.e p~inoipal key tb.e subtonto of' the
!

pulfe seale ot th.e dominant, and ;represent it in the a.nswe!' by

I'

tb.ejlaad1ng tone of the prtno1pal key, wh1eh so obemges the

mel!od1o ob.araeter o.f the subject that it 1s better to use
• ttie! real anaw$r. It ts also convenient to ba.ve the subject
end each time on the dominant preceded by the unaltered
 56

I !.

su~dQml~ant or tne pr1no1pa1 key.

77.. MODULATION TO THE .DOMINANT BY OH'ARAOTERISTIC ALTER·

•
j
I

A'fiON. TONAL ANSWER. A. SUBJECT MOD~'J.'E5 'TO THE DOMINANT Iatt

EACI-1 TillE ONE OF ITS NOTES I5 AFFECTED BY AN ALTERATION CHARAC-
TERISTIC OF THIS KEY (SEC..- 3:i) OR WHEN THIS ALTERATION IS UNDER ...
STOOD IN THE HARMONY.

In this oase (sea. 281) 29)'

ANY FRAGMENT OF THE SUBJlto~ BELONGING TO THE PRINCIPAL
I

KEY IS ANSWERED NOTE FOR NOtE 11 ALTEP~ TION FOR ALTERATION • IN

THE DOUtNANT KEY ..

CONVERSELY, ANY FRAGMENT OF 'l'HE SUBJECT BELONGING TO THE

DOMINANT KEI IS ANSWERED NOTE FOR NOTE, ALTERATION FOR ALTERA-
I

TlONt IN THE PRINCIPAL KEr.

Th1a subJect 1a 1n F major; 1t ends on the dominant and

al o includes the altttrat1on obs.raote:r1st1c of tne dominant key
1n the second last nota (the q placed before the Ja. aubdom1nant
of the key of F, becoming consequently the leading tone of the
ke of C1 wb.ich ia the domina.n't of tile key of F) .
The answe~, tb.en, would sound tile leading tone followed
by tbe ton1o in the kay of F, and would end tnuet
 51

•
...

78. But in this subject 1t is evident that the modulation

to: the dominant key ex1$ts betor.e the cb.areu~ter1stie note of the
lter bas been. heard. It 1s not always eaey to determine th.e
emot spot at wb.iob. tile modul.at1on to the dominant ecctt?S; and.
we ean, in a sr.ea.t many cases t t1nd two or more tonal intel'pre-
1
I

ta.tions of the subject, all of wb.1oh are more or lees luet1t1-

ablew, tt is oerta1n. nowevert that e:r all.- the possible solu-
tions of' a epec1f1c case,. ·th.are will be one which is preferable
; to all tbe others~

79 • SUBJECTS ANAL'ZZED • We Will attempt to make tb1s

clear by an analrsis or the preceding subject, together with
i
sQma otns~ analogies;

For the sake of discussion wa admit that tb.1e subject

o ba divided into two d1at1ncii melodic eect1onet
 The f~st seot1on beg1ne on the tonic and does not go to
tlla domine.n1H we ought to con.side:r it, then• as belonging in
the category of the real fugue, and treat the answer as tndbgh.
t~e sub3eot confined 1taelf entirely to thie section. In
f~suring the intervale of th1s section in relation to tne tonlc
ot the key ~r F, we get the following answer:

W . I
"'
\ l ~
T
 a:ra aa followat
I
I

. .
-- '

It is evident that the .6, 1 tunde.manta.l af the seaond note

of this santion, can have only one maJo~ ohord belonging to the
key i ot o, whlch naturally implies that the modulation. to the
i
·'
dominant must begin Gn the first note of tb.e aec.oad. .. eeotioth i
'' .
?miS ENTIRE SECTION, BELONGING IN THE DOMINANT KE% OF 'l'HE
SUBJECT 1 SHOULD BE ANSWERED BY 'l'IiE CORRESPONDING DEGREES OF
THE TONIC KEX:

••
 1-

,.

fna joining of the two eeot1Qns or the subject will give

• us the following answer;

-f'A1~·e~i
i
I

! 81. Tne· following soltttions ware p~oposed at an axami-

1 ;

na~1on; they are manitaetly tal.se.. This can be seen by oompari

: - . i
lns any answer with its subject by plae1ng opposite eaoh ot '
tb.• th.e harmonies wb.iob. 1t would assume 1n th.~ subject, ob-
eerlvlng'the impoaa1b1l1ty of juatitying the tonality of tnaae
i
barlnon1e sa
''

In tb1a answe~ w$ mua-& aeswne that th.e notes indicated

•• by +} belong to the k$3' ot :w·, a1noe

by ·he oorresp_onding notes in the ltey
they !lava been answered
ot Ol one oan not. under-
 61

s~nd, then, why the leading tone of tb.e le.tte:r key is affected
i

•
brian alteration or the key of FJ this alteration would be jus ...
i

'
t1f1ed only 1f tne subjaet were tn tna fol.lowin!l formt

Tb.is, however, 1$ musloa.l.ly impossible . .

St ~ lf we analysed 1n likEJ manner tb.e two following
e~utton.s. we would see that <filley wer.e unJustifiable both.
t
barmonieally and tonally&

i A""' .r~ve. J..

•
!

c~aoter1stie ot tb.e dominant ke:v. It oa.n be d1.v14ed into

tnree melodi~ aeot1ons;

The firt:lt two t.u~ct1~ne a~e obvtousl;yin G minor.

Aotua.llf• tbe f1l'st sactio!l (tb.e head ot th$ su.bjec:t)
go~s from the tonio to the msd1sn'h, passing tnrougn tb.e
I

auperton1o;
I
aoeo~d1ng to the rule, the 1ntervals should be
.

f'1$1J.red 1n the seal& of G m1no!' {pt>:i.noipal key of th.e aubj ao1l) t

l

'~
_..- lUI
':II A ·-·- -arr .. """
ILl
~~~

lD I .t.. .J
0 C?""'..&-"""·
- - ····-
ill L nu ··- ·····----
Ill" .. "11 -·
111-.. lb "i
IU ....
I l- J

• J .· .The second section Clan have only the following fund.a.....;._

men\ll'
'

·
 Il
h
---- -- --l
Il J.

•
v
I

lfl
·,~!l_~
J

The answer to the first two sections com.binad will be

84. There can no· lo11ger be any doubt a a to the tonal

:r~e oi' the i'U111i £! 111 the flhUd 111111t1on1 . . .

s~a obv1otJ.aly 1 tb,e last five n•tes of the su'bjeot belong te.
t¥ key
i ' •
o:r D m1nor, the dominant ot the subject. Ac-tually.
.
tib.~ .! ( suba.omillant oi' G) aliA the Jl ( eu.brll$d1aat of' G) bea:P thll' ·
a1 ara.t1~n tharanteristi c of the key of D. Tb.e eubjset f1nal41
1
 64

to :the key or D rd.n.();rt.,

• as i&
The first note of the tta.trd aeotlon can onl:v be taken
:root, third., or ·ftttb of' a t!h<Jrcu
l. .. It 1£! aerta1nl.;v not the roott of thG chord or D
m.1dor, tne preC);ed1ns nota. ,2, being ilhG th1.~d o·f the oh.o:t!'d on
't~ subdominant of· G, and ttl$Se two chords can not be <tottnEuttett . .
NattheJ' is 1t the ~oot ot the oh.Ox-d of' D majol" { domtnant or G
I
m1~o~). ror the tonal1" ot D minor does not wa~rent a c~ord of
:0 nrjor.~

a. Fo%1 ths same reasons it is not 'flb.e third of. the

aa3:or cnord or Bb on tne eubmad.1ant of' D m1norjj
!
3. We must 1 then, oonslder tlt1s ,a th.e fifth or the
chcwd ot G minor, which conaaqu.ant:ty • by v1rtua ot the ~

whlob 1mm,ed1ataly follows 1t, becomes the subdom1nant of tha

ke3i Qf D·.m1no:tt.. We must,. tban~ attx-1buta to this A the tunda-
,

msqtal, .th and consider S..t ( thra ,!) .th.e tonic of D m1no~ ..
The th1rd aeot1on will then have for ita tundamantalet

u•

IP 7 1. .s-
< 'A 7 I

t
·,n.

t4.tvl ~- '
 i '.

• '.t-
. A--
~-----
I
--

7 l. I

.-- - 11/J - --- -

""
(7 r .,..
A
... -..;:-- i
'·
-,;_~

T
l.il ""'
-r---
) -·
·II .]
I1 t .s- 7 I I
J._< _]
' 7 )
I
4 I
l(
r
·-~
/) I'M. L."""' " .- - --
~ &--:~~- -
"[:~3
6:- - .0
IIJ·--·b-.l:f,---A- li4 ~- . -· . --

I ~ J - ---l

I as. TWJ: stm.tm ENDING 0111 TilE OOI.!I»ANT oR TWJ: SEVENTH.

~ fON.AL ANSWER.. A stmJEO'!' MOD'O.l:..A'l'ES TO THE DOMINANT WlilEN IT
i

i I

Even when the. dominant 1$ p:c-ece~ed b;v tne u.nal -tered

~
a~ I

au a.om1e_.· n\ of the p:r1no1pal key 1 Wb.icb. always ba4ontli!fs t~e _ ,

su tonic o~ tn& dominant keN' and Which !l.s, in the answer,
ret:~,;tssented by tb.a l.~ad.ing ton.$ of tb.e pr1noipal key (sec. 16) "

I
 In thts case the dominant is eons1dered the tonlo ot tne
i

•• 4o.lnant ker and ~ne answer ends on the tonic of the p~1nc1pa1
I
ke;vt ~ ,
.

b) ON THE SEVENTH {UNALTERED IN MINOtt} OF THE PRINCIPAL

KE!'' (sao. 38).
In this case tb..e seventh (unal.t~:t:'ed. in minGr) :ts aonsld-
erea the tn1:rd or the dominant k$17 anct th$ answeJ> ends on the

86. In ord.elf to f!.nd . the a.naw~:r to these subjeots they

must\ be submitted to the sante p:rooess of anal.;ys1s which the
I

subj~ots in the pr~eed1ng pa~ag~pbs underwent•

Tb.1s su'bjeot oan be divided into three partsa

 I'
61
"l'
:
l'

The first part., acGG~ding to tb.e rule, calla f'or tb..e

•
followlng at'i$We:r 1
I
!•

--'· _,.,
,..
J',....i/ec,t ·~ t"'
L
"I :J I
~
JJ")CMlli
<a
-- t.....
ll.l' -•
lb 'C~
A"".rw~ 1-
_H
.10 I I
•
'I . 'J

The subjeet having modulated to the dominant. must,

tn. order to be tonal, ~eenteJi in tthe pr1no1paJ. key. Now 1n tb.e
se~ond pa~t there is no onaraoter1et1o alte~at1on in the dcmi-
na.~t key, and this s.lterat1on is no·t understood tn the harmonYf
tb.l1s pa~fi 1 tb.an, belongs t.n 1 ts entirety to the pr1nc1pa.1
tonal1tJ of the subject; wb.ieb. calls tor the following answe,-,

In the tb.ird part, the ftna.l no.te must be tlonsidered

t~e. ton1e of the dominant keYJ this implies that tb.e modula.~J.&n
o~<ttlre on c, the flrst note of the aeet1on, which we must o:on-
1 -

s~de:r, tb.en, the subdom1nant of the k$J ot G, and wn1ob. would

 1
'\
''

ST. Analyzing the follow!:ng sub3ect in the same way;

we ~ind tbat tne last figu~e, 1n ita entirety:

be1~nga 1n the key ·af Eb, dominant of the pr1no1pal ke.y.

Ao'bua.lly tile last no-te .flt aooord.1ng to nle, must be
 iI
'
o~nstd&red the medtant of thEJ domtnant key ot Eb; oottsequently
!

t~~ :2 and the .!. Pl"Sc:teding 1 t assume, in th.e1r ha.rmoey lt the .4~~

• t~ cha.racterist1e alteration. ot the k~y of Eb.

The answer will then be as followst

. --

. a ...
• &1: -- .. - ·-·-
··--
..

J;.!,Lfeci .1
l"'
--.- ri'"i"
1l I
- . . -11. t'll

ID , 1'7-~ 1- \

I·
~
tp,_\'N\· -~<:H~ ··""\·--- .....
·~~..
- - -- t:ll 1·~-:- ···-·-···

'
-
• R I ..... -;;;:
'I"'
T ._
-
...
I
-
~
"' _j_
-..- 1-+ ··------.

0¥
~ 't..-"'

I
A,.....i"' ·-! t ~ ~1"\.- -- s.:::.-;.._-- A·-----
ff-~ r j[·r-r~·
I ?'f" I
( ,-7;-

JA-1J;ec,f ·u
......
.. F
..._. ..;..--

e ------
I

A, Mt'41"·-- --
J.:.· ~~-

\ IJ111/1"'o ,·-._-
- -;;;[ "" :;;J' .
r-.
.1
I
I """' rr--.
_.., --' T
I
'
-:;;J"'.
-- .

•
I ... '""'--•~D-.'1'
tS
.,. ' ""
 70

C-- --1' r:-

I
-f""''

J'~1·e~1 -u
-u,
'-4
'
I
It>
·,- IJ
p-•

E •

lll I I

-'-- F---- --
• .). !

II-'
f ~~
_.._ -'

I
-
'"'
- ----~

,. . I
. fll
t~-- _e/_
-"'- _j_

. _L

G-- ____ ._,. .....__--~--- - --~--- D

JA,tJ·ecf
If.
A11&&.e?-

6 -- ., ~ I - -..:....-- ~ r-- .:· -- -

«" "¥1
w...
. ·"'- _ff_

J~1'ee-f
:..r,..·.t:l' ;J, -:::; ..
IQ"f'l -,.1 --::. ·- I

" ' I
I
J:- I
-~
r!,_ -~! B-1 t='~"" - 11 J,...l-l

-""'---;:; B1B-
I ~
- -
-.
-

' . "''
_,._ __ H.,L

, .... "'
~
-~ I <II> ~'IIY T_ll I _L"li' -
I
I I I L.-t
I I

o -
1
n~I o-------
-1T'
.,
__#
Fl
..1<">.~::'""- ......
- --- -
- --'pltj --- .......
.# A ....I':

J'f1f'-el ,.... ..ll

'
. I
[., -()--
\ 1...-::-
~
lj • '-1 ~--
,.,
r
r D --- -- z. ~-----~
-~- IA.A .. ---
\ 1.....: D..,
. ,.
\ " ......
-·-~
~
..L ~-1\'
I
, \ 1":r
fb ____ ---------- -4
~

J'~L;ecl
I

• 7'
 71
. '

• J~1·e~f
9.

SS.. li!UTATIO~h !he re41prooal 1m1tat1on Of the ton1c

I
keY: by the dominant key makes tb.e a~ewe!: seem t() ~~4ulf+'te to
tb..ei key of 1 ts own . subdominan.t saob. time 1 t 1m1tate$ a trag ....
I

ment ot tb.e subject modula.t1ng to tn.e dominant key. We see

frdm the preceding examples that the answer actually undergoes
a. ~ba!lga w1tb. xregard to th.e sublect each t1me it modulates to :
the dom1nant ker or ~eturns to tne principal key~

fHIS MODIFICATION IS CALLED mupa~lOD•

The wtation is, in short, oonsti tuted by the omission

i
or;ttte addit1on of the interval
I
Qt the second between two notes
i

of'! thEl answer.- tb.e one cone1dsred a.a belonging to the tonic key,
th$ otbe~ to the dominant key.
89. In oel:'ta.1n oases the mutat1on produeaa an imitation
of'; the su.bjeet tn the e.nsw$r bY' Obl1que mot1on; in any oase, ;it
' .
can not produce an imitation of the. subJect
.
1n oontrar,y motio~.
I
• 90. st~iotly speaking., the mQ1;ation produces in tbe
anrer tbe omission Of tbB in~ ot tile second (llle.jO!' 0!'

mifo~ according to moda)t

 12 '

a) WHEN THE SUBJECT PROOEEDS, AT 'fHE BEGINNING. FROU

•
Tm!.! TONIC TO Tim DOMINANT-OR TO A NOT.E OF THE DOMINANT KE'!t-
BY ASCENDING MOTIONs

-.,
'3 .. £

-
7
~
- ---
tl"d
c;p
--... ....
J'.. '
I
I '

AMJ"'-er t ..,~l

'
0-

' '

. b) WHEN THE SUBJEO'l' PROCEEDS 1 AT THE BEG INNING, FROM

'·
TtiE' OOMIBANT TO THE TONIC- OR TO A NOTE OF TIU!l TONIC KEX- BY
DESCENDING MOTION:

91• Oonvsxasaly-- The muta. 'b1oa produttee in tlta answer

the~ addition o:r the interval of the se~ond (major o:r minor
a~ cording to mode) ;
• a) WHEN 'rKE SUBJECT PROOEEDSt AT THE BEGINNING, FROM
THE TONIO TO THE DOMINANT-OR TO A NOTE OF THE DOMINANT KEY-
 I'
l:
i

B'!j DESCENDING MOT:tOlU

•
i

-~

I
',.,
~

I
i I
I I i

<I -~~
L 't" ---- ~~:-::--::
~

, b) WHEN fRE SUBJECT PROGEEDS, AT THE BEGINNING, I'ROM'

i
T~ DOMINANT TO THE 'rONIC- OR TO A NOTE OF ·THE 'rONIO Iml-
B!l AOOE<IDING MOTION t

..,.
....
.. ,
\
\
(II
I fF

I
... ~
(#
--
-~.:p-.
I

l ,.J
'
I .~
.•. -
- ..
....
.
-·
0
..

""'1...-J
I

The same 1s p~oduoed in like manner eaoh time the

subject modulates fJ:~om tb.e pr!Jl<~ipa.l key to the dominant and
I

ylo-e. vs~s·"'
I .

$2. OBSIRVATIONS ON ORROMATIO SUBJECTS. An 1m1tat1on.

ot the subject 1n oontr@y motion would be produced 1f& [
,
I
a) In the answer of a cnromat1e subject proeeed1ng a~
tJe beginning t~om. the dominant to the ton1o by desoend1ng
mdts.oru
• one ware W1111q to l"Etpt'Od:U,,$ tha emr~m&ti<' alteration Of the
s~bdomina.nt of the p:r1nc1pal ke, when 1t ~d1ai;ely follows
th.e dominant _of tha prin<tipal key t wh1cn 1s q·ons 1dered the
..
~ ->~

\onlc .ef the dominant kef•

I .

I b) In the anawe~ O·f a. e·bX'tiJlttQtie subjEUl\ p~oeedlng at

tne beg1nn1ns f'rom tb.e tonic to tb.e dcm1nallt b7 aseend1ng
mOtiOIU

one ware w1ll1ng to r&p~odu.oe tna Ob.roma.t1e alteration of' tne·

s\,lbdominant of the dominant ke7 wb.~n 1 '(; 1mmed!ately follows
t1e ton.ic of the pr1ne!.pal k$7 ad wb.e». 'the:f eubjeet sounds all
t~e degrees between tb.EJ uonio and the d.omiaant. _ . .
· 9,..
I

In ol'der to tb.o~ougbly ·understand the meohanlsm ot

t».e answer or a. subject belcms1r.t& to ona o.f the two· prec-eding
I

ttpe$, we m~st dtsresari. tbe qn.-omatie iate~lst

I

G /11J: --~ c_---- - - -..- .

'J'e f
•
f Jtt t.-

wdJ () l.f I
clf/.(J,..,,.fe'~
l~ f.p_,._ t.a /! I 2.
 rteJte (aee. 4') 1s the a.uwar tf: the subJect l"ekee<t tf.J
11a diatenlo forma
I

' ' '

be-tweet). the tust and se.aon.tl ntPtea, 1" would net be the same
in :the a.t!sweJ!' wha.r$ th~ Beoond not$ 1s a repet1\1on or the
f1rstJ in the answe:r, tha.nt \ld>s qbz>omat1c must ba repeated
unt1l the interval ot the aaiiural. subdOm11Wlt .or tb.e dominant
key 1a :ree.ohe4t

1.f- .J-!J !L-

t-

'
wbielt etves an 1m1tatien 1n obl1que m..ot1on.
 i'

94. sy sitn$.1~11 trea:t;1ng a subJeot proc.teedirlg dire~\17

to the clomina.nt by t:usoend1ns ob.romati.o: mot1on 1 we obta1n tb.e

~ -aa~$ result in ta$ a~sw~;

C M1f; __ , C..-- - -- ----------

,...
.--...
C h/..o.-.~ tie II I -·- r:Jt .. t.i. ~-
·-

· J'v. .tree t : •II I . K

_, , ---
-
~ .r-~t

-1 -
I 6>

< G-M•J._
I-,

ILl.. J.L. -·-

c.. -
··-r
- - -()-- ___0_
1--
..... - ~---

·- ... -

I I
' 7
~M~; _______
CMt~l . . . ' ,.._ ····--·-·
/) { trf f}ft1,; c 'Ill-If-- .. -:__.,-· -- ' -e L! - ---· - •- ·-w·•·--··• ••
--
J'""' -t{ e. e:f J-
I
' 7 I

·~
. t
}!i,---- ------ ;.-- -- ---,.-----
·c,·M~~~f-C'/"lt.
0 { fJt t tJJN~ L. e, r-----~---'---

-
~-----

----
A /Vt J' "" e. "'
h
I _..,._
"'
0 Cl - ...

c ~"()~Q~-f,· c.
.
. c.. fvlllj~~Jil::----. --- ' -----;;.
--
n ... ... -- - ---
-"At ./,l ec. f II
. ~

c 1,~--.()_,qf llha.Maf:le ---- r- - ---- - ---

- - ..
Ill Jl
t. c. -·-
lUI
A"' .r "'- e. ,_

Here we see that 1n 1\he answell:' it 1a the dominant of the

• p:tt1no1pal k&N" ( 1dent1~al witb. the tonie- of the dom1f.lant k$1') .

!
~eh
s~ a
we m'tlsft :repeat, sbo:e b$tween. 'hnese two notes we ean in-
ehromatio ha1f·tone.
 77

I
I
tt is evidtiiint that th1t;~ 'alteration of the melody of the :
. .
. .

aub~ect is nc:; lonser produced in ths _a.nswe:r wb.en the su.bjaot 1$

·• 1n the following f'OX'Dlt einoe the oblique lmi ta. t i(ni of thEt
subject reen;ts in a stmllaX' motion of the melodyJ lt would b$
net#liJseary. tnen, to answer subje~ta of this kind in the follow-
lns·. tna.nnelt', a.:ttar f1lt"st apply:lng the g'f!nere.l t'ttle to tb.enu
Om-ef" r (;.,.. ~ ~ l'w· - - b-

A""./,.,~,.. r'~~~~~~~~~~~~~~~
a. "1 " -"r "'
(,fl"ltd0 1'r
~"""' £je.ef

~p Jll -- - - - - ---

---- - --
I"'
·:. + ~
.-. ....
',
__
I
• I

I
"&,.. ...,~
I

c.. w.'G:J'c.t""'- - - -- - -·--

.., -- ,, ~
'"".....I
~
-
'f'
-u
I
\ ) I
 I
Ii
w1t~ut pre3ud1ce of the obaex-va.tion made later {sect..· 97) con-
cerning the strength of the real answer' 1n sill11lal" ce.sa~r. ·
9!h The ~ule 1e
.
tne same when·
. th.e subjeot,.. having moa.u..;... '

la~ad to the dominant ke1.• returns to tba ton1~ or medtant

ctu;toma.tloa.llr:

.
or when. af'te~ go1us trcm the dominant to the tonto, t.t retuns
t~ the dom1rtan.t o1U'-omat1ea.l.ly a ord$~ t.o ret'l.U'n cb.romatioally-
't!o the tonltl or the med1e.nt ~- .
W\ .,~
v< '
Gr c::..~ G,.- \;~1~ - ... -··-·- .

-'
~
-- --
--:_ I
,. r
1 1 I"'
-.
.IILG A 1~{1 f'J
-J+
. "
! -J 11' --.-
. T I
...
It
\ I 1-' I
I K- FF
1
4 ' e...\ ' G;'3 \I (!,It-!..'": w___ ~ ~
'~ J ,_;~_s 1 ~-----
ri
~ , =t·-- ~;;;
,.
,-
I I I \ t
.__. . I
'-II" -,

-.-
-~
FF-.1
~-
 - -·
~ I

-
.b.:I~-

•
J.<:_L ')__
I""
~ '
··t- -r....:
) c;-~itl \If?:.~- t t_ ID
-··-·
i $- I lA ·.,
lc..-
'3 '"t) I~
,_,..~ -·
--~-- -
·"-·----~
~
-15· ~,.--
Jl' _, --- f)-
,,
' I "' r
I
•., , ..
_I_
_I_ '- r--·

i '
- '... I' I ! .,

96 • 'rb.e ea. ae 1e 41tta:ren1a

a) When the obromatio motion ot the subject stops or
re\urns to the mad1aut Q~ the 'onie befo~e sounding the
ciominan\.
b) When 1il1e subJa~t sou.nda" 1m:mect1ately after the
toniia, any other degree than the altered tonic, or tb.e super-
t•n1o of the principal key affected by a descending alteratioin ..
:tn thasa eases the answer follows the rules previousl.r:
stated (sect. l6)t

- - -· --~-1
c - -- F- -- ~-
~I
_._
p
11tn.-a r
. "' --'- I .1. ~

l _l_ ·--'·
I\)
1'--J~ ~-~- ~ ).. ,, I I -
~~c.~~-~- Lt ;- -· )
c ~'(;) 'j<4' - - - - --- JF~ ' ,
,... .. '- -'- "'··
····+·
~
II ..... .lli!. .
v
,A""..r ·~ ,_ II"'¥\
I,
"
I
I'I.U..~
a
I
l' _I
I
\
ll

~-
I ~ I
.._,-' \.. t, f ~ llc ~ $ SS' 3
 60

91· At a.nr rate, wnen a. subject proceeds directl7 and

o~omatically from the dominant to the tonic by d.esoend1ng

•• mot.1on,_
:
th~
or from tile tonic to title
real answer 1s preferable if the tonal answer distorts tha
dom~nan\ by ascending motion,, . '

onare.cile~ of the subject too mu.cht

-
.J'All J.J'e c:f "' I~ l.v.:

' ' ,'

0 a Y
i=P
.
I

.
~-lM ~ { ~.......
j_ 'I I I I \ \
) \ I I
'I ' I
t" \ ()
I D/"'1 If I .n 'II' "'
n.
I ""
··w
~ r ~ I T lr
A""''""(!,"" 'W f'

\ ' ' I I
I
l
\ T
'
'
I I I
..__,. !
1\ {fJ i
c.o -w
fi.~a./ A;v..f eve f.,
i(~ /..e.fe..,..(;fh./e ) -......- .... .
l
j_
II
II-' II'
I>

+
T
ITT
I T
T -§-"-
,-
I I • '
I
I
1
.
.f~J..lec.t "'
-D
!:;<
_e t.JL.,.. ~)
. ''£)···· ...

-~
II) -· \ I • '
To;\1" I II T l"!i""i A. ____,__,__ v-..
-.--- :f=,-
'.
"' _Q._ ....
Tf..,-
n---'II I"' -
I
A "" .t "" t. J... I l -.- ~

• •
~eqi /t,.,.f_.e.,._ ..
"1T 7r
"111'07'
71
--..:or
-p-t- J,
Ull ...I' -- -.,-- ~ v-. ri>-· --· I

{!) T-f.J' l!:l'

(} 1--e/e-f...q.lte,'-.J 'TI 11 '})
"' I I -
'• I

98. When tb:s o·bromat'lc subject proceeds by ascending

f~om tb.e dom1Qant to th.e tonio. or by descending from the tonic
to the dtJm1nan'• its cha:ra.cter 1a batter preserved by th.e tonal
a~swer 1 although. a real answer would g1ve a morE* legitimate
I

s$1ut1&n.
99. SOD EXCEPTIONAL 'tYPES OF SUBJECTS. The theor;v ot
tJ, the preceding 1st
a) A SUBJECT MUST BEGIN ONLY ON THE 'fONid'~ MEDIAN'!,
Ott DOMINANT.
 81

b) A Su:aJ.$01' CAN EHD ONLY· ON ·THE TONIC, DPIAN~,

J'.Xi~INANT'i OR SEVElf!! {UNAJ..r'tERED IN MINOR} •

·In· tree eompes1't:lt"Ja 1t aornet:tmee bappeus that e. aublect~

begins ·on setae otne:r ·~~ea than those jue"tt mertt1onedJ 1t 1.B
'Wilit~Jrstsoa. tba.t the eompoeer ot sueh a su.bJac' c·a.n 1nta:rpret
lt, to b.J.·s fancy, both tl'Olll the poJ.nt ot view or tonal.S.ty anti
ttl$ ctharae\er of the auwe~.

mowev~. b7 l"&ve!'\106 to tne ~ea as previously sta\etiJ,

on$ could find e. #:J';aaonable :lnte:fpreta t1oa ot any subjeo'h or
this kind which would p~tt making a loaloal answa~.

100. 'lRE SUBJECt !EG.INNING ON !HE SEVENTH (MAJOR) *

· When s .t;,nilbJ~et 'begl.ns tm. tbe st;)verlth «agree 1n ma.jo:r,. 'b1il
seventh will a1wa7.s 'bEt CClBS1de).':Wai the mediant ot the clc:nd. nant
ke;,t.
It wt.U · be aaawtn>e4 b7 the med1ant of the prino1pa1 k$Y
a a ;tb.o:qb. tbs •ubj $(t'b be;an. in ~· d.omtnan'h k$J t

c.-------··--
 Any •th.er answer soltlncU.ng the seventh degree ot the doml-
nan" key ~s lllog1ea). from the b.e.~onic and tonal point or v1ewt
tne l.eadias tone or the p:r1nc ipal key 1s obVtoualy the thlrd ot
the <chOrd oa the dom.:taant- ana· lt oan be answeJ>ed ttn~ by tb.e
third of th$. tonte chord, elJt$$ th.a -dominant ot 'lib.e :px-1nt\11pal
k$J~ at the be($1tlnlns ot th$ subJect. is alwa;vs oons1dered th$
tonilt Of ·the dominant key,.
Tb.la eubjettt must ba traat6ld• then, as thousn it began
on. ~b.e dom!.tW.nt, the funttamenttt\l$ balng the same in both cases•

.f'~~)f.ei Jej,;P#fl\'._7
·.. o..,.. ~he .pec,e.M t/, .

..J!u.l.fe(;,f. .J.ele-,...~~.~
.,..,f4e JfJifll1.iM~.,;r,t'

101. THE SUBJEOT BEGINNING ON THE SEVENTH( MtNOR) •

nen a eubJan b~~1ns on tbe a~tared sev·en:th,· 1n mtnor, tb.1a
' '.
aev,tatb. will always be •ons1de~ tb.e leading tone ot the prin-
i

e1p.l key • and it w1ihl be anawel*ed by the l$ad1ng tone ot the-

scats ot tha d0m1nan' k$.11
 -• to Jl
~ I I
' c tl"""' t'- M - - - - --'---

--r-~:~
"" .. .,
_ll*
ILU:tt"J ..
,.,.

•
_\_ .

_}_

"' I .t. J - L J If
Lt C.#-~""\ . .._..,._.._____
-~ -~~- -

Th1s altered aevenilh e:a.n not ..be cona1d.e:red the tb.iJ'd of

tb.«P.peJ<f'sot tr1a.d on tbe domln~t ot Ct1 minor beoaus& t111s
'U'la4 1a mln~. l:N MINOR IT IS IMPOSSIBLE TO BEGIN A SUBJECT
ON THE UNALTERED SEVENTH OF 1!HE PRINCIPAL ltEI*
lO!, THE SUBJECT BEGINNING ON THE ALTERED SUS DOMINANT •
If a subJeet besine tm the aliit?red a'tlbdom1nant of the principal
kef,' tn:ts al. <&ered subdQminant 1s always ema1dared tbe lead1n,;
t~ ot '1ib.e demlnan.t. key, ani 1t will. be snawere4 by the sev~nth

desrtee {altetted 1n m1nw) of' the pr1n.c1pal keyt

c MoJ-·- ~ ---. 'F

-
~
_..__
....., • --- .. ---

r
I. .. __.._ J

) i 1- 6s- I.J .1'1: '/..]

: ~FMDj·--
Ill #_
1.#'. _._
.... _._ ~ --
~

JL-f:-· 'I'
··-· -·-- ----

111_.... _1';1_ I I
t ' '

t- 6 $"-L 1 '"i· J 2.- 1

•
7
 84

• :

k$i, 1-b 1s
.

oOl',laide~aa
.
th$ waal,terea subdom1neJ.:lt, OX' tb.e. su.'bmediant · ot the pr1no1pal ·
. ; ; .
as b$31®1ng 1n the key or 1ts tonto,
an~ we :t1gv$ tna first note 1n the seale of tb.1a keyl (refer
to· J:tl.ll.es ae .stated in. sse. 35 at ~iS.*) s
· ·o~~~t'l··-::~--- I! 1o1---·___

..
:r:t is pra~ttcally 1mpoas1ble to be&1n a aub~sot on the
eu'bdom.1nant or .aubmediant of a ltey wl tb.out :reeling the tona.11ty
of ~bat k$71 it ls 'bette%-, then, ·to avoid subJeo.t& of tb.1a
sort. In writing stao~ aubJente it is easy enougb to uade:retand
b,ow 'the tonality an4 til$ mode of a subj<aot may remain u.noer\e.i~
whe1'1 1 t beg1ns on any note other tban tb.e tonS.c, mecU.ant, or

l
A StmJEO'.U DOES NO'!' MODtJLATE WHlmj BiDINNING OR ENDING

TONIC OR MEDIAN'!, IT DOES NQT PROCEED TO THE OOMINAM OR.

IT SO'ONDS THm DOMINANT ONLY INOIDEN~L!Z AS A PA.SSING 'TONE 1
 85

I
AN ltMBELLISHU:NT ~ OR DURING l.:'f5 NAfURAL PROGRESS •

•
IJ .
A SUBJECT MODULATES TO THE D0!1ll'.NANT KEY WHEN, AFTER BE-

GINNING ON THE TONIC OR DDIAN'f t l! PROCEEDS TO THE DOMINANT'

. '
II fl-IER DIRECTLY OR Bl' SOUNDING. VARIOUS NOTES OF THE 'l!ONIO OR,
:DOMIN/!NT SCALES.
·Itt
A SUBJECT IIOPl.tLA!!S TO THE DOMINJ;NT WHEN IT BEGINS ON
t.rfk DOJUNANT • OR ENDS ON ~HE DOMlNAN'r OR SEVENlfH (UNALTERED IN

MINOR} • IN '!'HIS CASE THE DOMINANT OF 'l!RE St.JBJEOT BECOMES THE .

t.CONIC B THE SCALE OF '!'liE DOMINANt KEX, AND fHE SEVENTH (UN-
AL'lEREl> IN MINOR) :tS OONSIDERE:D fRE MEDIANT OF THE · DOYINAN'l .KB!.,
l.V
WEN A SUBJECT 13.EG!NS ON ':$E 'fONIO QR. MEDIAtn' AND

PJROOEEDS !0 THE DOMINAN'f (OR ~fiE SEVENTH IMMEDIATlWt .FOLLOWEll

BY THE DOMINANT) SY SOUNDtNG VARIOUS OTBIR DEGREES, ALI.. THESE
DF&REES ARE FIGURED XN THE SOALE OF ~HE PRINCIPAL KEf OF THE . .
s/u.BJEC'
l
f, PROVlDED THE NOTE :tMMBDIA'rEm! PRECEDING THE DOMINANt ·
.
~a THE MEDIANT OR !"HE ~N:tO • IN AU... OTHER OASES THESE DEGREES

~RE FIGURED IN 'l'HE SCALE OF THE l)().i\AJ:NANT KE! -EVEN THE UNAL!Ell-

~D SUBDOMINANT WHICH '111 ALW'A!'S CONSIDERED THE SEVENTH OF THE

:DOMINA!'!' KEY •
v
• A SUBJECT MODUL.~SS TO THE DOMINANT WHENEVER IT SOUNDS

AN AL'l'ERATIO:N OHARACTERIS'riO OF THIS Kft 1 OR WEN EVER THIS

AL'l'ERA TION IS WDERSTOOD IN !HE HAR'MONY *
 •
86

~ Vl
''JHIE OOM!NANT ONCE llEAP..D ;, S THE TOUIC OF THE DO~liHANT
..i
~ IUitf {EITRER liS THE FIRST NOTE OF THE SUBJECT OR IN TilE HEAD OF
f

TI-lE Su:BJECT AFTim THE TONIC OR ~IANT OF THE l,R!NCIPAL KEr} •

AU.. THE NOTES WlilCI1 FO!JJ)'7! SHOULD BE CONSIDERED AS INTERVALS

IN THE SCALE OF. THE PP.lNOt.PAL :KEX. IN OTHER WORDS, ~ SUBJECT

'
CAN MODULATE TO THE DOMIN.t1NT KEY:·ONLY BY ~NO OF AN ALTERATION
OHARAOTER! S!IC O:F 'lH!S KEY. PtJHlED BEFORE ONE OF THE UOTES OR
JDERS'l?OOD IN TilE iiAF.MONY ...

vn
jANY INTERVAL WliiOH; IN TiiE SUBJ;ECT 1 BELONGS IN THE SCALE
Of THE !PRINCIPA'L: KEY, MUB'l' BE :rutmODUOED IN THE ANSWER, WID
.I
TfJE AL!ERATlONS WHIOH AFFEC! IT, BX ~SE CORRESPONDING INTERVAL
I~ THE SCALE Qlt.. THE DOMINANT KE! {THE IMITATION BEING CONFINED
TQ THE !fiFTH ABOVE OR THE FOURtR BELOW) *
' '
. :eoMVERSEI.if • ANY INTERVAL WHICH, IN 'l'HE SUBJECT, BELONGS
IN THE SOALE OF THE DOMINANT lEX, MUST BE REPRODUCED IN fHE
1slVIIR,. Wl'fll 'l!JE ALTERATIONS WHICH AFFECT I'J1, BY 'fliE CORRES-"
~NDING INTERVAL IN THE SOA~E OF Tim FIRST DEGP.EE OF THE
I .. ·.
S~EO'J.' ( T.RE IMI fAT ION BEING CONFINED TO 'raE FOURTH ABOVE OR •
Tth£ FIF'l'H BELOW}. · •

•
 CHAPtER IV

.
!HE COUN'l'ERSUBJECT

105. THE 00-gN'!',W~BJ:EC? IS· AN ADDITIONAL .Pft..RT WRITTEN '

IN: INVERTIBLE COUNTERPOINT AT THE OCTP.. VE OR Tl!E FIFTEENTH AND
Wf!!OH APPEARS IMMED!;\TELY AFfER THE SUBJECT, ACCO!!.PANIING IT

WR -
TUE ANS:vmtl EACH TI.ME IT APPEARS•
.

A good oountersubjeot must have the following

c~raoter1st1at:u

a.) THE. OOUNTEnSUBJB:CT MUST BE Stm:LAR TO THE SUBJECT

ON~Y IN ITS MODUL.A TIONSt IT MUS'l' RESEMBLE THE FORM OF THE ·•

sudJECT NEITHER IN MELODY NOn IN RHYTHM; NEVERTHELESS; WHAT-
i
EVElR THE DIFFERENCES BTiJrWEEN THEM;; THE COUNTF$.6UBJECT MUST BE
OF .THE SAME STYLE AS THE SUBJECT.,
The countersubjeot must nsvett be incongruous w1tb. the
subject which 1t a.ooom.panies. In composition one would not
g1V:e a .Joyous and sk1pp1ng accompaniment to a severe and

• I
lrha.~ely melody;
.
neither should one
ooub.tel'su'bjeot of oppoa1ng chatoacta:r.
I :
.
j~ln to a subject e.

b) THE SUBJECT AND ITS COUNTERSUBJEOT SHOULD EACH .BE

 $8

ABLE ~0 SERVE AS A GOOD HARMONIC BASS TO THE OTHER.

•
Tn1e is !mpo~tant, tor 1ft tna ~OU~S$ or tne fUgue the
su.'tfleot and ooun~a:r:-subject sound alternately 1n all the vo:t.eee ..
a) ifHE OOt'I'NTERSUBJEO! SHOULD ALWAYS BE· HEARD AFTER
THE SUBJEC'r, AND WHENEVER POSSIBLE IT SHOULD BEGIN IMMEDIATELY
AFTER THE HEAD OF TI-lE ANSWER .1

The objeo.t of this rule is to keep the subje•t 1n p:re-

domtnanee and to e.void tb.e oontua!.CI)n wb.1Cb.. would result from
atmultaneou.e ent~ancu$s-. ·As a tugue subjeet may have as many
oounte:raU~bjact as 1 t baa parts in add1 tion to tb.e part which
a*oun.eea tb.e subjeo'b. •re sh.ould. be taken• tn a. fugue whtch,
'!"
.~·
he.a several aounte:rsublEh'lte, tb.at the latter enter su.oeess1vely
and not aimul:'baneauely ~
If there are several oountersubjects, eaeh one should
naVEl a melodN d1stinet i'l'om that of the othet'a and from the. t
ol-• 'tthe .sub3 ectJ they shOuld not 1m1 te. te each other or the
sbje<ttt

••
 I .....-;
..
...
II
-~
J• AA
-F-F -
- - - -...-.......- - - - -----
..•
4--
;_;:;;=-
..
.•.
""""""'
..
---·----·-
--
-

• --
~ T • -£
·-

:l'l
hJ---"
,.,
I
.....
'I
-- ---

- ---·
-·-·-
--

1\ JJt- e.r.
-- -.. .,.. • - --

~"""
-- ...
-
-.--.ti;;. rt.•
I 'I
'"'"- :..r, 1"
.!....~-
.......
.,_
--;. ·-
I

'
#..---:"
. ~~------- ... :
---
I. ,....cf. ( •./.
-:[1; ~-::
-- --,

'I.
-
55
.•.
---~ ~:·
. ,.. ·:._~

··-. .--r-·
_,......

• .
I-.. _ _ _ __.,.._ _ _ _ _ --'~------·-·-

... ··g- .

d.) EITHER THE SUBJECT OR THE COUNTE~SUBJF.CT SHOULD

SOUND A NEW NOTE ON THE FIRST BEAa' OF THE MEASURE"

The eountersubject must not sound notes ot the same

--
.,. val'e e.s tb.oss or the subJect simultana_uualy; likewise, if the
subJect stops. the oountersubjeot $hould continue, and vioe
,vert•
 90

.,: .- ,..._....
-- .. ~ .
--~-

.....
-- 1"
f --,...
--

• .
_aw ".t. l

I ·a """V"' ...I
~
c..r. -.....
~--
...
<1101:.-•
, .... II"
..·tt . 'C:l•
• ••
- ... ---- ... Cj"
~.-
L· .;.;. -·--·- ·o-
,. I

... I
"

e) THE HARMONIES DEfEEMII~ BY THE OOUNTERSUBJEOT

SHOULD BE AS RIOll AND VARIED AS POSSI:SLE<t
' ~. :1• aooomp11sh ti11e, suspensions should b.e. ueed as often
as possible; on tt.ht:l o.tner band, one should avot.d ~oo frequen-t
o~nsas or bs.mon,r dUPUts the oO\Oitse ot a Dl$asure, and should ,
I
treat a.s passing ton.a$ all. those notes wb.143h are not necessarY:
to an accurate barmon1o ~ea11sat1on•

,, " •-
c.r. ... ..- - ~
_..,. ~

- .;-n-;..-:-- -:-;- .~;&.-

'"I
.e
,..
---""-
.
..,
ill-' ,.,,
n
!I'
.,.
~
-. I.

t4L J!UJ·
$· --- - • - - - -.;;.. ·D•
.t"CJ:r. -
•
,.... .It- - :w. - - ---
tf.:}&
,,.,. IV I
'
..
I
'
I
1
- . -.-T ~-

--.
•·

~~:J
l

N., lh Eacb. tllne a notre beard at the end of a measure

is ;repeated in th.e followlng measure 1mmed.1ately after a :rest,-
.
and then deseends one degree t 1t must be oonside:red as a sus-
I
I .

• .perrton and treated aarmon1etally as though the synoopation nad .

beJn ,...eta.ined; in tb.a p:re(t>$d1ng. example. measures four and f1ve
 91

should be treated as if tna meloqy were written thus:

-
·-· :

101. MUTATION IN THE OOUNTERSUBJEOT.. VlHEN THE COUNTER ..

SUBJECT ACCOMPANIES THE ANSWER OF A SUBJECT WHICH DOES NOT MOD~

ULA!E (REAL FUGUE) t IT UNDERGOES NO CHANGEJ I'l IS SIMPLY TR.ANS-

PQSED IN THE KEX' OF TflE ANSWEF..
IF THE SUBJEO~ MODULATES (TONAL FUGUE), THE OOUNTERSUB~
JEC'r HEARD WI'i'rt '!HE ANSWER UNl)ERGOE5 ONE OR SEVERAL MODIFIOA-.
TlONS WRIOH PARALLEL THE DIFFERENCES WHICH EXIST BETWEEN THE :
ANSWER AND THE SUBJECT.

Tnus we get a muta'\1on in the ooUDtersubJeot wh1cn CO%'-

rasponda with the mute. tion in the answer.,

108 • When a. aubjeot causes a mutation 1n the answer

ar
nkar the 'beg1nrd.ng, the oountersubjaot s:nould not begin unt.11
the

ul
mutaUont

• .,.._...- -·--
e.r. -
- ...
1

..
j

i .... I
. fuol _j
~- .I_ ..L .I

-- .
-""-

I•
S.-p.
... I lll1
1%
_1": .
.- fJ:. - •-
..,
J•
I ,, • • ~
_L

< '

• ;;
'
'
) A:..p..
I

fll't.., .~
-~ ~
-
 92

.109. I:f tor any reason the counte:t'subjeot begins bef'o~s

• tne first mutation in

followed wb.ion apply to th.e
tb.Q subject, the same :rules shOuld be
sub~e'Ot

appears w1tb. th.e answer; tl:le mutation in each should be •dan-

wuan tne oountersubjeat

t1~lt

g(·
IT

•
J
r
~:.
• - -~-
~
'
~ . -•
..!1.
·------·
··t·-
--

-
[T U'
.. t~ {+1:1
CM4ft• c.--.. ·e- .... --.fi: -· 1--
7
.. -.--.-
IT.Ta "::'
7f
-- I'
' s=~
' ..........
{-8 +I .•

c. .r.
---

There are two mutations in th.a head or this oounteraubjeet

oQrresponding to the cb.anses ot · the intervals {+) in the a.nswex-
a.~ oompa:red w1th the su.bjaatJ at a melod1o interval or a thir~
(+) • at the beginning of tb.~ cou.ntersubjeot of the subject. 'bille

-
!
the oountersubjeot or the answer 1'-esponds with the interval of
t~e second; the contrary is true at the sign (++), wb.ere the
 interval. of the seco.nd in the oountersubjeet of the subJect is
answered by the interVQl of the th.ittd "~ One will notice the. t
lit in this oase tlle subject and e.nswer present inverse mutations
to those of the countereubjet!tt in the sense that tne addition
of a step between two inte~vals in the answer as compared with
the subject correeponda to an equal diminution in the counter ..
SUbjeCt an.d JT&Qe ?S:J:~Sa. ....
.·~ :do.. In any hse,. one meets wi.tn almost insurmountable.
d1ft1cult1~s when the oountersubject enters before the t1ret
mutation~. arid one 1a not. free to give to the head of the coun-
te~sub3eot any form wh.toh. ha may vd.sh. It is tar b~tter, then,
i
to lb.a.ve the countersub3e.ct enter after the first mutat1Qn or
tha answer,.,

J.Jlll., Th.e counte:rsubjeet also u.n.ctergoes as many mutations

ae ·there are modulations in th.e subject I as tlle eff'eot of these
mu,ations is felt only 1n the answer~ one must
write the: neve~

oo~nteraubjeot w1til the anew$r, but rather with. the subjedt. 2

I

' 112 • USE OF SUSPENSIONS., The suppression or addi t ton

of' ,an interval wn1ch the mutation p:roduoes in tne answEar often
makes
'
it d1ff'1oult to use 1n
.
thEl·eountersubject euepens1ons'

wb.loh. thoUgh juat1fS.ed ln the ~ounte:rsubjeot ot the subjeot 1

woUld bave no resolution 1n the countersubjeot of the answer •

• I~·
11 ,ine.ry skateh.!}
(Transla. tori S nOt$ • Refers 1 Of oourse r to the pl"$ ...
 94

This inoonvenienee oouJ.d sometimes be avoided by repee.t1ng a

oounte:rsu.bje~t.

•
note in tbe 1f tne mutation should produce the
suppress1on of an interval~

'o -~-----·-
.... -- ~

I
0

If
.
\ I ~

Ill\ -a~

~ Ill -.. U' /U.

lll!_ 1-'1 !. u
!'tll1. u ·y
-
C·~ ~--.;;-·- 1----------
n,-... •
t•l
,. ~-x,..~fiq~
.,
•u 'Q"T-1
-~·
--
'
... fj _(I\ ...
. .... ae.. - --- - l ~ ~---

ft
> - •t/1 .u r
I
l
I
I
\
:.iL
'
'f#

I
-o
I
~

-,- -
r
--
......
~-
-I

11 llil C·£ r.:-- -; ----- 1=- :.~~

...
---; ~T" ._ __,.._.. ~-
.... 6 II' -;e>
MV ·-
·-·-
·I"' I b ... • T
"" I

One can see f':rom this example t'bat the mulat1on wbien.
in ,the answer. suppxeesees an interval as compa.:red with the
euJjaot., adds CIJI$ !.n tb.a same plaoe 1n t.b.a oounterBubjeot •
--, · It we had use~ . the suspension in the counte:rsubject
w1tb.out repeating tile note;

• ......_
•
\
I
..
\

--·
 95

wa would have bad for the oou.nte:r-subjeot of the e..nswe:rt

• h
;l
.. - -- .
i
'
I

- I

ltf-1.- •
I 0
----- .
L I
I
I
......... ....
I

I rj-...
,.
- •
I .
_1 But 1n ad.d1t1on to that., tb.1s form. would have given a .
f'~}e barmons.c 1.mpress1on ~nd woW.d have dil!torted the melod1o
lin,e or \ha countersubjeut too- much* It would have been better
to use the device mentioned before and ~epeat a note 1n the
oountersubject or the subject rather than to use a oonsonanee
·or wea~ and uninteresting barmon,y1J It w1ll. be nctteed tb.a.t
in th.is Ca$e, as in all similar oe.ses, the resolution or the

• !
d1ar.onanoe does not occ\U" ln. the countersu.bjeot Qf the
on ihe aame beat as in the ~ountersubject of the aubjact; but
anawe~
 96

that. 1a no\ tmporta-tJ wb.a.t 1s important 1s that the suspension

dots ~•eolva ..,

ll.l " NAMING FUGUES.. Former-ly a e1taple ttlgue was one tn

wtaloh the countersub,1e~1l was replacai by some simple nounter-
po1o.t~: 1rarted aeoordtng to t}ts -ginat1on. t>t the composers
'· ~

"ttb.la typa of tusue 11 nc ··longer _prae\ie&ta. ,, ·

A double fUgue was on$ which had one eubjeot and one
Qounterau.bJ act .•
!r1pl.e· and quadruple ~es we!"e those wtd.ob. bad one
subject· and twa or tln'ee oounteteubJects respect1vely. 'l'hese
terms a~a now obsoletet today we atmply say that a tusue b.a.a
a subJect and onefj two# or. thraet o.ountexaaUbjeota, a~ tb.a oase ·
mar be~'
ll4. When a. fUgue has two or th~ee coun.teraubjeota t
they lllUst be combined wtth the subject according to the :rulea
.or invertible aounte:rpolnii in tnrea o:r tour parts, as the o·a.ea
mf b$. . . ' . . .. . •
1 ll!h Althousb. a ,;c;~od tusue. oan ba wtwitten without an;r
i
o.o~n.teraubjectf 1t is lm.poes1bla to write a good tusue w_itb a
!
I

poor countersubjeot.
I
~he structure .of tb.e ·oo~te~subJeot is ot greatest 1m-
porta.nee, so we- .a~~J p:resent1ng llere a p!M.ctloa.l mse.na of'
, •.
.:._-
·,
=·
t'tding a e;"od oount<i!l'Biftljeot, ,

:3• t'lTan.ala.to:r's nota. see 1ta.t:l"oduot1on. for ~tb.er

1 orma\ion on tb.ls point_';)
 91

116 " CONSTRUCTION OF 'tHE COUNTERSUBJECT. 'fb.e subj·eet

once chosen, we must find the fundamental harmonies) these

--~
~ !.

tmmon1es once determ1n$d- we ta.kEt tor the :tl'amewo:rk of the

qou.nte:reubject tbe notsa from the funda.mantal ehordS which are
beet .tnvert1ble with tb.a subjectl 1n other words, those wh1ob.
form the bestt bass tor the sttbjee:t, and asainst wn1ob. tbe
sttbjeot w1ll be a good b.a:rmonlo bass •.
This 1s the first dratt of the countersubjectJ now we
need only to give it tna form most suitable to the melody of
thf aub3 eet t
.re.r.
_..,...__ ,........ 'It
" o,..e
.
,...
"' • .. _,..
\. ." I -""''""'··f~- 1:';~

•- " \

i •
/. J... J. If.. J: 6- ]. I
'. f!,( •• ..... .
1.L.f"': l_
JL Jl
, ... • • ~
Ot
I
_I
-· - .- ,(l
I
'

111. This subj act is a1gh.t measures ~ong & we saw in the
pr:eoed1ng paragraph that the cou.ni;ersubject must begin immedi-
ately aft-er th.e h.ee.d of the subject. Leaving the first measure.,
tb$n, we will go on to the second*
a) second mea. sure 1 Tb.ere aXle three notes in the
Tmental lllirm.o131

I 1
 «rw_o of them, .! and &• are in.ve~tible w1 tb. the At ln tna
subJeetJ · tney are equ-l~l.y good as basses. and conversely, the
eubleot could sene a.a an .adequate bass to a1 tha:r of' them;
they may be UJ1Had in:tercb&ngaably .•
I. . •

b) Third measure:

In order to avoid too d1vers1f1ed ha~on1ee, we will

oonsider. the ll on tb.e second bea\ a. paee1ng tone~u At tb.e sam$
tbl$
I
we will. discard, as e. fundamental.
.
cho~d, tb.e s$'V'entn of
t~e dominant wnioht nee$ss1tatins a preparation. demands the
narmon1aa.t1on of' the.!. on the seoond. beat" This <:nord, howev~r,

la.cld.ne; prepa~tion 1n tb.e pretl!eding measure. could n.ot be

preserved aa the :ru.ndamen.tal o:taord of the first. note ( 4tt) ill.
tQ.e measure. There rema1ns. then:t as notes 1nvert1ble with
tJe ~ and~ of tb.is measure 1 or:1ly the third ( dl:t) or the fifth
(~) of tb.e fwi<Jamental.t l>ll.t tb.lit ~ Clf the f!.:rost b!lat oan ;,.ot
be doubled, ~moni®lly, in as JlttlQb. $S it is the l.aa.d1ng tone""
We e.ra obl1ged, then. in tne ooun.ter·subJeet, to confine OtU"-

S$lve~ ttl tor the f1:rst beat; for ttte tntrd beat we
t.o the
have a choice between .M and gtt. At first sigb.t we w1ll ob.oo.se
tr·9 ~ WhiCh Wl.ll S1V'.S US an $Xt.Ih.a.nse Of notes wit~ the tmbje~t"
~···. •) Foux-th meaa'Qe 1 . ·

I
 99

I . • .......
1111 "'T -- --

~
·;;.; ~
ta-t.
C}•
!)•
(')
---
·-- - --
~

!he three notes of the tund.e.mental chord are invert-

i..'bla wi-&h tlle s. or the S\l'bjaot& tbey are equally good as basses.a
al th~USh tae root or third 1s preferable.
!
116. The fou~ measures tG{5e~her will now give the
I
tofiow1as rougb. outlue ·of· the €lounterau.bjee•tu

--r-- --r-• -
A
;..~.~· .41-:a

...,
II
,.,..,.

con'ttnuing f'or fot.tt' m.o:re measuxaes we will have the

following rouen outline of our cottntersubjeott
., .

----·-·- i.
 100

cc,npa.:tt1ns measu:.:oea ttb.l'sa and f'o\U', we sea tl:ta.t by suspend..

!

1nf5 'the J: in tbe thi:rd meas.re 1!3.to the f'Uat bee.'h Of the
fo'brth. measl#'e we shall have a rlellar- harmol\f t

Ill I
~ ....
Ill.¥
Ill ...
Ill

The same is t:rue 1n thE# f'-.:tth mE;tasura whel'e the !. ean be

sa,pende4 to th$ tirs'h bee. t of the alxth mGasutte 1

...,... r -..
'
II ~
• I ~
--
i
l
-... .... I I
I"
I
•
--

<l ,.,
l
1
~~~
~.
u-PJ
H.
r'"'
I
----.rft.:_-:f-":___
I I I I

....,.._
• ....... ,.-... --
'\ l' ..
••
.
0
'
-.
~· - ... I
Fi"~:L~I-r
,.•
:u
Ill l I •

c.J.
3._, J..
.. -- .
If·
.....
.r. 6· 7. e
-f=t+-1-= ~~
~·
I
·a· :..n,, a- . --- -- -----
------
' ' ..... 11
1 - ~ -
~-
w -
 101

119.. Such as it ts. the countersubject would be com-

plete, .ba~mon1ca.lly, but contra.plmta.llf 1 t baa no interest •
The sixth met:u:Jt.tre alOU$ 1s ·s.n keaptng w1th the cbe.raetar of'
1ihs subJect,
I't 1e better iio araw tbls wugh outline in order to
p%'~$ a tm~et.oal. ptutasE~ wUob. oa.n afloompa.ng the subJect\ with'"""
ou~t; reaembl1131! it eitb.sr nt$10dioallr or ~b;vtblnloall1•

I
cmi the f'tre\ bee.:h ot the seeond measure so that its en.t:raD.$$
wUl. be more apparen1h ana s1noe we ba.ve a abo1ea of the two
ndtes ,2_and A• we can sOlmd them s.t.f.(tcesstvelJ' tn ,e. way- wbJ.eb.
wS;U mal'k eve17 beat 1n the meaauralf.' It 1s 'f!e'l!'3 aecessary
tlia.t tbe countereubj.ee't aecentua.ts ishe beats whlch are not
:ma.rked by the subject. aftd ooaversely, it is useless to give
itb.e cou.atereub3eot t.ha same melod1$ movament as the $Ub,3eet ...
l:n o1iher words,. avoid havins ·the sub3ect and oounter-
s*bl"t soud n.otes of Uke value sJ:mul.taneously.
/ FoJ:t the esme reason we Will sound aa tb.e ·third beat of\
I .
1iJ!le f'OlllX*i)b measure, the a or the .!!•· and ill tb& seventh mea.sve
w$ wUl sOWld ott the 'ti:J.b'd beat tbe seventh (a) lJ which will
j'in the )l ·Of' the firs" beat w1tb. the .6 of the first beat Of
the etgth maa~e.

we will bava to choose ~ oountersub3ect f'rom these

f'•ms. whleb. are only s11&htly different and eq~lly good
:rmGD!ca.lly, a.1tb.ousb. the first 1s pl"ef'e:table nt.t;tlf;)d~llf'l
····.···, ...
.
 .,_ ,.....
... .
Ill !:;> -.,~
• . ... ,
_

r-.:
r •
I :y -r ~
~P--· -:·
«1• --.-

•
lh •r
"1 '
• ·-

. C.·f-
1:1
I
Ill
o
-
Ji:e • "'• "(I- lo.
75•

\ 7
.
' ·,
C.J'~

~
,.. .. -- -,
,.
_.I
.... ,.- - •• -f!l- 0
~-
• --
"

121... CHROMA'liC C.OUN!ERSUBJE01fS,. Certa1n subjects can

o.t4,y be b.armotdaed obroma.ttoal.l¥• by "treatitlg tb.$1ll otherwiaa,,
I ,

on~ risks maklng a serious •rrw- unpal'donable among mus1c1ans)-

1 .. :_a. , treat illS a malt>r au.b3act ae t,bougb. 1t. were minor., and
v1ca ve!*-aa ..
122.. In the sub,3ee1u

111~~}7 r r(r~tt*fr!}l rttrJI r /Jf-itt fj± _____ :=--=-==t

lt 1s evident t'b.a't the SSGO!ttl mea~ ean not have tb.e tonto
! Jror lts ~ental e~, because t>f the al.terat1on of the.
A~; the eb.ord would belot~g to the dnor mode;. we must give
tn1.s sub3eet, then., 'baNODi su~n as thG following. wbJ.Ob a.loa$
ca proibtee a sooti ootmterall'b-3e4tt
 103

_j
>ill II --~ ~
_I:, o-:-"" (;.10 ~ .... n
I
+ +- .w.-.. _,... ~
\Ill' I -----
! "' -.....

,...,1-, t
-
i
~ .
r 6- 1 1;.
. .3_- ,l ......r- I-
IV' --
I
....
~
• -

123- It is the eams in tbts other subject, wb1MJ._. in

tnd th1.m meaelU'e, mOdulates to the S\tbdominant {minor) of the
p:r1ncipa2 key; it wOULd be 1nexcusable to believe that ttds
su'b3e.-t • beloaging 1n minot"., co'Qld end in major:
I

!>.
f,._
' G' .J .\ tJI --~
. . ~----

\"" . •
---
- =-t
__£____

II' .r ,-.. J
I. ~ .{" 6-4-11 .f'-t'1 &
-
'I -;;: ---
n- T 'f',., .-
" u

124. In looking for the uattaral. barmon1ea of a S'lbJee:t,

!t :woul<t b$ weU to oona1dsr the poss1b111t1es of eumnatie
pr~rese. wn1.ob., when !tenets. edoubtadly produces greater
harmonic ncbnase tn the eountersu-bjeettt thereby beooming
p:fs.femble to a.O$' . otner-

'kj 125 $> Hera ara other examPles showl"DS 1n tabular f'OX'm
tl.U,i't'eraut atepa 111 the tlevelopmant or the oountersub,7&ell;s
 104

s.------ .....
·'- ?~f"'T ~ ~,...
-
--,....-.
. ,.
* I' .., _._

•
.
I I T
-1
../ 7 -PI'

_I I
_io, . I ...
I
-_-:-t.:!
'
~
I

5" f.."7 1 5
lj'
u,,;'
---- _:f.- 5 ±::'. ---
?',
--·-·
-- ··--- -~ ::!!5
t9l -.;;;;r ---
_f:J I
"'
F"""" of. ~ /, J ()#..
,.... , , --- -~--
~-

-v.~· ·--· . --· -:~

1:!~""\e.. J' iA-~ tre.,._f,'4_ -·-·
-+-_:. <:...!::....• ........:.___.,
~:f fqe SJJ:!l. fA.if'J !':

J>CA ~jec-f :
'
-p-
o~ f /t.., e (Jj .I
"'
T
Pt>

tl,e. C·.l'. '

,
~
+ .:;. I
~ "f"·~I ,.-
T
I
·'
~I"'"'
"'JI I
;;
T .
>,. '-
·F---f-· "F"W-P~-
i..r~

The same counter.subjact accom:panyi;.ng the answer

( i:Q.verte.d at the :fifteenth) •

 105
I:
!•

. t "kf"lS• 0~-
I ~' y
.Ill
.. ~.
_I_ .
"I' I"
l I 1
r=r= .
_j- -~ _......._
Ill I
b
Il!
1 1
r ~-,;.- 5:( .... It- 3 -+ If;" '1-Y 5" ... " '"1
...... ... E>
.,..,
~0
-
It-' .. - - t-·
...,..,,,., .

p,.,,., I· c--~f?,. J
.~.
""' --
r- -
'

.
.

f+- -- f--·
foA-fe:.J' i"""e~of­
iL.te qf.fiJe 3 e.f.
-·"' ,. •
_A • •
.,.
• _';;
.•.
'7":
e

l-vt'f4 . ~lA .l{e c, f

.LY
- ... ! '"'
I
-"'"

T -p-
...,.... I
..1>
X ---- ~fl----t~
··-
,,.[i It I
<!) ~

I"' .... 17!> ----f+· ~iT-f'· f-t.:.

--..ry
' !

t!
~
Q()·~; le.'fe. =a•I '- ~ _,_" ~ > ::> :;:::.. .&.."iF- .h ..~
., __ riTI /,tl>(»

..
- ..LL11
c.tL I

c. .r. . ., v 'I
.:~ ~

The same cormtersubject accompanying the answer.

Cf.
. >
--(~
-- .,_
- ..,oori'-· -
.flnrl-
_, __l_ t' I PillA V' .tHi'l I 9 f'_l" -~~~

,........ '-'-'..,
I vy l I II' 1'1 ,. ~i ·-rtti
E

l''l I

\ ~-:"':
A.
z
:.::-,.,
lor

--'-
~ ... ,. .. ·..::
LP'
~~ ... A
- IM

' II-
·I ~
 106

I I f
5' 7 ?'3 s;,,..l
FuM ,f. ,.......
5 ._:t_ ~ ~
L ~A,f.J"eJl. _Ja
_I_
__._ ~
_"':" ~ !L
- -d.

Fli~cl· C.. ~6/- of

f(),.,. ~ .f /1111 ""e 1w f-.
!'A./e. ed'll,e..
.. JZ+-
-. .. .. . .
P·~ 'ft'llt f'-"-'f~e • rt
Ot.i'f /(• Me. eJ 1
-.--..~."T'--·---· ···-t-:-·--·: ·::l· :t -· --- :.;:---&--
--.. -.-----~:~-:\=J: 8~.
'l-4e c. .r. ~-

I I '

The same countersubject ac:Jompanying the answer.

. (
•
..l!l. .A.
~-
.•. ~ _a,
-~-p--
e::: -~
·--
•
..1.
' I

\ ·~· --
"" ..b.
_}_
_}_
_._
~
.L'!t.
_p
- ...'
I I
·-

I I
. r=~·
]
··r:,-
-r-
I
 lOT

s-.ch are the sucoess1ve operations in the construc:t1on:

Of a oo-unteratabjeCJt, preaent1ad 1n analytical. form,. With $X-
I

pe:r.lenee and pl*actice one ean learn to conceive them bst1nctlft-

ly. the 1mportant nliit:ea of the eountersubjeo~ comins to one at
rtrat thougbt. wit.b.out the naf.H.:tssity o~r &d:ng all tb!s work of
analya!.s~ S3Cept 1n $19X"taiu epeeW eases.
Is eummary 1 we sea that ~ aft1' subject whatever. all
good countereubJ·EJot Wt;ituld have f~ a bass the same karmon:t<~
I '
I . .
elsmant;s, and tha\ they wlll d1tfer onl,- 1n tb.e ~twtbm OJ~ the
mel~ wb.1oh 1nd1v1dua.l 1nts.ginat1ont11 wiU attribute to tb.am.
 126. At the beginning of' a hgue the subject is
ann'>unoad in one of the parts • f'OllOW"ed b.1 the answer 1n anotba:r
pa.~tJ a· third vole$ sounde~ the subject aga.1n., wh1oh 1s like-.
wtse followed b.f the anaw~r.

THESE FOUR SUCCESSIVE ENTRANCES CONSTITUTE Ttm

EXPOSitiON . .
121.. ot the nutnbEn' or parta 1n a tugua 1 tb.e
RegarcUess
expos1t1on never con.ta.ins fewer that fou:r antra.:nces.
128 • mE ENTRANCE OF THE COONTERSUBJECT., THE SUBJECT

.MU$'1! ALWAYS·AL'l'ERNATE WI'fft THE ANSWER.

The counta:rsubject or eOl:Ultexasubjects may appear with

tb.el f'irst entrance of' tbe subject; but tor a. clear waderatana-.
1n& of tbe th-emes or t~e ~gua, 1'\ .. 1s bette:r to have them
enter suocesaively and to announce the subJect alone. bav1ng
the: countermibject enter only with the answsrJ this d1epos1-
t1on bas the advantage of . sho·w1ng eaob p!\tlt 1n bold relief ...

•
I

i 129.. It thera are several counte~subJeets ;s the first

cu,Jd be announeed at tbe second entrance:~ and tlle others
so~d.ed sueoese1vely at the third and fourth entrancest this
I
 clea.~ar effect, and it would ba easier to follow
tb.s dE:lvelopment of the principal and secondary themes through-
out tb.e fugue.
130. However • it tne subject: is in notes of long value
or ba.e not a very well deftned melodic form# tbe oountersu.b-
jeQt or eountersubjacts coul.d be announced with the first
entrance 1n order to al'Ouse at the beginning interest which
m1gnt otherwise be dormant . .
131. THE SUBJECT 'lRANSFERED TO A COHRESPONDiiiG VOICE ..
A subje~t wnieh 1s announced in one voioe ean be transferred
1n~1sor!m1nately into another votca of corresponding :range;
I

.1~ .!•• a subject wtitten for bass can be plaead in tlla alto.
anet yl~$ 'V'SlS& & l.1kew1se a subject gtven out 1n the tenor can
aleo be taken by the soprano, and v1ce ;~t~!"_@a,; but 1n ttl$ ex-
poe1ti.on one must never sound 1n tb.e bass or the alto a sub-
ject anmounced in tbe 'tenor or th.e sopt-ano, and v1ca 'f'stl?§.B:•
.382. If one sounds. e. t the first
tb.e cotm"tersubjeot
•
en ·ranee of the aubject 6 1t 1s better to announce 1t 1n a
vo ca of corresponc;'U.ng range, but 1f' the counifersubjeot enters
1

only as an a.coompanimant to the answer • 1 t 1a W·ell to sound

itlln th.e par:t in ?rhieh. t.h.e subject bas just been announced ..
'fb' a a.pplJ.es only in tusuas whiob have one oounteraubjeet ..
133... THE AN6WEF~ WS'l EN"TER AS SOON AS THE SU19JECT HAS

FI ·SHED.

r
 be4'ause the rh.Vthm o!' tne subject makes 1t d.iff'1cnalt 1 or be-

•• cause the two tona.litiee do not suooaed. each other smoothly

as a raaul t of the modulation or the answer:

It is evid.ent that here, by sounding the answer 1mme-

diate1y a.~ta~ the last note of the eubJeut • on.e would complete--
l.y1 d1st&rt the rbytbm of t.he theme, since the accented beats
of the answer would not eoino1de with those of' the subject:

c.r

Ill
~

I
.. .,_A
'" . -----,

e-k
. . . '

A·
\
Jf.l .4- --·1---cs---'

w~cb 1a ·impossible from a purely mue1eal point of' view.

-I 134. CODA 0? THE SUBJECT. :~1J; FILL TllE REMAINDER OF
lfab ilEASU~ WITH A CODA, WRICii IS A 'MELODIC LU·TE WRITTEN IN
I
r
EitrHER SIMPLE OR DOUBLE COUNTEF.POIN'r, WHIO"il SERVES 'rO IWTP.O ...
DUfE T'HE ENTPANCE OF THE ANSWER,. AND WHICH WE CONTINUE UN'fiL
I

THE ENTRANCE OP THE COUNT!RSUBJECTl thGre may be a

I
shor~ rest
I

• be~ore the entrance

t-~

I
coda immediately~
or the ctt)unteraubjeot, or it may .follow
 ·'r..

lll

N\ 0
!Co q ___ -··-·-~.1-i
'CJ'
.,
t/..A j t., ,- • ~~a"- - -I ~fi,o
r~

..
••
\.
,u~

II) et ~
< ~
& -- ~n- '10'
Ill
II~
-- --_-f- rl-·
IID..Jil.
IILl

Care must be iiaken iio write th1s coda in the style of

t~ subject and countersub3eet so that the latte~ will be a
na~UX'al. consequent.te of th& coda, as the coaa itself' must be
i
a '.lag1aa·l consequence of the subject.
135· Tb.e coda. l.ik~ any melodio or rhythmic f1gw:ae
in ~ voioe whatever in tna exposition, is an integral part
or the fugue and aids in 1he later developments of tne subj$~t

If the note wll!eh ends the S(.lbjaot and the note wh1eh.
begln.s the answer 11 although :forming a consonant interval
used 1n counterpoint, are not or the same tonality • and if'
tb.e subject ends on the same beat on wnion tbe answer should
ent~r .. a coda must be inserted"' (See example under seo, 1.56.,)
ln ce:rta1n oases
,
we add a co& to a sub3ect before

'

no1i$ or the subjaot; we. see e.n example of this tn sao"" 172
! •
(e1. b.tb. measure) • whe:r-e the coda is added for ,eur!~hmJ!: of' the
., sub eot and to avoid a un1son.
Some purely musical oonEl1derat1ona could also cause
 112

t~a omission or a coda which, at firat a1ght;t would veem necee~

I

•
s~ey (see exposition sec. 160, 161); suc:h a ea~s must be data:.rA
m~nad by ita own feeltng, for it ia impossible to foresee
t~asa cases or to apply any fixed rule to them ..
J.:;6. SECOND CODA.. It often nappene ·tlla t when the an-
sw$r enters on tb.e last note of the Stlbjeat,. the t111rd entraru.ta
can not appear 1mmedta.t$ly aft'7r the second; in this ease we
'

ad~ a second code. between tho& second and third entrances.

{ Tl'4a · eoda can be more developed, and can consist., acoo:rding
toithe
i
movement or •the ~gue,ot two or ·three measures; this
. i .

coda ls advantageous whan the subject and its oounteraubject

'

do:not posess enough material for their ultimate development;

it !.1s absolutely necessary in orda-r to fUl in when !le1tlter
pa~t ·is sounding the subject or counteraubject... This pro-
'

ced.Ul"a is frequently used even when tne alt~rnate entrances

'
of tthe subject and answer can appear w1 thout interruption ..
'·

137. T!iE UNISON AVOIDED .. THE LAST NOTE OF 'f'dE SUB-

JE AND THE FIRST NOTE 0? THE AN5"",1f!.R MUST NF~VtR F0f'J4 A UNISON*

In. tbis case we transfer the f1rst entrance of the eub ...
3ec~ to a. voiee of corresponding ranee (soprano-tenor., alto-
i
bam(t):
\
s.-• --- - ---;e.J~ ---
t
- - -
.
I' II _i' _ll RP r
.
-f-

• 'I -•l
I
1... \'
..- -·
-
llf, -u .41 I
,.......,.. ::!> ~
1111 ~
-.

\li,J-
'
-------·---- _A·________
- .. ·-··- •
- ,,. l0 otoo..
f'

L
'('
_l
.:.r-·
l_
__L
~
.01
-
-
~t-..: -
 'Rb.e subjee't be1na announced 1n the alto and p:ttoduc1ng a
un~eon w1tb the :first- :note:- of the answer. we t~e:natexa it to
e th~ bass. the OOJ;tt'espondlng V01C$ Of the alto:.

II J
'-
_,_ ·- - --
. _,. ..' -
• _,
.....__.I B
--........ K
-
'
J'.-- -
• a
I
C·J',-
•
.-·
.u
- - -- - -- ~p.--::: .
"' ... _. '.... !:-:...--
,.- --
-
r I I _j•
'S:l
~

'Thus tna first note of the answer 1s at the octave above

t~ las\ note of the sub3eet instead or forming a unison with
it. On.e can, 1n order to avo14 a un1son of thta k!.nd. add a
eoda to the subject (see ·example. sec. 112).
138.,.; FREE PARiS. When the pari which f'iret annotmees
the attbjoo'& bas f1rd.ehed •. an•tl!ler part $0Wlds tb.a answer;
d.taing th1s section. the first parfi eont1nues in s1mpl.e counter-
•
po~t. ox- a tree part., Which may-~ may not be !.Jiterwpted by
I
a sfort rest before somld1ng tb.e countersubJeot.
i The answer f'1n1shad 111 a thb'd part sounds. the subJeet.-
wbU,e t.he vo1ee wb1ch so1mdad thE!I answer takes up the -counter-
sub#ect 1n the same maxm.ar as tbe 1"1rst l)S.:rt; tbe l.atte:rt eon-
!
tin..ws to accompaay. thla ttd..rd entl'anca with a fltee part in
sllntle counterpoint.. . · ,
i In its tum tb.e fovth voice sounds the answex- acoompaa-
1

ted by' tile countarsubject 1n the voice wbloh bas _jus't souaded
1

I
 114

the; sub3e~t, wblle the other two pal"ts sound simple couatett-

•
po1nts ot the same style as the subject and oounteraubject ..
l'~"' These acoompa~ying coete.rpo1nts, or free parts,
ahauld bava well defined melod1o 11nea and should not be
simply harmonic fUlers.
.
From tb.e beginning. the free part·s
sbcul.d be wr1't'ten in 1m1tat1ve style as mueh as possibl.e.
140.. !HE EXPOSI'rlOH IN TWO PAR'l'S· If the f'tague is 1n
two·parts., eaeh voice will sound the subject and answer; the
vo~oe which axmounqes the sub;Ject the tlret time w1ll sound
I . .

th~ atuswe:P at tb.e ~ourtb ent~an~e, and consequently, the voiee

Wb.loh sounded the answer· at the second entrance will sound tb.e
I

I .
tb.1rd entrance ot the sub:Ject. ·
141. THE EXPOSITION IN MORE 'fHAR TWO PARTS.. In an
GXJPOS2:tion. of' thl-ee parts. the vot.ee whlcb. has annotmeted the
s~lect the t1rst time w1ll sound th$ answer at the fourth
entrance..,. or the other two voices, -the first wUl. make the
se,ond entranQe (answel!'} • e.ttf! the other, tbtil tb.1r4 entrance
(sfbject).
! In an exposiii1on o:r· moN tban thr$e pa:rts. Jaaeh votes
w1U malts Oilly one ent~$ cf elthal' the subJect or the answer.
ilbe following tabl.es give tb.e variouS' d1spos1t1ons
whtch can be $mployed f'C)r tbe sueoeas1ve en.tx'ances ot the
su ject aia4 answer in two, tbree• o,., four. parts.
 115

142.. Models of expositions in two parts having one

counteraub3ect heard after the subject; ,; .. e ... on the sec-ond
entrance otlly:

~---~------~~------~~~-----­
r
-·
_fi

J
1\ • c
~·

Note--In a fugue of two parts, one of the two d1spos1-

t one above must be f'ollowedJ 1n other words:; tb.e subject l'lnlst
w1\b.O'Cit the accompaniment of the o-ountex--
subJect.
i

14:;.. Expos1t1ons 1n tb.ree parts:

116
 llT

A
...
1
~----· .. ···---- - ·-·
••
···---ll-..::l...,r..____
•---.,...... . ·- -11'·-- ·-n -- - ,.. . -~- -- ·x- -· .J
~ .-...~ ,-,...----;

--- .1 ·- · · · - - '

I'

~-- ~--
----.-------.-------··--:---:-
----,.:;:;· ,, ~

""''

I-- .L . --- t---- . - - - . --- - --- ·-

---- --------1--~1-- . -~ - ~ . -- -,...--- ~qA_

---
,....__. - ··--

"
. -~ ····-··-----!!----,..#---
------
 118

• j_
If.

-H~
l\ .

... _, . • I
#. I'll
r-~,..

L
. - ..... ~. IJ. ~-
"'f_!:.!

j_ -
-- r
"' ~"

I
fl· --
·---·--- -·
•...... .··r· .
I

1 --
. . ,_...,....!M_
I. ~

~
I --
p --bA-r~-
A
""'
II"
.
I

1-
.
1-------
,
_____
A
..
 119

tr--··-
• 1---
1--
9

I
7T ---~-- ----

·-

145. Models ot expos1t1one in three pa:rt.s witb. one

cou.niiersubject heard w:tth the first. entrance of' the sublect:

I
I
~ h
-13
.
('1-
v
I

! p-
~--..~·
r' t" 1'.
'I I •
IJ
~ . 'I
~I
_.II

·'
,
'
 120

~ .... ···-'-~
7
I •

•
I

,,
T •-:!,_·~!----'- ". ---
, . l' ,

146., Expositions 1n four puts:

I·
I I•

..... --1------ll--71~- -;:- "

--
' . ....,.

1-------1-----4--- - - 1 - - -
f---7,· --n· ,. ·TT
.-~ t• -T
 121
i:
'I'
r

!
-jl-.,
. . t~

• fl
-~--- ...

-~-~~-·-·-

' . -,..

The tree parts should be separe.ted from tb.e entrances of

tba; subject~ answer. or counte:rsubject by a. more or less pro-
longed e 1lence ( cr sac., 112 e1;, s~g ,,J .. In order not to oompli-
ca:te the following tablesjt the free parts bave not been 1nd1-
catfd• 'but it is understood tha-t t~ey always continue after
eaol'l entrance of' the sub3ect, a.nswe~. or oountarsubjeet, as 1s
I -
see~ from the table_above.
i
147.. Following are d1spos1t1oas to avoid • 1n wb1ob.
the voices have not appeared in their normal. order, but wb1eb
. can be used 1n certain cases when tb:e range of the subject
and answer make it practical:
 122

,
•

:e·
 148.. Disposi~ions other than those g1ven 1n the tables
abov~ are to:ttbidden. :f'o:r they sound the subject and answer in
I

vo1o~s of s1m1la.r range$

I
I "' . . -- A·-·- ..

I
.....J _
_ . --

LJ .r·.,..::

--~

----,. ---
\ ·-- . -
!

l.49- we a.lao forbid d1sposi'tl1ons in which. tne subject

and ·counte:rsubjeot souud simu.l tanaously in two voices of .dis-
s1mi;l.a.r ~ange 111 as;; for $Dtnpl.s. the subjec:Jt in the teuo~ and
1ts lcoun'tersubject· in $tie bass, '"- iibe answer 1n tb.e al'to and
' .

1te !eountersubject in the soprano §~tt; 1n other words., the

oo.tal'aubjeot must appeal' 1n a voice or eo:rrespond1-ng ra.nge
to that wllieh
I
is soundirlg the subleot. .

150* Models of' expos! t1ons in three par'ts having ttwo

~ 0:0 :tsrstlbjeote:
 124

\G) (f) I Q.,CD (f) I

f'F-7-.- - -
-"' . ' 7
. 1--:;::t;:
r------r·- ,.,

•
.., ,-r
L
·-· .
\
{3) (3) ..
+.--~
I
--,; ...,;;:--,.
<
I
' . ~·
...,
' :J'r .1. •
(.
; -~.
. I

~
'
I@ , -\-.
"'
·- --·-· -4----
.... ~-·
'" -
~~~
~
l
,,,.~
,.
,.___
.t ,
. 7

·- ·-·-
. "'
I \.
J;

I t '"m ffi
~·-· ' ,.
.... ' T L - --
!l':lo '~.

(Sl
,,._ ,,..
"'
r---- '
"JIIO ·~~ .,

6) --;;·-.
... -..--f:7t-- (' - ,·;.r.' ' -
1!11.
...r
Fl
"J-1 ·~,;;. . """'
~· ..!

Noten TJ11s last dleposi:t1on should be used only ·

in cases,.. tor iutance, where the second pa.t-t
I

exceptionally;
would not be apt iio sound the ~ounte:r.sub3ect or the subject
be~usa or 1 ts extreme mnge:

•
 125
I
Jt !
tctf-,, ··-
I

I
r
I I
~
( IS' I
:-, . i
I

• rrv ., II
itD
. iJ . !

\."" ®
.,
..,_.:.
• cL ~~--
-->----~-· ..
.... ··-
. I

-
.A

~r~ , ., . .,. . ·t4;- -- .

......... ,
'-I " ,. .Cj'
\.
.....-;;('
.......
.

I I~(i) ..
\ # ; - f---~--
-~
I/-
"' J.

(£)
1-T.,._b;-- hs-t· ,. r,...J,----=
\' JI<'
..: .... .....
" t"

.J. ([) .JQ. 6J .

1--:rn;:·~ .- - -·-· h-.;1: ---
··-
I I~+,:~ ·-;.:--;;-
'~"'' 1'._,..
1::c=.!L:.... ~-
~

·----
::.
·:Sr . - .
i" (.
- J.

~
I

jQ (f)_ rl) ... ---n--

I I
~

-·-· \- ..
~
-lUI'

__,.---
'1'
..
I

I
'
~

- 71
:rr ~~
t------·
~\. .:1• ··c;. ';-..-- r--
-r

tY· G)
. ·~t::---=. ~J&
- I.J. . ""',- __
;:;!.:
-~--
r
·-=-...J· ~
·'~
.L-
..... .....
" ..C::
_ -· ·- - ...
V I f
~---~-....
 126

'
i :z.-
l~-<iJ-- rtf)__
-;:;;
-,
-.:.;
7\
/'I

----r--~

lj (.(;
(,
I<-~'~'\ ~:r- -- --- Yl-- ·--~- r---\ =-e ~J=-
_,n·
... A
... ,
- f

ti'J -.:t.·-,-
_l,"f' . J. ,...t:r
,;,;;~ "'-~-?:----
.1) " \.;--.:/ ....
-- -. t1r) _Cl)__ I. (0
. +s-t--.. ~-- --....,.A·-- .. '- --E-·· "'¥.
. ..J. ~ Jl:=-
7'fT T - 7' .....
-~

-- J ..... ..., 7"1.

·--..----·
. .......,.- . " ,.--... _
---- 1-
I
-.;;;
L 1---"---F -.
f I -:ri

f--;- ;;ir f--·--:f -- --@ ~~-!:==-

~ ~-- -'-;;z-~ f----;~ -----c-- ......
~~· .J :T•

-4)_ Q)
--tt ..
-.;,
....., .-.... . --
""'

sae note under No·lb-.

 121

151.. Expositions in tour pa.~ts baving two eounter-

sub3ectst
J (j)
~-.""";-
-.
-
---
,.,
G -~-~~ --=-~-.;~
- - - (i)
-- - - -----i-- -- -~·-t--\-/JL
-
1\ --
,. ·--·-· ~~s~
~::r::= -,.---..,
.t-1
I I
• -"}

---
~-0-
---
--~--
~-

r-----'-1\·~
"
'I-----
1--- ----
(;)
-- ----il-~:_+-,--.--1
-- - ---- ---p.--·--- -l-~i__::
-- "\ ~"'"' .

I -
~~- - f - ·
----
-·- ---~·
'i:l
; -,

r -o---

---- - ~-- ---f-----------

7\ '-c:--

_A --
 128

~1
c:( Pi) --
~;:::.
-··-·
~
_(J ~L.k- --
--
( ~- .J.... _z ··-

'Q
; I
-- ~
"' ,."'.
_.., ..II
" I'
,_
-~~ --~--p--
'
I -
"'
- _( ,.
'-
•

~ €) __ __.~.
(5) -
~-
-:)
---·
I
_,I ~*-4t.
,... ,...., ..... -t-r c: ·_;; """F --
.... - - -'- '- .J
I

rD (3)
-t-s--r..::·--=:_
~~ --r-?:~~- -~ nu ---··
..... ....'"
-~
'-'-..,J
"
\...-,.;)

-·---

f-- &
-----=-~·
.... \. /

• ' .
 129
;
·l'! \

:Jo.. @)
'J\ ,.
. ~~-,_.-.~_-.:
.... C' . - -
........... -~- ------\
----
s -r·~-
r-"'.--:S=~.

-+---- f---~

---..e----
. - -.:.7" _,

--
m
·Er-

~-= t=-?;:\t= -t{'f-,,-+-~'ll-- -

-~-

\-~-- f-A-
 130

c
ij
,
,.;
l '

(3)
"" -~

'
!'
' ~,,
_+-\ ·---
~-V:Jt--
.-r-
~-~
1
~
! '
I
'
I ' (D n 1 ...
'
-,., '1.-"
.,; r .
IJ -·-
'
-
.....

--+~---: ------- --=A-==·

--
- ...,
 ,..

131

I @ ,
l "·~ ....
:;..
....n ....,
C!
·r-
II'.-.! •
II!.

,,
:
~
I

il I' ~4- 1'----i

i
.,
-·
r ..... • ., H
-~

- j
i'\i I
lj, .,.
"fi__'lo.
' I I

!i i
I
f. f

:)
f1
;
Q) m l
! ~ to:;;oP
'(
_c;; ··-.-sf-.
,. '-
..........
1--ll,.o:,:;.-'l'fF..,-1---·--- ~---- '--~
~
fl'..-f- ; .
~-£-,-i.
l -
i I
!
® j
_ _-_-__. . .-. @
\ -....
I
'-- -~
=~--_-- -·-_==-!1-----.-~-.--:J--....
-4.-,---··---.-~~-~
... ,;s;r=:
oc=--j

t ,..., ~. ::;..rt;---=- r-~..;J: ·-.

r
.....--:;,~

If : I 1
'
I
I (i) ·-·-----
.s_F;:· fl

-- , --
I

_,. .. :z
\
1''-'1'
i(
l.l '
-1'-~
- ~---

\ I
I
.: I+)
L
--

: I G)
-1--J'-!/.-- ~---- . ----(!---1- -~·-;::· -
\ ~-~-.l.l
'! :(1 ., 'I
l :7 ( ...,'--
 132

. -? Jtt ~
{ ...,i...;p··if
,. ··c-j'
"') .... J'
I '' '-- .,J

i
I
f) /B
~ 'il=M ...,
I
--
l
- r•--:'1'.
.

...!'::.L.•
--
~
:;\" ----
~
rn (0
. -""' A t -5-4- ··-
~~- L --
' .. R
_(_
#J

® :J_..._, -
4---·-- · ---11-- -- - - ·IS +--·-
7----- -- ---FJ· - - 'r- ,.--k_ -
-----:; -~' 4 ·· .
---r--·-(i--
--- --
-
f--· /iif , .....""
;:,
-~

j l f

-- ~-
----~~-~ I
··----+-cr---·· +-~-Jl-+
f:

--=t--1-
-~ . - .. --· .

--- r
.L.

'

•I
!------ ·--- f - - - - - - f - - - - --·
-~-f\.:-1· - trf-t_-.· f="' .•... -- '
_(J'& -
/ .-- - .
,.
") \
T7
:i I
·I'
:Ljl,,
{ ('[)
r.. I ~ .
l),
-...... ~

l_ ' I" ..,. -

 D
153. Models ot eXposi tiona in f'otir parts in which the
sub.ject is heard w1tb: three countarsttbjeota:

j:(j) /tJ..CD. ·(!)

r- ~
- -~ -~ ._._.._}, >J ~
... ....., _::, ~---F
~
-· _-..,..
~-~: -~->-
(
f---_....L- -· .; ' L
~ ----
@
-- ~ ®
·;v
·-,;.
.b -~ ~-.
~~ _I_ -, -''1
·"
..a·
,..
~t1 _}OJ_
_!:_-~-
~-~~
........ n~.d.
" _.__ c.... I
'
"""""
~

-r- J.
(ID ® -
"Z):;:-~
{3J ..
3-f-~:)
~~
-;-<
(a

@)
...
_,,.
-~
--
I )
1'\ c:.
(

®
-€:-5 ;:1
J
\Sf
'~
..........

([)
"""' -~ \
..... '""
J'/
r:I
...

'
n
- .u -
\ " r..........' I
.I ,

~ (ij)
h > ~4>-- r--w---
,.,. !-t~-:z--t'-t:-+--l--4--. --tt=-
-i..""~- ...-;.-
=~t.-~, ?-;F-1-··-j'-·
I
----=.a·--
If.
'I! .., c> L..C:
~.L
.t:

I
i
f) (jJ I CD
_.._,,_A_ ,....., ~j-~
- r--c-_, -- ":> A
~
-+-
--
.A 7
...
I ..;' r '
-
(' I .... "- -~
.........
,- I!'"

I
I
I (2) I ....:7'"' n
® (;:)
m+ ~ +~ -"' 1l
-~~
: 2 lilt~
_,
1-----J.·.- r--=rFl-
r

~
...
A ,. c.
""
...
.... --
,. <:

(§)
C.-5-
•
,.,__..,
....,.._ ,. rt

($)
_y
('....,...
.... -

-.--.... -, ..,ll -- ~---r~-- ....... "" A -. ~~- --t-S-+- ~--- ~,P--

" ....
......
-- \.
<:
..,)
.........
"C' (
._, ""' {
' i"C
--
_('_ ~
 134

]k
• J

.II
i(
h
u
,I ®,:..;
(9

::;;:
j

II
--~
C)\

~""
;
Jtt
r•
._.,

~
-QI
.~

'"',.
\;.7

(£)
·c

.. .,
...;.
CS>
1
~cP:
..

-
"'"'
~-

., -.,
I
"'
I"
.......

-.
•
,. II'

@
.® ...

J.
.

c·:c;::·

-~·~~
-
L .I II
! ""'1 o.; r-;7 I L.l ;; II 7
r ....., 7 ., ·~ ~,. -;;;::c:
' ---- . -€-:5--i "-j 'I >: 7
~ '
·m ~ - (D (
G)
.,_ ~ .. _, - ~ ~
~ ..... +-S+-' _() !
.... ··~=-~ """
..... , c.
- .........
c::;:: ,..<!: c ·~

,.. ·~.:--
1"'.
7 ./

(t) d) ___---/);--
(i:)j-
\ § -'1.
.1.

~
I -,;·:;r.
""1-,
·71-C
.A ~

7'(;.
~·
'2..
~-
-~·
...~· oil,()

- n
f·r·
·~ .~,
--..-:;,

-.._
'/.&I.
....,""· C0.. .,
..~"""
.....
"-,.'
I
i-.
'
---* --A-~·
-+ -2::
~rr-
It!;# ; ~-..,.,&
--~·
,'Zl--
4··:.
..
-
eoL

r "' £. r-s_ -~~ =143 --.·

'l
'
'' I l j
'
'i' {i)
i (i) l ffl -~
!:
"-·
...... ... I .... ....: .-v..
' ; t~-s-+=:4·
-
!

iI
~
:L
.......
.,-_ VLIJ

""'
:1 f"'tv
.A
:,., .
('
·-
~
"'""' ,..,..
.... 7
~-

~ G) ~ (?)
tO
'
~tf-
-.., [~~-
;;:
-~~-· - li
.:J f"l.l'
-
-...:; :-w;o-
~
I
-e ·~ ,.I'"
'-...I --C.~
7
' - '
!fi) ;
(\) CD
\
-v--41:-- ~.c..
,.' -c;;: -w.t -!3 ~~ ::. f-< ;...L
'
L\

c:
-!J
-~-.=.'f
I -·
-:7 r
...
c.. -,.~

"""-:7
 135

J.54.. D1spos1't1ons used only occasionallyt

155. Expoe1 tion or a f'ttgue in two parte ( 1nstrwnenta.l

sttyle)... SubJect by Geoalse- (See sec. 15 tor the answer to
thls subject),.

A,---------
.r.-:: ...
.1. ---

;,..---..-- ·---------- -------

·-·

-
 136

•
I
i

I. _It will be not1eed that tb.EJ ooda~ beg1nn1ng at (a} • 1s

weU! developed.,
I
fb.e same treatment is given f"ug\lss in two
part~ when ,tb.e second and th.:trd entrances appeax- in the same ·
voie;a (table A, sec .. 142} i9 !b.e aim of' .this dlspos1t1on is to
ma.kei. t-lle re\uxan ot the subject in tb.e pr1no1pal key appear
more oonsp1cuous tt at tne same time a.vo1d!:Dg the immediate
in the sa:me vo1eet of the prtne1pal motif ot the

1-.:--·---··-1----------·_:·-- -------------
~t~----------1-·-- -----------'-...:.:.··±====~~==~t=====~-~~-===1
\ i-'-'---D-lr~-t..L- · - --
 1,7

.
1'\t
'
.!...,_I. T 'tr' -t l ~
1 T
v r
(C..)

At (a) tne tree part 1s ·composed af 1mltat1ons of the

At {d) the 1m1ta'i1on 1s 1n s1tn1laxs motion.

151.., Exposi t.ion 1n tour parts of a. oalm and expressive
Em 3eo't.. St.tl>lect by pa.lacU.l.he :.
 138

• il

; ~1\
-"-'-~ - •.
1

-
l

lrrl""r<a.1l---------+-- ·------ 1 - - - · - - - - - - - - - - - - - -
: ___ ...=..
-~ t

·----+---'-'""'--
_L

~--·
·r-
------------
---w-----
--

It
IIH---.4ir.-·· ------ --- r--
~- __ r;___:__-__ ----------- ----= ==~--- ·:t==~:..:·.::::--·:::t=r-=-=-:.:==---~:__:---~..:..:.:.:::=J

r--- ·- ·--- - - - ---- --· . _______ _

ltl..~..,.,...,~.;:::::T:-'==~===ll=:.:::·=-~~---+----:w--. =r=:.--"li'f- ·-- !--
1..... •<No ------- t--· - ----- --- - - -
------ ..--·-·----- .. _
J\Jo-,A..'-,•'"'~:31',._-l,"""""______-_-_ --------4--~===:==:±::===:::=:=:£:==:::::-===::==:=t

-·
 139

••
 140

At (a), (b) • e.nd (c) tbe s1x-fo'IU" prOdu<ted by the malo-

die movement of the subject muet not be regarded as really
• · EtXlst1ns; !.t is the result of' an embel.l1sbment or the aub-
dom~nant of til$ tonie, and we must ~ousider that. acoord1ng to
the: rules of strict counterpoint, the harmony is determ1ned
not. by title ~l1s.bment, but by the subd.om1nant"'
At (d) • ts-om tb.$ t1me the soprano drops out, the melod1<t
line of tba upper pa~~ 1s con:tintled by tne al.to without alter-
ing i1n tb.e least ~he melody whieb. was pzseviously soundlng.
i FOR THE MELODIC QUALITY OF A FUGUE IT IS NECESSARY THA~.
IF OmE PART IS IN'fEERUPl'EDa ANOTHER PART CARRY ON THE MELODY
1 ' ~

IN ~O.ME WAY- IN A WAY WRICH "W:ti..L NOT CHANGE THE MUSlC.AL SENSE
TOO \ABRUPTLY! IN A WORD. ALL THE PARTS ·sHOULD CONTRIBUTE

THROUGH THEIR ENSEUBLE ·TO ·!HE GENERAL MELODIC LINE OF THE FUGUE.,

158. b:pos1tton Of e. ttalll'l and expressive subject in

vocal et3'le. SubJect ·by A. tlb.oma.a:

II.
~
j!
-,6
r .. •. ~ ~, -~-,.-r-o ,_ ·:.-.-t ..-.
• • t
=-l~oJq_ --1l
• , -t-\· ,..r .
C.,.:._./!
• ••
~
-- ...
l--:'1~-.•--t~-~-~
""t':e -"~:~ .
·
•"·kl
HI. l I I ·
.,1>
.... .• \ .
-
\
!
I
,..,. .... --- --··-·
....
~~--.-
il I .. . n r
ll'l• ·-·-·-
·-

'
.- I
·-v ..
II
I I I
I
f"
I

'
~-
I
' .

' 1la
Ill,

'
I
.£..
-- r- -·- '--···

- -· --
- -·-·

• ..
['~;.
[7
. .8
·-·-·· .. ..
 141

'

-
!

• i

r
I

{;I T
§I ITT

jiiiT - - -.~
I
I1
,o
I

_!
rr-t-T·-·-··1,....,.
• l

..
• •
ll_t_.-
I'-._\

11"
-.
..
-jh~

··- • j
•

-L... r,_-v--
-~__l_
-" .
t-1!
I

'
....!1!
~-
-..
\.

.::lbr.
..,..

..
ih~~
~~-

--
~

I2:ll~- f"_p:i I'

I i
Itt • J.. II I
I itTT I I -" ..i. .
;rr

lv_~--
ifF~ ·-
l.l!l)
----
..r.,,..,
1!1
·-
·-- ' - --- t----
'
...
..£
['

\"· n.
~-
··- -···--·

--
---
~

(c)
L- ",..1*+
··--
 141

A\ (a), (b), and (c} 1t wUl bs noticed that th.e '\wo

•
rree parts 1m1tate each oth$rt trotn the persisirence of the
I
sarn~ melodic figure heard 1n tfle expo$1 tion, we set tb.e an'tttor-
1ty to u.se tn1s figure tn the ep1sod$ of the fugu$,
At (dl we bave "he sound!ng ct a ma.3o:r second. {between
I

the· sopl'ano a.nd a.J. to) ·Wht.on 1s torbidli~n in e:ertain music

soh.ole ~ As nQ one bas QVer g1v~an a good reason for su.e:h a
prolitibit1on. I tn1nk that, even 1n strict styJ.;a, we may take
tb.1t 11aense ( 1f 11ctliii.SIIl lt be), ~pee1elly since tbe diasone.n~
notT { h.e!'e the Bi> 1n tlw alto) bas already been heard tn one of
I
tbeipa~ts in the oetave above or below:
I
1
l$9. Su.bjeot by GedalEtEt (IJlStl?umental style)#

~~ - ------------
- ......... . I l
T
T
1J.-
-\:l-
~T
~

- ... ...
--f-· . ·-
e···-· • fiOlJ
. --
 143

.
·-z; --..-
~ {t. _,..._. .,..... ~ .' -...
C-Jt
"A ,. ·y
~

• - ·--
T
T
"<;J'"

""
.
• 'Fl'

'
--. '\"
:T+=:
-
f7
'
1
''
7

"
I

..
~
A-::;::-
• • T

'
... ii -
_l__
I"' -' ·-;-('. ---
-
,.
10
-.-
fl..-.-.:-.
~ =-~
.... -:w-f' -
! -.....:..
! 1
-:11
-·- - -
''eir
-- -+--·
... ·--
-....
-

'
.......
-v
J.["
---· ---
. -- ~-
- ------- ---- ----
---
------·--
-
--

+=- ..
'lr>b- •
:rr '""'l
... I

• "'-"'

[I I ,J, ...
IJT
~ ~
_, • 1-- ------------t~=i·-~--
vl -~~y.:
T
T •
 144

At (a) notice that tbe free part has been constl"UCted

1~ su.ch a way ae: to join naturally w1tb the countersubjeot.
At (b) the tree parts are f'ormed h'om ~ragmerits at the
coun.teraubJeot and imttat:e f)acll othe:r.
160. Expos11t1on of' a subJ$o'ti in instrumental style 1n
wb1ob we have avo1ded ~he use of a coda:

--~
II JI..:J,. 'If. .J. L t

-
(I T
I
~~,
11 1" J... - ~
~
• I
---
tt·J h--· tr . 0""
0 • '
._ _______ -- --·--
H-:t· fi!,"JC T -· -- ...

~ i •
B
Ill
11
fl.
"'''-
-.,.-
. --
- -----· c---

,,
i ~
I •
--------
 145

• I"

ll) .
~r~S~- ~· ;= ~-____,_-- - -r-
I

-------·±J--.:_.
·{-.;:·f!L- - - · ------- :-.---,··-rl--.
i ...
,._ ~~--~-----__
· -- { N- --I-t-~- t·· •
"'""-

~:g......,.._____________ _
- I

~ 1
..:.... .;...
_l_
'

~:---w-- -··----v:r-·----·-··-------
----· ·---····· - -----..,.,.-
-~-'
.. ···- --- ----- .. -- - I--··
---···· --------------------+---------------

---·-
-w- =-==;::::::.-
. -------

-l,hf. II , (}---
• _L I" I

-
t.f:!::l-
•

IlK 1. '-..! I I
•q ~

..r.--- -----t---o~~~st;o::-:::;_::::::::::::=--:= -+--------

. ..
IR i l
--fr ·f._, 1--.-,-- -.-,_ :
""' I ,_ .u I
I

- - - - - -- - - - - - - - - - - - !--·----··--- . - - - - -
"ta1• . -----·-- ···-·------------- ····---:- w --
I'

a
 146

I 161~ In this expord.t1on we could have introduced a coda

af't* \he f1ret entrance of' the eub3Eutt 1n order to lead up to

Following are the rea.~ons which induced us to amit a eolia

i
and ~odUlate abl'Uptly t4 the dominant key:
a) Tbe subject ends on a measure vo1d of rtwthln and
melodic interest 1 any coda._ then, would appear fore!gn to the
melctiy ot the stibjao<t,..
b) ReeBl!'dl·~es ct how the coda is <t<mstru$'hed, 1t will,
ot tb.& harmonies determined b;y the answel'i',. again pass

'btae eame chords of' the keys B:. A, and E wb.loh tb.e .
co sbould sound-. This would pxooa.u-c-e repetition a·nd
 l4T

monototlJ.
That is why, 1n su.cb. oases, i'b is bette:r to modUlate
e 1

dtr.ectly to the dominant and nQt have e. ooaa.

162o· Exposition of a :fugue in instrumental style.
subject by Geda.lgtU

,1\) ..... ,......... ...

_lL
!'

""" --

.!L' "' .., - ---.---

-------------4--------------
),\_

•
 148

~.I F-
• (:J ,

In this exposition the rhythm and melody ot the sub3eot ,

. I
I
do tllQt oppose ea.oh. other as the answer starts on the fourth

•
!v
bea , al though the subject starts on the second best{sec. 133} •
At {a) the tree pa~t ~nnounoes without interruption the
rhy hm of the c~untareubjeot to wh1eh it is joined-
I ~
 149

At {b) and in the following meaatn'es, th.a f:t'ae parts

sound fragments ·Of the counteraubject 1n imitation ..

• 163. EJtpoa1t1on of a. l1VGly subject with an. an1mate4

co~ntersubjeot. Sub3ect by Ge&llget

l""_ I ' l I
:II") I T '-> - l
-- --
i
____!.
A-
I -

---l----------.

\~~~~~c-==·-~~:c·-=-=--~==-~~~---=-~--'~--~=-=~t~-~~---=~~----~-~~-~-L_~~~~~~~~=~~
~~---~~. - =t=----~-~---==t~c•~~- \_- - -~--+------------ -'------

-
\
 150

pP.

•
 l5l

164. Exp()s! t1on of' a vocal subject.- or grave and sustained

<tba.~aoter:

~t'.:l;'t;:lii::::::~~'.!::=l=::::=!-'5':C.=i===~~~~
U~JSh5===t====±===:===~~-±::
'\l ------~-~~-
---~---------- - -·- ---
-=-=-=-=~~=~--jl-=---=-- --- ~---~:;=::----:_ __ 1----
~--~--- ~ - - ' - - - - - - - - 1
-~~------L
- - - - - - - - ------

r---.
- ~- --r-- --· ~

""'

--
-··
 152
,.

The free part e.t (a) 1a tm1 t~ -ted by tb.e tenor at ( o} *

At (b) tne alto sounds a sevent.b. {bb) wi.tb.out preparation:
tb.ia sort o'f embelliebment is not always permitted in examiua.tt.onsJ
alt~ough it 1$ correct mualcallf•
loS~ Exposition or a subject 1n instrumental style:
 15:5

165. mxpos1t.1on of' a subjeot in inet:rumental stylet

-- --
---

_A-----4---_......_-
- -- _,,~ ~

-iO- -+-
\
f.:::-:--.- -f----.-· ~
- - - - - - - - - - - - - - - •· -- -- ---
H• lV - ~- --.,.,- ·--~-------t==-. .,.--------------~~-----

1_____ -----------·-·1----- . - --------- ==:-=---~--=·==t=======t:===~===t

---1

•
 154

!"' (b) the <tomb1nat1on ot the two tree pe.!l:'ts oontttibutes

to :reproduce the obaraotE}r o:t the free part (a).
Beg1nn1ne witn the third entrance, the two tree parts
oont1nuG to imitate mel.od1o and rJ:q'tb.mio patterns. These re-
call. the rnytb.m ot tb.S first tree part {a) in such a mannf:ir a.s
to stve a pural;v tnelod10 feeling to thEat ensemble Of tb.e GtXpO-

a1tlon and to avoid clryn.ess and la.ok ot axpress1on-m1sta.kes

wbloh one <tould ·easily make witt); a. subject or this kind.
165" E~pos1t1on o£ a ealtn and expressive subJect 1n
I
wh1~h the parts are formed ·trom melocU.o patterns wh1oh include •
manY notes" Subject by Gedalge:

..
• -"

Ill
lij\ .
IJ

I>
..

I.
...
---,-----4---c--,.--
--
IU_ll_!)_ \. ..r I ~ I I I
liL-l _.... "' • I I
-.
I -

--1-

-"'

.•
.,_
\' I
 155

--""'

•
Ill\
IIR 6
Ill'
_C.·~~b:""-,..-.,.,-r-.--~----_··,i!j·-J.:'IIt
--..-----4-rr··f -;;s-
i1 --;;;;;
-_-_t__-_-_......=-,...._-.•-__..__~-;-.'i'--
L~
if --
.. ~- -.•,tac-= ~- 1 /__
"-,._-,~~-_J--~,_JiorL~
·r- ,
P.,. -Jr_~_
_f" __ L
..... .
~--\--· • -'L Jl t' I » ..

II(>)·,· -'_ . .J!,~J. -

IIR '\

f It
~

---f--- ---
1-----
-- '-' ---;--1--
--- - ....
---\'4- - Jl~--
-- •

--.;: ··--
!

I
- .-&
I.
... ~ ==~t==-

-
I .I ·o fn

[II'
Ill
~-¥-
• - ... !..;"
,
...>
. 4-~~,.
I
--....A.
--
Ia

I
+-· -=~t-:· u-
LL
.l.._ _p_
_,
__ l"_
: ~&..~~$t-.:t:
~-~ J.T
---- .

c_ ..r._ lF.P., .....

ltw-~ ., ~
-- -,--- . _, -- --..'":j- ~~-
IL -~~~
....._
"' 0
.A .
--~~ -
---
----
•
-

IOJ I "' __y 11 I I

• ' l I
111 c.-- ....__,I ....
""""""
~
i
1'\.
. ,. -~-- -,o _ _'-- r-F= --tw I~K

• -- .::;.
f--1 .
'"' - II • ' r
_A_
_-..;:
t,> e.
~
lA I ' ::OS _j_

!
I
.
1111'7
I
IV
~
r
..
I
~
rr-: -~P-
I
-n
--
_l ....... 6
-
_,_.,_ ._. ..
..,.._,.

Ill\ ~ .. -+- ,,._

ITT .:"'.a-1· •
_"'/11'-_..11!_ .A.
_,.-'~J> • ---
--
Ill
I\
' I
It"' l I I
.... _I
~ _X ---

..
II
II '
....- I
'II.
I'
ID

~ 1n , p0 ,.,- ."'
...
- .,..
_____
·------ f-~-~,__,
------------- ----
Ill
tr\1'>
'
,. ll 1' II" •
'l'J'O (II ....-: .,. ll' fll_f..
_II" I" • __!"'_
_r:
-~--"

_lil . --
- - --
II \ !l I '1'-lr · 'I t
.,
A I ~

• _I
_L
.... _i__l_ _l

.---..-
~
' I
-.....:.
_j_

C..Jt,,.,. .. ......... -
i I'll I•
I~• .
.. . ttif
1" • --- -r
-

.... _,
_]
~_~.._J
·2--;~ __L_
---. ,_---. ~ - ... --- ---
I
I
. _ ~
 156

161. Exposition ot a vocal sub3ect of ealm cbaraeter.

sub,eot by GGdalge~

A-
f--------
-- - ·~ -·

- ' . I

---·- ----·- -----1---

.. ·-- ·e··· -- --- f - - .. -v:;··. -·- -----

.r. ~-
I r,
-- -·--· -·- ... ---·-v
-~-
T ~

]11' ~~-----~---_---4------t-lc.o4G\-I
u

... '---r-:-- - - ~-'1-----F.P.-;-~--~-~--

«;
____ - .. -._ - .:~r--
----
.
'II • I I I
-ll \ I
I
c,;.J'.-----t------t---1; R P.
---1----0lr.ill--.:
a -- I - ---·····-;p;---··
.

- - ---ell"
----- ---------------------·--
--·-··---- ··- - ----- "111·--------

- 1 - I II l'

IU
IU \

<
Dl ~
11\lh Ill
;.. -.,.-
....-

-......---r -
. ··-·· ,-I
-
--A -
l

-
,. ,o T
II I l
'
A ..
r-..• -- -~-- . ~- "F--~- -- -----~-,:'!):~------
I'".
•
 157

C.'{~.
1
u
i f1-., i . _.1.!t
-- - . ·-
- ... ... ·-----
-
;!
\ l I

' '
I
L _l V'
_n
--
~l
u

'

•
\

' --
..,;)
""' --
••"
~ l~h D.~ '
A II
({i~ ~0
B
+ I --·- .
----·-
- .

n
t'
I
H • --
• ·-- . - - L . -'- -- - ,-L--_
',
"" •. A
...' -
...,
..... ,...I
l~lh

'~-- v- _.!_
I
J-1 -·- I - -------

At (a) tb.e end ot the aounte:rsttb3ect undergoes a sl1ght

modttioatioa 1& orde~ to avold a pe~teo\ eadenee on the first
beat of tile following mea~;rEh Although tllis llbarta 1s ot'ten
taken b7 tna rni:.'ste:rs • 1t 1s only ocea.s1o~tall.Y perms. tte4 !.u the
scb.ool.
168. F.sposit1on of a calm. and grave e"ta'bjeet w1th a
slow moving oountersubjeot. Subjeet b1 GedalgEU

··--
IAh Ill" r-1
·--
1~-~--
~n • Jbt-----+-------r----------- ····~·--·--~·--------
,-uu., 1:.
I
:"""'
I

...
-e -
 158

-
J"~
,..,. I
'llli'l J"''! 1'""1 --~-L-_-f!·· ·-:y ,(?,
JU '6• I
" I

• - . .. .,
li"
~~~~ A~ . ,..,.
-~-- --- -- - 1C,oo/et.o, .
N"'-

·-
~-
t! .A •\'<:J _I.. ..I:
IKII"' __ lf-r' __Ill_ .JL: I y
--""' .A
I ""
j_ I _._
!l- __L -~
KRi D --f .c_..J'. ~ F.' P.
·- ... --"'
,n.,
1/t:;e---P*:---=
-::---~

-
_£ _,.
' -
I'"
I. "' -~
_1.
I~ II" _I
& -~ ? ·:...=:
'"' II I I
' _I_ • I I

.
f--· I
'
... ,,.,. .J- ~
..&.-
-- ··--·.
----,.
-

l~..,. ~ ---

:!
- ,----,.....---· -- U.A. U_
...
_l
~
--"'-
...t:
--
---
. --
A
' .n " c •
1
1 1\
1\ 'fifo.
.
""'
( ...r..-
I
I
{/, ~.: .. I'U
·" ~
J F./! ,~:.,.~
,.. a- -- .

•
lv I
_l") .,
I
_j_ __ of/._
~
I
--
-···

' _j_

ltr. I 4~-- I
1t
t.
lVII ·V• AI ft h' .rt..
'
;;o!/{&1_
_. ._,_-:_===:f
no H ..., 6 •:t:Stflll.. ,. I
I
rr I:U T" l

.• '
-+-1----
f-
--~
- A1f!J
_1. -""'--
~
·-·
----
·-
--

,..:.... -4- e,_ •.P. ,.------:;.- .. -rrr.r---------.,..-~--:1!:::.r

11-t--....:P'---:.--1&
nr I >&
11"'-_.,.,....t'--11:?-·--r----!("""~
H I ...._-
-
I IIi
IJ
Jr-1"" - • .
lll'l I I " I

"' ~:-"',
Tl\-~
1.1 IL
I' 0 I
•
•• .A
~{~:-~•~r·--------~~ I

-
. I

IJ
·-
• '·' _j_
- --
~:. .Jc IH-f· _L _j_ ~--

----------.---+------------- ---------·---------------- ---

lAo .U. "- I" il:t.8 oA
\ 1'1 r ro. v T
I
.
 169. bpos_1tion of a calm and grave subjeot with a sl$\V
mov~ns countersubjeo,. S~bJeot by Gedalge;

•
5
"
------t------+--------~+---- -----t-'-r'"'
..
---~------ r_~ +-Q---~-c4---:-""-+_rr=--""""",_,....,_ ,.-_.... "1;.1': ~---,-"-__,"~----.---T-X'J_r-~J~
~ I.
- -------.

_c;.l
-~

.-
'

' ' :H.

c.s.. ____,___-:---+----~---~~'..
I

........ ,
\ .,.. - - 'F p - J

.~ '"' :.M-0- - 1. 2 -r ~ , -~+--~-f..\--l=-f·%'f----'"'-+...+-

~'"'j5""-F r.- ~7 fp~-f-=J~
:-'. v "· ..._ . .,, .I .I
I I I

i .·:'':)_______________

~~~v __C:_5____---r
____ ~--=¥ ~--
'-------,---+----------+-·r¥1 ~
_,_ ,.
..
.
I
I
. ,.
I
'

'1'1.
I
I
lfl

\:_,. - -"'"?"" -'""'

. e.
------+--
J!t::..,.. .,
r ...
f.
•.v -
. -+ -- +- ··~r--=±:.:"7-· A1 ,. rr 4I
:ii H:!:=± -/.- 'II
f
I

(a)
I
.
lh:::-;-· ... , .... C>
.......
~
"
..£ --- r Rr I
'
I" ,.- -r
I

..!.
-1---+-+---j'---...1'--1 --1---,--'''-+-----'-
I
I
r f!?
,...
...

--rl-
I
....... p_

I I
~
I .
 160

• I I I
I -.-
I
r 01

··++ •

At (a) and (b) th$ augmented fifth~ produced on the first

bea~ ot the meaau)?e by the contrary ebromat14it movement of tne
parts, 1s most olassloal, since 1te usa is frequent among the
mas~ara or the tqu.a (Of'.. Bac-h, Mozart, Handel. .!!, .@!) , who
lta.ve always oone1ti~rsd 1t an invertible interval.
170. Exposition or a calm subje~t 1n instrumental stylet l

_j_
I

·e l.. On tb.l$ subJect a.nd in tb.ie et7le, D.lle. Josephine

Bo a.y b.a.cl published a.t Durand and sons, publishers 1n paris •
a ist rama.rkable :f'l.lgltS for .organ.

I
I
I
 161

•
---r -
~~-···~
....
.... -- -- ---i ···-...-·- -- ---: =1

•
·---
·- l
-- -- -~
-
-··-

~
_,-'IK.~\; ::: I - --
--
-- r- ----- --
-
-------
,...._
----
-- ---------
-·-
.
ll f ·-····-- -·-·
::--=f::=:~==-.--=-f- --~--~r {~-
r"-·-
iF'

': ftt?t_1~-/-. -.-,.

~
-~.
(_ ....lU
.... .~-
r.rw 5:::' ... -- ~

.
-
_f-pj c.
-
s
J _l_
- _I

:::;;:;:
~+
- _:-:.:
.!-
.......
----- -~
-r ·~ ~ '
- .
I
J
"\"'
-T /:-D~ 1--
- -- ·--

.
T
\:::V ·-·- _l_
X"'
•J • II
 162

111. Exposition of' e. subjEiot or energetic <Jbaraoter w1$b.

a. l~vely counte:rsubject and .a ooda developed between the second

• and:tn1rd ant!'a.noas, 1ntroduciLng a new figure wh.ioh is immedi-

ately employed in the free parte.., (Instrwnen:ta.l style)~

jlf+- Jh---- - ----

...
~~~
. T' ··~ -· --- - · - - - 1 - -~- --i--
tli .11 --

ll
r--- --
'·lil.-""" -
il,il\
lit~-;- .. -- --·"- - -
'
------ --- -- - ---- ---it;; iO' Iii'

~
~{-!--uw·--~-r-+- -::·-- c---:-~-- --~1·-~ ~- -• . .,. . .• Y~ ~-- or·• ..'T R I I I
_t!
t
--ieJ~~
- --
~- -
' - I

1 C{etn../~f:..ed Ct1 .f()J..;I'V) ~·,M ~~ 'l

........
f~ T•·i~~lif¥
- -- _'j_"__t.."' .o ·,.,_..,.
~-
.. •
...... i --t-::...--:t!f-.J- ·....u
··--~-

u Jr _Ill
~r
~~ l
....
-'"""
""".._- _I_ """""
&
I \~

I
'"'"" ~

••
 --y· -- -· ·~

-----
--;---·
--- 1--··

s. ,.
- r-+
-(!r'
I I ·""'
-~- I Ji -,;; "()" ---- F-
I n.l'-' r
I
T

,------r:--.,----f_ .J
....-. ·- ...- --------
-It- .
--
- - --
·r-------·· -·
..--·+-
e "' ' a Ill .I . ,.
•• I ·" I' II." a
I n'lllll""-l
,_ ·' • ..- "4..J I

• b.<L:ii71: _.. _ ~- .-

-
A---~~~~~~------------~~---------
. .-. -- --- r---- ---- ~
. ' I

C../•.
.
-,.
~I
... -~ ...... I I T

'
II"\. .1 "' ' T ~161"" "IH l" •
T I _L·'
..........-
.a __I_
... •

... , 111'1 ':IJ.-'11

.......~ ·p.· ~

112.. Exposition ot a calrn and expressive subjec-t, the

ooun~ersubJect being heard with the first entrance or tbe
subj~ot.. (Vocal style)* Subject by Ged.alge:

•
 164

~i '- "
'I
....___ a;.

-- --
•
ii 'II ., I-

JJ:l ~+;JL'
' ' c.s. --.... ....,__ I,("). -= • .-f!!- 1"19- •
.
-~
~
I

j
I
t
""'
'
I
"' <II

n
,..--·-- - --
,, .....

I~. [-,J- l-- ~ _--~e~ --...- 1$---- -- .... ---

·---.=----3-----= --
\.:J...,...
'If"'"""

r-r.·'"'---_t-
I
r.te• ...: -_.;;;;.. j_ r
-~-
_T____
.+ . . I
I~P~. ..ttl-MifU'.
/',, I .f' I If 'I' I I ---

111 \ 11£'1" I I II T T -HI' I'

~- .1-• l I ~ T --.. I

'1!15 --

1 .. -- l
... ;
~

,_
} ! #¥ IT
J
"' r
l..J.P. f
:f~~' 1-;. - ·-

·~,.
I
----
_...__ ......,__~_11"
11""""'-b
I
...... -P;.- ,. ~--:<.~ r-..-.-
.
I
r -:Er.JO •
-.......---.-.
aw
~
~~:
• I

...I ..... <1Z>

t
"

•
 A.-----------------------n--.--------.-------~-~~-~-~/-------
·---- '11.6 ~-7FfL-·+f 1'1' ,. •
I

,UJ..'
,...-tt~~-~L.-1--...-.,-.---I-r--+ -.----·~-~...-:;=- -~ •
-
~
IV • --
.,.

•
,~ lw ,I .f.
.
IJ I I~

"·'
\ -..;_,
" fl.
Trl" ;[I • ....
IV
·-·
< lt;)---:~., C·f..
1...
.ll-....11· ~-

N. B.. In the so noel this A ie forbidden. but 1t can be

used outside.
113.. Expos1t1cm of' a ltvely subject but of broad
cha~aoter, the counte:rsubJect being heard w1tb. the first en-
trance of the aub3act~ Subjeet by Massenatl

i------..aa-----

•
 166

:
-- -·
---·· ·- -
...
c.r.
·-----.6····- d
I I
fV
I - ~ '

•
.I I .I -
11!\. ._, IFfl ~ -.. . ...0. - - ·-·--.
..
1n.. -·~·

.I'"
I• ... .,_ r- _._ .r ·-
...... ....
~\
" "b
"'
\
'A· Ill> If jfO Ill .. -··. --··

I C.oe(q I:P.
""'. ...... ,._
.
\ ~ !.1
b .. Ill
r1.
... •
I
T

'
:l'
-- " 4'
" a• ...·~
..Tt-,
.I

.
~
rfl ,
. fl
<0 L l
_,... ·I ~
. •'CL.. ~
------.:..
·--
- -·
-··-·-··
--,-'44
I" _ul""' - . - ·t
''"'
:111-' I. •.
_v Q
I
I I
,. ,. ·-
H\
,.,.
I I
j..
,. I
- ~ I'

r··u .
Ill' II " ... 1r "'1!..1~

----
II' •
) I. ~LA . ~
.ifl
tc' flo. I)
lij'-
-~

1\..
1.1
v
(J 7'1""'
I"' I I
I
t!>.e I
• a-, ---~

-
....... ~--

-
l I I -
""""'!

\ ..
-
.. f; J..-::--/i:;. ,. -
...1 Ul
--.---- I
Q/11-I
-
•I
• t.... ........
~I
• ,e-
-
..
-

.~

r ~1~ 1, _f.l.
....
I ~
,. r _,Q_
lllil
-
--- ..
·---·
-
.•. ·--

;:~~I" Wl .. ,.. ·-:t..- ,F.P.. • ,,. J...,...

!'
l, )
I I r "
.. J'
_._
1--F:-. l...ft
'
•
• ··-{;;)-=:- - .
h: ;;.· ~- ==r--- t
I
I
J
--

t
t
~
I
l
' " r
I
,,. •
I
......
,.
....
' '
i!o.
A" I"
_I -
N
I
.~ --..
I L ..1
...
.~
--
. ,_,. -

I
C.·J, ,_ ---,~ ~- ·- - ~ ~. ·A--· iff. - .. ..,..
•
l"h
'..I
"'' 1t I!J U•
.,.-
I.
_I
......
ill\
.... ·' I
-f. ·- .
l

' _j

•
&• I
"
 167

'"~'"" \"·1_.. --T ..ll

•
1\ A
., A
..,
I !to.!'.t r I
I -

-~·{ -----·-;;.--~r-.:--
-~ --- A"
1... ' . --- - - f-·

.
T;;----.. - - - L- - - - - - - ------1------f"o-t ~-~-=-=r:;-·-- .. t.------------1--------1
"" r ~~<.o
CJI II. ' .. I I .,.. i" i"' - .. _,., lt " • I A - . •1 I
-_, I
•• "'
v

174. Exposition of a subJect with two eountersubjeots

be1ng b.aard wlth \be f1r$'h entraDA$ ot tb.e $Ubject * Subject

A
v
~-~·:A-~·-·---=-----
~ 18
I •
-' .Jl. I I I I
•
'
----..--- --t-- -'lii ~- ·- -
-----
1-,p "" HI
n.;. ~~- .,

I '
'
~...t/C-I ...-.---+---
.. - ~=p= ~=
__ ====~==~~~--
-~~:
 168

--------hi F. f. ,. ..,_, -

•
0 ,~

'
- .. -

,., n
'\
• ' T
" T
--
Jli ). ---------.;yr-_.- ---------------+-+1- f..P.. '.
!Ill <lll( .. " , ·"-zij......,..

• 0

. ,-
J
--;
----~:;.c
,.... ---- ..

-
I, 1'!1 I •I
Ul I

J."'J c....P...
,; "'fllT 0 .. .I
-- . -- F-----

, ...
i! 1'1.. I
r•"
1-" I
• l
Hl. 0
• 0

I I
-
1 ilrl T' ...
p
,.I
"' .-.11
ll
•
II

--r-- !=f---=--ft-- -~ ..

) ....
-,;: - -m·
,{'}
I I' - •- lt/..-IJ lit
--... .IJ..
" --:;---.n~----
.
,-
·--:-,
---
-n ,- I
I IIV
~
I
•
I I

•
II~\ -H~P. ... ~~-- -
.t...J_,..c......r.
. I L .. --. -
• i' • I
1+-.:.- ··-··-····-
... I .,.,. .6 - - -•
--
,Jl.J
,'
u •• IH' I
----- I
I
-·· -F~~

.. - .,.
t'l \
'li-"
:;j.,.l/l
. r.
I
,f:,l

•
-
•• - ...... 0 F-n-
•
- --· -----·

---
--
,,
-,- -. ,.,, ... ~

T
~-

- - ·--·
T 'I
I
-1 F.P.
r:....
-.T ..
--

•
--- f---- ~.- :A
..

~
'I. b ..

- .. ·w:o· I ·-
I
""
or
-~
 169

~--~~0-~
----~ l.ff: C..-J·~~~
.,. I -·•- /1..,•--
,--
,.--
I --
'
-.- "" - c-- •-n;: n ---- - -
• 4~ -
___,____
I

-16
-.l§'
'
-;a-~-
-
-r -l _cp

-l-----
~-- -_ --- =~-=-. _J---·-
1- --
---
 115• ExpositiO"n of a ebroma.tic sub~eot wttb. two counte:r-
~s'q;bjeots heard sucaessively at the seeond and th.i~d entrancaa.
• (Fo:f tlts answer to this subje()t -see eeos .. 92·-98) •. Subject by
Olletinb1n1t

-1 I I
,.. • "' -=-
" 0 ,, ··-· ...

. --~ _ -·-- -- . -'-".__ I flo. I I • '\ . C

---------1---------

-----.h._
'~-"~- "" ~-
'
... • -

- - ----'-- 1--
.. -- '---· ... ..
 111

~,.~~---- ..-----·----·-----= .---....

:-o-
A
--reo'
6re-I" •• ----
~~{Y!
.I
H ~0 -·:: iT;; _t -...
. -=:r- .J~---~
[\1 .

•
..·- ... r-.... -e-
k"" ~-F-- ~f---~ .. l
. "d!j
.. f-161---- .. ---ITI;-
I e
tf··

11"" I"" I ~r ( .. I -T ·a f' ·

• I ' I' ----
i!J .... ·- ..

-- ---1- . . --f-- ---

T I"'

,.. 'A . -·+-·

... I

-
d.-.~

176. Exposition of a subjeot with three ooun'"tersubjeets

b.ea:ttd at 'the fi~st entra.netil ot the su'bj$Ct. SubJect by GedalgeJ
..
;
,.,. D
l .. li ~I"
.n
•
* ~ J..n J.o
.,(
L,...
'1'-1...
• I
I ,..

..
II•
T .........
--- -
{·;e
----'-;o
•
~ ·'"1!"-
. f.. -
-·

l'lll I I -- - ~
.... -u "
IT
Ill# . .. ll "'
Ill\ .J. '"'t/. C-.f. , .,._j!....
,(
-.....
l" ••
~-
lf/1 r
J,,.
,. +I .• . ,(
r ID
...- _ -- ---·
II I
"'
,..
I
v "tP -- ..
Ill
~ ,J"f: c,.....r~
l»-· " .., ... - -·- r--
, r D .. -~~ -

~--fl--.
n_!..
·-
"t-0
-- L:r\ ....
-~o

.!~=:{
I
• ",. •
.A

I
··-1.:...:~
1---·
3-"1~t-f- '

• ~-. ~~·-.
--·--- ·- :;;:
I~·
'I'"" I I> L
b:---r_ ..
11
- 1-· --
--~-
------·
lli1
'71
. ' .
••
...{.. - '1'1''1"'"'1'-
·- ...

( 0
.,
 172

• •
~

0
l
r-- .... "
- -;;:;- ---··-.
....... -
. ......

' "
·"". I"
.:!
--
JJ'. • '
'
\
. ,,
j---;:-- .

..,
··0.---- ~H---.,..- --
:_ '--·
. -'fl.:-- .... . -· -- -· i

- .l.
---~~-

"
a
...
,A
•- .
T
-'l-

'
"'
,~
T
-er~

I¥
~r1 _'";9! J.ttf-C.f+_'
I

- .....
~~4. -f- .
L ~
I 1.. 1 rz.:-,;:~- - '
'1]"" ..... I
I -.-I
-~4- T.D - I
'· - Ll..... 3" •
{~--..;..~-
'llr' - '
I
"--
-v -To -·()
o,
H--
oD
.,.J..,.. .. _-.rp
l
ls~o
.
7il
~-··-·
----·-··-.

l[ -- ~
·- -.----- -· --
T
"-- -
v

-~- ·- •
L. '--1'" ........
l - ,, , 0
II

..
"'II- i:J T t'
J'
!,)
~
r-t. I
.... '--1 - T ~- ,- • v
1/ """J

"' ';-.t-'+

. -f--- - I • - .
• I
•• 7~
I"
\J>-1. i -- l- --

... - - - _j(_- I

' f...~ l A

~--,
"1Ylr- ,, i. -~
'I"'
I
> A
1f)____
r.:;l' '·· l

--
 111

:tn th1s t\tgu.Q it wll.l be no\1eed that a coda. has been

added after ·each ant:te.nce ~f the SttbJectJ thiS 1S alWay~
done .1n this type or tusue wben it is necessa~ to a~anse to~
a. ~eat 1u tb.e part which 1a about to aound tb.a subject o~ the
answer. Now as all tb.e vo1<Jas are sGunding either the subjeot
or, one of the counte:rsu'bJects, we are obliged 'bo insert a.
coda 1n order to :rendev the entraness more pr01n1nent. This
:I.e. Qne EJf the fa.lllts of' the tueues with mo:re than two countel*-
e.ub3E:Utta wb1eb la.ok vat:tlety because er tl!:J.e consta'll:frt npeti t1on
of . 'bb.e .same melodic pbJ:tases ._.
 THE COUNTEREXPOSITION

177 ~ THE COUNTERE1CP0f;JITION IS A ·sECOND EXPOSITION

'f!IHICH HAS ONLY ".fWO EN'l'RANCES.

It d1fters from the exposition in that tne entrancEul
l
are 1n %'SV9lrSG ordel' t~om those Of the exposi t1on; .1• ,! q.
tn~ first entrance sounds the answer and the second entranoe
sounds the subject:. Moreover, the answer must be presented
I

in! one of tb.e voices wn1oh sounded the subject in the expo-
1

s1~1on., and conversely, th.e subject is announced by one of

i
the voiQes which sounded the answe:r 1n tl:le expoa1 t1on .•
I 178~ A f'ugue does not require a oounterexpesition.
Mo~aover. tt may be used only when the character of the sub-
'
jebt lends itself' to it.s transpoa1t1on to one of the vo1oea
i

ror whiall it has not already been written., Th.is is not true
or! moat subJe~ts which pupils a.:re given in examinations.
In general we have a eounte~exposit1on only when the
I

s.u~Jeot 1s very snort, a:r when it is so weak that the ent:re.n- ·

• ce~ a.re not strong enough. to impress it upon the hearer ..
l7$L. TONALITY. Tb.e ccunterexpoait1on 1s always 1n
 11!5
'
·'.

, .•
r.
:,..-·
t~e principal kay or the :fugue. and is sepattated· from the EUC>·~
posttion by a snort episode.

180.
l

POSITION OF THE OOUN'.f.it:RStroJEOT. Alt-hough 1't 1e

t~e rule to propose* in the oou.nteraxposition, tb.e answer and I
tije subJect in voices which nave not so~nded them in the expo-
.)

e~tion,. one ia free to place th.e ooun.te:rsubJeet o:r countersub-

JE!Cts
!
in any part* One may be guided 1n his ob.oice by the
rcinge of the oounte:rsubjeot, 'or may act aooord1ng to h1s tanoy~
181. It will be well:t when a j(JU.bject i_noludes more
ttt.a.n four measures in mod.ejtateiJ tempo, not to employ the coun-
,
'
t~rexpos1t1on, in order not to prolong the fugue needlessly.
182.. The folloWing tables g1ve the d1tferent d~spos1-
i
tiona wh!.cn, in a oounterexpoaition, one can adopt for the
! ~ .
I
1
s'!Jcoeeslve entranl)es of' th.e anewer and the subject in two,
three, o~ four parts~

llodel of a counte:rexpos1tion in two patttst

•
I
'
1
..
J• <

• .,i
l. See tne following cbapta~ on episodes~
 1 Counterexpoaitilns in three pa.ttts; the countersubjeot
nea~d I
with o~ immediately after the subJ$0\t
I
I
I
!
1.
_.d
_L

/.
,~-
c;.; .. f t-~e:. ··- - P(ii:f.==
J.. ----:1-"l..,._ ____ -
\1--1{'-'-+y-=-. h--1----=-1':· ·--~ - ..... - ..
f' I'
~
f-71---:t ..
LI!IIJtl.·· _L _l_ ~-:.
~~---~------·-

r.---..---L __ :L
;z.. fri.J.l]ftL·;i·_ "
..1.. ,..,.
ll.F . n
-
.'

-
/.
l:."l~J;_.
I
~-
AI
r,; 1L'4e;-.,~~ !I <I'll. ...LUZ
~·
''"' l.

... •r,
J. /. --

. - ..#... ,. .
II
II
.•-c.
f),
l-"-'. "

/. i l _I.
---f»-···
~-
c.

r --;:,J-:·
I"[,•...J·_·

p. ........ .
1----;.t-···-· p····~--·,.
,..... --r.;r-..;-
-
i J. -.;.
-- --r .-r·

•
 111

I . i
---·,.
-.
~--··-··

-----'1--··--
.II ·- ---+-·-- -iT·-·-· i - - - - - f - - - · ... - - - .

~E=--··-
;J-.: --

l\-4----+-----· - - -
-·:-- ...... -- ·--r p-·-
.f 'J

______.!_-+-·--·. _____ . ____ . ~~~~~-,;;§·--r--§11- _-_--.-=.t-,__-___.n·.-----·--r-- ----- · - - - · - - -

--t--- ---,..--·-. ____
--
\[ ,_,_ Jl
- --

'l'na position ot tb.e COW':l"e:rsubj$(tts tn. the <HlttnteN~po­

s1t.19n ln fGUr pe.rts 1s not abaolttt$J . it depends on 1ibe natu:re

and $:&tent· of' the ~ount~eubjEHltaJ and •a.n be mod1t1ed as needed.
. 19}. If one remembers that in 'libe oountereXpos1tlon tb.a
j .

anew~r and tne su.bj·aot ousnt t• ba pJropoaed by vo1Qaa other tba.n

I .
tbJis~ wb.lcb sounded them in tb.:e expos'- tion, h(f ~an aasilf · .
!

und.e*'sta.nd some of tb.e 41spos1 t1ou wnlcb. ne must use by compaJt-

.
1ns ~he table abe'Vte with tb.11se in the pJtete41ng cb.apter ..
:U.\.4. Her$, tor the sake or olar1ty, w• siva an eX.ampl~

of a~ expos1t1on followed 'by an episode arl.d a «t:ounte:vexposit1on-.

I
i
SUbJ$-e;t b1 Hi:indal t
 178

•
;;;r· -
I
u.::. -- ...

--
-- =

•
 119

("""\c..-."'.
,. ,.. . It' {J#
I' I A> I I>
A

I __ ....114' f , Iii ~~

""
_, '
I~'

"I
!I
' r, f

'
~~
~~
'\. k v?"-
,J- _J .-.,..;.·--
-----+ -;
t:J -~>

,,.,
I

-
- -~ - -- _· --f--\--- -· v ~ I"
I
,-"" '
IT ~
' '
tc"
liT

l'!) ·-~-'\ ~-----' .~ ·--.;-----1----""'1--'· ----~--~---------·1---- ..

~- --f . • --p tr ~- - - --- ~ .'!. =-t• --f'"::..P.-- .---#-- 1----·-· ----- I-- -
.. -~-\ - - - trr r-r1- r- •. •-~-~
.... ·> ····- ----·- --·-·-··--· ------- --------:--~-------··
, I
u_, I ~+'l'fn"7- -, -- -
lh
""" .I ---:;) ·-
~

{b)
- ~- ---::--±.- ~n---
I
~I\>"
I
..
.I
. I
A I _\ '
" d .

!b.e w~1tlng ot the passage at (a) would be .onaidered

fa ty in. the aonool, a.l though the oco\\rrenee of th.e ttuaae notes
$b , an<l A is sbor' li:~red. and in rapid tempo.
. At {b) tb.$ s$me is tru~ ef the JU the note is a passing
to_nn~ v.sed 1n e~ontl'fl:ey motion, wldllh _is i'Ol'biddsn 1n atl'1~rt.
c1terpd1nt" I" ·vtoul.d ba well te :feftabt t%tom us1ng this
a.av1ca 1a examinations-. .
It wS.ll lie not1oed that the bass which~ in the exposition
 180

i
I
pro~osed tb.e sttbJeetl sounds the answer in the oounterelepos1t1on
wbiie the tenor sounds the subJe•t•
I
I

. 195.. THE FIBSsr SECTION OF fBE FUGUE. fb.e eounteraxpo-

fiJit.cn fin'-sb.ss w~' is lln~wn as the f1~st section ot th$
tug~e; it is oomp•ssd ott
THE EXPOSITION
AN EPISODE
~HE COUNfEREXPOSITION
wnen there ta no oounte!'ell;poa1 t1cn,. t1'!e :ti:rst section
snda w1tb tbe ex.pcsit1on) what tallows constttutee tba d.$- ·
i
velopme:nt of the ttts,ue.
!

186~. It is ot greatest ltnplf)rtance that the stud.ettt doss

not ~nter upon tha stUdy' of the episOde befo:re thoroughly·.

i
ltnow~ng
.
b.ow to eonstNc., an. expos1t1on.; tb.e latter 1s nt.tt only
.
the mtH;t· 1mporta.nt part or the fugue~ from the point of' vtaw of
etud.t and •1tlfl6, s1no.e from. it tb.e w-b.ole fugue ls derived~
i
but tt 1s also ttte most dttttcult to master.
In tha tolloring oh.apter we will treat tb.e davelopmen'ba
ot t~s fugue tosother w1th some of tbe dev1oes used to produce
va.rl~ty w1'bh1n un1ty ,.,
'

•
 CHAPTER VII

THE EPISODE

· 187.. In ane.lyz11'1S a.n, musteal phrase one soon notices

that 1t offers a oer'Gain sym.etry, caused by the return of the
earle molod1c and :rhythmic forma at different 1nterttals and
va~ing dlatances. Tb1s more ~leas frequent repetition of
st$ilar f~asmenta na~ally preduoea a ser1ee or harmonic
pl'Ogresetone of e!m1lar ne.tu,.e;. it p;tooduoee, then, a lllore or
'

lese
i
regula.xv and complex sequence.
188 • THE EPISODE• OR DEVELOPMENT • OF THE FUGUE CONSISTS

OF !A SERIES OF MORE OR LESS OONMEOTED IMITATIONS, FORMED FROM

FRA<mEMTS OF THE SUBJECT• OODNTERSUBJECT, CODA, AND From PARTS
HEARD IN THE EXl?OS:tTION,. AND COMBINED IN SUOH A WAY TftAT THE
:,
ENSEMBLE FORMS AN UNINTERRUPTED MELODIC LINE.. THE REENTRANCES
OF :'t'HE SUBJEC'i' AND ANSWER IN THE NEIGHBORING KEYS OF THE l?RIN-
:
Cill'AL KEY WILL BE DEPENDENT NAT~ UPON EACH OTltER •

The key$ to which tb.e school tugua module. tee are, f'o~

• ea1n mode,
t~
I
i
the f'1va kere whose s1sne.turea differ
principal kay o~ by one acoidetttal,. and th~ relat1v$
.
f~om tha' ot
 majbr cr ·m:t..no:e- a a the case may be •1

•
189 ~ lt one takea tbe :same snort meloti1e figure and
'··~: - systemat1ca.l.~
i
transposes it to ve.:r1ous 1nte"als, the funda ....
.'l
,
.,,,"
mental ba.ssea determined· by tb.e f1X<st figure will be reproduced
restda;rly $a.cb. time it appea~e, and a l1'te~al sequence will

190,. :t'h oan be sean fltom theae det1n1 tiona that;

fltE EPISODES OF A FUGUE ARE FOUNDED UPON SEQUENCES 1
I •

OR ~ORE OR LESS REGULAR HARMONIC.PROGRESSIONS~

'-rHE TrlEliES OF THE EPISODE SHOULD BE DERIVED FROM THE

· SUBJECT 1 THE OOUNTERetmJEC'r :t THE OODA 1. AND THE FREE PAR'l'S OF
:~~

'fRE:EXl'OSI'fiON+
THEY SHOULD BE !NTIRELr MELODIC.
I
'ftle b.annonle pro~ession whieh aQl*Vea as their basis
·•.,.
shokd be ria motte apt:!arent than the ft.'amework about whie;h a
;
house 1s bu1lt~

191.. THE USE at HARMONIC SEQUENCES. In the school

1ib.e i harmonic sequence atiould be U$$d apartnslr •. fb.is is
Justified 1f one understands tbat its •onGept1on should be
o.on~~puntal. :rattler tban battmon1tt• Th1s oonoept.lon bas more
'
mustt"Jal interest,,.·
fhia eea.ses. to be true U cnta t:r1-es to tutnetruet an

1. see aecs~ 34' and 344 f~ the orde~ in which the

var ous 'bClinet.littes are sounded.. ·
 ep~aode withOUt l.nt11ding it: on one o:r several or the slmple or

•
oompla:x tutrmonio- progressions* I.t 1s sutficlent to analyzer &.:J:l1'
mu~ical we~kwb.atevsr to oonv1noe one'a self' that the series of
I

ohf>rds established on·. SQtne ot the more or lesa regula%' proe;!'es-

!
s1Ql1a are the ve'l!y l>as1s 1. th~ aubst:ra.twn ot tb.e whole develop-

192"' QUALI'.fY OF tHE EPISODE,. Tha qual f.. ty of tbe episode

depends:

. .
1s;oonstruct6d•
b) Upon tb.e mslod1.Q line wb.1cb. aooompan1$s the mottve.
o) Upon. tb.e we>J~k of r$alize.tien wb.loh oons1sts of
i .
.ap~lyiJls to the theme ·a.l1 tb.EJ devttuus o.f · the fugue
I
styl«~J.
I .
1
• 19:;"' 'miME OF TI-lE EPISODE. Wa have said tl:'J..at the
'
tb.~me ot an ·episode oa.n be "aken only from one of the figures
heal'd in th.e exposition.
An epiaoda can. be bu11 t on a sl.mple· rhytbm1o o:r melod1~

figU%*-e ot only a f'ew notes ~3!' on a lonsexa melQd.1CJ l1net it

may &lao b$ bu11t on two. three,. ol.l* tour tb.elnes taken f:aom the
ex.posit1on and oom.blned ln s1m.ple, $'ta lnveX'tible eountexopo1nt.
194. 'lhe .. melod.to invention or the l1ne oompGaed of the
1:
e.l. .snta of the episode tte:Penda largely upon ttte 1ma.g1rla.tion
of .he mus1e1s.l'U in tnJ.e r-egard we oan only adv1ae th.e
. .

a.tt~ntlve raad.ins a.nd profound study of the w.xolte of Ba.cH:t,

Mozfr'• and Mandelaaohn.
i
 195 * PREPARATION· OF THE EPISODE* In order not to b$

•
sm.barl'as sed tn the chotoe of :themes of tb.$ episodes, the
student should cont1na ll1maelf' to the following rUlet CAREFUL-
a' EXTRACT FROM 'l!HE COMP.Lli:TED EXPOSITION ALL THE MELODIC OR
RBiTH'M.IO FIGURES WHICH GtVE IMITAWIONS OR OOMBI.NA 'f!ONS OF
VA!tiOUS COUNTEF.POIN'l'Sc
a) In dl~ee\ motion with or w1iib.out aupentat1on or
diminution.
b) In contraey- motion wtth or without angmentat1on or
d1In1nut1on.
o) In s1mpl.e re\rograde mo·t1on (o~ diraot) wlth or
w1thout augmentation or d1minttt1on ..
d) In simple and c~ntra~ ret~ograae motion oom
b1J1ed, wlth or without ausmenta.tion or diminution.
I
These va.~ioua davloee should be familiar to students
Wh? have studied counterpoint~

. 196 • Expos1t1on from the WELL-TEMPEflED CLAVICHORD#

' . A.
Ill
.· .~. 0 ••
r. 1." II
Iii .. -- ----oo--· - . -- - -----,.-
l7lT
~"'J
~
-.-t.
.\ 1

,<I
1
•
iii
Ill
L. D • -----
""
f-- - - - - - - - - - ----·-·-------------·-- ·---·-·- ----1----...-.:_--J
ill'liDJ. ..!1 · - - - - . - - ·-1--·---w·---· - · - -..··--·- · l i l i - - ·-·-.f--.. --· --·-.,::~------·f-·-----..;·---·--

• 'J
·--+---·-·-··y~~·---1--
 165

~----- - .,
~,;;
n a. ,. .•-II.. -.-\" •.-,-r if.iVI.,--.1· _,. :-t.• -,.:.[ ;$~.;----=r- =~.jj , .~€) -.-

•
~:!": 10 lrl"
rn ...L
r:u I ""
'1. rn•
8 ~
"
Jlll_l'l
,.;;;:I~
I I" I '- T .J,oo """
-II'
T "I
I
'I
,.
liT
--.
.A
. T
AT I' "I I '.1''1'
.. L.o4
7.1 I .-

·-+··
~
--~ -~ - --f--- ,:;HCo/11 Jf. fie. ~~~ ....-~ ..., _
II''
II'\ • - .-·r;
T
--;,;:
J.
·-
!I
p
I II
•
I
•
,.
,.
l•:::iLJ".
~-
- ~

lr\-n- ., 1 I II !..._;
Ill , . -- ---
[7
f_SI,f I.,
~b __
Uf)
[l:) -·--e ...:• ··---· ...-----·-- 1--- - ....
- ----· .
:
17'\~
....--.-.
.....- 1: .,.,
~II&..
-- ----- -- 1-· --
---co
---
--=
-
f-----
f---
--
· - - - - - -· ---------
. --
~
··---- -··

--
..

T
F.P.
,..... .. ,. 'j'
,I")
T .. . ·-
-=f==+t- --r-. r~O-.....•
-r
- • .. "11-J.
l ~
t.
·-·· ...'
v
f-1-!Jii "---~.-: ..!.L r-t' ~ I 1.,_.
:J;'
v ---- -- ---~·
J'
-~-
J
-~ - I I

b Ic..J: r-tri.£.,
,, ., e{~ ~-••:t:. e /:"' .r,.i ee J-~
' ~
hiS
"'.., f)

"
I

-J-.L-J ·'
,, . •
.L ~H

--
..e-.:-
··-- ··-

- __ ,_
·- I
&

• ~~u---~r
\
"'
·-

lfl' I.
,.... --r---- ·--- ·- -- ., ---------
,~_?fb; . --- ...... - -- 10'' -- -- 1-------· 'Iii:)-···-·---
:q=
~
-...-~Y..
---
.. ...
----
-- - ·---
.. ---- - -
-~

. J! ~-------------
J..IJ·--~
-----
" '
v
..1 " Oil ·vo
A r
I"
. t..,!.>"
....... .....
....
.. ..
I 'I.L __
...... '..J--"
•-...
~ .
• ·r·z
_-:--c.~· y ...fL...:__

_,!.f.. . -r:. .
I
., -~-- . ~;.-· -
...,.
---, l
,......
-- --.- J
7
-~
.. - ·-- -- -~~~·
11"'1!!-A

!
I
.,A. al ' ,.
J.. ·I -' -.Ll.. - -~
\ \
--..- -1---

£ Iii.... ,. ..--.:r--· -,;;. I ........ ... . I~ L

-~~l
,!:) I. ·l. ,...a.
yp I
' ..... 'I
I
-"'-
-~ ----- .•J I\~ d.-- ~~ -- -~ ~--
T "'f,
f=-
-~
rrr;;-
r. .. ···- A: --.- --r
~I
.-
T
- 1---
•
Ill . -~·

f1ll=D
"0
bb
,..- ern1
V' ,-
>J

···-· -Ht1 • r .tf ...L

~
•
II._,... '-""'"
~~ - Tc...·r.. -i 1---a
I

I l T:-t -· . -- .. ~» ~
·~T.
."
~1>----b h v Cl'""- .. ~.::1
I
--J 11-rJ- -~ 1;1_ 1~--~- .!
•
.-~ 1-
... ·- - " -IU!!:f
r
 186

Following is e. Cieta1l$d analysis of th1$ eXpotd.tioa.

191. It \re consider- the subjeot e.lon$, we uan d1v1dG it

• :tnt~I i":ra.gments. or melod1u period~u

liitr l If rIr-i1~~~

i
the jf'ollowins d1v1~.d.oruu

. IlK~~ Et-- I .fdlr±r=~

' I}; fjtf1HUHflrl~r;Jij w-tt 1e
198. The countert!tubjeot anal.yaed 1n !ts tum will e;ive
.tc: 1
the lrollowins el&meniu:t- the fUtst two of wh.111th could be viewed
as ~~iat1ona ~f a s.~1lar onrcma,ie fo~m•

lti®'1¥=J
t cEJrU r - -·· --- -:J
 187

fJ LF r J2l
• or lees des1~a.'b1EU

gr trs l
199 • F:rom tb.a f!•ee pane VI$ •n x-ete.in the following
I

fra$mants (expoa1t1on, eleventh. mea sura, soptta.no) 1

Wt tt§' r rIrJ f@

iI ' •

we 11ave a p1U'el7 rtwtb.rnio t1gu:re wbJ.t~tb. 1s used by :aa.eh 1n

va.:rlous forme:

', Baoh ued 1t 1n t'tta .ctourse ot tl'le tugue only tor "m1ta-
t1o~s i
of ~bttb.nt.
i

mot1'0Jh
I
Ia measures teurt$$a and t!tteeu we st!ll ttnd 1a tbe
a l " twe Vtiflr/l as.mum- rbytl!m1e tigur<~~a taeJ.tlded ta tb.e same
 188

'
i

mGlfd1o trae;ment. bQtb.. ot wb.1.f.lb. aX*e derbred f'ronl th.e t'rti\S parts.
ann$unoed 1n tu eleventh m$e.SU:t$1

•
I
i
~~. ~»---
qLi:i=-j
l
IR I= t:Qf r
8

1 1
200~ t.rhe same praeefi3s Qa.n be foll&we4 wtth ttl$ subJect
v1awed in ~U.r.eo'b '-l'et:rogm&~a motJ.mu

or ,.n retrograde and oontrar: motione

I
combined~

p~ r1r:r±ir-f:!t!@fitrJ:r-rtBtr-tf=-'tttfitm
.
I
.
I

'
a.s re:tl aa w1~h the aounte:rsu.bje.c.t and 'bh.e ~rae parts 1n
i
d1rf'ot and ca-nt5~ retr"Sl'ade m<.ltlen,
201. F0%4 the mtb3EH:rt now l.U\der oQns.Ueration lt 1s net _
a qkastion
! .
ot a1.lstnetl:tatton
.
or t.U.minu.tton- since subjena 1n
'
I
triple met-er are not partie:Ula.rly ada.p\able to these dav1e:es ..
i .
In this f\1gue, hmvave~,. thaJ~~e ta f)ne 1netano$ in wh1cn
Ba.cf,t bas used :a t:ragment ot hia ~QunteraubJe~tt in augmentation
andj in O(ltntm:t-t mo:tion~
I
j It 1a well tq, po1:nt ou.t to p~p1ls tbat \hesa. devices of
austnentat1on and d1m1nut1on mee-t neve~ b.~ nesleft1ied 1n the1r
I

I
pre;t1m1nan stu~ of' subje(tts 1 for tlle1xa 11se 1a h*equ.ent a.nd
o-ft['n plea. sills• we wUl return t.-o th'-s later {seos~ 251-.l$4).
202,. CONSTRUCTION OF ·'l!m DLODIO LID OF Tim EPISODE.,
Whe. the $tudant has tima assemb4ed all tb.a elemt%nts whlclt hS
 189

I
oa~ use in tha developm$llt ot twa rusue, he <tb.oQsea a few wnioh
I
he !Will. oombitt$ and w1th· the aid of wb1oh he w1ll plan the

•
i
mal~dio line of each episode.,
i
we nave alreaa;r sa.td that tb1s
i
l1ne _1s bttil.t on a sE~qu.anee or a aerlel!J or lle.rmon1o

tak~ one ·or the figurE~a of whiob. 11; 1a formed and give 1t its
nat\Wal hal:'monto baG!ilf
-~

Ill l,
-..~ ··- ---r -H· --
.... "' 0

ill\ · 4: .J 7 1 ~ r ()

1: ~-,;---,;;;---,---p--- - · - --···o--·------ --·-·. --~

~ - ' 'l:::T

203. It ls evtdertt tmt, tald.ng th.ase two measures

t~~ the upper part, we oGu.ld,. w1t~ th1a base as a pattern,.
I
I

ereate
'
all r;forts ot sequauea,. followtl')S tne 1nte:t"va.l to whlctt
we ~ould tl'anspese thE:t patte:rxu 1$ 1$ alsct a'V'14ent that aae:h
tim~ this pattern is ~earci tn tb.e bass-. wa ce.n 1mposa on it,
I •
I

a.t 'tifle ao:r:respo~d1ng 1ntenal, the melod1e 11ne trom vd:ti~b tt

i
i
os.me, ..
I

1 204. If, nu)reCJVftt"t we baV$ in mlud .& Pl\&Qri 'he tona.litt

to wh1•b. we w1$h this pxtOgreE.*sion to go, we W\ve onl;v to
a:tTake tll<il.latter .111. a -<!II!' 1III:WIIl will eventually llllldulat<il.
to t~ de$1:red k~y,.
 190

suppose VIe wan\ to modulate to the key of Bb minor, w&

arrange
,
our parts acoordingly-c

• -.\.--- ..L ..-------1.. -- -- - - - __!_ -

If we want a lot~ge, pttogresa1oa 1 modulating for ex-

ample to Db (fourth 4$g:tee of the principal key) , we will
i .
aJ;",ange our ~equence thus s
. A4--------------•

205.. As it stane:ts tb.1a p!'Qg).'Wes$1on wil!l never ba mo~e

- ':

tllan a b.armonic aequeno$ treated melod1o~lly; tt becomes

i '
i
n~cessa:ey- • th.ett., to pla.oe th1t mel..odts tlgw:'e auntlassively in
the var1oue-vo1cea (~1tations)t

•
}
!--'- -~

uf&l~.-:1~:0;"- :-,~
-t-- d_!I!L_ - --t-r--H~ fl\r--
' __i._--~---~ ~-=-- ------:-.::::: =-------_;::.~---- -'-----_::---·- -- ---f--)1~:--:-- f-J,-F.--·--··- ·;,:~_--: -~ .
 l$>1

206. 'l'tle tramwcrk ct tlla episode thus astabl.1ehed .a.nd

tne: 1mttat1ons

•
p:r&pa.red# W$ must bear in mind that ws mus-t not
I

sound simple ba~montc tUla:r:a in the uther' voices, but that

trow ueoeeaity, the otn.er pa~ts m:uet be t~eated melodically !t:n
simple or doublG ~ouut$%1>01rt.t 1 and tbat all the melocU.c figures
I

wn1c- we attribute to them should be borrowed from som$ pa~'

of tbe eaposit1oXA.
We should make an o,utl1ne of the mat~ial whleh can be
used. S.n "ombination..
201. As, in the prE)sen" oase, the exposition is not
complet.atl, we will use s1mp1y the ~tven fragment.
wa can eee it 1n the following tnraa tor~a:

a) In 1te touall~ys
_Jo.J lo - {b:l._
If{M;; Fr ,·p r r rl~ -. -·- -~1

iI b) creating wttn the first me€u;tUl'e (a) a melod1o

I
I
I .
pr~reesion wll1oh 1s !;nvartible w1th the second measure •
I

_-- . . --·----.------. 1
·--·-···· ...

c) orea.t1ns wlth '&be saeon<l measure (b) a. melod1o

prqgreas1on equally 1nV'etttiblet

:tn ordax- to a.void the monotony resul tins f:rom, the

 192

des~endtng p:fog:rees1on,.we 13a.n end w1th at! ascending progression

(d)~ an exact im1taition of the last fragment (b) glven abovec

• Ill\
AI
-
10
···.:.-•-- -·
.I
•
~ ..r--1_,.
. "- ......... a
-~

1
...
-F-1"

1
.....,..+
+- .n -.n
~
l

s- I
r·Al.: ...
I
-T
ilf\ll
If

-- ~
It> .
I
'
..., ~

-e-
..
rAJ

r'A

,it-
..
J- ··-

a -·-·- --- --
---,.... --. --

'
-A
' -
r- ·11'-.o· I"'
U'
I - ----&----- - - .d-· l--L ..
I
.
.D
I
-

. ., ,,. ..a-
--.--r----!
t--r--.;::~--------,-~::-- ---~-FP ·\0:
.
-· .. =~
'""'
:~~o . ~ ~t--
- --t-l-1--&'"-~
110'
I
I
Ir
Ill>

I
r
---
--.- ar, -IP-- • - =1---P= __ .__ - ----
I I IN· D.·
~ 4=+ .r- t ~-+ ..) .i E~ .r---
I
i)
A

: '"
'
;.,.
1---=--- ..L
··--& -- ""- ..
.....
.....
- ~:
-- ·;;..--
....,--
-
..
-

N. B.. I\ will b$ noticed that 1n the next to the 1a.et

mea~urs the sequence oease.it to b$ x-esular and asoends an ex,ra
ate:t!t•
208.. fb.e pt~l1m.inary work completed, a.nd hav{ng a bird' s..
·eye iv1ew of 'bhe vaJtious oombina.t1ona ef' the given fragment
l
'
invertible in three partst
i

A. '10 .. ,. " --
L -I -;e>-,t·=-~!.. I-·" - --f=j· _Q. -··- ----·
-
rn
[lf.l "'.
0
I

.. _,...
~
IJ .A-~
~ (--,.~-t=£~====r== 111t- c
...f-. '
I - -
--
~ - ---
. \.

$)\£ 152 --:~_r--..

-·--·---------~-

..a .t~=r--- . . -. -f)-

.. ··~- .
-----
.. .. -···--
---
- -·
 193

.'

209. The ul ti.nlata :oeal1sa:t1on of tb.a episode will be

aa toJ.lOWGI
 194

•
"...-
tb.e d1f:ferenoe b$twe~Hl it and. tb.e ba~mon1o sequenoe fl'Om
wbl~b 1t originated; nevertheless, when near1ng it, one haa
til~: feeling, the olear pereeption o:r th1s 0%'1g1na~ sequence ..
TbX'pugh the varied dispoa1t1on of the parts, h.oweverj we have
avo~ded the dullness and monotony wn1ch usually anaraoter1aes
so ,sho:rt a prog~eaaior:t.

W$ will sea la.ta:r-, howaver 1 that tller& a:r~ eases whe:re

the; appar~nt use of the r;~1mpl.a hapmonio sequence 1s good (sa~.

216~.
211.- AN EPISODE ON SEVERAL THEMEfh All the elements of
''
!
the/episode wbioh we have juet etudted ara drawn trom one
f~pent of the subject* one can also combine with. tbG several
figures borrowed f'xaom thE4 su.bjectt oountersubjeett or one ot the
frer parts of the exposition..
•
. .
In th1s case one ~hoosas as tba pr1ne1pal theme of' the
ep1•oa.e the longest melodic: figure or on.e wb.tah is well clafinea.
~ ~1\Yt~ or exprsas1on.. Th.e (l)tller themes ao1i as counte)fsU'bJects. /
 195

212. Tb.eae themt!iJs vary·aaooXidtng to ths compose~.~U'1d

are :.written in simple, dcubla~t tripleas or quadruple counte!'-

• per~od1o or oanon1c, di~ect, inverted,.. retrosrade, in augmen-

tat,<m or diminution, eto~

21::5,. THEilE OF THE UNI~ONAL EPISODE. In any oase, tb.a

tb.e~a ot an episode, considered as an antecedent ot e. he.rmonJ.o
sequence based on tne ep1soct.s. must be oontatned 1n a stngls
tonaiityJ l•.!*' it must begin ·tn one key and finish w1th a
caaenoe .in tb.e same key~ we shall 1l:lee later tba:t, 1n the
:real!.zatton of the episOde. the oadence 1.& always avoided by
th.e hae of the customary d~viot~Je of mutU.oal oompc:u;,i tion.
i
The modulation neeess1tated by the harmonic progreseion
· w1lli be pz-oduoed e1 thar by oommon tones 1n tl'le last· chord
I

of the anteoedent phraee and 1n tb.e first choxad of the con-

I
: I . .

aequ~nt pUase; or by
1

I .
& modulating ooda. One oan easily
understand that tf the 1n1t1al. tnama modulatese it will c:auae
I.

the ~p1sode to take the fo~m ot a oi:reular imitation.

I ..
i 214 ($ The 1nvent1on ln the episode results from the
I
natu*e of the tnemea ~ather than t~om thei:r d1spoa1t1on.
I . .
! By oompa:r1son, this sets off the fugues wl'1tten by the
i
I
ma.st$rs or all tb.e lUlhools 1 in tb.ese fugues • the ep1sodea ,. wtd.eb.
at f11rst s igb.t appear. to nave oonaid·era.ble ft:riaty, are all
deri~ed f~om a Jtatller 11m!.ted number of or1gina.l oomb1nat1one.
 196

to\tne practice ot wnieh tns pupil ougnt to apply himself.

These dispositions of tne fundamentals are the applica~

• t1.c>n of th.e rules oon(ternlng the va%'1oua sorts of imitations;

tb~y
!

..
i

can 'be varied almost 1ndet1n1tely by th.e1r arrangement.

i
215. DISPOSITIONS OF THE IMITATIONS OF THE EPISODE..,
'
We :saw p!lavtouely that wtt~n the theme or themes were once
ohcisen,
. harmonlaedJ
. and the melodic line d~te:rmined, we ar-
~a~ged tne imitations in a. manner wnich would give them a
prominent entrance.
These q1spoa1 t1ons can be summed. up in tne six com-
b1na.t1ons wb.ich follow.
216 • OASE l r EACH PART PRESENTS A DISTINCT FIGURE ..

EACH PART IMITATES ITSELF BY REPP.ODUCING AT DIFFERENT

INT~VAL$ THE FIGURE WHICH IfJ ATTRIBUTED TO IT IN THE AN'I'E-
i
CEDENT • I

Tne tw.l'monic . eeqttenoe can be used tn a fugue only

i
whe~ it 1s axtl"elllely mus1oalJ in tb.1s case the episOde mu.at
i
be 4':onatlf'~et~d
~ '>.· I
on melodic and.
.,
1ate~st1ns themes or upon one
wh1~b te fairly long.,
I
j

1 Nevertheless, thie sort ot combination is frequently

I .

use4 at the end ot one of tb.e foUow1ng types or

:
episod.~aJ
I

it ~e the advantage ot prepar1ng the ~eentranoe of the sub·

jeet by a mo:re spi~ited progression. and 1n this case. the

••• fr~Jient

w1llg1ve examples of
wb1ch serves as the them.e must be very
tb.1s later.
 197

• Elements of the episode.

''
WELL-TEMPERED CLAVI CHORD
fugue 18

"'

!
~e. J't)-f!/ '''!"': 8 '*-- B 8
f·-
R
-~ =l,
~- ~--~f--1::-- .. - rr-~r--w.-~.
~· L..JJ. «
r:
N'>
\
•
-
.. ~ -.., " " '
.....
~ l'
,_, . ....
~
--
·lrt .. c~ .. - ~-
~-~r- c. - • 1......
I
!
JJI ~-
:l
-1--f. .. ···- ··-
.. --
t r .1
r/1
··~
.......
/.; :a
II"'
!I"
f
, .,.,.,""
-~
....
A
.. I"
..I .I
•
A -~----
--"7-
:-..-
_j_
- . ...
- -
-
~
A
• I
::A.
~-"'
-~ ·--
. -

;~o.r""' "f~e."""<- iM -~-~~~~~ h:"' r••

IL ·-· - - - -- -----·---· ----· -- .r.
_fl.
'11-
~
.H.
,..
lOT -- 1---- -w -- ----- ------- ---·
I '\.J'
---
:.:.iti:.t-
.:A'.

•
I 1Y
 198

Episode t!"om tile FUGUE IN F MINOR b;Y Baotu

•
-~ -- --
I I ,-

-- --~--~ ··--- -·- - ----~----

-.-· . ----- I--
!----

,...,......-
• !!J)
....,_

.- .. r -H~ .. ~
a .
... • .,
I ~ T ·A .., •• I.:;;.
.
-
1'11-. ""4
' . t......"
L-- -
I
l

--·

211. OASI II AIL taE PARTS DERIVED FROU THE PRINCIPAL

• :'rRE .PRINCIPAL THEME RE.'MAINS IN -ONE OF THE .PARTS WHICH THUS

CONTAINS TilE PRINCIPAL MELODIC LINE OF THE
PARTS REPRODUCE FRAGMENTS OF IT EtTHER IN ~ONIC
EPISODE~ THE OTHER
IMITATION
OR BY IMt'fA TING THEMSELVES ..
 l99

This FOCe,du:re, wnioh greatly resembles the preceding .

in ~he sanae that it leaves tha harmonic sequence in its origin...
• al ~orm, differs from 1t 1n t.tmt all the parts are dal'1Ved from
the ipr1no1pa.l
'
theme,
.
thus perm1ting the use or oa.nonic 1mttatiott,.
Alt~ougn it 1a dlttioult to use in an interesting manner, this
to~ or episode offers the advantase or lending itself to all
i
th.e :devices of the most e.bstruse 1m1tation.
'

in \lh:toh nearly all. the episodes are conatruct~d on this pl&n;

!
1t ~s well worth atudytnsjl.
218. A} :End of the e:a:pos1 tion:

·'"'
- -
1!1\ l

!if= -.. . _A --- -.. .,..,. ~- ,... .

-- ....f --f--7----·-P--

--~- -F--+-- r I_ --t~---- I

! /JI.. ,·~ •fhe.A*'c.j;.a 'le./ o1t• f!. ~~ i..M. J...~-!~-~~-- . . . . . -.--------·-·--------·--

. ~: ·•• --E . . . ~-~=-f'-"~1'-• ·;·-~~~i~ ~-=o·= -=:.- •4 " " """"

1 ;;;j- . _• . _ I .. ----L3- I .oil! : ...._ : -~· _I_ '?

., '

•
 200

---------------------------------------
...... -
-''·" --
..{C.L'f·)
"
.. 10 -
,..
'lv I!>
_I • • IM
.I P. --
;
- g I H. ---
' --
I ;

•
,Ill~
~
~
. A. ""-l

..
I /
l
' I I l-ILA IC
-~fL .. ~•"'"' I
'
[L- ........ -' ,
"" ~·
Je fe-.
,fl tJ...QI/. of_ C.. :.f.
n
......-. ......
Oh
.... . . • II'
I
Ill ,. ..\' !1 ..
, --""-
. ........
_W ft.'' ~-· . . li'-.

"'"
...
I

.
- :---..
.,._ .&
' ..' I

...'
-·· -

·o '
I
- t
~
''J
-IJ-
.. -it-
-

a-) Calls tor the following harmony (suspenaioh. or the

four~h by the f1fth) :
I II.
.. .I ---6 1-

~
n
u_~

Ill
. -- I I

I
'

-;t

In Baon's r$al1zation there 1s the double embellishment

i
of t~e suspension and the p:repa.ra.tion (in the tenor); this 1s
I .

not ~erm1tted in the school.

B) Episode on the same tbeme, but more concise and
219.
j

in canonic im1tat1on in. tnree parts;

• .g_ .
j ' f..c Ill\ • .6 A C. l ,.,. f!J1C ..1'6 fa.,..........._
C.~"'\
[A_

--- _\{_)I
•
'II
. ---

-
II
Ill'' - ! l
I J.LLB -..,- -- ..
_...., Iii .... -
~
., (j_ft>._(>_IV\
- S,_ t
,J -L•
L ='-."'J I
... .LI
l#t~ "" 1'1 _4fj ~<:.lfl
I
""".
Will

,lth
.....
_..p_.-- 11'---+-• .,.. _rO• -~ ...,--. e:t '- ·
-- _.I t· -{::::J-: J~ -~- - -I• ..
Ill '' "'"" _I
~-
. ~-
I

. C.a4-':/...,,· 1::. "hf•ft' (;""" ,; t /!"" 1'4J. r:/o~-~- .r.

IJ
a
lr
I"
I ----in-·- - '"""' _,I ----ta . , -
.......
-~-

..
4
I I _.(_
I
.._.,.. ..1
•
~

--
.I
' I. ~- 11"
'-..I _,_
~
{lr}
 201

a) The bldden un1sons are forbidden in the conservator;,

tose.1tner
:
with th$ embellishment on tll$ unison'*
b) The conservatory does not perm~t one to e~bellish a
I

no-t~ S.n the lower pa:rt Wbich is heard in anoth.e:r part.

!

I 220" 0) The principal theme and the conduct of tb.e

i

mel~dic line 1n the upper part· (fYSue in !}a minot from the
I

WELL TEMPERED OLAVICHOF.D·- the exposition of which has been

analyzed above):
Ill*

II~ {Je.)
Element a or the episode 1 ·

" .

Cdmb1nat1on of the two element~

fdrmlns
i
the principal theme:

- - - - - - A-~----------Cultt - -
• ~r:+-r- -;l"J~~jT::-t-t#:·~-
m~--
_
•
,.. --;-- I I

---
"'
• . ..
1
_
r ..
I
-

:~

I
'""'.
1... , .
I
I
,..,
I
.,."-J---·
---- --r ------. --------
-,~
I
\.
:
~I
II
., til v•
~
~~ (
I
A
~·
0'
 202

•
....-.-......... ' A,.._11
- - -........
- - J./.q 1- fA
1.. (I

• •• .-
I
0' ----6 .. 7-=~· ,.-:. -·-.t----· -~-
171" I
'1 I
I
-;;;;: - " ~-~
I
--\-- ~
~- •
.......'
\ ' ""' "" •
ill
__ r::-- 1(1 jl. fM_ C.C.flA'I-~o-1~.
.., _JP-" -~ ... =+==~--- .
.
... .. - - -· -- -iiiJ .
- -- -------- ...

-
• I
-
IGt· • 1....,-.o.,..... c. Grilli II Mlt:. i-&1af.~OM !n'flll
It\
• •
•t ) L - -
. s .,L ~ -.1~4-"' ~-

-- --L -, .,
A I I til
-.c, I
I

·JJ..ee. kqJ-'fJ._~f -l.12e .c.~: -·-r - - ..f.

. .
1-i'r.-b-t. - .\~·"141-:A-·-r :- :-r:l-- ~~-
• a. • ••
I
v
·r
., .......... T
:T .§~ ,.. I IT I ..1
r...n-:..t-L_,.."'
I ----,
.J '"' ..,-
- ·- ~-· __ !_
-
221. D) WELL TEMl?!RED CLAVICHORD, (qgue !it
o------------~----------
 203

222. E) An organ fugue by Baelu

a) Melodic plan of the $p1eode (tne aaoaseary theme 1s

tak~n from the principal theme:

. ~ 1\
I 1: .._--.,-t .
- ..
.J

:;.-.!t--.
j/1
-.....--... "'......
ill.;:----x-Bf-·- · r
~~
1-

---+-_.:_ - -· - - -- . -J- - .
:A. ·Ji\ - -
......

--+
I

.. 1.~
 204

• if
jJ--
I'
...
I" -......
.
.. II'
...!1
• - ___..-.
__L - I
~ .....- -.o---
I __,
_.-
- - ~--

--.. .A.. ~- _____c_ o_e{l£_______________ -~-

-L-tfl ~- --- - ·:.-
-
'""'""
\
-~--.
"'il.
~
l - .-
I
. fOA

223. It .is well to not1oe, 4 !!£?~as or tb.is episode, now

&k1l~ully Bach has avoided tlle oolti and unemotional atmosphere
I

wh11$ he has maintained absolute s,ymetry in all the parts, the

'
1m1t~tione being produoed regularly 1n eaeh voice and on the
i
same lbea ts • Thanks to the tuga~ious arrangement of the parts,
i
b.e bajs ·bean able, w~th the same reytbntto ttsure, to eraate be-
I

twee~ the soprano and teno~ a canonic imitation, and to manase

1t soi that the upper tnree parts deseend
'
while the base asoendth !

l_ 224. Here is an axtraet trom the same fugue. an episode

ln fire parts 1n wh1oh the melodlo line is entirely exposed 1n
 205

the \upper part,. while tkta bass engages. in tree and· rhythmic tm-
1
1ta~1on or a fragment of' the subject in aUgmentation and e:on-

• tra~
:

1nt~rvals;
motion. T'be other parts
ly ~ep:rod1ao1ng the same melodic- and rnythmie: figu~E.J at d1f':tex-ent
it will be natioed that most of the following ax-
tm~tate· ea.ch other while constant-

amp~ea,
I
being bo:rrowed from 1ns.trumenta1 tugues. generally
I

exce~d
.
tile lim1ts ot vooal W%*:l"\1.ng to·
. wh.toh one is held in the
sob.Qol fugue, which 1s al.wa;vs considered a vocal fu~ue.

Elements ot the ep1·eode •

ttJflt.i~ f~e.""'e

~ ~ «\,
A

-h-""-tt.- ., .. ~ '-~ ..
I
~

- ~ L
- I
.'I.
I' 'It
......
.~ to
If,......,
""""' .......
J. - ro~~
..__,._, r
• a· I
.. IJ-1
·'1-
I
,_.
I ... _,_
'
··------·

., _L,~:~
: ........-~

, II~ ~I 1>" .....

lll~:t:-..~ ,...,.
II! ~-
~~ r
I. "I '7
II"
~
~
I~
. ' r:. .. .. .. -- _ _t•
---
-~
'' "'-1..1 1

-.- ··--·.

r
' ' ..!.. --+-·
.
lr frIll-· .... ·""f: ~ !ft-- _,.
·""f'-i~ . --
1:...1-.l. -~
·-- . - a ......__"T_
·-.;,;--- .a.J'!L ·--r •
,. .
~
_\. ~ r ' 1-L..t IV \ I
--. r.;-

~ \{ .. a-----
. -,...--.,-·
. --- ··- ···--~
... rsli-...-:-.--F----t-:_;;,_ ~it-t.
['
II' ~- --~-- -- ..IT -----41----
•
·"
I .
I
P""" I
y
I

I
.. .,.L
• c

,...I

'
I ("-
I ,..__ -~
--- ---
i
i

,., • .I I I
,..._ «
"I. .II.
l_ _I
I l _II_
·~ .II
)tW' r·r·· ............
I
.....:t ~7 ~-;T
 206

225. c:lSE III. TWO ?ARTS IUITATING EACH OTitER WHILE

ALTERNATELY SOUNDING THE PRINCIPAL THEME •

• THE· SAME TWO F.AF.TS.

I
THE MELODIC LINE OF THE. EPISODE A.t'PEARS ALTERNATELY IN

-SOuNDING ~ITfiER FRAGMENTS OF THE PRINCIPAL THEME OR VARIOUS

THE OTHER ?ARTS IMITATE EACH OTHER WHILE

FIGURES TAKEN FRO!i THE SUBJECT, COUNTERSUEJECT, OR FREE PARTS

OF THE EXPOSITION.
A) ,The followins example is taken from tb.a Baeb. ;tYf&U! ,in
!2.. minor (WELL-TEMPERED CLAVI~HORD) a the numbers placed above

some of the f1gures of tbe ep1sode refer to the analysis of the

exposition of tn1e fugue as given abovec
{10- {4)
_.,
,, . --
-·
---
:~
rTITl\.
"""
l:'"' I • ..
-
llr~ '"'11>
I
Ill\
•' J(~/) -
llf\' j(
llf.JI,V'l)- ..;-~-. --
llh. !oYK: ·- --
Ill \ ·~-
' -
~ In\ ._ ll~ ..
) 111.1 ~7f.
IU.,.-h .E... I! ;.-. •·~l~-r-f--
Elsmente of the episode: IRG o:T7;i'
•
v II
1..
1

TiiJ (/t.J j
• ,...... -J~-t·-:1-..,-b, --·- - .·- ·-
•
~

:~
I"' • ···---

·•~"U I
A<il
--
.<\ lf A IN
I

a) UelodS.c and hal'l!lonio plan of the episode:

~ ) • i~

\-6 I •
- -.:or-:...-~- ~- ---··
.....,.__ ·--
-··-
"-
---
' ! ,_ . "T
JJ OJ "'""
e.,l---c[
~ 7r
I ~
~A
I

lu\ of 1/;e A' '

-..- '
~
~ •Q ·-·- ·-
1'17
:-..;;: --
---
-
.J ~I

"'l!.l 1'. -T " T -.

"" I

l/qr.;.,..a.--.1i c. £ct j',f

 201

·n-~~o
~·
Ill
• . .......,..
T--;.1(~ I
'I'
~ I~
II
""
• ,.
...,.,
I
- ~• r • •
t
I • I
-
-·
-·
------·····

•
:•
'"-
~
ill\ ' - -
I~· It> --- --;;
1ft "' T l.n ---t - --··-.
., ' ~

'
.r::Jr u I ~

I
I
..

b) Pla.n ot exeout1oru

6" "e.
- IV D I.
•
-··

..

-
IN~

Ill\
~~
\ -,:
~-~-:rTr
-.J.'IT
I • J•~ ' ·-
-
..

h ll L l
.. b

~ ' -7_
~-

!lh
IT
ilf\-
11:
L
V'

u
,
. •
""" T
T
• :::,....-
AO
\oD I
J.
' I' I
;;-t-- ..
T
-. ---
··-

"'
;-;n. i
' -- ·- ---· --
- ·-· ·····- . -

\. Ml

=- - _- -~·-.;
., T

~ ...,e-,------- =~=
",rH--;.1'.-- ~_f-~:t++-~: l=~=.::~= -·~ -::-::::.=.-:_________ - --
"\. ......... II

. i' I

""· . -·-1- .. --f-.- ·----- . - -·-~==li'----~--11

 208

• 1

1
', tJiL
i 1:}'
: f'i\ !,.

!~ ff ,,e ""t:f
,T.u
!;
(/6/-F
t., -,
(i

J ra
I

b ,_
t4
-1- ---

A· (!U
-'C\
'\II

..
~ -~-

I
·"'- -
>J'
-

--.,.

----*- 11= ~- - -- ~
·:· .
(f&J.¥-
-.- -OJ'

1'11.,I
le ._.
-~- - -- -
10
..
:.,...! !
::p
\#
hr-r

(16}
•
•

•
1

' ~
IT" _1\..oo"' _____ l.l-14 ~- n

--LJI) -~ .,(JlJJ ·V6J

I.
-r;;:;v~l-x-l _l~- _____ ---f-1--!L.J.--'_l~---A~, ___ . ----,t--r--f----:k-______,!""F+-....
..1..-----~
.......

~i~o
.......
-----.
(10
"' ---------... .• \" .
(~--,..._--
.
•
,.
.
- f•- ..... --

- --~

1·1(}
---f-- ... ·--f)-·
I -1 J--~-
• ••
lll _ I
Ill
•'

• -""

2a4. B) The episode 1n tnrec:a parts (two parts tormlns a

'
oanotf.) • <\WEIL-'fEM{OlilED CLAVIC.HiO:RD, t!fsua Jl) •
----------------.---..-===:-------
~ • • -ji-
..
.~ + 1. ... +- ~ .A 10 --........

~-}~
l.
,.-... 0 I
'- --- '
!It\.. '· -{L
=F--=~~---
.A. ft. ~; -·- ~: ~
< II"' ~~-
"" I
41t-
I
I
.I . - -- -
---
-+=--·----- -+. -r -1----:J--- -
_._ __ H~ -.J-- I
------
1\ h ... · - . ---- --·-- ..

"'
--
.
I
I
f) • I'
~-p . 'lW' ...
--
-t~-
1-7 '- -- ............
I" • "-~~.r T
I)
-..:
I
._......-- -T
 A ------::.
-d!L.---~-------------·-------
,. ---.- • of'J - - . . , oO J. --

- •
I' t I'

.
I I
-
1,11'\
k... ~- :--+
f I e I II • --.
{ ~n ~b --l --.

I"
1, h ··--·
I 0
----:::.-:··----~--------~----·---·-=---·.-_~-f=-=-=-=-===t===·=-~-1~--=-==-=-=-=1-i-C:-'-~----_-_-_·-:......--.:.,
,. ·- 1--- - _,.. • - ,.....,. :- r-
e
"' - . . . _________ v I I
l'
~~
I
I
•
I I" •
·---+--+-a-,~-,1---"=-,-1-.\i-f-,+'-+
,..
"-.J
.-a-- . . . . -. --
"L..
- ..........

227.. CASE XV.,. THE PARTS MTATING EACH OTHER IN PAIRS •.

'rRE PRINCIPAL THEME OF THE EPISODE IS AOCOJA:PANIED BY A
'
SE:O~ND FIGURE WHIOH SERVES AS A SORT OF COUNTERSUBJEOTJ THE

MEL9DIC LINE RIMAlNS IN THE SAME PAR'l'J'

i
OCOAS:CONALLY THE !WO
: . .
GR01JPS OF VOICES ALTEBNATE AND .PROPOSE• EACii IN ITS OWN TURN,
i
'l'IU:! 'mEME AND ITS OOUNTERSUBJECTl

a) Mosa.rt (SONATA IN A FOR PlANO AND VIOLllV) t

•
I
•
··-\·
~r, , J ~ ~ \ :-,

';
I" . ~:Ir~\· ..- ~ c. J'·•••. • ..·-fie:-
I
~
--
• ...... -------
 210

Mosal:'t (QUARTET IN A} 1
r\./J r; _
_
....... ..
--·
1 1\. .;.; -..;: --
-· --

•
:51 I

. ...
('ii;;o; 1\.
Ill II ......,,.
~ ·r.
... "'' -t
---
~~
:l
( 1L f!:_t"''.· tJ eiW'\tJeoAI IO~~L ~· !')_'f_Ju...·- t-4-~.L...
" - -- 1\. "-
--
C"', l!.·f "~ .!" ~~ -
'" r
- \1 t~• :;t- .... __) "tJ'..II! . j 'AeAI\ <.
.ILl.~ ...... .

••
.
I I ~ u ~- -
d. .J> IHr
IV
•
IK .J.
...... -,..
'")
.... I.

. ;"""' ,'-/-. 4i I. .t
·--- -- (~-11;~ ~,JI•
~--- --- -- - ~----
r

• I
.----!!-= -
I
v
"'

Ba<tb. {AR~ OF FUGUE,

-~ ~ ··-rn
a ti
B
_,
J'
i.
.. I I

lI ~ - 1
~ .6 ~ A'T·---
""" I I I I I
...... .!.. I
.-
t
of')

'
b • " '
A
I
I

A.
II l
U\
I
tV
I
..
I
A
• •
-.......
"'}'
....r- ~
-~

I
!
...
I
,. ....,..
v
-~---~.:--•t~-'-'-+;...,.t'~.----~'.J:.o.,._
.,l
.. __~--+--­

.,. I

cA- '· D
·""'
~-~

I .
Baob.{Another ep1eode oa the same th.em.e)t
j.
~
l\ /},
4!- 0 ~~ ,. •
'!.......
I l' ~0 • -~
-~
i.' _, .-l,... ..... I
I

~-' ~- ~- .... n-
-,...-
- ~
1- I ,
...
If
• l
'"" T T I
_.
-
:ur ,.
~ I
I
'IJ
... T
'" .., -.- I T
f
,,
.. - i
-

.... ,. .
I
-
I

Ill
IL~
"
I.
1
.
1 -r ;n
A
A
.., '" W"A!
... ....,.--
h
• •
l'.
-
_J_
' ..

_),_ ••
I
I
_.;.,-
T -~-

I
-LJ ....o \.I I ~
T
lc

J-'{J- o·.::L...&- , /] I
tr."'--'-
. . • . -il'l '\Jil
t• ... y
-
-
, .I

:
-v _!_
---4-- ---
·-+- ~-
'
~

I
I
 2ll

Tb.is form of' episode is :rarely- used alone.- fo:r 1t 1s ver11

un1J:11te:rest1ng.- It ts generally found combined with one or more

•
' .

ot ·the other d1spoa1t1ons found here, or is u.sad only 1n very

I

sho~t episodes.
i 228, CASE V* ~HE PRINCIPAL THEME OF THE EPISODE IMI-
'
TATlilD IN THREE PARTS.
THE MELODIC LINE OF THE EPISODE APPEARS SUCCESSIVELY IN
I
TH~E PARTS; THE FOURTH PART CAN :WITATE ITSELF BY CONSTANTLY
REP!lODUCIWG THE SAME FIGURE• OR CAN BORROW FROM THE OTHER PARTS
THE !FIGURES WHICH fHEY SOUND WHEN THEY AFE NOT SOUNDING 'fHE
i

PRitiOIPAL THEME; IT MAY ALSO CONTAitl VARIOUS FRAGMENTS

BOmtOWED FROM THE SUBJECT t OOUNTERSOBJEO'!' * OR FREE .PARTS OF THE

EXPOSITION.
A) WELL-TEMPERED OLA.VIOHORD, ,tUi£US, J:n jk mtnor {see th.a
expQsitioa seos . . 196-200)« phiNt·i~e__,
....,.
/

I
Elements of the eptsodEU
'
(Roman numerals refer to th.e v.A ., ~t:r 11-J
~a~ents in the analysis( sec"" 197) *~~~~~~g~~~~~~§
fP!t[j r~ \§
---;--,,-
_;=_7i ~-r. ~-f~(=lJl
Harm~n1o
'
I

and melod:lc pl.a.ru

I j'
--, -, I
lk . -

•
7 --..;;;;:
I
~
'/1 ~
~ 5 .;-1-.
1-"
1
I
. ..
"" I
£
I
.~
j{

' I
 212

• Plan or execution:

229 ,. The pr~oeding :resembles . th.e canonic ep1a04e '-•

• st~1ture1
be
b.ewever, 1t 1s not. as etrict as tb.a oano:u..
n1t1oed tbs.t where the tlu'ea themes or ttgux-ea wh1cb. form 1t
Iii will
 con.tinuall:V enc:r.oacb. upon ea.tl:h otb.e:r, and are tor the most part
written 1\D. 1nv$rt1ble counterpoint in three pa~ts, theeneroa.oh-
'~· ment is not always ln the same voice.· as would be oust01nary it
tha . eanori ··were l"$gulart in tb.1s ease the f'1gurea would suaoeed
eaotl otb.er in all tb.e pa.r.ts 1n an established order. Fott ax-
ample, (a) (o) (b) or (a} (b) (o) tt!•
2:50. B) WELL ilEJm?ERED OLAVIOHORD, ,;D.!itt~. !=

- - -,___.
.. ..
... .... ..
··-·
---
.
..

--
\.~pl-.;,....--;;;;;±·
t_lae-e
.. --
-- -.;- --- .·J -- -·

.. ...
....
--!----·
-- .....
-- ------
.... .... --

••
 214

• i
HT
!~:... ·-
1}·-~:3:'

[I
"'_~_ -7·-~

. ~.
.
I --
I
J
- -

• ~.......:J

..--~
I
\

\
~

-- • -
· '-· · ·

.• . -
·-----.:..~.

. - H- ..
-

. .,. ....:-·--hi!;-=--·-- ::-_e~~-p----

-+---- --
-
I . --
CFJ
t::i~-
.

t.- • 11-. n r ~ . ,.., ,., _ <:::>. .. :_:-:-::_ _ _ _ - f=F---: ~-.

lt..l--U:..•:- I. t--J.--1- -- ·l \----F--· --- --~- . ------"---·-··~-----IL

\ fo f..,...,. -t~~?-t; - - ------

:--7' ·- - - .
-F+ -" 1-"'-f .-t ..

231. CASE VI. THE FOUR PARTS IMITATING EACH OTHER.

THE MELODIC LINE OF· ~HE EPISODE APPEARS SUOCESSIVELl' IN
I
I

THE fOUR PARTS W"d!C.Ht,- ONE AFTER TRE OTHER, SOuND '!'HE PRINCIPAL
!
I

Tb.1a term of episode b.as a s:reater r1otm.EH3$ and ve.x-ietr

than: those preeGdS.ns, and 1t lends 1taelf to all manner of
i
1mit$t1on.. 'fbe pr1nc1:Pal theme aan be eomblned w1 th a second
;

or a. 1
th1:rd themeJ oo:a a countersubjeet Wl'ittan in invertible
ooun,erpolntJ the d1spos1t1on cr the ep1soae ressmbles that or
'
tha $xpos1t1on, a.l.l th$ themes appearing alternately 1n eaeb.
part~ but always w1 tb. this diffe:ren•En ln the episode the
i
im1~t1ons are at 1nte3!'V'alG whlell are arb1tras-1l.J chosen.
a) WELL-TEMPERED CLAVICHORD, ,f.»su~ ~~
 215

;1 ...I.
In-·
:JJ
II
·"
. \,... .. l-- --
- -.....
I
-f-~ l .. r
II
'l' -.r:c·.E --
-· -
---

r
-- --·· -~ -- --
~ ........ '"t"
1\

• ..
_n .n: • -1'- .;.,.. ~
1!11
-~-~---- .. -
.• . - ,. r l I
..... ~-
,. --
.:-- . ---
~~ .1 .. 1=== --
jJ/-..tM.. 1':-/d!.-..~
< !,lih -
-
__\,..._ •'- - 1 ---

-·
--
P"!..J .. ·--1o.,J ..:._-f~-- Il--: -- -- ... :f,. --- -· 7.>
I' t....- --..;;;::r
-""'~
~
.u
r ... __ 1'\. -..;;; - -~-
• ..,. - ... ·-
--
~- -Jr-'- -F- ---\ _____. __ - ~- ---\---Y. +- ----T ... - I - --------~-·

232. b) Handel.. UfREOHT JUBILATE I

'' ---;;;- -,.;-

.... I • :\" -I"
I' ...., ·1
iftJ - - 1-- -- 1--:--· ., IT --.;- "
..
IT I

-
I

,,,.P" tiNt • r11-e H"\ c;

,U\ , ___, I -
I
I
,...I ,
Ll
I)
I' I
I
I•
II
.... ___!_ I'
r I
\
-
I -
.J.- I
I
t
...
-.;.
' '\.
.o
I
1I
r' b._c

H
-
....
-'
-- n
.,
I
I
1 1 ,n A"" - --

lJ., "' -
)I 7
' "' -
~
-f-t.- r..- ,• ~ -=~ -·--·

'-"-· 1--· - . -- ~- ..!.-\-- H-- I

I a -l I
1'11

,• I
',,
fi'
... . -- f- ' ......-- --··

-
••til> ------; 1 - 'l!r llP ~

.Y. -~- · · · - - 1--· -·-- 1----

.,
 216

'i
iili
I
I
~~
I" \£' \"
--~
--..;;:
'-"" I"
I
l
A.
.o I" .. Ita_
II
•• ,.
I
~
.. -..
~
I
--

•
l ~\ • I
•1\
-
~

---
.o ,'(IJ 0 --
-;!':)
p
-fA
r\
I I
" I:J>
-,I -
--
~
[\ 1 A
I
L""'
'-""" II " .. • • - --· .
~-

----
--
- -- -

I ~,.
rn-
\

't--
J;
•
I•
II .. L.•r.. -
--~~

lli:JI\,.
. •-
I
--

II~~ -

I
I
---.... i
I
---Jl.
----Jl

-T
i·,
~l

-- . - _J
 217
--
0• ................ 0
-Q--------. I 0

. "'
·""
,~
i" l
- ~'"'
- ---
. . . . . IJ I
'
.,. fTI\_ -~~ ..2- l--.9-- 4-"-, •
. - L• I ....e.
=r :____ ---
... ,, "
11-'
Ill
• I
"""[ y
--.- ---
~
-. 0 lil3
&~
-- ---l:t=~~
- I
-o-~
- - - r-~~ - - ·--:
I
-----"- __!_ ---- --
ll • •
.., -'" • ,(
r
;
•
:..
·~- ---
--
,_,x-.- •.-------'------~ --\-- H- ..•
-- -- .!. - 1

~~ \~
1'•
.
L
1'1"
I
... r •
l
•• I l
r
I
J..r-Io-
I"
··.;. I
I)

•• . -+--- --_--
:-~

-,
•I•
• I I - - __ L
I
-- ~ T

i u•

2)4 ~- THE CANONIC EPISODE. IJ!ha tollowlng ap1sodes consln

of canon1o comb1~tations& we caa. by eo·mpar1ng tham w!.tl'l the
p~aeed1ng Gplaodes., acoount tor gx-ea.ter interest tba.n wa.s
poaa~ble tn episodes in striet caru,nt.o style-
!

Later we w1ll describe b:r1ef'l1 tb.$ prooess of wr1t1:ng an.

j .
entit-ely eanonie apisodet although studen'f1a entering upon the
!

stu~ of' fugue a" alveat\V' fam1lte.r w11ib. the various forms of
i
1m1t&.tion, we thousb.-t that 1n the present oase 1t would be well
!

to stkow them now to oombbe a.n invertible oantm so that it w1ll

serv• a a an episode. Tb.$ example wb.1on we will analyze is in
i

six parts, but the cauon bas onlf four parts.

I

The oa.nonle form rn~st be given preference, tor lt perm1ts

j
i
g1v1bg a more t'1g1d course and a. greater melodic r1ohness to
tb.e-ep1aoda.
: a) Fugue on the ohe~a.l. JESUS CHRISTUS, UNSER HEILAtiD•

by D~Cl'.h
 canonic episode on two themes;
--
Elements of the episode: I~ "' ..

,e --

~<!.
I tJ.G C. I ,
0 fN\C:,
__:___ - --;!'---' -~ ,_ • l ... - - ·-
)
a
•
I
,j ...

lli\
;.- b-
""1: ::.-,
T

~
-
1 ..

I
-- --
...,-

M
\

-
•
--
'"' ······.....
1"-' II- I ·- _j_
_j
6
1'¥-U
T
--
,.}}

\ 01 II

I ~~I. _..... -,-T

' ~- --
. :,- • --- -·-

-
vn --
fil
...
ll I
I "' '
I I. ..1
...
I
T
•
IV
I
....,- T
~"
Ill\ "'--l.J . T
~
.~a-
.'!_\.
. . -- ..
Coqq
-~· ···-
-- ----
--- . --
~-11.-ft -- --
..
Ill
-u r~a
--GI-

Plan of (ltxeaution:

('\) ., ~)
••
"'J. .. 1/') I
p I

~II\
~~
--- . ·- (~~-H-:a
-.....J..!-
&
<ll 0 6-A
"'It
... I
I
+--

~.--b-- tG\)_:_ _ _--:..-+-J.J - --

1\ Ill '•
l .,
...
......-
til -- --

!d_ -_- -__ ;._--__

- - --~-
-t·- - ··-r .. I--- ·-,;-·..,._
r=.--.---..-_-
~~-- -I_
' LJ ....
.......
 ·-.--- - ~--,-.---
! w IV r
A I
......

•
..... l

\.
-- f-~Tk··
If\ l:F:_
--

'\. ... I '

~
,11.... fed I
P._

lri_P. .... . I
I!J'I' ..D
i
>;£ tl ~- I
-···
-.
·-·
----
--·

. (t.J , .... I
\, -.r. A
I -. ·-·--- -- . --- ·-·-··- ·--
···--
T I
Ql
' ~ ~·-.

j, ., II ••
l l
I'
I
-- I •
l
....
1-
_I ---

-
~ .. I

1'\ a •
I'
-~
I
I
'jiii- .. _--
•
~·
tl!<a•
1'1.

"
I • - •
I
.J.
. T
.J

:.rl
•
p vI'
I
L*
_l
10 ~ ... J.
1.,
• 1' ~-----
.- ...._.......- f"'. -- - ...,.
"
-"' .,
I
w .. ra__ ......
----
Q-
..

.
I I L
.......
....
I

I! :\--.... ~-.._ -.......... I' In -6--,.. ('-. A +-+ ~

i 1.1_! • _l_ 11n- 16

: iJ t
-'-- - -- """ -·
...
[I

r\ ,... ~
~
I"''
,__
-ll 0 . ..,.- 11e ,. ,. ~-.
- I" 4JIIfl , II
I
--~r.--

I ~-
f\
I•
...!. • ",;

\, ~
T

•
j
....
-
-~~-T
• I" I
L..ol
I

'
- f
-
----

. --
------·-
~~
,.... ,. -T
--
-.
b 1111
·r
7C.... 0
-~-· .....
• _ft
1:)1
 23!h D) WELL•TEMPERED CLAVICHORD, ,t!J.eiu.e lR• Canonic
eptsode on a fragment of the oountersubjeot:

u.
4 ,.. :u. .Ill

·-
'II •• f("J 1\'1
,If
" ·""."-"""!"" ' JJ' _l I'" I -
'""'
/I
_V _I _1_ .I.

l ,, d. 1\ ,.. ·-· A ""

-"""
~ ID
I I ~ J
--
I lL --'-
I""
' .,.,.
\, \ .h
. •1r
--'IC

1'1'
I!
. '
A

•
I
1..1"" Ul
.l _!_
~ _n_
II'
-
J
.L'J.
91
i A-
' _j_
--
I
v
••
_ .
I
~··
c

236. OONSTRUCTION OF TFiE OANONIO EPISODE,. Hare is all

ep1$ode 1n six parts by Bach. taken b'om the fugue Rip,erof'ha
I

frorll 'l'HE MUSICAL OFFERING, ot wlt1oh we present the subject:

Tb1a episode is oonst:rUDted entirely upon the tollowins

tou~ figures 1 and e.ocording to tb.a :raulea ueed in constructing
oanonsa !• Jt•, the cons\1tuent pa.:rta have bean combined 1n a
wa.; :.which will s1ve, one to the other, a complete b.a2"mOJ.1Y,
I

invertible or not as the ~ase may be:

--- ·------- _ _. ---- -----· ------- . ------------'

 221

n l
l.b _.Jf_,. l .... ~
-~ IT . ··- -- --
<A
l""H
--.- -
I fj v
1!~..
- ... u -:ill •• I
0
--~ ....... -----
"" .a.;; - --·

~
lifT
·rp· ...... ' T

1'!\ ....
Ill I ·,;; 111 --,;-.-- -
......
;-,. ------
IIIJ t-.tr I T
-··Iii r-,- -'--
.... ..
llh tr fiT F.&
Ill
fl .,
~ I 7/
-...;;;; ::T
I
". ...
--
--
lV
"·
111 • 1i:J T
,...
··-- -

~
-··-

T
. --.r
-
T "1i
T
T -
-·

we then combine thsm in order and at a~b1t~a~y intervals,

1n $. manner wh1cn will sound a continuous melodio line tormiftg
the!pr1no1pal theme o.t the ep1acde::

Then wltb one of these figures (or two i t th&Y-. are in-
'
vertlble as in th.ia oaee) ,. we write tbs harmonic sequence or
tb.e epiaote:
'
:r~ ~-'A& --4--P lei ·- r.t -- -------,:-14. --c-· ~ l.,,f), J. ....
I
<ill" -
,, ""75
I
I

Ill\ TY -· ---,---· ---··· ------------·

~ 'T

,_ b-
~ - I
- ~,.,;
•• -~ ...... --
---
7'l:::O
..,.,n:r
·- -.
lb.rJ~ ... T Clll ;liV
I
' ..
.
T . .,.
r.T
~

'i I
01

--
n. ::----- ,,.., N-H.

J
.' I
-;;;_
I
~! .,
....
"'

N., a, In 1ts last appea:t-enoe tile pXJog:resa1on eeaaes to

be re~ule.X' •
 237.. !t is easy to see that once the parts ha'ite been
oo~blned in advance, each fragment oan sound simultaneously

• with the others at the interval determined by tlle entrance ot

1

tha one which was ohosen for the nsad ot the tbame.
we bs,ve now but to dispose ot the pa~ts at our conven-
1enoe, and th~oomplet1on will follow naturallyJ if there are
more than four part a we oan have one voice • when 1t has
I

ti~ished
i
sounding the p~1n~1pal theme, either remain silent
'
or ~ive 1t va:r1ous tree !lmitat1ona.
When the first oombination is not invertible, the figures
oomposil'lg 1t oan be repr:oduoad only 1n the he.rmonio disposition
'
whi~n eerved them as a point of departure; in order that tbla
d16Pos1t1on may be changed, the parts must be written in double,
tr1~le, or quadruple eounterpotnt. according tb their number~

238. Baon• s real1zat1on;

l.f2- /l:f- ~~]/_ ~ ~ ~--' ~ r

{IllY----
~ ~ ~ , ~--r •
1-r!IHl~~~..,--
" ' - - - - - - - - + - - · - - · - -- - _:____ f-- --------~~ t~}J_~""'~"-'-'-"'e'-------·-
•o • l".

'I (1 t.

' '\
L .A·. ...
_L L • I
-· .. _.__
--
I

~ lr}" b --'--+--------------·--------:------ _________________________ ;

\~h~~~b~~-~--~w--~~----~-~--~~-----~----~----~~~~- -----·--[
.,
Ll~. .... -~ ~

:a
.
-
---'--·
--·
 223

:k
'Tu -
.... /..
-. L._,.-
_I I
•
...
I
I ..,
"",o
'1_ --~ .=--=:

•
lT
'i7
I -'- I
--
~ ~\ a/l~ ---o--.
i(<ll· f4e""'l.e. , ~
I -- ~- - - - -
' IT I ··---·----

" ..
IJ ''\"'
p
.1. '"' -"'- I l
\
---
lf\ 1of'J jJ! Ill.
·~
,, ·-;;:-- -~..:....~ , ,--.£-~ r- it' " • ......:r •
--
ll_ 11 ill
#
I
... k.Ll-f
~----1---- --+ I I ~
~~

..
I:U;I_"
_1_ ~ -t- -
~ , ...... I

~__._
II\ . .,.m" ,.. -~, ,. •
11
"'I. -. 'T
-~
T
- .., ·- --··- --
..
\ K
11_ ...
11' /Jki ~- f4e--"-;
!--~-
-1 I .,.
.&; I
·rn~ -:.~·

•
I
•
.!1 t)

.
I
e
-

... :t llt

I
1 1.. - ·- ,. _!:I"-
-;;J;.~-- -
I"' ~-

lL!. Jn H T
I
_l_
- ~ ['..Q!:. -....!~-- - -,- '"' ,(II
DJ!
I
-
• y
'
'""'
-- ~ --
---- -
--- ---
JZ'\'•
. L: tp' - -:. -- .
~ I
I 0
T

·1·
I
'
-. I.
-t@!. -4-
-- 1--
.::1!:: .. ~- !t -~-...-......."" c~-
Jll
I
--- ·-r;;-
-- ---
llF-1-- -lr----- - ·---

nt If:!;,- -~tF-
i"t
·:1
'
·:.1
1!.
!!'ll
-~

·-
J.,._
k"" B'
j
-.,;;
..[_~:f-.1·~ ~~G--
I - .. -··. -
---
iN~_,
__1!.. _I
-- -- - ,..---. -
ill\. ,f. 0 ..... .J'ttf c/""'1·
~
-
_.. £_1_0
•
-
~ -
-
.It
~iii\
lif"
·I ill !) -.,.-~ .
I T

--
ft

:~ --
... - --- -·
.o
-- :-1--
·- --- ·- . ··-·

IIIX
)i"l,l
J.. .___ --- r-
j.J - 1----
.. ....
·-

'
1) . .
----· -. -
lL.!-.':t.r. t"' _}_¥
• -;;;:

....."' .... ......

I

f ' ~
_ll
f.l"• - -~ R
..... .,-:,;y· -r---: "" "" I I
__ _L.,.oo"
~ lr;.-
T

~
··~J:"-.. :n
I"

1.\-~f-t-~+-+
~
I..,. , . - • I
•
........ ,_
.A I
--..- ...,....---- "
1'1
-~- .. -·
"'
- - -·-
·--- -4-
.... ----
--
--
-·
....., .
'I';:~

iI _11_ ~:::~~- fije-"e

A•
-v-~.
-iJ
---
I
. tit
. -- -
lt.ilt
T
.....
• ---
t) ~ I"'
\ ·'
-....,

•
 239. It will be notiaed that e.t sevt~?ral repetitions 1n
this example, tbe constituent fragments or. tne pl~inoipal theme
• bav~ undeJ>gone some modif1<Jatione, neoeea1tated e1th.er by the
;

ra~e of the votces or by the d1epos1t1on of the parte; one

i
1a ~ways free to do this when he w1ehes to obtain a better
sonbri ty of ensemble or e. better mue1oal effect~ He is 11m1ted
!
onl$' by hls obligation not to change the figures beyond reoog-
n1t~on., In any oase, the musioal eft-eot must never be sacr1 ..
f'1ced tor a combin.a t ion, however 1nsen1ous.
240.. SUMMARY,. Summing up all the examples Pl"eviously
o1t~d. we see tt:mt the d1epos1tiona ot the parts in the ep1-
eod$ always result in one of th$ following oomb1nat1ons {one
w11i be guided in his work by th.e nature of' the theme and. by
the effect· 1t produces):
1. Each part im1tate$ 1tselfl
2- Two parts imitate eacn other~ the others
imitating themselves:
3. The pa~ta imitate eaon other in pairs;
4. Three parts imitate each. otherJ
5· All the parts imitate each other ..
i 241,., AlthQugh among th.e masters we frequently find
i
i
ep1.odas based entirely upon the exclusive use or one or the
p:rededing dispositions, 1t is well to notice that in these
·.It ca.s~a they are concerned only with sbo:rt episodes. tn tb.e
modern fugue where it is customary to develop the episodes
 225

mo~~ ext~ne·tvely, 1 t is 'better not ·to oons·truct tb.em aacord1ng

I

to· t:i' sin~le formula, but on the oontt'ar1, to combine several

•
.

different diepos1tiona. The fugues of De.ch, Mendelssohn, and

Mozart tu:rnteh numerous exampl"s of these combinations.
242. AN EPISODE ON SUCCESSIVE THEMES... An extended epl-

sode ma..v begin w1 th one o:r several figures drawn f'rom the ex ...
position, and oont1nue w1tn other elements (always borrowed,.
· nat~al'ly- 1 from tb.e same SOUX'CG) "' Oa.re must be taken, hOW ...

ever!, in tbls case, to sae tha. t tne various tb.amee wniob.

' !
follow eaoh. otner are arranged ek1lltully enough so there
will be no interruption in the melodic line and so the motifs
'
wil~ derive naturally from eacb other.
The examples wllioh we cite be:rea.f'ter oonfirm tl'le tb.eorles
we a~vanoe~ and we strongly advise students to analyze simi-
la.:rl)' a.a many aa possible or the episodes drawn f:r."om the fugues.
ot the ma ste~s.
243,. The following example 1s taken from the prp;an
F96u@ !n g ~jor by Baoh; following 1s the subJeotl

•
 226

lt.t) :r

• .c
1\i

':n
IJ
,\,
111.1.
u•
[
. I

Jl
.I
-.n.·····--

~
I l't ••
l"'h ~
/
~--~-r
Jl>
-. ----..\ -- ----+--*--__,___
"'-

: W . R
~lffj:~l'-}~!f-R:r~ ~ -1
'lh., .IF -: --r -- - - - - -1----
- --·-
·-;;a·--------
• ~----+-~-
illt-·

"'
.-
--.
~ttf-=-·=::::=:::_::__--=-:,:=-::::=::=:==::~.r;~..:]r~-"'W·"L~\•,(lL;_..._;::;__=_TjJ?..a~ -ii
~ --,, -.,. -,.---,;_ l.,._l. I I I~ ,• 1
--,.,--1 - -:.;:-...,..--;;o ll" I>

_Ill.-------------...-~-----
• __,a_
... --~

-+1- .I
I'" I
-•
11 I
,__ ·- _!',_
...... u -. ' I

f \,

•
 .227_

i
\t l.. Carlt:t (J)
i A
..l ,.......,_
I ·e _I....

ii+tt'-· . . -
• •
~·
._.
\. s.~

• •
---
..L. I
I

11_
. .. ..
d I

r--
• ·'
---ci---t-- +
31-

244. In this episode, front (a) to (b), th.e melod1o line

to~mr· d from the principal tneme: _

ta.} . -- • . - . \.(.)
W# ttOOIW~~~w~r-=----------~:t
alternates between the soprano and alto, the two parts imitating
i

eaoni other-.
At (b) t-b.e theme of the episode ohanges, and, until the
I

reantranee of the subject at (d), the melodic line remains

enttl'al;v in the soprano, but with. two different d1spos1t1ons;
from; ('Q} to (c) eanh par'h exeept the soprano presents a series
or t~regular lm1tat1onel ·the bass and alto sound rhytnmio
1m1~t1one, while tb.a tenol!' 1m1tates tragments or the pr1no1pal
l1riei.
From (c) ths episode is written 1n only three parts; it
• fo"f a oanon between the soprano and tenor, ana the bass
im1t~tes itself.
 228

a4s. Bere is an e~mple from Uendelasohn's o~as ?ssue,

op. JI. !!.2• lt

............... ll. ~-
' 1'1
,.,. -L.
'1 ~J'
• '1'1- I
-··........-:r---H- --
It-~ -~
-t::f_J- -· ~
----f;--
..... ---'

,., J: + ---
"' I
I"' .., ' -- ~
-
L--~---· . ~
-- ..
,. .z IE
) ~
..
~-if.Z--' ---:F==~ ·- J' 'IT
l
1\.
••
•
-·- -tv -
•
...,__
I
.. I
·y
- ......
- -.

.. .lU
•• -· --- -· -
-I- -- H-- --
---- -f I

I
t
O•
"'-=
·- - --
..... -- ··-

"
.. I
..,.... --·
 Th1s episode is built on four tigu~esJ the first, ax-
pos~d first in the tenor, is taken fl;'om the subject. the b.ee.d.

Tb.1F{ figure forme tb.e pr1no1pal theme and provide a the melodic
line, of' tbe episode.
The second figure. heard from the beginning of tne ap1sode
in. the sopre.no, 1s lmttated 1n the bass in eontra.:ry motion
i
(fourth and fifth maaeu~ee).

The third figure ee~ves equallY as an 1m1tat1on between

tba eoprano and the base.
Flnally, tbe fourth figure. exposed 1n the middle of the
eeoond mea.eura by tb.a tanox- .• is reprodueed 1n tb.e third measure
I
by t~a alto.
In th.~ ensemble:. from (a) to (b). the parts 1m1tate eaoh
othe~. and trom (b) to (o) the pa~ts 1m1tate tbemselves; it
will b~ not1oed that 1n this last ~asment or the episode, the
1m1tat1ons or ·tb.am:$a II anr:l III are pu.rely rbythm1o, :ro:r these
1mtta;.tions are ·obviously deto:a:-med. Tbat ts e. l1eanae also
permt:tted, even 1n the most r1s1d scho()l tugue 1 wbere one often
finds! entire episodes e:ornpose4 from purely rbythm1c 1m1ta.t1on.a,
246. We will "4'ite st!ll further examples 11 without
them, however, leav!ng tb.is to tba student who will
ed tn this wo:rk by the preoeding analy'e1sJ he will t1nd

/
 230

amp._e material for similar study in the preludes and fugues of'
I

Bao~ and ~endelsaohn, in a number or quartets and symphonies

apptJ.1oation or the d$'111oae ampl.OJed 1n the fugue to the mue1oal

I - '
I

devblopments. We will return la1lexw. however 11 and in a spec.ial

-I
I

way\,. to this last po1nt whieth ·is actually the reason for
I

mak.Lng a complete etudy of the f"ugue *

WELL-TEMPERED CLAVICHORD,. fugup, M:

~ I

J..
-~ -P-l. .• ~.fit+...,.... :r ,e- .t ... ci-~-- -·-r
n111
,,,
·'
" 'I
__, -- --- I

Ill'

Ill!\,..
u;.- n
1ft
u

!l
,
.I'
I
(~ll
.I • • ., 'w
.
n
~
l
llo.
.
-.. ~
-·-
- ---- ..
·-·"
I I ........:

"'
I~ ~-~ ll1 -
,.
I
. tl ...
I>Jf' ""ll
""' ,,. --I.
I
I "'" ' -~
_I
L
.
I
i
~· ,,_r,
llB!;;:: - -
-.... -.,., I

'
 231

;--.. ..
_,,......,
~ .. l
Ill .1#+ ... ...,.... '
i\..
-.:'II
~ l'"'1"-h
--.t. 'l
" n
II
I _.., _J:o' _
- --·
·-··

~U:J·-~ ·6-------·-·-
...._..___,
~----~ - _I(_ ---·

·n~..
~-
.. .&.J! ..J!. ...,...:r. ~ r,_
I
.( I> _1._,. .. ,.........
~-
_]_
l1_
1-
_&_
1.1" ,. ~tf~_
L-...!. __l i ...1' -----
'b'l(
---- ·-··-
----
~ ~ i\ R _p. ~~

- _/,
., tarl1 ~__ll!!L__._ _L
---
-
'
..;
~

Fl
....-l!,j
(lr)Jl_,,....,.
~
, .r__,. .J .I t--'"T_
-·~ -"
JJI
!!"': 1-1""- _..r: ::-:
_.,,
_.I._

•
----..J

A
- ..

I N. B. In the sohool tbe entrance ot parts an appogg:t.a ...

I
tuxis,
I
a.s at (a) a.nd (b), ls f't~rb1dden.
i
!
Baob, l?f-'$~}!d~ tor qrsan j..n jt ¥~notta
-I

I
i ,....... ll ... .. 0 ....-- -__~~_
_j_
n .. -
~

,,. ... -~·

__]_
I ___
'I
r,.
-"-l 1----- _j I

Ill\ :r -~ ~ ~ ..
..
; l'l.;.
I'L

7' /I ..,-
b>
I
..........,
-
'" __r
I
.I

_-l_
., :tlii --

~
a It It
i I
,. je ~ _::--..
ol I •
--~~-
'"""· .l......,j- -r---- --- -+ V"
I

. li1
... JIJ -- lit
,. • •
.
!
)
\
'I\
--"
I lw • ¥111 .
-rib·-~~~/...~ Tr
...~
I
......_
! ...... ----t! --+-~ '
,.___
~F.. -f--;, --
I
-
1'-1 '
'-' __.... j___l_
r..,I ~
····-- ,..!_

1~1 :r,, .-'t:;---~

_1//e.J• t1/_t· c.. _c G f/ ~ __ ---

-
If I )\ ---
•
- ,. . ----
II
- I
........
~-
-r. - --

~
llh'
1Ti7, ""
1'"'1"!
i'ITI:
l

J1J
- "'
~
It: •

.·
_j
--- ---- - --,-. -

L
--
_L ···- -···
J=-=
.. ---

I H:'l.~
.,, "' .. . T ---
0
.. I
Ll
'
'
I

'
,•
-
 232

. ~-
,......._ ---
i
'"" ,, ,. ..... ---·-

I"'
-,...,-

.. /1)

I - --- l
I'
~.
_II
I
-
ta'
I. ,
,__. .~

I
-~
_!_
------------,

l~\ -- ' .A.. ... '

_,.;:.... --
P't··u ..., » "• .;!C_
_LA.
- ... ../ .

II
..., 1',
~
F -
+ -P+ __ 'll.Jl _'j
• I

i\ ~- ' I .l .I
--..
.,..,..
I
,.J I --r---.- -----
------
f.)l. I .c.• --
!
..
--

---
-•• -
• -
·--r- - ······· -
.1.
\
~-=+~~- ltd----- I I
~
~
Cl
-;t"

Although this episode 1s not taken from a fugue, it

of~e:rs an eY.ample ao obara.ote:r1et1o of .tba proaeae that I
i

bal:ieve attention should be drawn to it; the melodic coda

i

whibh ends it produces a. development g:reater than one 1a

accustomed to finding 1n the sobool fUgue; it is well to notice
alsp that this type
I
or eoda t1nds a logical appl1aat1on in a~

typ~ of fugue, at the end ot a warm and expressive episode, and

aid$! in p:rcduo!ng a more pronounced entrance or the subjec:t 1n
a nf)w key.

Schuman, Thi:Jig lm5ue on l!l! Jams BACH:

: • lJJ ....... ~. I. .,J_() p"

,.
!.;
r I - +-r::-f 1·--f'-----:~(;)- r--r ..llL
-- ~--
J.
_._ .-:
.
_,1!;;11_- ____:::.

'
I

,..- ....-I
h I I ! ...... ..1.
m
'
1-.
,..
ll C.-J,
.. Ai~~ __ -,.~ J<':
.1,. ".t~
'"* f)

~
1£1
~

l
- ·"'
I""
I

r~"'L~ _£~:~ . . . . e;
•
II
m
'
j_ _II
_.__ -- --

~---~
-.,.- h-::- -- ~ --
-:\,
ll\ r
/.A """ . I r-. ....
-4- ~-F----~
' .._ _41'
..1.~ . --~

...... e ''-'
lf
~~':
~ .. "' ""'
,>
- -
--
-I--
- -
-~-~- ~--~- r~$1

·-,
..

-
 -
.A

-'H~ J
T --t-4--·J
l
l
·~·· ,Ii

-f
·I
-!

·'
I
- -- -- ·---l!
II
' T II_
T II

In this example the entranQes of tbe themes are not

sufficiently marked, and the ensemble ls a 11ttle heavy and
th1ok e.nd proceeds l'ather after thE! fa.shon of' a harmony lesso:tt
than 1n the manner of a fugue. We must oons!Lder tb.1s episode,.
then, not. as a model of wr1 t1ng,. but a model of- melodic con-
As in the preoed1ns. this episode ends with a coda

•
aadenoe wn1cn ~eads back to tne subjeat; but while
tn b.e Bach example the coda 1s plainly melod1<.tt it has bere
ratier an barmon1o ebaracter. ~be parte 1 becauae ot tbair note
 l ·t'
against ~ote arrangement, creating a well marked block o~
oho:fda.
Mozart, ~UARTET IN A MAJOR*
'£! ~~ ~
-, •• 11 - Ht_~ /If ...---....--------,
-
flln. 0
I
.,•
rr
~
,.... --=,
··-.
rt
Pi u -M.
f.
,; I
.['
,.
--'

-
It •• <I ~----

V,.,..
r' I
..!_
~· ·1•
I
l...W
.. =·- -, •. I~ .,
_\ I
I r •
""'--' J:: .,.--...,.
•
.,
B, r..- n;1
:
;
I" ...
: <Ul•
_I
I
" I
..
.~~

.\, -- r-=r· Ill\ ·'-

. I~!F
II
j, 1)'1-
0
=i- - --
--
\'<.. I
I

h II 1/, n,J/ r'/?1- -~

,~
,,, .. f-.~
-~GP..~
.....,.. . Ill-
,.

rr{
-., -.6JT
.,
I"' I I ~./:i /II ~
"
-•
-
i, j
'
"TI-T
··~·I
I ~IYI"' I if>
il"l
\i
·.: ..... ' -.:....!: I
~ I
·l
'I

~~ .x-! Cod~ ~

• Iii •'II.
--16..-..-- [.,-- --xr-·
I I
J
--
-- J
- : ~-- ~T- 1+-
I~ .. .
,.e- ""
...
-
, ~
~

"'Ill; u __!

u---.;rT ' \ I ---

,. --..,
i
l" .• )1 ' .Jl: - - .
. -u- -~

-,_ ~ -.JJI ~
I --
''if T
,.._,-
•
J
~""
• """
....

247.. USE OF CONTRARY :3.\0'l'ION. We have said tb.at all tba

figures in an episode are auseapt1ble to 1m1ta.t1on in cont:ra:cy
this sort of imitation. is frequently used in tile dis-
poe tiona previously stud,.ed. Contrary mot1on may be uaed tn
ep1eode eoncurrantly w1tb. direct motion, as in the follow-
1. examples.
a) lti.andelesob.n, Organ Fugue, Qp. ;7, .!!!• ' '
 235

Here 1s the prino1pal theme ot the episode:

and 1n. contrary motion:

Tne melodic plan ot tn1s episode can be arranged as

fol!lowa:

In the realization the· pax•ts im11iate each. otb.e:r, some

aowll.cU.ng the theme in ct>n'l'ary raotioa. the othet>s in direot
mot~ont

.
-- , I' '0 #--- r t - \... ::t-;___.... ·~-==---
'
--
!'.. I
v ,. ' _I• • ··"'- I
-"""" "'
,1 >!'.
n. •
"'·'""-
-~
_QI_
'c\.
. .,.\
. _.\_

hi
u:
!flU'_
u~_n
_L .. I"
I_
·~-
JL
1: . -<Ill ,_,"';j lr~!.
~I 1'_

'
~~
"""' l'4e-t~ iN. d I At! c. 1" fivl" ,.ro~

--: ..~=iC:::::~ • -1-o-- ,__...,,.- -

.
f/ID

,, '" .. • ,..
,.\ A
I I

..

• ~·
I

,_- I I' .f9 - --- - - · · · - - - '------------ - ------ · - - - - - - - - ----

" ' _1~ \_
1).#
_.\. • i
... 1'1
'
-a- '

, .
 "' \#
l.
:::t=
I
~~

-~---- -
«. _,.,
~
.l
~ .-r-.,-&-.41
I I A•
.tl.
•
. .,e-.
.I
I .·--
I

i"

W\ ~ ~~•• J..

~!'
~
...
.""··-
I
rta
-.
g
f,Q'
ti

--tc==t= .·
~

"' .. --..;\,. ~-
- '

< ' I!1-'l ........

., -- L.11'-ft"" 1/l ~
-
. II
lJ
II>
'"
I ':' ~
R II -
.- I
p.•
'
'
.,., - .,.,. !&---· - - .
i r"\. ~ ~··--·
:-' - I ~

. .. I
~~-
- v-
~

:248~ Thts d1spoe1t1on 1s 1eas f':requeatly used, for, not

b.aVb!{; the advantage ot eontx-aet between ·two types ot mo-t;1oa. ~t
 ! .-
-
231

1a less intereat1llg!!! Neve~th.eless, 1.n Baoh we find a. raw a~­

amplee whe~e tne theme in ·contrary· motion bas .euff1o1ent

;. obS.ra.atet' to serve as e. basis for an episode.
'!'be fol1Qw1ng- emmple te taken t'rom the F!ll&u! !D J1h.
M~qo;r: wh1Ch bae been prev1ously · cited. Here all tb.e figures
. I
a.;l'l~ used 1n contrary motion• as well as the principal thern$ of'
th~ episode and the aoesasa~y thamasa 1t may be observed by
reter1ns to sec. 197 where we bavs analy~ad the ftguras tn th1s
ep1\sodet
i

,
-- ..1_ _II' I
•
_ _,,.._
. --:
-· . 1
__j_
~

1\
J
- "
_j
,i
-~
I _.,._~-
u -
UH .V , H .J
Rh ~-\ ' ~ •

-.
II\ ~ t.l~--~- --~"'
"'
~ n ------
I ~ >) J --.
--

, +,. l

-
_S.,Il>

"
C>
r "",.
..1
,...
I
_,_'
. -~

L I"
,-
1._<..1_
_L
-~ ,...
~

u --"'--
I

w.
L LJ_

I!\ ~--
,n

~~-
-...-.,;
H.
... '
~oA-· .-€J--
I
~-
{,
1- ... - . _j_
l

----
I
~ ih I
l
. .-----vr
., --, iP --
---
• ~-r-
,- ---
••+
I_
-~ -..- >L-f- -:~ -ldJ--·Ct G
'I'll!
l_
.:....t-' .
:
~
s. <:..o"""' '#-. ~ 4ft:o-.

•
lM
-""" =
---
- - li' ~1
II'
- -
'
,.
_I
---- ; i ' i - -
I I
I

'
 249 .. THE USE OF SIM:l?LE -P~ND CONTRARY RETROGRADE MOTIONS
COM:a!NED. simple :retrograd$ motion and retrrog:rsde and oontraey
. (,; moti:ons combined aJ:~e lees frsqu.ently used in the rusueJ all
subjects, in fact• do not land tb.eillealves to 1t, either beo-auaa.
or tb.e:tr ·rhythms o:r beo.a.use tb.e themes taken in retrograde
mot1:on lose tha11' musioa.l nh.ara.eter. Nevertheless. wb.an a
subject oan be used in this way, we sometimes t1nd material
there tor episodes or fott 1nteraat1ng combinations~

Gedalget F0UR PRELUDES AND l"UGUES l<"'R .~1I ..~NO, No. :;5a 2
a) Direct motion oombined with s1mpla retrograde
!
motipn (oanonio episode in two parte)&

b) Dl~$~t motion combined witn simple retrograde and

c-ontrary retroe;rad$ m~t1ons (canonic 1n thX'ae pa.1•ts);

2• Rioord1- .Pa:r1s • ·
 2:?9

250, .It w1ll be notioad 1n the two preoed1ng episodes

tlla.t the theme cone1sta of the entire subject. Th1s often
i
i
hapf~.ms in t·nd free fugue where the subjects are snort and
rap~d, but 1n the soh.ool fugue. where the subj eats are
I
 240

i
I,
25!1.. · THE USF! OF AUG·MENTA'l':tOU • The uoe of augments t1on
ln episodes 1a ra~e~ as we will see larer, tn1e devioa 1a
G
• J-~--

muob more useful. in the atrretto, whe:re it sometimes produces

some: startling ef'feate·.
The following example {a) 1n six pe.:rts is taken from the
fugtae already ei ted ft'Oln TBE MUSICAL OFFERINGS; the upper par\
' ,

uounde 1n augmentation a..t1gure wb.ioh 1s enposed in 1mitat1ons

between the S$eond soprano and tbe _altG, only to be rep:roduoed
seq~e~t1ally in tna baas. ·
fne saeond example 1a taken trom ~he \tELL-TEMPERED

' T T •• I :.~.·
J-..- II T

,n\ '
' (JJ.. ,·I>A. t 'e."""' e.
It I
. li.F
. . ' ....

fii)
'
-- - -- ..,;
~~
· <J I"
I..ii.A
I '
...
---- .
-··~
I X

. - ~
;: (-l _:__:: - -_-_--·_-_-· ·-_-- ---
--~·
-· . -- ... l

• 1\
•
-.JII
...
• I I I" .e ...
'
 241
....-----._ .. ,..---.... -...
1F
;
s
..I~ _t ...
...
•• +=
_, . ~+
.----- ±-
' ----- -- ~ -
l\" "
..
.,....__ t\~ ~-
r
--¥ -~ .. ~- ~ ~--

• ~
_I - ., I -1:
~- . -l-·
Hf\ ... -
-~ _L
.... \ ........... --
: " ... • • r:. ~~
.. ,. .. ~ ,.., t- i ,.. -
ll
_"I I
"T"'io. '~-+- -;;;- .. - ....[ -·
L.__..__.__
___
H--f •• I
..._._
I I
.~
\v I £ ll'o..e
~-~ ~L ... ~~ ~
L:
...
--- ----· ·-·· V--- :I
-· .I
_I
'

~51., 'fRE USE OF DIMINUTION. l)1m1nut1on 1e used more

oftEtn 1n epteodes wh.1oh separate the atratto from the exposition.
Diminution results in greater ooncentrat1on of the figure and
perrfits oloser entrances; in the atretto augmentation can be
uee~ to. very good aclvantag$, fOX' when the subject lends itself
to •ugmentat1on. 1~ is possible to sound the subject and
answel"' 1n various parts, repeatedly and simultaneously, while
I
one: of the parte sounds the subject e.ugmentad<t
i
W1tn the uae of diminution oomas an absurd rule found
in !some traatS.sas on tha fugue whioh forbids th.a usa, in the
i
d~elopment of tb.a fugue, at notes of snorter value 'bl:l.D.n tnose

used 1n the subJeot.

253 • AUGMENTATION AND DIMINUTION IN CONTRARY AND
F.E$tOGRADE MOtiOHS. · TP.a theme, treated in augmentation o:r:-
~1nut1on, can be.prasented in e1tne:r contJ>aJ~y, retrograde•
:
o;tt/Qont:raa';r-:ret:rograde motsionatt
e 'fhe following exe.ntple ShOWS one Of those 001llb1na:l;1ons
.tn;wh1oh the theme in d1m1nu.t:Lon. 1a beard in direct and contrary
i
motton e. t tb.e ea. me tlmEh
 I
I.
'.

( f'our hands) ~

•
111~~~-u ma 'uslr=--J
In d1m1nut1on e.nd eontraJ7 motion·~ ij@~'~bt~h~C~y~~. ~~~:Bi·-~~~g}tJJSi~•§I~J~~-~'Jl.
I.

I
.

• • -:- ~-=± . .- .
"'

..
254. DOUBLE AUGMENTA'fiON AND DOUBLE DIHINUTION.
EPlaodes baaed on double augmentation or double diminution are
toJ.ncl partieularly 1n fugues wrltten on a chOral tb.emaJ the
use of' these devices here comes naturally enough from the
i
eb4raoter- of the fusue,.
The following example oan be considered as a type of'
simple o~ double augmentation a~ d1minution, acoord1ns
~ to what~er one interprets trasment·ta), (b)~ or (c) as the
pr c1pal theme.
 (c.}
rJ
-H-f--\.....--
II~
..!""'.

. ltJ
-- --·· - --
- --
- -- ""
t~} c.."""j. . ~0 j,·a,.,
--
---
--
-- -··
----
--
~
~
. ~ l
=+-=T. ~
• +-
• • -:;s
T

II,\ l(rl - lkl~~£~.,+ . ......~

1~
,. fiJ""""
-r--:~i=~-
• -----·-·

~----4-~ I
•
I
---
. -- ~-1-tT -t-- - - - -
-----
--

. {q4-. ~trl t't- ft)c.. oM l,• .._..,o-f:.•·o,.,.

·• l "' c'"N'tt
'":'t'""""

.
-
I
.---~- •" T
L I
""- !
. • lL'"
"i)
~ 'IT__ ll
_l , --·-- - ·- ---'
-----j
\"
• a I I" -;t>'
\.JL
\ ' 1!-J··'- ~

255~ Tnie ends tne discussion of the technique of the

episode; the etutlent ahould tam1J.iartae b.imeelf with the
var1que comb1nat1ona lieted above. .Later we will trea~ th$
fugu$ e.s a mue1aa.l. composition and will point out to Mm then
' .

wbat iconsid.arat1one will sutd~ h.tm 1n his cho1oe or themes tor

the e\t:>1eodas. and in what o:rder the latter oan best-be preae!ltedf
b.O\V 1 n a wot'd, be sllould e.pRlY tdmself so that ttvS, prQOE;adura
• l . .
l

will eo oms a.utoma ti.CJ the better he aselmUa tea tha teohn1ca1Ae
of' tll fugue • the more he will be tna.ste:r of h.1s pen;. the lee.JS
 244

obvious w1i1 be his ei'fort, and the freer will be his imagin-
ation; with.·/;;\ little work theresult will be bet·te:r.
256. It now rema.1na for us to draw some conclusions
from tile examples previously cited.: 1 t hae been noticed that
1n:all the passages cited, the entrances of the voices were
tr$quantJ t:1et is t:rue wl:len all the !>arts (and this is ot
greatest importance) are not always sounding together; we then
interpose these entrances with restep w1th the result that a
to~r voiced fugue 1a mora often sounding three p~rts then four.
257" SUMM:,f!Y * THE .ENTRANCES I.'iUST AL'7:/.Y.fJ BE BUILT ON
 245

260., IN ORDER '00 MAINTAIN THE .tlUSICAL INT.L:;I+.EST IN l1.

FU~UE, IT IS NECESJARY t!'HAT ALL THE PARTS BE TREATED .MELODICALLY

TO 'CORRESPOND WITH THE STYLE OF Ti:lE SUBJECT. THE U.PPER PART

PA.R'i'IOt.JLARLY liiUST ADHERE RIGOROUSLY TO THIS PLAN 11 AND IN UO

OA$E CAN THE BASS AS~UME THE CHAI~CTER OF A SIMPLE HARMONIC
.
BASS" IN OTHER WORDS, ALL THE PARTS t THROUGd THEIR ENSEMBLE 1

MUST COINCIDE T~ GIVE tHE APPEARANCE OF A CONTINUOUS MELODIC

LINEo
• CHAPTER VIII

261. In the exposition the entrances of the subje~t and

answer succeed each other 1n an arbitrary manner, the one
'
appearing only attar the other has finished.
a62.. ANY COMBINATION IN WHICH THE HEAD OF THE ANSWER

OVEFLAPS· THE END OF THE SUBJECT IS CALLED A ~TR~TTQ {past

patrt1c1ple of the Italian verb atrlnsere).
26,. The ensemble or the last section or the fugue in
· whloh. all tne entrances or tb.e subJeet and answer are brought·
closer and eloser together 1s called the ~tretto.

264. As a oorall.a.ey to the preo.e41ng definitions we

may say tha ta
a) 'lHE HEAD OF TRE SUBJECT, AS WELL AS THAT OF THE
ANSWER, ARE INDISPENSABLE ELEMENTS OF A STRET'l'O, TO THE EX-
CLUSION OF ANY OTHER FIGURE IN THE SUBJ1£C'l' ..
b) A STRETTO CAN BE WRITTEN ONLY BY A SERIES OF

SUCCESSIVE AND CLOSER ENTRANCES OF THE HEADS OF THE SUBJECT

AN ANSWER.

265. Wa also call atrettos those concise combinations

ot tne head or tb.e counte:rsubject of the subject wttb. that of
 S47

i
I
tb.e ;c.ount.eren.tbject of the answe:rw
I

! 266.. CANONIC STRE'f'rOS. The stretto presents tom- dis-

• t1nqt oa.sest
'
I

OP.SE
FULl).. W!1ILE THE ANSWER IS SOUNDING.
1~ THE THEME OF THE SUBJECT CAN BE CONTINUED IN
'liilS IS CALLED A Cf1NQNIC
;
STPJtTTOt
. . .

I./
l '.(;! iD
A _,
I;, "" u IV ..t
"' ~

-,;.: ~-;::
S~. ___ .. _ --.~-
1-r-- ,..---·~-

VJ: -w.~'<I
-1 ---lt>-,..--(7 v ,,..._
'111.11
111'1
---
'

261. Tb.1s combination oa.n ba adapted to any number .or

Itt. -~~-------·-------
J' - ~-~-- i?'i-· -- .... ;.. .•• -:--fT.------
.. ''H. _10 _IC .11. I Tr l --
Ill
I

m' ...
.!..

..... ,....-.._ -
I
I 'If'.. l1' ...A
I" l" IV'
0--(L- ... ~-o;=f:
- J~
I I r
I
j I: I r. ...., ~
11.
-.. "'"· • ,. 1
• l'i r .... ---

- ......
I _._

.. A. .....
"' ....... .... - --..:,- ---
•
..
In• 0•

-
llll) I II
\J ~~
fT I
T

268.. DISPOSITION OF TKE VOICES. 'rbe order in which the

•o'ices sound is not fixed and depends only upon tb.e w1ll ot tne

• co~poser. the harmonic neoessit1ea, or the desired sonority.

i
Tbe preceding stretto could also have taken the tollow1ns toruu
-
_____.,..._""1"""""_____ ........,....,.........,....,..._............,._~~~- ---~- ----~~-------

. s ,--....... _.,_ -- - ·--

II
~'li_
_y_ •
I
.. • <t I r _M_ - ----
--

• - - - i--- -- -----f----"+·
- -- .. - ..

269. ENTRANCES ON UNISONS. The following arrangement

i.e weak beo.a.uaa the last two entrances are on u.n1sons._ which
should be avoided:
_0_ _...
_
......---... ,.
_jf ~- 'l;h -~ -~ r- - r----
~-!!.-~1_--=i-:
· ""- _,u _,u_
-- -----
I
. I_!_±
- - """
lA\.
~~- - f+. i:OA..G- -t.CA\1
.... ---
- - - .
,... -
,!;
_jj.,

tA-------=-----
rr
..!":'_
&-- ,.... ,,.,.
-ti--F---F- -- J.-
- -- f---
1------ --r---
-
---- _,
~~
_ LL
--

I\ .- "11\f '.rr61'\

~
f
I"
_..,. -,.. ~-
l
-~
l. r-~
j_
- f---------

"'""' f~M~
~

A .... ,. - - r-------
\....,
'"\•t,l,:::.
. ,.,~

t:!
... .c~b
I I
u• ---- ~-..--r-. r---
----
---
- ---

Here the uniaons, preventUl.g one from perceiving ea.ob.

-entrance
I
clearly~.. m1n1m1se tile desired ef'feot"'
'
270,. THE tNVERTED CANONIC STRETTO.. .Afstl'etto 1s also

-
pr duoed wben tb.e ca.non1a: <tombina.t1on begins w1 tb 'hb.e answers
- -

'
 249
;4.

I'll A. 0 Jt. ~-&--~

I
m
J!
• ~-
-~
:>
_l'!..r-.- • ,.._ ..L ~ p_ ll ..ll.
-·-· -
---·

~~ ""_ I -lL-t:::'"~- -
_l
·-f-A----- ···-

• .r.,. --.9-r- 1'. ,_ ,. ......... 'fl- ...

.n·
. RN
"11 ~ Y'l
-"'-
~ r .. • ,. ... UBI\.111 I - •!.
-

~- =-~--
h---- ·- -· - I
0
' ... ""-J ... . . ..l
I
'

_1>. .IJ ....-. .,,

lilt•

-~-
"" .I' ...
_l_
_L
'""
··-
.f"..l
I
I
,.e-•
I
~
I
0

--
·-.... -- ~- .cr-+-
'
---.
-
-- ··-
---
--
i U«\
<:
'·' \
,.,
C·.f-
._. ;;;,.·
-,
1"" ••
-.~._-r·-'· ........ - • ..

___ . .. f--..-- ff--=1-. \ _II

iii_ II .e
__
- I" r I•• I I" l I
,All". I l I 'I I
----- -------
illll.._tl _,.
__,._ ,_, ,..
..i
-··

•
 250

•
 251

272 .. In tn1 s example we aea tbe. t:

a) The entrance& are equidistant, the eubjeot and
i
anS\fer sounding regUlarly 1n alternate measures •.
b) Tne aubj$ot or the answer bas been 1ntarupted.only
..
whe~ 1t became impossible to continue them.
i
c) The fourth. entrance givss the answer complete; tb.is
:
snoitld be dona generally wh.en, the st:retto having four entrances,
the' subject and answer have been in.._extpted in the first three~.
However. as we will see la.ter, this rule usually aplies only
to the f1rat, last. or next to 'the last str.etto of th.e fugue*
.'We will notice also that each· time tb.a theme was about
to be 1.nter'i.tpted 0 i.t was rapl$oed either by the oountersubjeot
(m~d1f1ed or not. according to neoessity), Qr by the f1sures
ta.J4en from the counte:reubj eot ~
27,.. INTERRUPTION OF THE 'SUBJECT AND ANSWER.
CASE III. When a subj act is of the type which can not
be 'continued aftel' tne entrance ot tne answer.
i

In tn1s cas~ we a.x'e absolttt~ly. oblidged to interrupt 1t

1n order to sound the auswel'J
i ths voice 1s continued• it
. I

possible• e1tJa.er by S.m1:tat1ng the. supp~aeaed fragment a.t

I

an*ttuiilr interval.• or by soundi%1S the oounteraubje:et or ftgures

taken from the subject ox- countersubjeot. In any case., we can
no introduce figures wlU.ch are foreign to those b.eard in ths '
ex o.s1t1onJ however. !.f' it is impossible to do otherw1se. we
oa use some melodic or .t-hqtb.m1c.patterna derived from these
 f1g~res wttnout %'eproduo1ng tnem exactly•
I
I
!

•
'
!

IP:,~ E rIr (J r r I r:r:=r IruftJlr --J

:Ill
:JfT
af\.:"'-..- K ---~- -
• I -1-- -

•
I

I~

u . •• • ••
v c

•
 T·-
,

All 1n'V'erted stratto wnicb. is mo:re compact tbe.n the one

prel3edin$I

-'.S b)

we see in the thil'd measure or example (a), tn the tenor.

t~t in tn1s typt:l of: stretto we can use a. ·rew mod1f1oat1ons o:r
th~ subJect or the answer whenever ne~essa:ry to obtain a better
I
I

mu.1cal etfeat. Here tne ~ in the answer ought to be made a

i
na~ural (third mea.sur$, third beat); it is preferable to alter
I

1t i in order to avoid. a feeltne ot false relationship with th.e

pr$oed1ng measura*
!

274. A CLOSE STRETTO IN ONE KE'f'.; In this conneotton we

I
oa.n! net adv1sa "the student too strongly • when. he has to treat a.
sttoetto 1n four parts w1th very close entrances, to avoid
. .

mot1u.la.t1ng at eaon ent:ran.oe,. ftE) should try to arrange the pa~ts,

• me .odically and haX>m()nically 1 1n SU4h a way the. t

ot the tour fintranoes'g1vea the impression of a single tonality
~he

not of" a. pasea.ga e.lte:rna.'t1ng between the ton1c and dominant

ensemble
 It must not be torgot~en that what we call eraftamansnip
is tn large part only tho swn total of a group of seemingly
I

small aoh1$vemants~

275 * HARllONIO CONCORDANCE OF THE EN'fRA~OES.. Aword of

wa~ing seems necessary hera 1n regard to the preceding
examples•
O.ARE MUST BE TAKEN NOT TO HAVE THE ANSWER ENTER ON THE

Stmb'ECT,
j
AND ..V!OE
. .
VERSA-
- ... .
IF IJ!"dE FIHS'f NOTE OF THE NEW ENTF.ANCE
IS :IN HAru!ONIO OONCORD WITH WRA'! PREOEDS ..
The subject should not be abandoned on a f1sure which
dete:rminee b.armon1$S '\oo toreis;n to those or the head of th.e
answer. If possible• one should choose a note common to both;
or :tt t'be notes ·are Q.lfferent, they ah.ould belong to a common
i

276,., FRES flTRETTOa~.

OASE IV fc WHEN STRETTOS APE OOMBlNATIONS OF SUBJECT AND

1 . AN~WER, OR StmJEOT AGAil~ST SUBJECT, Olt ANSWER AGAINST ANSWER,

(OUONIC OR OTiiERWISE) AT INTERVALS OTRE'R TH..AN fHE NOEUJIAL
'
INtERVAL ..
I
I
I
Tb.ese a.:re oa.lled free e_trettos ~ ·
We will sbow later .{sao .. 28).!! ,sag.) examples or th.1e
typa of st~etto wb.i()h are a.nal.yBad ;n detail 1n these
• pa a.g:ra.pb.s.

2.11~ SEARCHING FOR MATERI.AL FOR STRETTOS. We will. g1ve

 255

exa~ples of tne work ot anal.yal's wh1oh is done on a. subject ln

•
order to establish tne cU.ffereni,i atret1ios •
.;

aftEi:r the enti:re subJe~t he.$ sounded 1n one voioet

--.--·
A .. t'l:il
' u I
I
II' ~

~. ~~~1r~~~~~~ ~ -;-~~,e;-f'-~-;---;-- ·--=r=--- --.~;-:-- -rt--------~-.--,----~

.... --f-!. 1 • f , .. l. 1.1 _l ,. ""--' .. ,.: J. .:1. .u--
' ....

eeEl that we oan, witho\.\t 1nt$:rrupt1~ the fo:rma~, ba.ve tha

'

latt$:t' sntexa at varloua· distances, all aloser to the hea.d of

.tne sU.bjeet.
To do this we proC$$d :by successive attempts, looking

'
w}jJateve~ in the last maaeurEi of' the sub3eota then beat by
i

beat. measur$ tv measure, we work bach toward the b.ae.d of the

afb3act:
'

A ..
'
·- - n• ••
I
!0
I
I
d)

II I J'.
~\--
1\f!l.
.rl.
.N_• •
1<2"

---F:---l---.t..
.l" II
- ~
..
·"
··-·-
-·
--- --
-"' •

•
I I
'
 256

-
A
,_
.~ I
G• ..
I
-:;;,
·""'
.
.~
'
.c ,() ... ..

-
··,

'
II A
[If
I
'P.
.• OJ "' ' [0 o:QI
:@-_
_I .
t;t ..
-·

\ -...., _.........L .. . _u_t+ + ·--·--··- -'- ~r j_---+-- , -

'
I '
c)''
. 1," --.;:>'
oC. ,. ,
. I
---f' . ··'· ~ - . ..... -- ,__....:sL- .. -\--f-~­

~~~ \ r. -e-
i.P•
... T . ..
"'·""
' ......
~-

+· -' I '- ·f LL -----< .

ol)i
jl ~~ H
\\U•11
\1~-
...
-
A
'
...
D

. -·-· -·
10
.~

+-
,(') ,..
-
~

---- ... A:
I" •
. 'l'
n
~
......... -- -
c
·--====+
.__,____,
... - A
II

< I" I .r. -- -~-- ·-.

-- r--- ,. .. -
..
I"" 0' ·o f-·...
v .~ ·- 1<1": --· ---- ---
'A
ll. ~l
\.
- I
...J' ' 0
!
'"'
('.
I
..\... ~-H~
I
\.
' '

Eaob or these oomb1nat1one to~e a complete canoni~

str~tto 1n two parts between tbe sub3ac\ and answer.

279~ Ae1de from oases simUa~ to those just cited, when
the subjEHJt and answer (t$11 be sounded. in their entirety in
0
an0r11c toX'll\ 1 there are others 1n whif.ln the canon 1a 1naompleteJ
!~ !•, the subjeet musif be 1ntenupte4 e.t a given t1ma wh1le
tne: answer continues ( sec;jl 271):

A .n 0 ....,
'
ID
- 10 • ~
I
i10-
l
'1 " ;;r-f-· •
iliU
I'), lit "" I I

liB "'

< r.
IJ
' .!1
n
. ..
· - - f---,n~-
tr'\
- ..!.
f----·

f--- T•
--9-
-- - . -
" I I
 Here we see tha.t 1t 1s impossible to c-ontinue the subject
asa!nst the answer ..
I

2604 SUPPLEMENTARY HARMONIC PART... Oerta1n subJectta

a1t~ar do not yield oanonio st:rettos. or if they do, they o·an
be ~rought to a final form only with the aid ot a supplementa~y

ba.%'11ion1c part. It goes without sa.ylng that 1n the fugue these

tillers should be written con.trapunte.ll7, and 1n the atretto·,
' \

anottld be taken as much as possible from the head of tb.e aub3act.

281 •. soma aubjeeta (sec .. 270) b.e.ve canonic strettos
I
onl~ at the beginning of the answer J
atr$ttos 1u the normal orde~J ~· ~~. beginning with the subject;
still others ba.11e inverted oanon1t: ·strettost ! ~ .!. • ; beginning
w1tt\ the answer ..
Here are two 1nvexoted oanon1ct strattos on the preoad1ng
subject~ it will be not1oad that the first ean be used only tn
th.r$a parts, and tb.e second only in four parts, sounding the
ans~er in the base and the subjaet in the sopranot
tt) :
s- .2

·' •
I
.
A

• I
t:
I

,,-
--~c:'
-
!l> A- G"-t'.
~
,
....
I!) I,..
-
" ... '
~

...
~
~+---o- ·!-+-·
I
#'-,gl.
···-
-- .
I \
• \ ~
I
' \
.,

'

- '. ~
.... - - ,
...
\
...
I
.
l \
":-::1C:" '
_____;
,
"'
(j. '
._,. A-' 'h\ J rtc. !
•
:.L•
..L
_V
- eo "'•
\
I \
""
\
' ... •
\ "'
~ \ -A-' \
...
rT
• \
\
T~ f--· ·-----·

I
...
 258

It is understood that the parts added here are only to

· 1nd~oate the possible harmonisation of the passage and are not

• l
intended to be taken
i
. !
a~b1 trarily.,.

262.. The folloWing subJe•t gives two correct forms of

tna;oanonio etretto 1n two parts;
. ... ,, s- .....
,~

I
.... """
~

I
- ='

.
IL_

~~ -•'
--- '
A-
-

86
_li'l"
...,.._
.'"I. ~·--
- --- ··-
'{iif

··-
G
--\
""'
_____...J._
- -G-=~

We see, tgen, how useful 1t S.s to look tor the possibili-

ty ~t canGn1o st.rettos beginning with. tb.e answer ,and assurine
our~elves that these def'eettlf, when tb.ey seem detective at first
:
I
.
sig~rt,. ean 'be corrected by the tn:sertioa ot" a hf!.rmon1o free pal't.
! .
28:;. Aside from oan.on1c .strettos a subject may be
susoeptibla to canons at var1.ous intervals (sa•• 276) ._
: 1
Any
sub~eot, as well as the answer; sb.ould be analyzed from this
point of vtsw br tr.ying these eanons at all 1nte~vals and a~
41a anyld1s\anoe from the head of the subjent or answer. Otten
thel~b.e answer will d1f'fer trom the. subject as a result of
obarses brought about by mutation or modulat1on 1n order to
i
 le~d itself to. some partioula~ oanoQto combinations.
284. con:t1ntdng our. analysts of tb.e preo·ad1ng sub3 eot
• we !find the following earwnsa
al Canon of th,e subject at tne f1ftb. below:
S'- 0
_,... 0
~
~ 'Cl
... , - .,. , ,
....
v 01 \ -- - . ..!:. \ I
·-
p \ 5-
. ...,., _y .
. ., r-e+-
E t:+c..

I
____o
. -+-+- f--0---
i!t

'
b) ·Oa.non ot the subJect at the octave abovEu
s £
- •
1'>.
- a
... • - -~· -• -# ._,.. -
~ ---
•....

t-"'
..

IJ --·- C! ... -\ - + --~-1-+-

~
I
4 \
~- -A- $te.• --

7-· --
I
v
. .. .. L - , - ·
•
-'"-\ -l--..c-~-
~ .1\ _....
•
-lr,r--6-
.
-··· ---------

""'
\
\
. t
' ' '' . I

c) Canon of the subjeet at the seventh. below;

~-
,
_,,_ ""
~

a , --
L
1..1
_c__ __ -t--l- .... ..!.. --- i - -~- \-.. L i-"'. f-t- \ ---
p \
.2
'

.----
.r-
-!Hr--
.... - ___ _g__
--· ... II:;

·---\ -· \- t--i- '

r--'·
""'
1
.•...
...1.. "'
~""'

·-
Q
~ ~-
--~l .--\ ----·--
0 #
... -Q---:
.. .... --
--
\ '

d) Oa.nonof the answer at the sixth below;

t l .. \ \
..L ------ --i---~-- .. -• ~ t l I
, ..., .. - _._ _J --\-
'
~-
-e-- -- --- -
__ 0
....
"" - •
. ---
•
--------- ·- ~
 260

e) Canon of the subject with the answer heard at the

s1x~b. above:

• 1\---....
.1;0'_ •
Hr/-9·· --- -. ·- -\-- - - _.,~-___ - _\.__
- 0
'
-- -
..:.\. lllL

--·--~- --
-
··- ---o· :t·- t-j- y---r- ·- \.- l_,_ --·--- \ _,_ .. ---+--+ - - \

\
285. From these analy sea we oa.n now makG some important
observations:
a) When the a.aswer enters at any distance wbil.tever from
the; head of the subject, we are aoncerned only with tne strong
and: weak beats of the one part o~1net.d1,Ds with 'those of the
otb.er, wh1<lh was the rule 1n. tne exposition .•
b} Tile canons a.t various inte:rve.ls naturally imply
t~t. in 'the stretto we oan medu:La.te d.1reotly to tne ne1ghbor1q
I' .
keS!s, and transiently to more dietand U1.£t.
c) It will be noticed in the example or sao. 284 that
we :were obliged to alter tne accidental s, whion often b&ppens
{last measure of th.e subJeet,tn (b) and (o)) .•
d) The stretto {e) ot: sea. 284 is 1n counter-time, or.
as ;is sald 1n the older treat1aes • .9!£ !U=!ft~D .s:\ ,thesi£! (strong
i
an4 weak beats) .I the Old theorists attatched great importance
I
to·tb.is type ot stretto. the most compact or allt and considered

•
1 t :absolutely 1nd1spensa.ble to the fugue"' It is rarel.y- met in
I

mQdern aubjects 1 but it !s well to po1nt 1~ out so 1n ease it

snGuld appear, the student w1ll be familiar with it.
 261

286. AU the s'h:rettos o1tsd eo f'ta.r have been 1n two

parte J "he, same process of analyeis mu.st be observed in fugues
• or tnree • four, or more parts.. It rarely happens that the
sub~ecta which are given in th.e sehool lend tb.emaelves to
canonic st:rettos of ttutee or four par1uH these oom.b1nat1ons
a~a: difficult enough to complete, and the melod1e character of
modern subJects 1s easy enough to reproduce with multiple
canons if one wishes them to preserve their form, which 1s too
often vo1d or character~

287 * EQ.UIDISTAICB OF THE ENTRANCES* Ou~ ·first :remark

oonoerna the subJect or etrettos ot more thBn two parts•
· THE VOICES MUST ENTER AT DISTANGES EQUAL TO THOSE WHICH
SEPARATE THE FIRST NOTE OF· THE ANSWER FROM THE HEAD OF ·THE

S~EOT (sec. 272} *

This fUle must be rigidly observed 1n the first and last
st3fettosJ more freedom is allowed in ~h.e otb.e:rs, where we often
I

sa.tlmd' ths themes at va.~lng distances.,

:288.. When, as often happens., the eu'b3eot and answer are
heard ill tour voices and· can uot be combined oanonioally, we
ar' foreed to drop the aubjeet when the answer enters, or very
en9rtlr afte:r, a.nd V1(J:e 'ttel'S!\ •

In tn1s case ws :recall ( sees. 271-213) tb.a t if we can not

continue to sound a fragm~nt of the subjec,, however small,
against the head (J"f tb.e E.Ulewer, we t:r;r as mueh. a a possible to
ha1Te the oounte:rpoint resemble this fragment. at another 1nterva.l.1
i
an~ :tn a manner whieh wUl not give the impression of e. oomplete
''
'
I
 atdpp1ng of th$ theme 1n one pa!('t•
It 'tb.1s plan does not work,. we will borrow from the
:.1 oouutersubjeot, wh1eb we w1ll attempt tto superimpose upon the
answer,. This part o.f the fugue is wh.a. t demands the most work
a.ncl 1ngenu1t:v~

289., PF.EPARA1!0RY DISPOSITIONS OF THE STP.ETTO IN FOUR

PARTS.. In order to fii~Stablish a etretto in four parts from tb.e

subJect studied, in ths preoed1ng paragraphs. we will retrace.
on$' after the other. the various combinations formed 1n two
.l
I

pali'ts.
Following_ are tna d1spos1tiona from which we oan draw.
We :will notice first that these plans s.re not absolute, and
represent only the preparatory work,. p)'edtot1ng nothing of the
f1J!la.l form of the stretto.., All the following combinations a.ra
I •

a~crfiuallJ establisned on tb.e pr1naipal key of the subject; thew

sh~uld e~rve only to mark in soma way the future cou~ee of the
en~amble.
' .
and in view ot . thelr ~arge number, it is ~robable :
tb~t all of them can be used~ It 1s absolutely necessary,
I

ho~ever, that this p:rapara.tion always be a.ccompl1shed as

compl.ately aa possible.
Four part dispositions of the examples given in seoa~

2TS and followings

 263

---
t -.
--~ I ftl

II
--1-- ..... ·-· --- -~ ·-

~ ..
•
\
. \ ... ____,_ t---=
\
-r--
............ -\ ..l. -"\\ ·-\···---·· -
' --
.............. -- ·---.

- . .. Y . .. \--\-1-\·-"\'--· ..1. -.
\ Ete.
- - f--·
.~.JI....l L ..L.

-t;a:~.=======i====:..==--
-7_11
-···--·-------·- 1---- ..- - - - - - - · · - - f--------
.... 1--·

.o
-
· ..
. ~-.·_-_

··,-,;rr·~-
E"fr;...
...~~-----·-- ........ ..
......... . --1--- --·· ·-
H- ..--' \ 1-- - -J

·-1--. - . -1----. --
·.··- --· ..
. . ...... --- --- ...-1--- . --1-

- - f--·--------= ~=-- ---· --- : . ·_. __ ............. -·. ·-·----

1--

l"
'
 264

s-
._.,.,-
lb ---- -· ·- - - --- - ....
--;-=.--
'
-p
--- A ~1'1 ,.... ~ -'- ~
..
ea
ITT
nrt: ·~ ' "' 'W

-- - -- - 1 "" -\-
.. s
.. -,
-u
.,., v, .
rrr
--
-~-
I
--

\---\. ...
-;;-
·~
t-{,__.,
... I
e.
-\-
l l

. ~---
-
.-
--~
l_j_
<#

-- I=I..!
\
. A

1\_,-..
_18~-
-'-
l
\ \ I I \

-;;;;:, -- --
it1I.T - --
i-1=+ - -J-- -- ·-- ·-- - . - -- - - - 1--- -

. . ,_t...
...

----
-- --· ---- ---~-----
il'\JJ
Ill T l I
I
--
----- ~ --------!--

'!P..

\ '

---1--

-- -.-
.
~-

.. '
-u
- ~--
, .
-- ------

\ -1----
• , __ , - ~ -~ ___J_____---a-
_____frt--:~-'.
----1--- - - . --1----- ... "'•
-1---- --1-- 1!:.1 \
-- --1---
'' '

•
 265

..2.
.... -,..... T k "D·--.-· -· --"··-
... v

v
#

~f
.\_! .1.

.,
-·
f--

lir:t=-
.nJI --
....it.
··-
-
.II-
;
...... . , ;;..
.._.
T
\ 0 ,
""7
7~~f>:-
__....;._
__ J __
'-· \ ....

L- . . \:" . ····· ·-

····--

_ _··_- f--·

..h.
11 --v

__ ,___
c
 1-

266

e t-:-
"
If

trie
""
lfl
""'
\
"'I'\
E: '
f)
I
--
f:l
---
'
~·•
- ... ,
'.
\ '

tt=
~~~--,____~-
- ~~----------.--
---~ ----------~

p A_;;.
Ul
nti)

""'-"'
-.. • ----..x- .... , ...
e. c
·-t--~1-

--1--------------- !-----------,~------
---------- 1-----------1----1

--1--- ----- -- f---

--- --
·-,;---

•
 267

I
:

s-

,
.. "
• If
-- ~
-
-,
-,
.;.
-"
"' t'i)
--

•
\
II \
\
A ' E"tt..
,
U I ~
-.:7 •
\
c.
I " --
,, '"' h
"V'
\
• -'
\
t\ ~
",.,.ID
-·------
-...-
--
---- ---- ---e.-----
IU •

'
g

I
-e----

..
\
e+c. \
I
lfi•
VI' I
, ~-\
.....
"'
--\
·--
-
-
-·--

290~ INTERRUPTION OF THE SUBJECT AND ANSWER. Allthe

str!ettos oited 1n the pl"eeed1ns. paragraph come in tlle category

of- ~anonlo, or :real, st:rettos, although. the antzaa.noes are not
! -
alviaya complete, the subject or answer having to be interrupted
I
i

1n most <:aaes. Fl'o~ these· examples we can conclude that&

IN A ST~TTOt THE SUCCESSIVE ENTRANCES CAN ADMIT ONLY
THlt FIRST M.:GSURES OR TUE Fir:S'r NOTES OF THE SUBJECT AND THE
i
!
AN~ER; ALWAYS WITH TaE EXCEPTION OF THE LAST ENTRANCE, WHERE
!
THt THEME MUST BE HEARD COMPLETE (se~e. 264-212)#
291,., In practioe, as we will see later, we apply tb.is
ru1e to the first and last strettos; W$ generally treat the
otljle:rs more freely in order not to prolong tb.e fugue needlesslr •
l
uniese tne SUbject 1.s very short or bas ve.rled eanonio strattos
1n:aeveral parts ...

• 292 • 'rHE S'rRETTO WITH UNEQUAL ENTRANCES.,

see later how we can use e.ll these preparatot."y plana, when they
are numerous, bf comb1ning tnem with. eaoh otb.e:r and torm1ng
We Will also
 i

st~ttas the ent:cil.noeo o:r wh1ob. are no'l< equ1d1ste.nt Cs.eo.2S7) •

Tb.e follaw1ng inverted etretto 1a an· example; 1t is th.e
ft :real1~at1on 1n tour parts or the example -cited 1n sec"' 282 (b)l
- - - - - :r-
- --- -

\
\
.. \
,.
I
- --
--

---------·-------~- ;; ---· -- -
. --~- -~. -+- -- "1-
••, •
=.: -- _,_ ---\-:--f- -r----T--
:, , ---
·~ .. -! u- ,
~-- \
--
, \_
II!_

I l \ L_\ \ E'\'C. •
:>IT-~ - -- __'!£_.... · - r - - - - - - - - - - ----------------
1 ~ ~" . -... -- . --- ,_ ,;.,_
.
\ \ \ \ • \\ u \ l \ 1 1..\ _' I

r
--lt-'!"!!l --- - - -- --- ·--------- - ----- --. -·-
-,.;: ..
• ,,,,
---f---"·CI.,___ ---.--:--
\
t--
'
_,.,__1'<'_----t---

I
- \

2t3"' He~e, tb.ough there is diseymmetx-y 1n the ensemble

I
of' the etretto, one will not toe th.e:tt pairs of ent:re.ncas a.re
eq,t.:tidista.nt., It is always preferable ilo use an analogous dis~

po~it1on when one 1a m-1t1ng a s\retto in which tb.e entrances.

are not aqu1d1s\ant.
~ we will see later tha'b there 1s a special type o:r fugu$
basEJd on tb.is d.isposi t1on, of Whicb. we find numerous a:~mmplas ;
1n Baoh. ae.ndel 1 Mozart-, and Mendelssohn,.
294. ~o -illustrate. tQ.a stretto with uneq,ual entrances
it will bE:J sufficient to examine see. 284 (a), in order to show
new alosa tb.e succession ot entrances oan be at the conolt:u:s1on
oil' a fugue'

•
• ... s-

\ I

- \ Q -+ 9+ \ \ .\ 0
\. \ \

295· In this eample tha baas could have given the

ans'Wer completly; we mocU.. tled tbe latter intentionally, beginn-
1ns:w1th the third meafi.U.U'>e, to obtain a better realization and
a m~re logical final oad$nee1>
In fact, 1n realizing a. canon integrally 1n foUl' parte

•
(bet1nning with. the tb.1rd. measure of the preeeding example),
we see that we have taken 1t 1nto a \oDality toralgn to the
pr1t:lc1pal key
I
or th.e subjects
'
 t;

2Tl

st;m;!le 11Jil~~at&ons ..
297 * STRETTOS OF tfHE COUNTERSUBJECT * A work analogous
/~, ...

\._./ tc tne pr,eoed.irig 1a likewise done tor the countersubject; we ·

look for an opportunl.ty to bttild stxrettoa and eanons whioh can
. .
be ~reduced in tour pa.rtsJ ettller a.loae or combined in strattos
of the sub3ect and answe~.

These combinations· being exactly the same as those

whtob. we establ1sh.ed for the subject, it is useless to gtve
mor;e examples of them; the student will be guided in this
:
po~nt
I
by the preceding analyses.
.

298..... COMBINED Sf.RE!'I'OS OF 'J!HE SUBJECT .b.ND OOUN'l'ERSUBJEO'f.

so~e interesting combinations oan be produced by introducing

th$ oountersubjeat 1nto th.e st:rettos of the subJect and answer.
ett.he:c by se>und1ng tt only ln one par\ during the successive
I
en~rancea of' the subJ$ot and. answer 1n the other parts. o:r, ·
wh~cn 1a pref'erab1e, by having 1t form a double e$non with the
eapon. or the subj eot.
It mQst be observed, nowever, tnat tn1s ean be accomplish~

e~ only with very short subjects and countersubjects~ If' the

subJeot 1s at all long, 1t is almost impossible tor the
e:duntersubject
, to ante.- well oomb1na:t1ons other than tl'agmentar-
'
' i~y.
a) WELL-TEMPERED OLAVlOHORD, fugue ,,1
.c~
 C·S. of .s. S·
'lloo 0 -&-~A -61- .-,) .
..,
,-#- . ·-;,. r #"
-, 0
\
"""'
#
--... • ' .
{

• -.
..
-----

,
- .J.o ~ . . t~H.,. ~~ ''*~
,
" .. '*
-!'-f--.---" I --
'
.. -.;;;:---·--
-o-- _r;t__,_ -o-
_-t--..,..-1") ...
\
\ \ \ \
\. - ·-- -- - -···

o--- _£;.'~-
CI
-t---f -
.Q. _.,_
. "'
-:!'!!!.
-------- . f--- - - - -----
l \ v

C·S' • -

299. In. e:Jtample (a) the oountereubjGct of tna ebbjec.t 1s

d entirely on the canon of the answer and tna subject, and

• on
sub eo t of
aeopnd mea.sureJ
I
t~e third entranee
tl'l.~ answer, wh1o.b. baga.n on the third baa t of tb.e
du~tng

1t Ba.on had bad these last two entrances at the

the sounding of the counter-
 same 41stanoe ae tne first tWQ, A· s~' a. he.lf' measure apart, 1t
would hav~ been neoeeeary to 1nt$rrupt the countereubject ot
e th.a :answer. It is very probable that it was not tnia oons1dera.~

t1on. whi.all decided b.1nt. to b.a.V$ the fourth entrance at a greater

distance, but tnat ha was. 1nfluencad by purely musical reasons.
· · Eaample (b) is a f'1n1sh.ed. model of the familiar comb1ns.-
t1on of tb.e stretto or the subject w1tb thG stratto of the
oountersubjeetj 1t oan serve as a m9d&l from which to build
this type of stretto with the aid of the head of a subjeot and
tha.:t of a counter~u.bjaot. :u.· we consider the subleot and
countersubjeot oited b.era a.a the beginning or a. more developed
subject and counteraubject, we will nave a perfect example or a
eanon1c stretto in wnich a rrasment of the eountersubJect is
nee.rd 1n eq,ually oa.non1o 1m1ta.t1ona.
300. THE STRETTO IN CON'fRARY MOTION • The subject,
an~we~, and countexasubjeot can be taken in contrat:"y motion and
ea~ form strettos 1n contrary motion.
a) WELL 'fEMPEP.ED OLAVICHORD, :fgsue, ~ s .

; +
:1

274

LL.Lr ~11 (

-------- ~ j

~r-~-~~---------~

301. In example (a) th~ two p$rts not involved in the

oa~on are not written prGm.ls$uoualy, but have a o·lose rela:U.on-
:I
shlp to tna entire ensemble of the stretto. All the figures
I
cot$poe1ng them a~a drawn either trona 'bhe subject o:r from other
I

fragments of tb.a expoa1t1on treated 1n rea.l or rnythm1o 1m1ta...;.

'

In the soprano at I , there la an imitation of the aubjec\

1n: eo'ilntar-iiU\el.,,,, at. :U tt\s:re is an 1m1'tat1on of a fltagment oi1!
• • • ·J. :,.· '.;\. ::r ·
I

~-at
1 , • • • , :

the eubjeot in direct motionJ III there is an tmttat1ou o#

:
a free part of the eXP,Os1t10nJ e.t IV there 1s a. rhythmic 1m1ta-
 27$

t1fn ot the end or the subject& at VIII the:te ia an 1rn1ta.t1on

of the end of tne-subjeot in direct motion# in the tenor; at v•
.e th~;tre begins a J'hythm1$ imitation of tbe tb.1Xid measure of i;he
aubjQCtJ at VI tb.ere soun.ds th.e :rhythm which the soprano
rf;l~eats at IV 1n oontl'afl1 ntotion;- s.t VII there 1a a rhythmlo :
1m1tat1on or the second figure ot the su'Pjeot 1n d1reet motion:,

-
etc <f.

,02., 1HE STRETTO IN DIREOT AND CONTRARY MOTIONS. A

et,.e-tto C$n also be written wlth contrary motion in certain
'
pa.t?-ts and direct motio~ in t>ther parts.
tue;ue 46. "• .canon at
a.) WELL TEMPERED CLAV!CHOF.D~ the

seQond and sixth. below 1n contrary motions

•
 276

•
b) saoh, Organ fugue 1n a Majort
J.\ • 1YI p '1'1\ ,

,..------.
----~~--------. ______ ......__ .. _ -.--

• ·-t ----··-·
 271

I
!
;;oJI. o.pply to th.a preceding example. The student himself

•
1
i
sb.quld anal.J'ze example (a).. and should. :refer to seo. 196 et s~g.

fo~ the analysts.

-
In example (~) it will be noticed ·that the f1ret four
. ent~a.nces ot subject and· answe:t' are alternately equidistanta
tht1 t1rst part of the atretto ie made up ot the subJect in
cant:rary motion wltn tha answer ln direct motion;jj The last
two ent:ra.nces a.re in reve:rse order; nera the subject is in
dtract motion and the answer in contrary motion. All the
aooesaory figures are taken from the subject or the answer
eitner in direct or contrary motion" HeJ<e is one which returns
w1thout stopping and wb1oh, beard suooase1valy in all the pa.rt&,
has only one deformation ot the answer in direot and contrary'
motion:
'

-., I'
I 304. THE STRETTO IN DIMINUTION.. Diminution 1a verr
useful 1n the stretto; ln addition to most subjects lending
th~~selves to it, diminution baa the advantag~ or permitting
extremely oloee entrances, even if the subject 1s heard in its
en~1raty. i
This dev1oe may be used 1n e1 tber d1~eot. or eontrary
'
motion.
~5. Tna following example# taken from a Baoh tusue
 i
al~eady o1ted, is an excellent modal ot a atretto in wn1cn all
tb.e pa!'ta are treated 1n diminutions

• f

-~~~
.II-
"K- "r~~ -- - ---· ---
s-
-
...
\
-
---
,.
-r-l---ct ~...
s- # ' --

J..
., ..
~
-
.... -"""
-, ,

"
\
\

,
~r:.,

_,
.Jk..
.t;jj'i=t=-·

(;;
---

_,_,_
f!J.

·-

I " ~

;
,. .#
t· ·r:
v
\- -\
~
-- -- - \ ·~ ' j
I

.
I -~
' I l
I
I

'
\
.... "
s- ~ J
--,.,---,
E"t'-'
,....
"""'~·\\:~
J· lJI "'!e: -.,
I J
'l....
~..,
~.- p---~
f-.--:-'[ ---" jJ_ --0---- a -- - . ~· ------·· -- J_ T
• - I
\ \ \ ~- ,
, -"-L_~-
·--c---

\• --!If: ~(i - ....._

-~ - -' -
a,_,__ "
.. --
l
--·. .-~
"
' \r ' .
306* one oan eive more va.r1ety to the etretto by
wrlt1ng asainst the d1m1nut1on the Q~1g1nal values of thG
subject, and at the same t1me make tbe contrast more effective
i
by: tne use of both contrary and direct motion ..
I
!
i The e1xth rusue in Ba.ah' a ART OF FUGUE gtvaa a. ser!es
ori et:rettos illustl'at1ng th1s type of oomb1nat1on. We give
b.el'e th.e skeleton of 1t; the student w1U do well to score
th~s fugue and analyze 1t from tbls point or view, w1th regard
to the writing and general conduct of the various parts.
It is cenain that few subjaete s1ven in th.e scb.ool
le~d tb.emaelves equally to oombina.t1one or tb.1s kind; but
mote often, through analys1s 1 we do discover subJects wb.1ch at
first
I
a1ght did not appear adaptable in this way.
Following is the or1g1nal subject of the Baoh fugue:
 279

_.......-----+--·---:..= .
-~)+..!' .. - . . ···---1-·-· - .. . , ----- - · . _,_ :-::::J"___ ~- -.- .!.....
~ ~--l\· bi~C;I\t ~fio;\~ :.- ··- --· --------·--··· t---------------- ---

f-· .

-- .

... . - ----···· ··-------

•
 280

~----- -·--------

•
 281

s-

•
 307. In this example ·we nave. set oft the parts ooneti-
:
tu~ing the strettoa by eliminating ths a$oeaso~y parts in order

• i
to\ mark tb.e pt-ocess mo:re clearly and to furnish. the student the
II
means of looking for s1m1la.:r comb1nat1ona... We confined our-
l
se~ves
!
to 1nd1aa.ting, when necessary, the harmonic basses wb.iob.
appeared 1n Baoh'a va:rs1Qn.
'08. It is useless to analyze in detail ttu:»se va:riou.s
exsjmples ~ the student should have had sufficient p%'act1oe by
now to enable him to do this himself.~ We will s1mpJ.1 otfe~

a ·l;l.ttle 1ntormat1on on tb.e more interesting points or these

unu~ual combinations.
In e~plea (a), (b}, and. Co), the subject is lr.L 1ta
oxs1stnal state; tn. (a) the subject in diminution forme a canon
1n direct and contrary motion.with t~e original subject.
Example (b) begins with tb.$ answer in diminution. In
(o), tb.e ea.non rormed by the subje<.lt 1n diminution 1s 1n contrary
I
motlon
i
w1th the original subject.,
Examples (d) and {e) give the inverted dispositions of
exa$ples {a) and (b} reapeot1ve~. 1n the sense that what 1s
in 4trect motion in the first is in contrary motion 1n tbe
i
I
sec,~nd and~ ve:rea.
Tba same :relation axists between examples Co) and (f),

-
exc t that tb.e Ganons do not begin at the same distance from
the ea.d -of' the aubjeot and a~e not at the same interval.
Finally, example (g) reproduces the .same d1spoa1t1on as
{f'), only at diff'arent 1ntervalst in (g) the tenor takes the
 head of the subject in diminution in the next to the last
me~sure.

,09. 'L'RE STRETTO IN AUGMENTATION • ContJ-ary to dim1nu-

t1cin, augmentation has the :effect of lengthening the entrances;
alE,fo, it 1a used in the fugue, and pa.rtieularl;v 1n the stretto,
onliy as a means or contxsast, in order to eat orr to a.dvanta;e
:

tb~ hastened entrances of the sUbject in the different parts~

These parts may sound tbe subJect either in its original state
:

or in diminution& 1n d1r$ot or contrary motion~ or with the

co~bination or the two movements.
310. ·.It appears from the eha:raoter or augmentation
that 1t oa.n ueu~.lly be used only in one part, or in two s. t the
mo~tl and in this case only wb.en the subject in augmentation
lends itself to a double canon with the original subject, whie)l
ra.~ely happens. Also this combination must not inteJ"f'ere with
i
. I

th~ musioal effect of the fugue, and mttst not slow up the motion
',

or :tne interest. wh1oh would be a serious fault near the end.

:311,. In cu~rta1n strettos the subJect in augmentation
i
i
can be sounded with. close imitations of the head of the subJect
or tha answer in theiJ" original ro~m.

The subject whion we previously analyzed ( sees. 278a-

28lb) oould 1 for example, give tb.a following comb1na.t1ons:

•
 284

---~---- -- H•S ; - -1------t--,~--

---
. - -

·~ '! ·~."!

••
o .!J. ""' ......
---1-;. --\-- ..\.-.. 1-- f I ----
1--
ft·S • q-• .,..
_0

~- ----1- --f-.

ttl H·S,
1 ,

lQ"I
,
-, -If
. ~
"" ..
~\ ' I \ ·y·

312. It is understood that lle:ra there is no end ot

d1apos1tiona,. wb.1oh var•y according to the subjects and tJle
a.evs.oes used, suob as dim1nu1i!on, direct, contrary, retrograde
I

motion eto.
-
313.. CANot~:tC STRETTO IN DIRECT AND OONTaARY MOTION AND
IN: AUGMENT.ATIOI'h
I
When the subject lends itself to 1t, we oa.n,.
I

wh.~le one pa:rt sounds in augmentation, sound th.e subject or

anewer canonically in the other parts in dtreet or contrary
I
. !

motion and 1n 1ts or1ginal form. The works of Bach, Moze.ttt,

ancfl. Handel offer numerous $XELmples of this kind of combination.
I

wei w1ll glve two examples from Bactt.

1. The notaa 1n pe.rentheses are merely indications or

th harmonic basses.
 a.) WELL TEMPERED CLAV:tCROtiD,. ,ty.sue 26:
~-·

... - • i---

l -~-l-~-----f>----4o--
-· -----
-u /! --

... - L. ___ ,. - ii ----+--.-"

-. • ., .f7 - ... # --#-- ··::.. -~YA- •

W l - . . . ,:i"T:T"# · -.,- ·••·•
--1---- --+- ~ _\. ~' -~ -- --. .. f IN" -

\ \
-
 314. ~HE S~RETtO ·IN P..UGMEt'ITATION AND DIMINUTION COMBINED.,
'fb.e s-eventh fUgue r:rom the AR'f OF FUGUE ia based entirely on the
e· 1.U.1$: of' 9.'f.lE)nleta'lia.111on combined With e1tb:er the original SUbject
or w1tb 41m1nution 1n direct or contrary mot1on. This tusua
should be o1tsd in its entirety, but we will siva only two
trasmen'bs • adtr1ains the student 'to study and analyze tne entirE*
fugue •a.ret.uUy ..
It 1s bu1l~ on the fo1lowins subjeo~s

I D~ 6
e
\
•
\ 2 \ ·;
. •
\ ~
t:l

\
~
'i ;. j t
\
--..w
i #
•
;!2 \
*
\
- ~

., ., +--;;- ----- -, ?:.#

!D

--

, , '
 287

n
v
-·-
.....

_\_
#

,
,, ..
-W-'
Jl
"'
---
...!.. •

-->--- ....
0 ---'-~-----·
\ --

\ ,
-·-

............ -- ..,..
-s -ct,""'. . . . . . _. -~o..!.,.. ~
-1-.!... ::r:_--
...a.
~ -t:::_}_ :-.- -+- ••-,
·L·__ _.!C",._-:"-,---.------.~"'"..__-4 · ,.. t. .L.l~::;r---#--:.r-··. . :. .---=--_-0--.-.-·
r' ' - ' --.- -
Lx=~o-
--~- ~ k'
:~n--
p -- s- d tho~
'-i)---_-~~...,0.-_·---- - - - ---:-----4---~---- . . . , - . - - . , . _ · - - - . ·--+-----=-------;;;--.''----
1-*cr·
 ,..., ......
.,
• ., # ;
.,
J,

.:R~----=·=====---t==-=::=:~==== =====-=------=t-=---=----=-·==...:::..--:________ --···

~Hy,~-------o=--------~-------~:--_---_---===~------a-----------------___-_-__+_-_--__-_~---,---------===~-,~----
• +.! . \ 'tl- c~.,.,. ·r
-~~c~~~:~~~2..-~·=-2··-··~~·~±~,~~~:;~-----::;.:--===.:.=~ ----=--- - '..-1-~----;- -
~-P-~ L' ~-" - - ] ____!__ __ ~-- . \ . ~ . ~-.........- -.--1,__-
...

In esample (a) the subject in augm$ntat1on ts aooompan1ed.

1.n two parts by a eanon at the ootave of the original subjee:t,
tbla fourth part being borrowed entirely from the final appea.r-
anee ot the subject 1n dtmi~ut1on~
In example (b) the parts soundl strettoa and tragmen\s of'
sabjeot 1n dlm1nut1on while the subJect is treated in aug,
m ntattea aud 1n contra~ mot1on~
 315. THE STRETTO lN ftETROGRADE MOTION. Of all the
dev~oee \Uied 1n strettos;c · dlreot or contrary retrograde motion;
1s the least useful; veey i"ew subjaots can support 1t w1thou.t
be1~ absolutely unreoognizabltth The manner of trea'tt1ng this
oomb1nat1on ts exactly the aame. as fo~ tl:te p:reoadlng c0Dlb1na-
t1cms.
-
The e:Jtamplea c1ted in sec. 249 can be eonsidared as
strettoa in wblob. the eubJEHlt 1s beard a:tmultaneously ln its
original state and. in cU.mple and cont.:raJ~;r retrograde motionsJ :
we 'rarer 1t to tb.e student~

316. we nave now given all the combinations wnieh can

en'tle:t' into the oonatruotion ot a st:t'atto., Although all of them
i
I

at-$ ·not used in most oases 1 t is. well to study them with. great
oe.te before wr1:t1ne a fusu.e.
:317. Befo;rs showing now tb.ase various precesses are
us~d in oonetruot1ng a etretto we must comment on a dev1oe
wb.ioh, 1.n the eoh.oo+ fugue at 1ea.e\• we are obliged to uaet
ne.thely t the S,t!~~ • This w1ll be treated. 1n the following
en+pter.
I
iI

---·--- ---------- - ---- -------- ----~---- ------------

I
•
THE PEDAL

:516" THE PEDAL TAKES ITS NAME FROM THE HARMONIC DEVIOE
OF [WHICH . I'f IS TKE BASIS,
I
lf CONSISTS OF SUSTAINING ONE NOTE
' .
IN ONE OR MORE PARTS FOR SEVERAL MEASURES.

:519,. The pedal oan ba etther simple Ol' multiple. It 1s

us~lly bu1lt on the dominant or tbe tonic, but in exceptional
oa.~ea 1 t can ba btd.l t on any other degree or the scale.
i
to !tne pedal, rrom the pu:reJ.r lla.rmon1e point of view. are the
sanie f'or the fugue as for harmOJWj .1• .!•t THE PEDAL CAN BEGIN
' '

AN~ END ONLY ON A CONOONANCEJ it must enter on a consonant

L '

no~e ot the ha.:rmony and can atop only as a consonance or as a.

i

consonant bass of a dominant ob.oX'd..

I
In certain oases the pedal
i

onithe dominant can step when it forma a prepared dissonance

i
an4 reso1vaa normally. As soon as 1t. has sounded, it bectomes
I
f"oife!gn to tb.e h.a:rmon1ee dete~lned by the progress of tb.e

•
I .
i
Otij.er parts, and oonPaq.uGntly oa.Q form w1 th the latter all
I
'
ma$'ler C)f unprepared dissonances. we eay this only to refresh
I
th.~ memory, for s·hudentf,l who are studying fugue are long a1nce
 I
I
t~mtllar w1th the na~monto usa of tne pedal~
i

•
I
' I '

tb.~ pedal on tile tonic or dom1nant; is tb.at, while it affirms

th.~ ~1ne1pal key of tile fugue • ve.r1ous neighboring keys may
so~nd a1multaneouslyJ 1t helps unify the tugue and revive
1n~erast.

322.. Th.1s oha.raoter1st1c of the ped$1 permits using 1t

to prepare tbe fi:rst entrance of tne st:rettoe~ if it is placed
1mmed1e.taly before tb.e·f'lrsu atrett.o 1 as we will see in the
to~lowing chapter~ In sucn cases 1~ appears 1n tne dominant,
o:r more l"arely on some oth-er degree of the soale, always re-
serv1ns the tonic pedal tor tne conclusion or the fugue~

323"' Th.e use of tile pedal is oonf1necl to th.a follow1ng

paJ:'ts (arranged in the orde~ of f'requenoy >. t
a) The base (inferior pedal)
b) Tne sop~ano (eupe~1or pedal)
o) Eitner of the 1nntia:r parts {1nter1or pedal)
· 324. DOUBLE PEDAL,. T~e pedl;l.l can also be doubled •.
e1t~er in tne same part (seuerally tb.e baas) or by sounding it
s1~ltaneously in the two Gxtrame partes· ln th1s oasa we often;
1.\se :the tonic and dominant pedal slmul tanaoualy, but frequently
I

we ~oubla one o~ the other alon$ •

. :52!5., POSITION OF THE PEDAL., From the time the pedal
s. the natw:ae and pl'ogress of tbe other parte :La dlfferant~

pedal is placed befo~e the stretto, it will be followed

episOde, and the episode will continue on the pada1J
 29Q

1f' •~·i on the contrary,

.
we ple.oe it at th& end of' tne st:retto, we
w1~l do wel.l to sound various ~tr-ettoa, eanon1o or otherwise.
!
but in any caaa 11 ve'l'y close together.
'26. As the student ts given great· freedom tn nts
treatment or .the pedal. 1t·ts impossible to form any h&~d and
tast rules re~dine; tts trer:.tmrantJ the manner of treatment
da~ends entirely upon tb.e 1ngenu1tr of th.e composer. All we
oan say !e that all the forme ot ep1eodes and strettos whleh
we have thus fa~ studied oan be used. on a pedal.
· 327. The important thing, rrom a purely mus1~al point
of iv1ew, 1s tb.a t tb.e pedal bEJ . 1ntr0duoed na.ture.lly; · 1 ts
apProach must in soma way be sen$ed; the musician ought to
induce in hie hearer th.ia indefinable sensation which. allows
the: entrance of a W$ll introduced pedal, either on the dominan1;
to JPrepa.ra the conaluslon ot tne fugue t or on the tonic to
expose tb1s conclusion,.
!

328. Without dwell1ng any lonsexo on this point, to

whioh we will return later, wa will show some models of various
typ~a ot pe(1al.
The following pedal on the dominant is an example of an
episode
. i
on a pedal in whioh each part. imitates itself& thia
1a the type ot combination moat ~.requsntly employed with the
pe · l, for 1t permi's the moat aompaot
.·~ .
progressions (d1a.ton1~
• or b.romat1o) to prepare tb.e ent~ance of the stretto
Bach, AR'l' OF 1UGUE, f9.1ue 8:
 fp. L,._,dt"llj +o GntY"b~c...-- "R p .
..!.. .£;; .b. 1,:, - - !J •
. . ......-... , ,, "' .. II;. I> .L.!....
i - ...

..... -~
, l
" T '-
- -

-
b
-r---"
1i' "'
., . ,
h ., ..,_ + --
-t·. .
.
....,_

..
; !-·-
i •

-
II
l

h++ .,.. h.,,

.I. , J, ..
. ., " .
"
.II.
-II "' ~ .. ,;
, . .......---
T
--

IJ .......

- ,;tc
-h.\
+ ... , +
.
I
h "'
II
l' ' ~
-- -
"' " • -
"' \
\ \
P~d'"' l()"' rl~· 0 t ~LIb do"~~~)
- ... -----
---- -
···-
--- -.
-"'•
.. .. ·---
. --····

f'
I
"'1. -
--...
"tf'
-- ......
0 -o
y

..... l.:.l l \
\
}_T
~
"
I I I
-· -

'
329 .. · The following example shows a peCla.l on the domlnant
on .!which ts built a free stretto in three parts;. the pedal ends,
a a in the preded1ng example~ witb a proe;reaaion in wnietl each
1

part imitates 1teelt.

Mendelssohn, O£Sa9 ft~&~~ ~P· 31 no. 3:
~-
0 \

, , ... . -
-- . -------
" --
-+ \.- -• ....
'
J~ ,._,. S •IV\ od.,. v .. \
, ..p

" ... \
I
I 1,.- -- .. --
.,.,.,. '- ·--
I
~
I

~
_,
,...... • .,_~

••
-·· ---. ....... _,..,
p,
, _,- ---
"_, ..;
01 ...,
-,.;:
~ l

r r
L'l
'
5-E·· ...
\" rt.d .-: :. I
-
-- Oe.Wl
'-""'
------ ---
l
7
I>
;;.;;·
-,. ---
\ ' "
 j
l

-- 0 0 •
I
I --H=
----

--
...
-----r------------+--~
· ·-
·--
c>

\ ~~r \ \

''o. Follow1ng 1s an adtn1J?a.ble example of a tonto pedal

on :wnich· is built a double stretto in ool\trary and direct
l
mo'll1on; it ie tb.a end of tne g:reat organ fugue in c major by
:aaob., from which W$ have already cited seveztal ~xampl.es.

It will be noticed that altb.ougn this fugue is written

foli' tb.e most part in tour parts, tb.e pedal is tree. ted as a
t1ftb. part.. In tbe aonool fugue this add.i t.1onal. - part is
equally admissable ~n order to obtain a richer harmony at the
i
en~ of ilh.e fugue. or if the combinations of Htrettoa demand
'f)nJ use of a f1ttll part.
(In certain oaees at double pedal. six-part writing
somet1m.e.s appears and is permitted in the four voiced sob.ool
fugue; examples will be shown later) a
I
l
!
,,
•.f.
 295

~- C.t.VVI't • tv\ t
.,-¥1-1'\1+-'- - - - . - ~-_,-.-/__+-
...-.-,.a.-,-..
...,..- __-__-___,-:-__-~._~_---.-.. -:-:-=:=--:::-·== t-: __ -=~-====--~= ~==-.::...--=--·
, r I f '1 .- .- -a- - ~ U i

~ ... ' \ '? ~~

-.
I \

""{.f7.

-,7 . Cl

~ r
_Q._

··\·

l:ll::.::- -J. ~

l
-lot- .

~ ~· ~· IJ)-'
~-~=-,:--
-
_______.:..__-1,_______-::::_-::::..-__-__ - - -__-_=.-::::...--::_________________________ :___1--r,b i·-.,;;- n

F-~.J> "'1'5
 r
I

oited, gives an example of a super1~r tonic ped.al, to w~ioh 1s

• - # •

e joined, in the last three meae.ruras. another tonic pedal in the

ba.SSI

.. ., ....., . ··~ .:? c)

i-t ,.. ~-----

t>·

.
~---------
-14-.•- ----- ~-----j- .,~---:-- - -;---= "=- ~~;-~--~---: ------ , 0.
~- -' .J:::-1 • •~ -~----~}-.~----+-
-----------. - · ·.·.-
.-- --_~- ------

•
-~ I'

v
 291

· ;:;2. TltE OR:folAMENV.L PEDAL. Sotnet!mea, 1netead of."

sustaining the same note and forming a continuous pedal, ·1t ts
e repeated 1n the manner of a rbythtltto pattern, o:r it figuttaa in
a melOd1o design which. sounds 1t e.t :regttlB.:r 1ntervala; THIS IS
CAlLED AN OIDtAMENTAL; OR EMBELlSHED PEDAL.
'l!b.1e rhythm or destgn is always borrowed from a ohare.eter-
1at1o figure of the subject o~ countarsubjact, or from soma
analogous ~hythm.

33;5. In the following examples we will find several

uaaa of this type of pedal which can be va,.1ed at wUl.
tn (a) tne interior tonic pedal 1s eniballished rh.ytb.t!lioal-
ly.by the leading tone~

tn (b) the pedal 1n the bass presents a :rhythm analogous

to that or the prinotpal theme.
Example ( o) 1 s a model or a ped.al on the superton1e of
the principal key; 1t ls ftrat ornamented by the superior
embellishment and continues • from tb.e aaoond measure, with a
trUl.
The form or example (d) is very useful ln fugues for
piano and organ.
ln (~} we see a rh.ytb.m alternating with that of the
PJ;'inc1pal figure.
The pede.l 1n example (f) 1s more complex; first 1t is
·• double, one figure 'being suetai.neda the other having the !'hytbm
of the countersubjeot; then it beaomee interior.
 :tn (g) the pedal S.mitates tha !'hythm of a. fragment of
tn.e subject.
a) Baoh, PtS§!l tqe;ue 19. .Q.I@:30tt

~ ---4-i4-.::-------~--~~·
~ ~.:.. ____.__ . : r--~ . -..
~-=~=-- -=-===-.:.:.~:.: r- ~-==-= ~~~-_:;..~ .:~~ -.,_ __
-----

~---~--=--:-.--·---·-
n.
-·------ ·-· ---.
- -c-
\
--------- -··-----

\ \ I
-- I
,--~
jl
·-----~-'---·

\t)
•

'
V I

\ -
•
 ,.
t

299

1-:-· - - - - - , . . - - - - · - f-------:;;.,_····_-------·====.:tr--------=-----·- ----·---,..;;- ··---------

--.,- 1 . ~-
,
ltl F f: 1\ •O 1\1__!1_:?-i---IJi'"it-t_.='::=:====-=f::--= ___ :.:===:===::::::::::f::::::::==~---=--···-·-·- ____
ti}!, ----·;;.-·#-,--;··+--.-+ a--- ·--- ·-----····--·-· o----- ·- - - · ---~

l.,... ..:.--"' . r---

1 ,,.. e+..,s.~-;:

:tl---~~;--!fl~~·~-;~~-,::=ic-=--"!__._,,-_\_~-#-;==:-:---~~\r-·-.. .-·--
. . . . . -±~~-xi·=-=!..=--=-j.~jJ::~--=--::-:~._. .-----+-+o=--=--=t-=~=·:J-r:'=I=.,..-~·L_!=·"l~-:~-=--+
' I \ !...l. W-!-..' c~ '1\0 VI A--F 10 +h l3.c low '
----+-------------
... . ··o···- - . ---· --·-··-- ·- - ~---·
.. ·---~-----

"--:
t

d) Bach.t Fugue !ln B H1no:rt

•
 I,
1l

e) Prelude from tlla

'--i'---~-----~~
.-
I. =- ---
1""- ..............

....... ,-.
I

.
....... y _'!:'-- " I;:}/_
'('-
,.

m~~====:====:-~=====~===~~-~:-:::----=---.'-:"-~=--'--_J9
_...,/,.w- .,. - ., ____,___ -- -- --+- - ----· -+-----+-- ---- - ~._ _ _ _~ _---
L ll. _ill t _l.

f') aonuma.nn; S1.xtb. fugue on tb.e name BACH;

-,--- -
--.
--
'\.)./'

r-t ~-~/' -
I' \I 1\(' ~\ ,,,'
-"""'- - l - - - - - - - - - --- - f--.------------------------- ---------- - - -.
+.-P.:-.-k----
~
---- ---- ~-
-- , ----------------------- ---------- .--------------- ---
----
0

------- ~

-- - - -- -,.,--- -- :-- -

'"' ....
A
J
0 C) 0 I \ V' 0 '"15-
\ I I I
\
 30l

--------- ----- ----------- >t----

1. Jj.~ , ,
, I -- ~f- ~-
---;;: ... -, , ; ~

, i - 9 r -~---~f-_,._+_____~
? __-J-_l.::t:r____• _..,_______ -~
IH-__}___+·':-'1~&---------~----~-------- r-------·----.
lYL
- Ll \

,....
"-

" u

\ t-t T
.,.. __ ~

--- ,+m",#,
t\)L
..,__,_
~~
,,_,._- , .# .._____., --,:
, --
r
" - ro4"
- jjf
\"!:
' .._._.
' --- +_: ,:;r , t:'l~
• I I
1\'=T ~-, ') y
'~ n ·~ c,; J.
" ..... , ~

_,
-----
-- ,
-----}-· ;_, +---;;-
~~----ik:!:'_-~r~!lf~~---:.- .,
I -- -
"
r.\•
7
-....
~ ~~·~-+-
~-""" -
~ __ b IJ;!;. . :A~~ ~~ . •- ~' D.,eo,
J. IL ,. ~ L .!...:t; .!..J..<~
~.; ~ ... 1. :~
'I
-"''I:
h .... :•
'I.J . .......
J.
_
I

..... -
- ---
-

•
-""' -
------
.'
'M--
# "
___,
• , ()- ·. , ----,___,__
I u \
u \ I '-' \.L-l
 :534. !HE MULt;fiPALLY OBNAMENfED PEDAL. In Bach t s
PASSAOAGL:t:A IN 0 M:tNOR we f1nd a our1ous use ot the pedal
orna.meniled s1.mp17, ,doU.bly, ·and qua.dru.p$lly, forming rl'lythnd.o
1m1tatioa.1u1~ Altb.OlAgb. this passage 1& not fugal in structure.
but X'a tner oontxaapuntal, we e1. te it to br11'16 the attention ot
the student to the poss1b111ty ot oertBt1n intereatingd1aposi-
t1uns wh10h oan be employed with ~ne a1d ot the ornamental
pedal rr.
 .,
- v
~-#_,.,

~
.
, .. .....
1......-+
, ., ..,. ., ,
- ; -+~ " , -#'"J , ,
_\·_p: - --·--
I
I---- • -~
·---

w rrG· ,... ,....

,,
, ,
To~' IC.
., ':t~A.
-,~- .. ..
• +.e..;,.,.~" "!..t..,
..
..!....!. ......
"9+
..!..,..-
"·---....~;
./--
._,;±...
= •
-\
j.,
_, ::.L \ I :
u l. 'J ~
1... ....,._
I ':\U
-,..,. ~
t
....__I I -- ---"'-- ---

~ A
N\.Q~ \)oM "'t._ 1~__1 f:'- ft:f;i ~~~ ~!j r--~
__
~~lJ·__t__+--,--\,... ~~r
~...,_6--..----r,-,.,. ,,
'-'-' -r.-::l. #-4ff;. J • ., , ~

I I
, __ ,_T 4 - -------------
~=;== -~
-,- --~~--, ,n -
I
v
..
o..;..:;::J;"-<
to~,,e p.~~~
, --.., ___ q--;----
I
··-- - .....
-
t----~ , o-- -·- - ------
-~
-- - -- -
"' ---- I -- -\- --- R- _____\_
--
u
-
~ - l \
-& \
\

:5:S5.. t"i.n 1ntarest1ng combination WlliCh could ba uead in

tne school fugue 1a found 1n tba f"SlAe from Beethoven's NINTH
i~UARTE1:, in wn1oh tne pedal- sounds suceaasively in thea tb.rae
upper paJ?ts; 1
t.,.. .
-----------L-----If.---
_\ "

-~ \ \ ., ' ' .

iP---·
\ --+---------- - - - - - - 1 - - - - - - - - l f - - - - - - t
- --1---
... -....... ----
-
\

1"' 'fbi& example 1e given b,$%'$ only a.s a. posa1.ble proeadw."a

a.nd not aa a. type or school pedal..
 304

c·~---
~-
L-l_·
~
:::..,_, '+
-.!
~f-=---4:'-l" ~7---Tf
J-i~o-+ ~ .. -~[
,
-+.t_,_::::::t:-
=.;r: =.;:!
:..... I
+.
...!...,.. .. _

.,
___ ___ _
..::;:::;..
~

_:~-- - -- --- _!.___ -'- ---- L-

~--. -------'------ -+-
it-..
~._!- ,-.. .
-t~ ~-
----\-
6 -~ ~ - - - -- 0
-- --
r--- -
---

....,. --&- .!. ~ J. 0 "' •.,

- .:i ~~ ~ --r-
-~-- i-"\ ..::.. ~
""t"
- + - ""t ---±-- :;t ~ ____:--.t_____ _-
-t-- -- - -;:__
0 - :::::. - .; ""':
--r- --y- -.r==~..---\-~·~----L- ,=::1:: :\ ----:_=- --\ . ---\----f-.--~\-
"'-!? . ------- --- . ·-· -----.-

..,..
\

336.. students should oaref'ully analyze the preceding

examples from the point of view of the melodic and harmonic
oodduct of the them$5, and of the d1.spos1t1on of the imitations,
by proc·eeding as we d1d 1n the analysis or tl:le ep1eodea and
strettoe. They will flnd in the fugues cited later some excel-
lent e~mples of 1rbl.a t the aonool considers good pedal. After
I .
stUdy1ns theae model a they should write va.:rious pedals on their

•
l

owd the~es. or on themes taken either from examples ett~d 1n

i
 30!5

prEiv1oue chapters, or from those given a.t tb.e end or the book.-
3:57 * Tb.is ends 'hbe analysis of the various elements
WI composing the fugue J · we w1ll now put tb.em into practice •
mald.ng a sor-t of synth.es1s of the entire fugue •

••
 CHAPTER X

MODULATIONS OF fHE FUGUE

:538. The espos1t1on Cox- the oounteJ--axposition if tllE~Jre:

1a one) snd.s the t1rat seot1on of the fugueJ th1s S.s followed
immediately by the developments, wb.1oh make up the sEUltfind

seQt1on. !b.ese d.ErV"elGpmsn'e• as we llave already seen, a:re

mads up ot splsocies wbtoh. pe:r1odioally recall.th.e t:lUbJect,
answer. e.nd oounterr.nib3ect~

3:;9.
To avo1d the monotonr wtttoh would. result from
I .
4onatant repetition ot tne o~tsinal tonali~y, each appea~ancs
or the subj a~t sounds 1n a new tona.ll t7. As we produce melodic
and rhytbm1e tm1 ty in the fugue by eombinlttg the various
elements heard tn the eQoa1t1on, we also p:roduoa tonal u.ni.ty
by havlns tb.e fttgU$ modltl.e.\e onl.r to tb.e var1ous neighboring
key~ ..

• e.) In major:
1. 'rb.e mino!ll" ker of the auparton1ch
2. The mtnoxa ke7 or the me.diant.
 3. Tb.e major key of the subdominant.
4-;. .'rl:le
...,,
.
major key of the dominant •
5"' The m1nor ltsy or the aubmad1ant ( :ttelat1ve mlno:r} ~
b) Ia minor c
l.. T~e major key of tha mEid1an1i {relat1ve major) ,
2. The m1no:tt kef of tb.e subdom.Ula.nt ;!'

:3. The min~lt'l key of' the dominant.

4. The major k$f of the submed1ant.
s .. The ma.Jo:tt key of tb.e Ul.'lal.tered seventh.
341. THE EXPOSI'RIOB • !HE OOW'fER-EXPOSI 'fl ON • AND THE
FIRS'l AND LASf STRE'l'TOS SHOULD ALWAYS BE l:N THE ·PRINCIPAL KEY*
34~h ORDER OF MODULA fi ONS.. Ia the free tusue · the ordex-
ana nwnber of module.. t1ons depe•4a on11 upon the w1ll of tkle
/

ecmpOs$r J ·. they are of the· same number and 1n the same propor-
tions as the ap1sodes• It ls 'uatomalt"y to present tb.e mOdula-
tions tn.the following order.
34'~ MAJOR StJBJEO~J:s, It ·the sllbject is 1n major, th.e
ti:-st, modulation 1s to the Jtela.tlva· ·mino,:r 1 in wn1oh key the
!
subjeot la hEra%'41 tb.e answaJJ will take the tusue na~a.lly
into the new kay ot tb.e ·madtant"'
W1th the a1.4 ot an episode we then pass into tb.$ sub-
dOminant, in whl~h kay only the subject is sounded, baeause
tne\anawer would take the rusu• baek ~o the prinoipal k$YJ

• I
V1§\ a short ep1. sode,· Gr .wit.b.out tl'ansition. wllen poas1bla, e
modfate to th$ su.perton1e, 1n wht* ·w& again bava only one
lll!lri!IOG Widell. may be G1tb.er t.b.e l!l!bJeot 01' tb.e &rl.SWel'. We
w.
 than oonstne<& a nEtw episode wl'U.ch we develop to a g:reatexr •a.-
tent tba.a tne p:reuredins,. during the conrse or wb.1ob. tne s.ubject
WI ia sounded in tb.e dominant, wt:d.on leads us directly to the first
strettU:.
!b.1s sp.1aode ~an end with a more o~ less davelopea
pedal)' Gi.thelt' on. the dom1unt (Wb1cb. ls Utm.all.y the Ce.se) O;f
aJlt other dee;ree * and 1ea.4· directly to the stre'tito t· or ot uy
be separated =by a short point of ~apose wb1ol1·1s u.eual.l;v on tb.e
dominant but 'Oan be on ·e.'llY otb.e:r degrea, always on tlie cond1t1ot;
however, that the stl!'etto oan join. naturally.
344.. MINOR St.T.IYEOfS"' If th.e sub~ee'f:f 1e ·m1nor, the
number o.f' episodes and tb.e unnexa ·or joining them to the at:rett'C>
1s the sam.e aa if !.t we:re me.jQrt the· order or ltodul.a.ttons is
a itttl$ :d1tf'erent.. Afte~ the exPosition· an episode takes tb.e
eub~-~~H~i\ to the nlSdian.t ( :r.-slat!VB· nla.jG%'} , from Wh.iOh ··\he answer
. ,l '

~use a 1·t to module. 'b,e to tb.e ·una:Lterfld seventh" Fl'mn tb.sra 11-.
sues to the subdom1ne.nt wb.1<.rh. 1s a.n:awerad by tb.til submfllc,U.ant.
Finally comas ttl$ ·last episode• during which the sub3eot may
! . . . . .·
mfc:lulate 'bo th~ dominant, wb.illh leads to tile :t1rst stretto •
Wa ~a.%1 make no dsf1n1ta
1
• 345. LENG!H OF mE EPISODE.
""las tor tile length of "Cas ap1eodes wb.ieb. serve to tnOdula te
I

the tusue to tl'ul various l:t$J'S •. wa c:an 1 however; .establish a

mran., a.e"ord1ng to tb.e letaSth of tb.e sub3ett and the expos1'\1on..
i If we astabltsh. a. nwner1oe.l. mean of 4- 6 measures ·:ror
i .
'he leJJS'th of euml:ruat1on subjaota, tb.e elq)osition, as ~he
 e.-tranees of tb.a. subject and· answer will eitb.e:tr prot1:eed w1tb.-
out 1~te:rrupt1on or will be s$parated by e. shoJtt ooaa, w1ll
·e oa<mpy 16- 24 measure~h ·
:S46" we w1ll give the various episodes the following
tU.mentionfiJ proportionately; the table is tor major subjects,
bu" it lfil appll~able. axoept fer the order of modulations, t·o.
minor subjects.
Number of measures
vax-;vins app~o.a:imatelJ'
------ .. -~---....-.-~ ·-- ---- -·---.
------·- -· I . --- ·-
·-~--
---~ -~- ·~··

trrnn j to
Exposit1on - - - - - - - - - - - - 1 6 1 24
Fi~st episode ·-~ -~----------- 6 j - 1!
SU'bjeot in :re:t.a_t1ve mJ.no~ ~--~-____..._ _ _ _ _ 4 1 6
Ane~e::r in the mad1ant - - - - - - - - - 4 1 6
se±®nd ep!aod.e - . ~ -~-----------~10 k 16

~bd~:aaat -============ :
6
:a :::1:: tbe I 4
Gub!je:et or anawe:r 1n supe:rton1e: ~----- 4 l
Tb.l~ episode -~~--~---------__.;_,..~~--14 ' I
r:rom besl:nn1Jl8 to stretto . "'-.-~------ 66
""c ... ( l.OO
jl.....-..----'------··------~---··-·,------·--·----···- .
--i
'347• 'rh.e preoed!Jlg d1met1ons mus'\ be rasarded as the
two extremes. to wh1.oh ~h$ student can so w1th the va~oua parts
. .

ot the .tugwaJ b;y a.e\ually ~onstnct1ns .a stre\to to oo:rrespond

.
•.
~.,
. with' the~a d1m.~~1onth W$ weula. uve f'or a total number fora tb.e
$nt,il'e hg$a; 110-150 mea..su:rasa· these ff.stU'eu:s_ which are net
'
abs4)lute, establlsh a fair a.vex-a,sa length to:r a fqU$•
 310

''

348~ ~b.eile pl!'eportion$ are purely a.Jtb1tra2:7; as is tbe

o~$r, the
I
nUIDbet<, and -the '
o-ttoiO$ ot modUlations wh.ieh we b.ave
. '

- ~Uatabl1·sb.ed fot' the SOhooi fU$lit$<tt !hErr$ 1S nothing in tl\$

fugues et Ba.tth, Mozart, a:andel, ox- 1/!endelesob.n whinh autbo.r1see
. '

us·to aens1de:r the!lle pl"OpOrt1ons b1nd1ns, or even to ooneid$11"

th$m· or any value whateve:r, since we can find no example among
·the masters· wb.1ch coUld be x-e:garded as eYen· a simple. oont1fta-
tton· of these rulEUH -' t:t'ad1t1on alone has establ1ehed and
eausad them to be l'SSJ)Seteii. Let us e.l~o ltespect th1s trad1tlon1
being o~refu.l,: now~vex-* to attach. to these rules on11 tbe 1m-
p()!ttanc·a ·wnioh is given 'hem ·1n e~1na.t1on.s.

3!J,..
'
It is pem1ss1ble, .
by dettosat1on of 't!he rule, to
have .the subject modulate at a~ tS;me from the p~1ne1pal ma.Jo:r
key to, "b.e pr1no1p~l m1no%* key, ana., y&ei VSJ'IS§b tt the p:r1no1pal
key at the s®Jeot 1e·m!nor~ ·tr, tor example, asubject·'ia 1a
A minor • we eoul4 sound in mom.entatr1~1 1n A ma.j or 1 and vi.oa

rra1s lloense, ot wb.i(Jb. ithe maate~s nave given ue exctellent

e~ples.··1a pe~mit·ted at tna aonool when lead1ll8 th.e subj$ot
baolt to the priruU.pal key • or in th.e minox- mode at tb.e extreme
end of' the tusue"' Tbis prtvl.lesa should ·not be abused, tol' 1n
th1~ case there 1s alwaye a ditf'erenoa or ttwee aco14ente.ls
b&1rvveen tbe signatures of' t.he two keys.,

• I .
J50. For tb.G
.
aaine reaaon we nave!' sound the answe• wnett
a. .,.jor aubjeet modulates to th.emeti:tan'b ott dominant keys 1 or
\ .
 311

when a m1n02* subject m.odula.tes to the kets of the dominant.· or

the. unaltered. seventhJ he:re the p~oh1b1tton is better undettt-
e stood than in the pre«~ted1ng
oaa$, for 'bbese answers would.. cause
the fugue to modula ts 1ntQ tonalit1ea fx-om which 1t would be
' .
d1f'f1nul t to return nm.t\Q'ally to the J)r1no1pal key.
351"' Oertf;1.1n subJe(tts do not len.d tnamsel vea well, to
transposition from mode to m~de' suoh. a wa.jor sub3eot .1a .
barel7 :reoogn1aable .1n m1n~x- and. ~ae ve;-sa. ..
'52 • THE SUBJEOT IN THE OPPOSITE MODE,.. ftese d1ff1et.d-
ties generally a)!tise from lnte~s wb.iob the transposition
f:rotn one mode to another rendera d1tt1eul t of 1n.tonat1on1 'then
asa~n, 1n oerta1n sub~etts, ae a result ot this transposition,
'·

1t produ<tes 1nharmon1• $-ntervals or doubtful tonalit~J one .oan.

ea.eUy
.
eaoounter real d1tt1e.ult1es wtt.an barmon1z1ng a aub3eot.
.

ttmr transpo!ile4.• . rorma:rJ.y we i'ol'ba<le stUiients, 1n those cases,

to round the su.bjeO:t. in any but the. ~:t.noipal mode, to modtty
!.t,, or to mutilate 1t 1n a.ny way. Today,. however, we like to
I
ov~'fer.:nae;t. th.1s d:l.fticulty ~ and the student 1n th.a exam1na.t1on
wo1<l Ooii!Si<la:r hil!le&lf <'lhe$ted 11' b.ll were not given tb.ll ebanos,
; 353. ~$ best procedure 111 thaea -oases 1s a.s follows:
!

CONSIDER ANY ALTERA'.rl:ON PUOED BEFORE ANY NOTE OF THE SUBJECT 1

OR_ t»mERS'l'OOD IN THE HARMONY:,. NOT AS CHROMATIC, ·BUT AS TONAL;

.!., ~ .. , AS DETERMINING 'fHE MOMENTARY

•
PASSING OF A FRAGDNt.r OF
TaEI SUBJECT INTO A NEW TONALITY. .
I In tfanspoe1f1S 11M eu'bJeot 1nto the Opposite Wide,. eare
ab.O}tld.be taka tb:at the :c-elation of the passing tonal1t1ee to
 the principal. key le the same 1n the new kelJ' a.s in the original
k$y; t·n tb.is way we will get the most aeourate version or the
.e transposed subject~
Ke ~ o.f 1VI.I! d' c.vJtQ. do VI'\ . o.f A

4 £ ll'!:_~L~J
S- tY~VIst'c~..Qc!
; 1 1$~
to
;:ir¥; $ ..1 ~ \
R~l~b"~l\1\<\jov
.. #

1 \?

tCJtt•t:
+
'• )
c.f
.:..
~\ : t
IVltt!•~:.lll t¢.
c , 1t".-~
t ::rg
do't'Y). Qf C:

\JJ~,,rj; 1; p-m=Ef
'
In this el[ample we eea::tl'lat the subject modUlates to the
mediant; 1n transpt)sing it to th.e relat.lva minor we oe.usad tba
corresponding fragment to modulate to tb.a med1ant of A in order
to end th.a subject in the dominant Gt A1 •
:354. HerG is another example ot tbe same kindr
Mo.! V•\h'r<:.hod t() s--~ Dv'M.

1. Some aubjeets of tbie ld.nd ougb.t to be ~~b1ddanJ·

there 1a no example aitne~ of a tbeme from a sonata or symphony,
or even a simple melody, which belcnags s1mul.taneeusly to both.
mQdes) neither oan a fugue subjaet G>onetantl;v modulate ftrom
one mode to tb.e othe~J it 1s evident tb.a.t a fugue on suoh a:
eubj$Ot, however wall mr1ttEut, oa.n never be musioa.lly aa,:ls-
f'a<lt~ry& one never knows 1n what mode or in what key he wtl:t..

• tte~·
•·1 t nextu suob. aubJeata will only warp the jutrgm.ent. of '\ne
st .ente. unless they are put on: the1x- guard and shown tba t
tli se subjects are det'etttlve from the point ot 1tiew of mustcal
lo i<h
i·
'
.
'
 313

Tb.e following example. purely tb.eo:retical. 1a more

complEUU

,r
I
I
'

Tra.n.spos1tion to the relative minor gives tb.e following:

' \, . ' .

and: not· the next e~mple wtd.ch at f1:ret si$ht. seems correct
beQuse the !.nte:rvale coincide exactly half-tones for halt-tones:

aut it one 1 s guided by the ha.:fmon1o rela tton or the

various degrees included 1n the subJect to the pr1ne1pal key•
ii.G rU lllndGl'etand that the OOl'l'BGt IIOlllltion 11! the f1rst one,
andr that only in this do the b.anonio rela'h1on.a
i
o.r the. unda~-
sf1ood 1;onalit1es oor:respond.in each mode to the same key ot the·
su.braot.
/ 1nera 1s no need to add that this ser1aa or moclulat1ons

• 1s
pas~
rniy
I

II
i
through
.
'llhSO'.l'et1eal and that
taese various tonal1t1ee.
S.n :real1ty the SUbject does not
 314

355. In any oase, wh.en writing a. fugue subject 1 t would

•
be 'bettett to be warned a.&a1nst tb.EJe.e great inoonvenienoes by
-us1ng as aub~eots onlv th.osa tne•s wn~ob. lend tb.emaalves to·
oorrect and identi.oa.l transposition. to e1th.e:r mod~h

356. In the later chapter on tb.e general oonetruotion

of the fugue, all the axamplse :rtlltative to the applleat1oe of
modulations will be t'ound •

•
 351 * Only two 1¥\~t.e of tb..e stratto seetion nasa:· to be
p:r~aented in. tb.e same marme~ in aU ld.ntls o:t fuguesJ these are
tna fi:flst and 1as'h strettos ;,,.
!)58" Both should be in the p:r1nc1pal key of the fugue
and ba.Ve four entr~nGas., &nl.f tb.a last be:tn.s absolu:t.ely obl~s.ad

to' sound ei tner the subject ().~· the answer 1n 1 ts enttrety ..

The f1Xtat and last stre'titos 41ffe~ from eath ·other only
in' the dispoa1t1cn ot the enii:ran.ees wn1eh are ~loser tosetl:uar
1n the esoond.
)59.. The otb$Jt pa.~ts of the etretto vary aoeo~ding to·
tb.e aubjeotg one tan modulate rreelJr hera, and the humber of'
en~ra.nces
I
I
is not t1xad11.
II

oompo~e4 only or e.n uninterrupted suocseslon of oanons of th.e

sut;>3eot ·and answer, canon·s wh.1Cb are ·close~ and close~ tcgetnsr

:l:::n;o;rf: a:::t:al:::::~ve: t::::::u:~n:::ly

6 8
C
eo~btnat;ions, This def'Ud.eney is supplemented b¥ art1f'1e·1al
I
dances ..
 316

363.. The uonstruot1on Gf th.e etretto can be summed. up

•
. FollOW
a) mE CANONIC ENTRANCES OF TiiE SUBJECT AND ANSWERA
''
UNINTERRUPTEDLY.
b) STRETTOS OF THE SUBJECT AND ANSWER ARE JOINED TO

EAO!i OTHER BY STRET't'OS OF THE COUNTERSUBJECT •

. o) STRE'fTOS OF TrlE SU13JEO'f AND ANSWER ARE JOINED TO
EAOlt OTHER,BY EPISODES,
Eaoh. ot these methods will be etud1ed sepa:rately.
362. CASE I. CANONS. OF 'raE StmJEOT AND ANSWER WHICH.
FOLLOW UNINTEPBUPTEPLYI
a) we construct a f1~st et:retto containing four
entranoee, as has been previously explained (sees. 169-170.).
·b) Immediately aftex- the. first atratto we begin the
se~ond.; which 1e followed by the third without 1nta:rrupt1on,
a. 4 so on .t.o the end. ·.To avoid mo.notony, tha auccess1ve . strettos
ca.~ mOdule. te 'to any ne1gbbor1;ag keys, remember1ng • however •
th~ pr1no1pal tonal1ty ot the fugue.
WELL TEMPERED OUVIOHORD, f!f!jp.Q l•
I 'I\-

•
.I
 317

_.:·

• ::;---------·-
 318

. 363. We will reiterate nere a eta·tement &lready mae&.$#

fb.~:f example a we borrow fl'"om the workd of the great mastel"S
e. never follow the eonn:ational outllue of the sb.cool fugue.
Tberetore they ~hould. not be etu.d.1ed. r~om this point of view,
but ~ather as models ot mus1<Jal and art1st1o forma.. Even 1n ·
tna: school fugue one can tQ:roa himself to attain the style of'
and .to speak tne language or Baoh and Mozart ..
What anould be avoidsd ab«W"a all a;t-a those extrem:el;v
empty toJtmula.s. banalities, and convan.tions which one is
aoous,omed to meet in the aeadem1o fugues. but which ·a.re no1i
oonunon in the art1at1c.. Even by adne:ring to the tt1g1d1ty of tb.a
conventional sollool. tuguef one can p~oducs music, and this
sbo~ld always ba ·the a1m. of· th.e m.us1e:1an.
364. It will. be not1eed in the preceding example that•
eont~a~~ to the rules of tne school tugue:
e.) The first st:retto·px-esente o(.lly one ent:'ance of tba
. sub~ee,t,. followed by tbree .entranoee . ot the anawe:r.
b) !~ tour an~anoes appear at unequal distances trom
th.a head of th$ sub.jeot.
c) Tbe last stretto ha:s only three entrances instead of
the · ouatoma:r;y tou~ et

d) Tb.a va!fl'i.ous strettos. a~· presented 1n a:rb1trary

o:t'd$%- a.a :regal'ds tne prox1m1t1 of' the entrances"
e j
l
3($5. Summing up, 1n th1a example the a.na.log1as witl\ .
wba~
I
we ~all the school fugue are tewf they oont1na themselves
.

to tna1
'IllS$
'
or a short dominant pedal (meas\U'es 8&9) separated
 319

!
i
by iwo eat:ranc~e or the tonic pedal on which the conalueton is
I

bu1J.t,.
e suo b. Q$ l t 1s •. however. this e;na:mple should be carefully
etuUed- for tt·ts a p$rt"ect ii:)mm:Ple·ct a tru:o stretto etyla.
students. in their a~adem1o writing. w1ll draw tnepirat1on from
tb.le, ~ven thoue;b. they must avotd ~b.e l.S.betttiee of' writing and
for& wtlioll Bach. permits himself and wh1on wEt ·would not allow
1n the school ...
.,66. STRETTOS ALTERNATING BEHEEN SUBJECT AND COUNJfER-
&UBJECT. ·
CASE II... SfRftTOS OF THE SU'.BJEOT .AND ANSWER SEPAllATED
-
BY S!RETTOS OF '!'fiE .QOUNTERSUBJEOT•

After tmv1n:g bu1lt the fSJ:ast atretto of the subjeot and

answer w1 tb i te four <Jompul.eory eBtranoea, Wt.l find the first ,
stretto of tne·ccuntera-qb3eet·wb.1ob. S.s 1mm:ed1e.tely tollO"wed,by
tba, second sii:retto of the EJU'bjact 1n a ne1ghbor1ng key. t.ehe
second atretto, as b.a.s be$11 aa.ld before, etan ba only 1n two
parta. wnat.her eananio Qr not~ After tn1s ae~ona. evetto
follows a new str.atto or the oountersubJec\, wntoh 1s followed
1n 1ta turn by a third etretto or the subJeet 1 and so on to
tbe1 end.
'
:561. F:rom tbia point ot v1ew fW&~a 29r WELL...TIWPERE:D
C.UArvtOHORD, 1e botb. l:nte%'eat1ng 't:md 1nst:ruot1ve~ We present 11t
:e in ita eutit'ety, but in-open aoorea
 'S-

---=-----·
- - I
-----\+--lt--- ~
..- .
'; r-, r-- j ....

, -.
- ~

-- -----·--
-

-
···~

..,r.;..
.. -,
n
~
"' , , ,.....
, T -;;,;
.,;;T
___,_ ,_
,. --- .. .

-, ' -,
~..,...

~,
I •
... • \

D -~ y L-' TT u \ \ \..! \ es-t.-:--. :::?!-

...... u- •
"\
'J
.*'
.Jr l J .
"'
-'-
,
.... ~
- ..
; .
I I
-;;;;;
.....,, ' , -;.
_iff:.,
"' -.,., ..,..
•·!;;.- .

~
C.• s 'I ? '-' 1 l ... u i I

-.----
-·- -- ·-·

-
... - .

,- :* -
'._,. ·----- --···-
-,.,........ ,
..lJ f-·o -,..-
r"o.
.... -~,-- -'- -.r;~~ .!'
·-··
--,---·
•
.
~
.....-,
,, .,
-
1\-
..,..,.~ -- ~-~-
t..:.-'

..,,
ll l
....... ,
t,.:.l

--
\ o·

,
-e-
I
··- 1---
-- ~- ---·
\

,
I _}_

--------- -
I

..
----~

-·
..
-
.

-
-~,
<'I
v
u\ """"""'"""
\ ,; \ I Of'
"'
(;1
 321

,..,..-
.. , , ..,... 71'
Htrt-=-- *' .I I "
'I ;ill-
...
-
~

M I --

-
LJ \- I
/
IJ V -.. ...- •I-.
1--M.
.'I!_ ,. ~-- ·- ---
" "'
- .
:n ..,, ~~ "T
-~ I

- -
lol
' ~·

~ - ' \ \

A-

-#------

u.' ~ \
 322

,, ..,'· ~ . D»
'Y
_1
17 -:A
----------- -+--~
.. ,
""'
.-
II
':1'
_j
()_L
-~ !L~ -1-:--~-f - _,
------.
-
.
·6-
...Ill' \
I.J
i)
"
II.
b
"f'
~
,, , ,
J!...rt \ ....--,
, "' , .... I
±+'+
-L
,
, ,
- ---=
I

-~
\

-
T
....:
-~

111'
~
* .L • . ., -

\ T y
1 ~- -
'r' ., - -- ~

,_, ....
,
---
I
.,. ; ** ... . ~
--
- -------
\
.
I
f' #-

- I
.Jill""' 1.
• , _,_ I .... -

~· ~cJ.'
I
~· , " ' LJ.--' -
\ --
0

_,.._
, #
, .,
-. ---
7 •.
_l _l_t_ ,1!1" .,. _ .,&J #
,
\ ........ ~
~ ' ~· -"-'1iil ~ • -
--~,
1
L.:-1.1 \;ff' \
\
; c¢· ----·""~ ·-#-;. .. -- A;~--
::li: -~:.t
~-.-
\ l L I
...:.- I
--
.......
"' ,
~£~-
--
i

f.l
'(

'
-f-.!--\-
~

- ' . )--- -
r.r-!+~-
'+ ..1'2.. ...........
=:t. :¢ =i:t-r-:f.
1\
I.J
. "U
.. ="" ...I ·--"~ , _ro
...., , Jo'
;
~-
+ .,_ r-.
,._
I
. -----
---
-' ~ - --·-----
,""
.
I' _.:![ I ..
J"" y .l . . . _ .,..... --- - --

. .,
..

s;.
l T s..- ____,...
. ~
..,
....
.u
..u.
'
~

w:.,.l. I \
#
_J_ __.,..

ti '"
I
- -
- - . "7
., .
_l
..

..---;,--

. J. .,..,
----
.-.'
II' ---···-
-"'I•~-
O'.J#.
- --,-....._ ,. .:t I ~
71 ... "1. ::;,_ ··:-=g-
..
_.. .,.. _, ,..,..., _{

-
I ;

-
I f _!_
tl ,.t:;>
-~· t , '
\ &-1---
l!.Li 1. (

_M'
e
~
\
,
--4-'" ...AJ_ - -- •
1--- ··,a..-·~
,... ·- 'f.1,J

-
#
~---~
~-
,
uv
tJ .. .,
·~-
(/ I
' \ ' ._,:.
I
\
-(~~ -:~;.~ .... 1:~ -
n
(It;-
,.
$. •
'
. .-~-~ r-+--· • ---;-x:-.;.
..~- .Jl •
I ~I• -#11#·" fl' a_"\_'"i_
~
'- ·t-· .-tt--;;-..:
,
Ll _\
- 'I \
\
I'll
lT \,...loooW - 'I

\ I~
'""-
' 'iT
_,., >I
• ')
--.,. ...
...
r..
r--
- ' j "'-"'
!\ _l
"' .,.
"J
..L.[- <? Ji·-~-.
L. .,.
...e ;.
~

'IT
.J.....t.:. ;;J (.J. I I 'J \ "'
It-
_.,.
'9 ., ~ ~,__:_-
'
, -··~ • ,. ,. ,. ,y.-.
!'L.J. ~
' .. +-----L- ,..• - ----·· 1----"
w-r: .....
c;::r-1- -#--ill
•.,
_L

~·-\----:.

-
r
....-'- ( _,
- _l_}

\
~,-

""
u
u.; '
U,....:..' \
 t:::_ C>V\ C J \.> S I 0 "''

1\ ..-... -"'- , ... ,. --c:;-,-· , ~"'

-e
# ~-

~\ \

.. --,-·····

--
·-
---~- -~-~ '\ .
-------~'-~- -
i -- .
\ \

368. It w1ll. be noticed 'that th$ oountersubject or this·

fugue ( wh1ab:lt by the way, ie not· _vn;'itten 1n double oounte~point)

1e ,taken from a f:raement ot the subjeclt

I ..

Sines Ba.ob. gave it· the role and obaracter of a. true

oountarsubj-ect, ·we nave no·. rlgb.t not to- oons1der 1t as sueh,
leaving it to· the· s1nadent to apply» in the academic style, to
the s&hool fugue, ~ne same proeesses used by Bach ln th$ free
ats!l$.
.
!he 1nd1oat1ons given 1n this fugue are auff1e1e~t to
e~ble the student to make h1s ~wn analyete.1

.; l. In ·this example "- t. will be noticed that all. the

strettos of .the ooun.texrsubjeot e.:re called ppleods,s; this 1&
often done in tb.e ecb.o~l fUiU$ • and w1 th good reason; al:t;l:lOugll,
as wi.ll b& seen from see:£:~. '1l. J!1 R!.!l• ,. the real episodes of
th$ stratto ne.va an entiral;v d1f'ferent charaota:r.
 /

r
;,
..//•
'369. Here, by way of ~omparisaa, 1s a stretto written
by .one of my students, on a sub3ect tne possible comb1ne,t1or.\s
of ·wb.icb were etud1ed at length tn se.-s. '211 !! sag t

I
s- .&
• 0 "' A
I ' - a-, I~ I ""' '\ tl

\
,
.... .,.,.
I
I

t;;; • •

\
/ ' J"
+~1---t----· - . .-. - ~- .I -:- ~~--
325
 326

.. ,.. b ...
. ~ b 0- ~ 6, , """ , , --

•
' --"'-

. , "' f'J'
_J,_
:1 I I v
__l
' "
I)
' ---
\ M- -6-- , p...Q I ...-
. f)
, ......
-\-~.=-:-a=
--"'-
JL
-'- - I ...
~

:
~

~ -
-
j, t .Q. l
JJ I ~ _, ~.,
.-~---t:Z~
-"!.
0
"'

..
I

"" ,
,-,}, ..... , .....
L"l•
VJ•
-" ' I I
-.-
f\ Bt~

-'-
··--

.. --,
----
1'1'
k--
, ~

l ,l \
--
,.,
Q
I
A
"' u, 0' , ,-,
-:.:...
-.., -
I
\ \
\
t \ \

/; , 6

- () 0 hr. ..1J..
/1 ~
-
I
.. ].,._ (7
0.- .:.- . - o- -
'WIT
--

~
Ji)

loll
:rrn
- ,. .. it~ 4-, •, b+; ,
-. T
,__12 0 .
,...
I
..
s-
~
-__:§r_,_+-
. -\ I - \-y rt
,;-, ..
-~··-
+
~-
:t:
I- r-+-.,-~:-r- -:-\ -~
_Q,,.!,.
-
'
~
-• ,,. s- 1-J.. ....
- L r:;;, , 0 /_,
-'1 ....
..... ,
'.11 -v~."' w f)
0 -
... .. __,_J_
fL-1-- ... "" -\ -r -1-T -
.v , ·~

-.- '
'

•T- .:~ .;--. ~ ~

-~·
; ,;
a ----
--
If ...
.Ill.
f+-- ~ ----- - 1--
-
-- ~ t \

.()
U#
I
t'

•
,
\ \ '
,
0

....w
I

,.. ...... ..,.,

IP
[
.J!..
'
.,..,
I
--
.., ,J.. -
0, +
\\ I
;.
:_::,~=-~
--\-
(> p "' , ~
.--- .J,.. + ... --
. ____:____
r
I \:<9

, ;

l-~-
- \--
,,, J ,
t,J_L_, I
' '' \ \ -·~
,.,I
--
0 L_ ,.:;;;..---~

•• - \ -- _-t =r~---+-- --= _JL

:::f;: :?"'"' :e: > .-==-

 327

.. --.··
-------~ ..
----

I
I~
 310. ;ey ·refering to seet~h !77 ,iit .~g • on:e can under--
... ' ,I ~ -~.

sta\ld ·ttu~.t the ·author tute by• tl$ lllSa'tls ·ueusui ·au· the combinations
to wh1ob.· t'l:da subjEJOt lends ltsalt#· ··· b.a ooul4 nave prod.u.eed a
I

muob. m.o~s cl)IDpaot wo~lt ·by using· cn:t.y- atrettos ·or the aubJeot
and! a.nswel' * w!tl:tf.h.lt· using tt$-nons · of the countetst.\'bjeot. ·. '!b.e
f1~st stl'atto, tor eftmpl.e. 1n.ataad Of beins formed 'by 11?.-
tenupted antrancea,: woUld haV$ bsalt tmp~oved t.f' 1t were
prfi:Jsentea in 'bha to:rm outlined irt sac, 289-'b.,. Ttla last· stret:to
woUld also have baan more 1ntereat1ng an4 more eusta1nsd if ·1'
had been ·wlt"1tten 1n the style· indteate·d in seos. 291{& 29!h · ·
·tn spite ot thesa,eli~&ttt 1mperfeotlons. tnev&table in
tl:la work of a stud$nt, lt .would b$ wall to analyz$ thts st:retto
a.n~·pra.0tice constructing ·e1mtlar ones• ·students should b$
guided b.t tne analyses made tn, chApter VIII e.nd, tak1ne tb1e
eall\a subject, treat !t· with···dttteran'lt ·eomb1nat1ons.
311• EPISODES OP 'faE St'RETTO •
OAmt 11~. · S~P.ETTOG OF THE SUBJECT AND ANSWER JOINED . 'fO
E.ACR OTHER BY EPISODES" ·
Wb.an. as is often the oa._se 1n tha atthool fugue, tb.e ·
aubja~t does not lend -itself 'o a suttt.o1en1i number ot oanon.io
<t.Qmbinattona to enable one to follow tb.em uninterruptedly ey
si:rettoa of the $Ub~ect and oountersubject, 1t ·1s ·custuma.riy, to
3oS.n them by means of episodes.· canon1c stX'ettoa, O).'t by ln-
• tel':rupted Emtran.Qetr of ttl$ subJect and answer.
372. These epteodes ·.a.ra combined the sa.ma wa."S a$ those ,
wilion precad th.e stretto~ a:aoept that tba themes .ah.oul.d ba very
ello~ e.J bol!Towed trom tho hee.de of tho! aubj'aCt, answe:r,' or
.tOUfit&rsUbj$ot. Also~ their atru.<:J.tUl"a• re·caU1.ng as much a$
pase1bl.e that ef tne s'tl'et:to, ahould usually be oa.n()n1o, ol' at
I

l$a.ist present .a con:ttnued overlapping of the en'trrancaa.

:;73. •lfl. these episodes one 1s f:ree to cnoos& bstween
di~eet, Qontr$r;v, · l3l' ~trograde mofiions, a.Ugmentat1o.n. and
di~tnuttona The btttef$1.' tb.ey e.ra tho bet-tel'l 1t they e.ra
ov~rdevelopad trhey wUl det:re.et f':roa tbe interest a~d deatr.or
tb.$ tnOV$1llent ot tne st:retto by too wtd.e spa.o1ne; or the entra.ntes
et ttle eubjeot and answer"'
'314.. ·on the other b~nd, if one wanted to reflect upon
tb.~ resources f':rom wh.1ob he had to draw, in most subjE!ots those
of contrary mo'bton:t ausmanta.t1on e.nd diminution applied to tb.e
subject and s~1ng a.s·real eomb1nat1one of strettos, b.s would
eaa1ly undar~taf:ld the.t there was no need to refer 'to the
e~i.sodee • a.n.4 that the tnS.rty or fou~ty measures compr1s1ng tb.e
ensemble of a stretto could easily be tilled by a ser1ea of
strettoa comb1n1ng the abova-mentlonad devices.
175· Hare is an ·example of' a scb.ool stretto includins
two a~teodes on the following subject and countersubjeota

,., ..... ..... , c. . -

,
~
._... , , -
..l·~ • ..
()

' ' " .. , j

..
f
\, 11>1.

"
11~ ~-

... \.
e.
~-,

·~
7

~ ... k ~
- 0 .... i- 0
"" . ,
-
A
,.., " ,.._
' #I. "A #
, , ..
-F.
- ""
~

-
A I

• ~....,
 330

'
'i
~­
1---- __ ,13___ _ o- - -(;-
_,
-~

-.- - -
--

i_}L -•
,,
v
i
1-- --~
.--1-- -c- -
~\-
- -"" 1
(/

~±~
.. _

::_f-_ ~----~- _f - L. - --- --\

, .
• I
-&-;,--
---\t--o=-

-.
-,.
---
1- --

,..
"' ,, --~-

-------'-- J ' ---

--1--

'"' • ~ s- T 1---- ~- IL f---~ • -T' --~-- --t- . \ --- 0-· i-~- .

''~l2 __ i'J:!:...--- ,__ :_~:~...:- _- -:...--\ __ _L~-=~-=--~:_:==-~~-~-=--= ______' ___-+-,_-----1-\F~----.

EP.H •·of
.....
 331

'5-

--,--c
E'rd--
tf~\~ tif A\ •
"'
u
(>
,,.
\
~

v T
0 - ..
------
----
. -- ..
.. ·---
-----

f) \ I

. .. -..---- '-·'!.
I

• •
''J,
• • .t)
"" • -l:-- .,
,, \n
.
. ' \.1
!.tiT
.. ' ~\ --r-
\ H• \ \
\
.,
{
'1..!
·""' ,
.... ,
,I \ I\
.JIP' u . ::;; -.:... - "
1;7 -;::

-·~"'
f)'
'l , -:;,;:·-
I
•
:: _,..,.
\
\
I I .\
·o
"
\ ' \
---. -.---
·fr~-
':"J!
;,
,,
0
-,-a
'(.
~-
C>
_\
....
-
~:~
j
1,;'
- Cl -b 0
. ,
I
,. ,~-::_
..

" \ \ \ \ \ \ I \
\ \ \

1:-. -.
,, -.fi
n
"'('
I)

\
.., r.
\
(;_ -
- - :=+· 1-·
- --- ....
- -·-
" -- --
..
. --
n v [')
~

D ...
L"' -'-
~ ... e. "'
'
...
\
-.I
# .,
I
.!.,. ..

'
_v_
.... fj _ . l
.f.l •

-•
·-;; -- -.
_'(__ :~:-
!."t"
~--
I-~ \
\ +-
..,:,. L A- 1- .... r
' ---- .. --
'L
1·\ n ' " '(!)
.:. - -, _!_ <I
--,-·-(}- .....--------
----
u 0 d -·
""""' ·-·

'~ . \ \
,.\
...... ~
<:. - Ot # ..
" - ;.,
...
·~· o· ----
---
, -...-
----

...
I'
-.v ..--:;;-
~
~
T
")\' -:;;-
. I
_0

•
v
\ \ \ \
\ II l
'
 ,.. ~
1\ II +-\~' -·- - . - 'i:::::f": -0 ~---'---~ -.,-' ,
..,"" ,---
I T
-lft---1>· i~ __ _ ,.-
I \_ ---1--- -\:- .. '
\.
c ___
0 --~ ----A.. 6----
_l
;I
-----
" -
I
-~---
_, , , --c-
..
........
.. ·- t.>.. , . ~ --0-+--..., , ,- 0. .. ,
---\-- --L\---1-- \- I

--~ .;- 6---r;- ---=---+--~--~'"'·---- ---

.,
v
- "-
.
-r-. ~' \ :1--- t- - \ ,. "·_-.--+---

316.. JOINING 'tHE EPISODE WITH THE STRET!O • Analysis

' .
snows that the epteodan in the predad1ng atretto are conet%"a<atetl
~n~_manners ana.logoua·\o the episode ln.th$ second section of
thei! fugue J thEJY . d1f'.fer only 1n tne great brevity of tb.e themes
and 1n the mo:re eompaot wri t1ng.
Themelodi() plan ot the :t1rst episode (beginning at the
twa~tth measu~e) could be flsured thusJ
S- CoY\+.
0 ----
I' f) - ·=t ~ ·<r---- f--1;;-o ·- -- ----- -.-..r;- ~ - ...
~-'( -· .T
v~
.\ . \- . -·_\ -\-· \ - ·;;- __c;. --·

~\~7~ · ·=1li;: 'I~Jt-p_t_=- ~=-='~": -~ •=·_ -=·_ -~ i- :~ -e=_-=·~. :._-= . :._-= _: =. :.i:~-. :.-= -_~;-= ~- =- _. :=~- ~-; ~= ±-_ = ._- ~-: Oc-_\=-_ = -_ ~= _-= -~ -= ·_-; ~=-_: f:~· =~ \-=-~ - .- - ~ ~=- -~-
I

.... :=
. . :Jol:"__
~ v 0
l-1 ~v 'I'll c. II\ 1 e IS~ .S 1 .A ~ · +

Tb.e four vo1oetJ 1m1 tate ea.oh other and tne· free parts
are: borrowed from the eounte-rsubjac\.
j 311. In tb.e seoond ep1eode tb.e melodic line ie in the
aopranoJ tb.a alto and tenor 1m1tats each oth.e:r, and tne 'ba.sa
I
itn11tat.es itself"
 ., .
i

I't will b& nottoed that ·1n th1a episode:

a) The alto ana tenof sound S:ml ~tions ot the head of

• i.

thl\:1
ar~
<

~nswe:tt
'.

tb.a foundation
in diminution;
or
1m1 ta.ii1ons 1de:nt1oal to those wb1cb.
the preceding stretto.
b) 'fb.e rnelod1o line or the stretto cont1nuas untnter"'!
:t'ut'tad ·to the third stretto in a manner wntob. leads na.turall;
to: the to~th. entrance ~f \his strettOJ 1S.k.~w1se tbe free
pa~t.s·contintte 1mS.tat1ng the b.ead of the subjeot and. answer in
d1~1nut1on and 1n 4treot and aontra.rr motion. ·
378. It is well to combine the figures or a.n ep1sode
ot a stret.to so that tn& epiaoda aa.n be ~ontinued -uninterrupted...
ly by a stratto (oanen1c or not, free O:t' :real} & this g1vaa
muon more aobesion to th1s part of tlle f'u.gue. The effect is
I

stP.l 'bette:r 1f a snort episod$ presant1ng the head of the sub-

je~·t in contrary motion 1s Joined naturally to the st:retto 1n
I

dit-ect motiOlh
I

i
$X$J1lple ot an episode oonst~u.oted in til1s mannaJts aff'eot1ns
th.~ form or a stl"etto 1n oont~a:Jey motion, tl:l1a episode leads
'

naturally to tb.a second at~etto of the subject wn1oh seams to

I
co~tinue it th.ust
i

l 0 a-
·~ ~,.
. ·_.__-_· ·-----. t \
..... ----~- ...
i:-~------.-w---)'-i·~-t±--.
---~----=~-
~
= [J.\ ·t , (__::-~--:.·· -~-···1
 334

.,., ..
..
...,.. ""
.1. .g;.J.P

~
~~

~
.....
,. "
-
....
'1:.:!..!~~
__ . ... ....... ,....--,- .
.

. " ·~IJ
r
' ,\

4-"1.:, -~~
\
_1....·
-T---·

'
·n -.. ~'-k_ .. • _.,...._.9. -- ~

1--7- ,--t-r-; .• • L+ ;•-----}- I • .I • -

b
I~
.. , ._,_!h. "\ ±~r\ J-1 -
-- -·=~ f-.-\
-~-:t~·
~
I~

-
- -~
f,..i
(F'\ ~
• .t. • .'~,

····c;; .
II..

+=~~-------·-··----- --
#
;;-----,-....,._ ~-~-r-~~ ..l. ..L ,-····w;;--
. -·--o-.
:1~
-
1
1.4 ' ------ It .• #_ \ • - L __L II..

-
·u,- I ...ll'Ll. iT

....
'-
r
·-f--,...,
s
~~ "
~-h· b
.......
"''- .. ...l ____.._
~

,
----.....;;; ···-···-
J!Fo ·11. II\ --...,.;
'li'
';I~ •c'j€. - -- . -~- =n::r..l-~
" __l
- --y---
- - . --
"
·-
 ,19... CONSTRUCTION OF fHE ENSEMBLE OF . THE STRETTO • lin
general th.Eii •onstt>Uetton of a etretto for a school fugue ee.n
be 'tSUllllJied up as tollows.J-
1 •
I
I

a) FIRST SfimftO-A STRETTO CONTAINING FOUR ENTRANCES

COANONIO OR NOT), ~HE FOURTH OF WHICH MUST SOUND THE SUBJECT
IN iiTS ENTinE'nJ IT MAY OR MAY NO'r BE ACCOMPANIED BY TRE
OO~TERSUBJECT. THE FIRST STRETTO IS ALWAYS IN THE PRINCIPAL
~ OF THE FUGUE,
b) EPISODE -(OR A SfRE~TO OF THE OOUNTERSOBJEC.'f fli!rH
A! ~S'!' TWO ENTRANCES} 1 LEADING 'ro
<it) 'mE SECOND STRE'!'TO- A STRETTO OF THE SUBJECT WlU OH
1
MAY ! CONTAIN OlfLY TWO ENTRANCES SOUNDED IN ONE OF THE NEIGHBOR-
ING,KEtS.
d) SECOND EPISODE -SHORT AND COMPAO'l'- OR A SECOND
I I

STRETTO OF THE OOUNTERSUBJEOT WHICH IS MORE OOMPAOT THAN THE

!

FI1•. T.
e) THIRD STRET'fO- A SiJ!RE'fTO OF THE SUBJECT WHICH,. IF
 •i

I
l'f ~S fJ!HE L..4.ST • MUST HAVE atoUR VERY CLOSE ENTRANCES AND BE IN
; i .
'fHE. PRINOI t>AL. KEY OF ·THE FiGUE • . .
'rRIS LAS'! STilETTO Q.'f BE PRECEDED BY A DOMINANT PEDAL
' . I
AND BE HEABD ON. A TONIC PE~ALJ I'.e' MAX ALSO BE USED TO SEPARATE

'.fd DOMINANi' PEDAL. FRC»t Ti:I'~

• : . I
TONIC. PEDAL, OR If MAY BEGIN ON
• , . . · . I •
!HE, DOMINANT
.
PEDAL AND END!I ON THE TONIC PEDAL•
. ! . .
·: IN ANY CASE It IS dLI.. TO END :t '3! EITHER ON OR IMMEDIA TELl'
AF~ THE TONIC PEDAL. I \
'eo. THE INVERTED ~'lRET'fO.· Formelt'ly it was· the euatom,
' i
in: ·tb.a stttnool fugue 1 to pr~tui.Jd tba pedal by an inverted stretto;
!

·! . ,.!•I one bag1.nn1ng w:tth. ~b.a an.WarJ tb.1s ~Y st1U · be done,

I

provided it 1s of' muslea.l ~nterest. but it is not o'bliga1Jory.

I I •

381,. A STRE'i'To ANAl-rzED:.

• I
we will now a.na.ly~e in lts
,
en~1rety a. etretto w~tttenj fGr a aohool tusue; we wtU f1rst
I I
sh~ the aXpoa1t1on. 'tb..e is'tlbjen 1a of little musical interest;
! I , •
f'oJr I
this t:teason 1 t: will ~rve to show 'h.e student what can be
I

doP,e w1 th an 1ns1gn1·f'1<.uan.~ subject, always provided it lends

' I
I i . r

i~self to comb1nat1oru:t,. w~taout which 1t WOUld be impossible

tq hava a fugues j

f"X ~ o s r+'l () \il 1

I
~~::.:==r======:r.==-=::±:t======r:::==---r--,--:.----.- .. --·- '
~~=·~~~.~~·-~-~-==?·r=~~=t==~~t=~~~~==t=~~=t -- ---
lli
 337

li-

~'F~~~-~--
-----"' -~----1--___.!...---,~-1-#---=i~~ ....

--~-~~~----~---'---'---+-~ ---~~=
 338
~a
- Stv--tl.:t+~
C.'M\O'W\ 'of ~ !Jl de "f r-H

Cod~ P'\ Con, /Ill A-

, ...M· -1- " J_ . . --··

..., ,
-----
.4 lA "7:1,

--- ... ~

-
~-~--

-7ftT _
~
'A"
--
,
'7"•
, - .,-.
(.7~~- ....... ...
• + ,.
' ~
.. .. .. ,
... '-"""'
~·
-,
~
.... .L
~.l; --
,,--
0-.f:
----- •
"
-
!;{" TT y \ ,
---.--
I \TO
•
I - 'I_ t:~~~
!
:#"\ ..~t..
'"lf~
-R-- --------
! 1.,{(
, ~ 'h 0
- 0 ------
'JL.6'
I
_jj_,. ,.,
, t) :-i~~;:.

-
..w- Jj;6<

il \ -\ \ Tdt \ H
l- I \
--
\
-'1"V\.1
' ... .. ---n :-.:
' _. -r.____,
tr ---
""" "' \ \ \
I
I \
 339

\
'· \ l.) I
l-
~~-
A
.., [ll ··---
,
\"''T \ .\ \ \ \ I
\ I

• --4 ,
f~ ttl\ chM'

-
., ~-

\ \
I --·~·-
, ~ l~-

II
()J

- - --+--· ·--lJ-·-- 0 .. -u
(;-- ..

·- .
~L-
0!!_ I
I \JT
\,
~ , .. .... .U.'

T
\ I

.
, ..... _~
',
,I
-
' ~

H- ... ~---t -~L -t-·

1-:..·
. . -.;;,· ~--b, ~::--
,,.. ' \
I ""' v
, --+--·
i if.J
-fa--
\
~·
-+-.-----Q· - ,,
~,---
... _~

,
_J
.. J .~ \f~fS
. \pt:..ur,· ·-~ "5 ~ ---h-4·
f't'C>~ 0..1(

-
~

•
~
bD
..t
lit"" •
N(>~rS•
I!\>. , ., ~-
+L C> ,;
-~ ~ ·- --- ···----- tr ..
,
I
~

\
-;;;-
I> f>)
V
.., -· y-c·
I \ •
~ .lo~ 1-·'·~ \ 11'1\ C
\
+.,.- eh"'' 1 \ \ I f'rQ") c VII+ --t/)•
if
rr •
--

t , - ,
~~ -T --
·-
., .,. ·-.x. t··
.
. .. .-

--
·VI•
-;;:
v ,.. I
..I , ji~.p
'
y \
' \\
, ft#

) "
, ....___..,
., -v-~
J;; 1\

...... '-",
poWl p.Q d
 340

H of S
cbo ·-e.
-- -" 0 , .,. ~ .:... J. 6 •. /; -e- b
:y ____(')_____

•
-
-
··-j

- {~ -~

-~

_l
"
If
I
II',. I I ·-·
--~- - .... t--
..
:v J..o
""'
..!..()
, .(;.o .f.. lu , SdiWI H.:.ofs 0
-.
11.4
J I - 0 .

., I ... ..e:> '!IV _;.c., .. . \ ..

{ ,._ fl'"

~ c!IW\ I fvc..._o~~ J
- ijot~· \ "\ • ' ;)-1111~·

,..
;\j
Ll
1
.I> , If J'l.'.
a
-&..
~ - h. k{~:-~l-
I
" ., -'-
'
.
' I \

~-(l '.-f.o~ .•.

I I
\ -,
I
!.
~ LA ' ,
I
\
I
neu:: # "
}
v
--
.

-.
~
til'

-- .....
-.
----
• !;
....,
.A ..........
'
""" ~

.. ···-t-· --

, •
iL..I
J) ' ' \ '·
~

--"""·
;;-..
\ \ \ I

-
A
.::-:
,, L4
,.....,. "' _,_
0
.•
b\

i \ \ \ '
II
' ~~
:.-
'
!.4
"'
,, . \
[
-- -

1 ,\\ 1 \ tu~11C \'>~~ \ \ '

•
..l.
..{ n
~
\
.AI •

-
v
"
-
...-~.
""' ~-o .,
"'
-6-
-~
+•I
 v

--
l
---·-f--
·--'---
~-~-
1--- -- '--·
1-----
--!-- - - - -
o,

---- ----n -r P---o-- - - - 0(:)..__

I --L - 1---~~- r ~

'
\ T\~\
.
--t:r
\

I
tb:ei f:irst atretto, _we will sea that. 'they dif'f'er not only in
i
'tb~
• I
d1spoe1t1on of tbe entrances. wb1ch are nearer together 1n
, •
I

tb.s latter. but also 1n ttle writ11J6 of' tile part.s1 - in tllt"J
st.~etto tn~y sound frasuu:i:nts of' the countersubject in compact
1m~ta.t1ons ..
I

Actually tb.a_ fir-st stretto,. wh.iob. is a sort of' sxpos1-

t.1<ln with oompa.et entrances~~' sh-ould not resemble too closely
the I

exposition at the beginning of_ tb.e fugue; by colWD.itt1ng

th~s error 1t would seem that the fugue were beginning over

383. The first episode begins iu the fourth measure of

I

th' stretto, and 1-ts alem.ants are borrowed from tile bead of
th~ aub3ect and ita eodaa the entrances of' -&he prinoipa~

tn+me of the subjectt

are equid.1ata1at mea-sure ro~ measure tt the tenor and alto 1m1tat-
lng :themselves while the otnar two pat-ts imitate tnemse.lves in
I

eonfrary motton.. ?.!he episode, baaed on a non-modulat1ng

pro~resa1cn, moduletes a.b~uptly to tbe dominant tn the seven-
!

teefllth measure, where the second stretto begins •

. 384. This stretto, 1n the form of a canon at the oetava
of tne aaswer, 1a in two parts; tlle othett parts sound aitb.at!'
tb.e answer in d1m1nut1on (bass, measu:re 17}, or th.e head of the
I

sub~e~t artd of the a.nswer in diminution and in contrary motion

(alto and bass, measures 18' 19).
· Tile third str.etto" mox-e eom:paot tban thG preceding,
presents, in the med1a.nt 1 a· oa.non of" the subject and
I
~tnSW"er at
tbe,octave between the alto and tenor,.
!
i
'!'be fourth stretto is based on a canon of the answer at
I
the: fifth above; 'this canon in between the base and tenor and
i
at tile same distance as the preceding canon.
385. The seeonda tblrd, and fourth strettos EUCceed
I

eao~ otber without interruption; an episode of two measures,

I
. i '
fo~ed from fragments of the subject 1n diminution, serves as a
transition between the fourth and fifth strettosa the latter
i

begins ta three parts; the bass and· alto alone sound the canon
wb1'h ends on a oadanee in the ~tno1pa1 kay leading to a stxt~
i

can~nio stretto o-r the aubjeot and answer; at the same tlm.a
an 1den"t1oal st:ret~o t.s outlined in d1m:1nut1on in the upper
two parts.
I
 343

386. 'fbe dominan-t p$dal, 'to wh1ch the sixth stretto ·

. !
joSFe (measurs 42), is much more 1ntrieate; actually' there 1e

• I

a ~1taul taneoas soundtng of

a) The subjae'b 1n d1in1nut1on.
b) ThQ bead of the subject in its original state.
o) Ft-a.gments of the countersubject in direct er
contra:ry mot1ora..
f

Wb.atever else may be said of it, it can be cons1der$d

i
a. qeveloped and compa.<1t episode f)fwhich the melodi.e ltne, to
t~ and of the f1ft1etn measure 0 could be figured as follows:

~-=¢: · ---=tt;
1
! i
·•·
\
\
6• \ i•· · .Wfl'ST·tli~ii
' ~ .
\
\\'\
..,.. ~
~ ..
..- •I ' -:: , ' ' \ (

·= \,
-.~
~~ ~
> -~~
---~--~~~v=- -..-t----
i.~
& b. ~~ -T=~~·~~:;." =:?Pf==:~~":
\-: - - :: . --v ~ I- L. ,~
L..,.
.Y .. -. _Q __ J

:1:'::::1=';=:=' I \ :\.\~
_____!__=!' ..:\ lf1
:p=_
'B··_,. ·-' ••
i 387. Without f:»ata2:'1ng into detail ccmcarn1ng tbe
mu~ical compos1t1on of this pedsl 1 as we will touch upon this
f

i
in :a later chapter, we st.mply
I
want to say that this pa:rt ot
th~ pedal ls oompoae1 of' two gJ2oups or four mea su:ree Which al'Et
~ '
I

bamon1oally
.I and melod1eally sitn1la~ in their ensemble •

i!
ooqntersubjeot, in a canon st tna octave, begins on a double
I
pa~ {above and below); whUe the baas sOttm.da the principal
ttu~me of' the fugue; at the fifty seventh measure the pec!al
go~s to the 'tonic by means Qt e.Q 'intePrupted oadence, ancl
S'tl$ta1nt3 a compact ep1eode formed from. imitations of ttl$ bead
I
f
 344

oft the ~ttbjeot~ while tne malod1c llne 'begun at the tifty-f'iret
metaure continues in the two soprano parts.
1
389... Tbe tonic pedal ends at the end of the sixty-
' -

secr:ond measure_, and after four close entrances of the subject

I

an(l answer~ of whieb. on~y tb.e b.ee.d 1s heard (seventh stratto) lt

we:a.rr1ve at the end of the fugue Y~l& a perfect cadence . .
:590.. By carefully analyz1ng this stretto, students
! I

w111 understand that in none of the parts is there any mate~ial

I

tb.$t was not taken from. the exposition; ·they will further see
t~t, when one is adept at handling th.e various devices of
-co¥nterpDint, it is not onl.y the theme wblch 1a subject to
mu~ioa.l development.
I

391. In th.1a stretto# which is ·mora developed than

i:th~se wbien usually ohara.oterize the anb.ool fugue, not all. the.
I
e.miib1nat1ons to wllich tb.e subjetlt lends itself have been used.
We 1earnestly urge students to take this subJect and, after
1

h.a..q.!ng analysed 1 t metbodically, lOok again for all the canons

' i '

an4 imitations of the subject. answer. and oountersubject~ and

ao~uatruct another stretto 1nclud1og different combinations
I

fr'm tnose used nere.

I
i

!
 CHAPTER XII

THE MUSICAL OOJIPOSITION OF 1fHE ·FUGUE

)92. Tbe essentials of a good fugue are:

a) OOBTINUI'l! OF WRITING
. .
b) tnUft IF ST!LE
393. To assure me'SSlves of -tb.ase ~ondit1ons certain
tb~or1sts nave f.orbldden the use of tb.e perfect oadenee 1n the
ru$ue • resarv1~ 1 t fen.- the conclnsionJ common sense tell e us
thait th1s proJ:d.b1t1on ls needless ..
' !

! 394~- i'vldaatly, ·!B we vlew the ftJgue as an ensemble o:r

prQoesaes des1gned only to tta~ry a stabjeet to different keys~

we :W111. n.evw obtain anytb1ng but art:1f1e1al construction. the

th~ Joints of which shOUld be carefully h!l.dden by tne· usu ot
i
ce~ta1n harmonic devices well kn~ to mus1o1ans.. Cont1nu1 t7
I

of' !wx-1tiBS will be assured only 1t we ctompletely abstain from

i

t~ use of perfect cadences; the slightest stop 1u a work ot

th;s kind g1ves a f'ee~!ns of a def'!nl:t.e eonelusion. a" wh:ta.
in ltha sehool tugu.e*' we must arrlva only at certain well
ehosen points ..
 395. Entirely d1f'ferent will be 'the 1mprese1on. 1f' we
eOJ¥l1der t.he fugue as a development or a IilUsioa.l 1dea * BY A
- MUS~CAL
I
IDEA WE MUST UNDERST-AND AN ENSEMBLE OF R!IY'l'ImS AND
MEI.hDIC DESIGNS, JUST ;.,s BY. DlN'EI.OPING A THEME MUSICAlLY WE
!

- CREATING WITH Tim FU.i!'THMS WHICH COMPOSE THIS THEME A

' • ~ • • • #

SERti:ES OF UW MELODIC FORMS DEfti1fED NAT~ AND L<»IOALLY

FROfti EA CR OTHER •
:596. Viewed 1n th1s way tb.e fugue w1ll n.a t1U"ally appea~

as '-'t
I
really 1s& \b.e exposition onae t1n1shad, THE. FUGUE IS
THE. DEVELOPMENT OF A MUSICAL :tDEA BY THE UNINTERRUPTED CREATION

OF NEW MELODIC FORMS DRAWlf FROJrl THIS IDEA AWD EXPRESSED IN THE

S~ OF RmULAR PERIODIC· ntit'A~!ON ...

IN OTHER WORDS. mE· FUGUE IS A LONG AND UNIQUE EPISODE•

IN lmL'fiPLE
I
MELoDIC FORMS, IN IMI~fiONS WHICH GET OLOSER AND
I

OLOaER TOGETHER, REFERING BACK :PERIODIOAIU TO THE ORIGINAL

I •.

THEfE EITHER I~ THE PRINOIP~ DI· OR IN SOD NEIGHBOIUNG Km!.

: 39'f • I* 1S: 1r1 th1S fom. withGU" eJmept1on. 'tiba.t all .
the' fugues of the grea't masters are prasen:tea to us. and 1t is
I
1R ~bis way esp"1ally 'hba.t the fugwas dlffer ~om those g1ven
us b.a models 1n the sol\tool"' l.lel"a we have an art1f'1c1a.l
ass$mblage ot pleees Without l~fe or style--the use of formulas
:
· doe$3 not constitute styl.e-melod1oe.J.ly flat and void of' any
I
i
sort Of art1s\1C f'eellrig W OOlDrJ '\here, OU the eontra.ry • tb.$
pro~ass eontinues ioward a W$ll defined goal. with ~salon
:
and; life. so 1Bd1spenae.ble to any mtrk of" art. and wlth a. tm!ty
ot 'tyl.e e.n4 a variety of melodic f'o:ruis.,
'
I
 T&e' masters t:te.ve proved tbau the fUgue can express idaat:JJ
wej®st.ba sure to see there SGU1$th1rig Pre tun just's. proeess
ofirapeating formulas.
398. CON'fiN!Jif!' OF WRITING AND MELODIC LID.. Continuity
I . • • • . - •

or !writing in a fugue can be asall!'ed by 'the observation ot a

sirtgl.e pr1ntd.pl.e: NEVER ALLOW ALL Tim PARTS TO RE3T AT ONCE ..
One thilts moe' essential is 'tihe oont1nu1·ty of the mel.odle
line ..
i' This qual.it.y catt ba obtained if' we al"a -Careful tn
baq.cU1ng the -trans1t1onst and espse1elly those in which tb.e
su~.;ect, ea.cb t1me it appears. is a l.og1•l aont:tnuatlon of' the
i
ep,soda which preoads lt; llkaw1se~ tbrougb the free parts
wh~oh accompany 1t~ 1\ must prepare naturally the ep1sode
' '

'
wh~oh follows it. This can be br1ef'ly expressed by saying that
I

tb.' two ep1sodes must ,3o1D the subleet. one beg1nn1ng as the
I

ot,er f'1n1ehee. as will be sean from ime follo*'tns exa.mp~es.

Bach, Ol'ia.n fglle 1n .g JU.nor;
£-,.tJ 0 f ex,. •+ H 1()¥,. ~~ t: F·
L~ ::f
,.......
-+ ' n, .1.
---
..! .;;§! _: ..L ' ,
~ -- ...-a;') - L:J - #I -
I
I
••
!0 v . . --'· ·-· .. - - . -·-
.~ ,

----,
--, I I
_,_ ,
• I
 348

, T ~
. --
\\

\U
' ,J..

-
.c--~

\ ., :..::c:r=
\ l \ I \

·:;;:·
,
\

~b \ . ·~· ~
;fi::n 't_----'-------- =~ --_-~---. --=-
. -~----- ----_ ~.
I

~
---------~-
lW.I \ \ '
- --------1-- --

\ \

--.
.~=--~~-~ ~ -~- tf) -
-= ,--_---_-:
~
.---- ·--
" ~~--·- . ·-.;.--,_. ---~~- --==-·- T -~b;4{;;
w,
I f \

~ -n--··---
'T h
 349

.-
• ~

I
r,t-~------ - - - - ______# _ __,_________ - - - ----- ·-----;;;;;---~---- s::::
,J r: v!; ,u.._
' 'W
•
,.,. ,..--- --
A_ ,
..J!_'!l_ L I }
•
_!_ __ ....!
v
::uiii1:T
. .-
-,-+--

: •. Uv-1-' ~ \ ..........
'}]• ~- ---:::--===--- _---~----------- ---------
".1 1..
- ---- -- - - - - - - -
-----------
=
--- ----

<V D

- -.....-..------

,.,
-l------!-_=l ____ .£L!_~-
q
~- -~= -- =-0-, -~--- p' __'__:_ -~; =~-~-
-

• -...,...._---------
---------f--------11---
--- ~-----
• · '-.:., ~ u • ~
p

--,;..-··tr-.--1- .._r+·

•
 351

•
I

ms~sttrea~' the sopt'ano ad teno~. upon t.lle entrance of' tbe

I .
stt)\>jeot. ooat1nue the aialogua which was begun in tb.e ;Prscedir.ts
I
eptsode. Boti:ce tb.e e~essi'V'e barm.eny on tha f!ret beat of'
I
tta$ tenth meaaure. 'Where the bass is stlent~

a.n4ounce the t1gure ·of ·the fol.lowtng ep1 sode whiCh bsg1ns. betO!"a
i I

th~ subJect enaa~

In a. dl,e.logue between the soprano ana. al.to, wh.ioh con-

tiJ1.usa t.lla second episode., tbe subject 1e taken aga1n by t:he
\$tJOP wltb. e. melodie m.odifiea.tlon of the head,., In 1\b.e twen'ty-
f1~th measea ·tn!.s
I •
aamtit mel0d1e tralt serves, 1n thti.t tenor. to
I

so~d the pructpal. t!gure in tha thtrd. &p1sode, after wtd.oh

ttl~
i
soprano takes the head ot ·the aub.jee.t in l1ke manner ..
400.. The ep1sod$ ·wb1ob. begins at .$x.dple (b) o&n-t.1nttea.
un~nterruptedly to 'the en.cl of the tnt.ra meaa11re where tbs
sub;Ject reenters in the bass., The :same 1a true at th& seventh
mealsure when the teno:tt sounds the answer' . in tb.e D1ntll measl:U'e
I

th~e 1s an a.dmlrable 6/4 eb.ord (do QGt forg~t 'tba~,. hwevel"'

:
a~lrable ., they will not be pemi'htea 1n the emmina:tioa) •
!
'

I
fuglues eaa, as tne p:rece41ng onejf) be bea.%'4 entirely without a
l
oadence.. Ill some eases 1-b 1s well to stop momanta~ly at the
l
enaj or a melodlo ;per1odJ 1 t 1s then that tb.e perfeeif\ oadanee
can: be jud1tt1&uel.y used""
 ~is· tt$e ta l1m1te4 by the follow!tng condit1onst

• END·OF
i ..
, a) .Tim SUBJEGY .liUS'l ENtER EI THEF.. A LITlfLE BEFORE THE
THE .CADENCE OR A' LI'i~LE AF!ER, . .30
IN~RRUPTION ·IN. 'ritE CON'ltNUITY OF. THE MELODIC LINE. .
' < • •
mAT !HERE IS NO

b) AlfTER.A CADENCE THE SUBJECT· CAN P.EENTER ONLY ON A

NOTE WHICH IS.CONSONANT··WX!il. tHE Fil~AL·· CHORD OF ~iiE OADUOE
(OR VERY BAF.ELY WI!R A. COORD FOREIGN TO. Tat$ CADENCE) •
. ' .
· Stlll tnore rarely 'fie use 'the perf'eot cadene$ elthe:r to
lead to an splaode a.t the end of an entrance ot the au.bj-ectlt
!'

or idu.r1ug th.s c-ovas of a~ e:p1sode ..

I
I

; 402. At any rate• we must use the cadencE~ whenever the

m:tlt:lieal. serwe parmi ta
I
Q!i retqt.t1rQs 1t~ 3ust aa we asa pnactl.la-
' .
t1~ 1n l.angua.s,Eh !he followlns altamples will illustrate tnls
po~nt.
!
40'• We will see from the tollow!Jlg examples tba't · lt
I

is! not. ueoesaa.1J'Y to have tha subject reenter, after a per feet
l .
oa4ten.ee. in the key, ar evGn, 1n t-b.e moae · Q.ete:rmined by tills
eat!lanoe... The essEJnt.ial point. ts tb.a t tbe trans1 t:t.ou be aa:tln'a.l
i
a~ l.oglcal.; t'b1s r~t can be easily obtained 1f the ll$W
!
kef is ~ immedlate a.ecftd wi ttl t~ ~oeding key"'
I
 ~
I
!

I
-- •
t...-
'

1'7

b
li-.
-,
••
:-.
___.
• ~
...
..
--u-
--- •
... "'
b; • "
.. - ..-..
--,.
-
• #
s-
,.
~·
-l+if.l_
,_,.__ .
...
- ·•

-
--~-

~ .....:!.

. e..., -+.f.,.

..
a'""'
~
)\ ' ' .I
:"'• # . I
,...
• ..
A__.._
#
... ,
'
-w

I
w

to-\
\ I
.;..,
I~ :
··---~.±:
.-~ 1-
•;ia.-t=

.. -- -...
"' .
M
JA .If-.
"' . .,
~

" '. L( \ \ \ \ 1 \

;r "'T
\PI/

-4--;J~
Q
f' ... ' ""' .,
- ... - ··-·
--
\~I " " I
. l

•b) WELL TEMPERED. CLAVICHORD:r tpsue 26:

S' ,.,.
I
J
-.
.. (#

,.,
.J.. c.b. -I- - ~ ocJ,.

"
,.
"
... ... +--
"'
·~
..J.• J.

"""""'
.JJ
r ....
,/ ..•...
~ ,~~

""
'TT
...lr'P"·.... _,
,
--......-.....
-,. P.
114 ,
5"'
..
?-1vq•

'
..
I <
. --··
"j)'

-----:
.

..
')J

1-l J7 ~· C,oVI+•l\1\•
-
:
i ~
! "bl
i .,
,,
~~·"'
-.:;;;-
- -, •
\,_:_I
*
...
.:.1 L?-?C-:_
t- '

. _! ,
, •• ':1
-
117 u ·~ ..... T.J:::...J "
- I
~
 -
"l

f
, I

=V'---. -
",,,

~-
-~-

.... -~ .
----.
,
'I
w-·t-e.
-.

__ ...u__~-~~~~~~--~ ~~-~--------~ ---------

·; IT - - ,""',o " #- ·- -- "--~- t "._, ~ - -
1-+-f- ..If:!_~
r-__:~_t;;J_ - -~-y-+ J-r-\-__:~--- .....o::~=~---~---'""'··--:c--.--~_.,..,~·,_____ ----
:t- . ."'It-'
.; .~-~--~- # v - 1:::!.1

l-i7"'~-----,--~-____.:..--ll---~--------jf----A--=~---- --- .
~·;--,-~~,_-j;--,--,-, ---.,.-~- -----·--·--c·---~-~---- --..
- . ! . ! - - J {_______ ------- -----

1~-
1 \---~--t·-s-=t _--:-=\·-- . ____ ~ ?

404. In exampl.$ (a) the subject reenters on tlla las'

not& and in 'th$ ksy of the cadenoe.
I

I~ example (b) the cadence 1s in the dominant in relatloa

i

to the ·subject~
. i

•
In examples (c) and (d) • 1mmedia.tely after a oaden~e 1n ·
maJQr, 'tb.& subjeot 1a heard 1n minor.. A stu.d$y or the Bach

fugues wS.l.l snow the studen-t the possible variety cf en'h:r:-ances

I

I
. !
 I
intiereet in the fugue.
405. The school f'Ol'blds tb.e subject entering on a
e d1ssonano$, even a p:repal'ed disaonan~a, as 1n t;b.e foUow1ng: 1

I
~
.t
s-
. _.U;>
'S#<tl' "
.. --~a
"'
.. ·---·-.
I

- --
l....l t--1 . ·--

- - ... ~

w ..J!-. ....""":'+ .... tf ~+

~
G;:tc.__
• , _.,
f

. ,
"1....'0

, .,
'T·

L.-J
.
.n••"
"
Wl

'
I
""'
.~--
1' - ......
~

L
~
~J,.....,..
I
"If
I
~-
-.--If
.....
;P

-,
Ll iii. ..
----
-··-
··--:-.

l'f'\ ......
'!'I I 1T
•.rt:
'fi"
oj'j;C
.... #'
....
..
..
·-··
-·~

-:--"
w \ I l

Fragment a of tra1s example sh~l4 ba -eorreeted aa

fo+J.ows:
~- .....
,

., ~ I -
o~ 1n some s1nill~ ma.n.nel'. In tbis ease the subjeet enters 1n
a key and
i ~ a. chol"d tweip to those determined by 'tb.e cadenee,.

- : l. .. 'rbis preb.1b1tion apPl.les to al.1 entrances of arq part

wb.fitsoevar Which should enter enl7 on a. ®nsonanee . .
 Uu.s1cally Mle first vers1cm would al.ways be preferablel
the !probibit1()tt 1:\ere ·1n question ts ha.Niy plaustble; ·1t
sv1Aentl.y sprtngs ·from an·errclteous applloe:bion of' the prlne1pl-es.
of ~rmony wnioh a!'e not evident 1tt tb.~ present t1'ase. Xt ts
onel "b1ng ~ attack an tssol.$ted ~hO!'d Without stlff1tt1ent
prEi~1'at1ona: 1:ft 1s another to b.a.vt:t a melodio patrt ent:er on a
diesonanse., even ·prepaJ:'Gci by a n•ta or emm value~; when. this
pa;rjt; 1s lc:>gleally Cieduo'ted from· tns l)recedtrlg m$lody'" as ls the
I

case 1n the f.trst example above. wh1eh is- uons1derea fal-se ...
on the eontrary. t:rom a stxtie'\l.y musical poin-t of •1$Wif.
th~ secon.d. example i'S' not eoxareet# s1noe tne entrance of' 'the
sul.tject 1tl the soprano e.sst'Slles. through the abrupt change of
tla.r.m.Ony,. a cbaracter foreign to that which precede.
, 406. When t.b.e ett'bjeo" begi.lls on t.he dominant. 1n ordeJ>
I .
to :get to the tf)a1e e1tur d1rectq or by smmd1ng various notes
of· 1khe seale. w-e oftea ba:ve t.lle advaatage ot having it entex- 1Dt
I

til& fo!flll of a oadenee. wldoh happens wnen the subject sounds.

'lb.$ ton1o or "he medle.nt.-
Baeb, grsa.n F959e l.a A M&!9t·:
li'J.•
.,. ~ , .,.. ·' i • .... ·---·- .
.,-----.
._ di'

-
~---

fr-_1)'_ -

:ft ....
. • ., - .. -,.,,--
-{;.·--
"R v
..
L

-· • --&-- f-~~, "

rl .;
"'x-- -
•
.- ' ~ r~··

-
- '' """"""
1- \ Q.l.
I.
j
- - ·- -;;;;· - "

- 1
1
.. .,
.,- ,
---1.

, •
r. # .... 7 - - ----1

--
(>
lll fLJ
_l-r- , ,_,-i
;
"-' "
-
i
-J_. -1>-· -- -~
\~' ,......... I
"

~y
 ~"'-
•" • ,.
-"- ,,_
---
I I ~

- - - -- ..,.
-, - --
---
~"' ~
• , ,. -"" ..
I

,. , ~--~:;_
.... ~
• .I -1- ...,..

---
,.
1-1.

•'-
, J.
'if
...~·
..........

'"'
- ~
~ I""'-'. l , .
_,~;;__
-
-

. ---

----··
1/'r "';--- ----
• _j!"

-f'
_,ALi
u.-
_t'f
.... •
• • .. . d>
,,.,.
- -
--
---···

~- L _, """I ..,_
\
\ • _, • '
f (

407, 'fhe preceding process- is equally appl1eable to the

sub3eet, wi11en, beginnln,g tim ~he dom1ne.nt followed by the .ton1c,
sounds. the seventh, 1t belng ~Otul1dera4 in this case the tb.1rd
ot rtba perfect triad on the dom1n.ant ..

Bach, ~san Fggua ~n .9. :fla;lor;

I. .."!~:
- - .-

- ---- ......
··--

....
·'I

IU·
tl.
Jhl
'l,..l!~
"J.A<-_~
. •• O!!t<•
.- ,. J..
V4 • ,
.. ,.., .. ,.,
.. -&--
---c_ .
(P"'

~~~ ' ' I \

' , d> -

z
_\ 1\

',.I s-~~ ,,h>.Cjy~.e

<If
----~- ---
---·-
;"' . ,
~~~
_a
fj ;r
,.____,_+-
""' 'IV
' \ _.!_
u
'
\
I \ \
·~-
__&_
,# . . _ _A

.
p
--• <t-
t
-
• '9/F, ... 11·---+
• .• --f_:
.. • u.-; u,....· •" u.
' • y- .......
\ L..t' t.;.+. \.).f' ~· '-'' ··~
 -
-
. ---

,-

408.. scmet1mo the subJeet beginning on the tontc caf!

be blt:ro.dulifStl on a pel'fect eadenoe end1ng an episode; tb1s is·
~$ part1eul.arly when. the ft\Jllowins episode is built on a
different figure from that or ttw preeed1ng theme ..
Baeh, ~san Fu6!!e J:! ·,!! ~3!!•·
.!.b~;+, + .,.,
I 4
I'"! 1"7..... ,
.1. ~-­
l.Ji! ll':
w ~ "5
1-''--U,.,.-------------I-----------ll-------+-,•-t---/-
.PH- -- --, ~-- ,-;; --- \-!- ' . ~ •

--~------;;-· ____i __________ _,_.,----~-- , - .. - -

·-I--

, , __ ~_., - , - - -------~-r------
-
··---;;---4--~---

IL-- o I * ..1- -I -'-- -. . \...!.. ::L..I ,. , l , '-";T~

• ·.;
~----
, ---- --
 In this example tl"le parraet cadence· 1s a'Voldad by the ·use
of! tha ,'kb 1n the sopX'OO at \he end of' tllS first meaSlU'e, wtd.ch
pr~paras the ksy ot Ir major in Wilicb the subject must setmih
bu~ the perraet tJadence 1a ·this key qds only ta tb.e second
I
t .

me$sure
i
of the subject. which enters 1• the form
'
ot a cadsa":
I

(miilasttlt'es 4 e.ad 5) ..
409. ot the perf'ec'b cadence 1e equally justlfled
D.e use
tnithe mlddle.ot an eplsoie if the episode
' .
is continued ~th ' ' '

a '-1tterent figtn•a tban 'hh$ ono which was used to start 1t.
Baeb- pgan F91~ 1n S! Ma.,10;ttt

_}
- I I
D
I
u -
J.l
' I
1-=---....-,_,--------#---f--·-·-----··-- --·- -~1-----·---.------11--, . . . -·· ,......
H 1h-,,.J.-- ' , -- --#-· 9 ,._ _J~_J__ "' - , ~ v o---· ....117
'- T ~- t..,_ -----t-· ... ,_ _.. :_ -

--=----- ---'-!....:..! , --~-----4-~5..!_/f-1/i ~ ").

(# - 1,;;1
&---·-·---
- -----'----1-·-
---- ____________
- - - - -- _
.. --- ----···
____
..- ____ .... .,;;;:---·--- ·- ........... --·-·--···.
d

-. 1----- .
u -· -c.· - - ;;-·- . - . . - -+ . - ~ J:r~--- : - .•.-:. . --·· . .. - ...

-\-.. ------H-- ..L_J.......

•
• ___,_. , , •. J -,_- , -- .

f-n,~~----------- - - --------~- -'--~-\-----+--LW.J

___ ~·~ ,'1
I
I I ,_. __ J . ..... .. 1: 1•
1-h-.J'----'---c-._----~
Ul -----·-~-- - ·-- ---·-~------ ------~--~ -----·-··-.......- 0

a
\
 Hetra tne ead~e;· trhll!h -1~ 'the 't:secolld-ltleaat'ire- Wa.s avotdGd
I
- I . . , .

by. :the
i
use of 'tb.$ a\lapeuion ·on the ~b1:ed bea:t. a.ppearia 'ill ·tba
middle ·of trb,e· t.h1rd measurea. i't wUl be not1oed that 1t. g!:ves·
me.~ked re1.1et to tb.$ Jlew mel041o figure wb.lm a-ervea as a tb.eme
ot~the fellow1ng episOde.
-410.., W1 th ~he same eX:capt1on of not lntenttptmg tb.e
malodic continuity of 'the fugue~~' we eometimea use 'tbe 1'$rfect
. .
$ad$loe to b-esln an episode at, the .a t>t an entre-nee at the
s•bjeo.t.-. -
I

~ae following example begtnaand ends on a. perfeet

ea.den-c.e; here the -usa or tlle trwo eaaceee 1s Just1~1ed by the
l.a~'tb. ef tile ~ubjetit and the pr&f'ottn:dl.Jr expressive character
of, 1ts · melo£b', . wh1eb. bas pex-mltoted Bach to :eoast~ct this
ftl$-u.$ by craat1~g a sort·o~ 4Gdless opposition between iihs
I

sul>ject and the episodes wbieh sur:ttou.ad it- From thi-s d1spos1.-
t19n. 11ttle used 1n twa school.~ ttne gets 'tbs impr-ession of a
cb;a.rnd.Dg yet. m.ela.neb.oly MalogW!).
Bach• .Qman Fgue ja A !§3ort

• ·-----

- - + - - - : : - - - ----- - - - -
--·-·-- -- ------,------·- --·
. ""t:-:-'
 E P·

• ,

'
-\-
l
__
.

.H' ..
.. I

-
l .

/J --.. ..
.
c>

_.!_ -cll.±.,+ • \
\

41J.., Wtuna. dtU!'1ug tba course of the fugue. the pertectt

cad~nce ts used, it must be used only wnen motivated by the

melod1e aansEit of the parts J in soma fugues 1t may be use~
I

l!lat~rally a. number of' tlm(!ls, but.. :ln otbet:'s its use wUl not be
jus,1f1ed... We can not to:rm a rule from th1a; the common
sen~e of' the composer Will 'bs . his only guide~ One w1l.l .gain
jutJgmeat by anal.ys1ng t!)e fugues ot Bacb. t:x>om this point of
ne•,.
The J:gs.u~ lB A ltnOI<, t:r~m whiob we have taken the
preaied1ng emmpls• ts an exeEtllent modell perfect cadenoas are
n~ous, and each i;ime thalr tl$$·~selt;r results from. the ex-
P~~slve ebar.aeter ot the preeedlag passage or from the relief
wb.icll they 'bring to the tollowtt.Js passage.
412.. THE PERFECi' CADENCE SHOULD BE AVOIDED IJ!I ·THE EXPO-
!

SITibN. There all the eatra.nces eb.oul.d form an un1r:r.terrupte4

• ella~,

poin~e Gf' ~est

part~'i!>
and one· will tax
1n the melodic
hi$ ~nult;t

CO\U'SS
to avo14 the smaller
an« 1n the wr1 timg of' the
Tile expos1tlon forms anbw1s1ble whole wb1cb. is eom-
 ple~a only a.t tbe achievement ot the folU'tb entrance of: tbe
sub~ set ..

413· STILE OF THE FUG'OE~ What 1s e~oneously called

: . . ·.

tb.e:atyle of the he,ue is merely the ensemble o:t the processes

'
of. ~. onstruo t1on arlt'e&l!Sed
. in wo:ttk1QS order. Bee&.use all fugues .

are! wr1ttea 1n the same genex-al atyle i i does not f'ol.low that.
thef all have to be simUsr; th1s is p~f.tla$ly the x-aPlfO~Cb

wnich ha.a 'J:?een made aga1nst .tha school. fUgUe of wishing -to
1mppsa a .uniform. progrresa and conduet upon any type of sub3eet~

OW!J.· must be ca.rarul not to , oons~t tb.e same · k1nd of tttgues

b $Ubjeots of d1ff'erQUt st7le; a.otually eaoh subJect; 1mpl1es
'
a s);lecial. sttle. due as mueh tt) the na.\are.~ rhytbm et 1ts
melody' ae to tbs medhtm. of expressiOn (\toiceo or 1netruentte)
usa~ by the composer. !Ills does not need to be d~monstratei ..
!
i . 41.-4.. lfhe ol'lllr d!tferenoe whiob. wa find between vocal
!
ani!J. lns'hrwnental fugues.
.
1s d11$.
.
to the ueeess.ity of" b.aving tb.e
'

i •

t1o~ of' certain 1nterva1s tor the one • and methode or exent1ou
fo~ tb.e otne~i\

I
As a rasul t of tbls ~ urd.- or style in a fugue ean b$
assl&ured by (.)baerviug this tme· prlneipla:
I .
BUILD 'tHE FUGUE ON
ITS SUBJECT.
! '

•
415.. THE. EXPRESSIVE ROLE OF THE COUNTER SUBJECT.. The
~t~at condition to ~fill 1s evtdently to establish for the
bea;reJ;Js. the sentiment and character or the -aubjeot.. Aside
tram 1ndlca.t1ons o:r mode and movement wh1oh have only a very ·
vague and general value , tt will be noticed that the role of
de~arm1n1ng the character of the subject falls upon tbe·ecunter-
subject. If our a!.m were but to g1ve the subject a barmonic
. .
oo~plement, the Qountersubj ect .could. ea.s1ly be replaced by all$'
counterpoint. t.rhen tb.$ countersubject could e.ccEintuate tb.$
oba.ractar of the subject by p:J_aei.ag in rel1ef not only the
rhYthm of the lattex-, but al·ao i.ts real cbaraeter,.
416. The cmmterembjeet, aa bas been sa1d 1 must cont:t'ast
w11fh. the subject, but oan ROt in any ease be 111-matohed; 1t
i
1s :the violation ot th1s pr.1nc1ple which makGs certain fugues
seem insufferable to us, pa.rt1otllarly thQse in which e.n austere,
noble, and grave subject is opposed by a aounte:rsubjeot of' the
hopping and sk1pp1ng variety, thereby giving the impression of
pa~ody.

Although Bach sometimes dOQs tn1s, but less frequently

than others a.nd especially in his voeal fugues, 1~ is in his
instrumental fugues (organ and elavier} that we find the best
examples.
417.. If we take. for example~' the subject of the
O:t$an Fugue 1n E M1nor:

tb.e 1nferences we can draw. e1t.her as to mode or movement

(aUa brave}" a.:re vary vague; sueb. a. su.bjeot. from tlle po1at
of view ot expression. lands itself to various .interpretations.
 364

When we sound the eouate):subject e.t the beg1nning of tb.e

answer:
.;. ,
-~.. .tr -- «. ·~·
. .J.
~
• , A_, •

11)-'l'
.. -"' ,
•
- ... - 1----
..!:L .
t
• --=~---_
.
iT

' \
•
• \ \ \

we are no 1Gnger 1n_doubt; the oountersubjaot~ due to 1ts

expressive ebaraoter, clearl defines the subject, and conse-
quentl.y will ta.ke• at the beg1nn1ng of the fugue, a. dominant
role from tb.e point of visw ot style. The fugue as a wh.oJ..e,
t~ be'the development or the musica1 idea proposed by the
subject as 1t was defined by t.he oouatersubJect, ought to
b4>rrow from the latter uot only its rhythms* but also its
s~ntiment
!
and expression; new rbytbms and new melodic figures
eould be introduced into the fugtte., prov1ded they are 1n
accord w1tb tbe expressive character of the subject and
oountereubjeot or tba:t. b7 their contrast~ they s.ecentua:te
· th.1s CM%'£lCta:r._

418. Generally a subJect of serious nature will more

ea.sl.ly support a movlng ccu.ntersubject than will a subject of
11gnt and lively character. In the first ease 1t a.l~s

happens that, 1t we give movement to the countersubjeot,. iii

~n oaJ..y be with the ald or very elq>t'ess1w melod1o des1Sns,
~t tha risk of fall1ng into the f'aul t which we were condemmlng
 I
I
I

abate re~a.rding fugues of the skipping ~ypa ..

If' the subject i.s lively 1t 1!t easy to see that too
e lively a countersubjec~ w1ll lead to oonf'Us1on 1n writ1ng and
that th.e effectiveness of" \he ftagl:te will be lessened ..
I

l'& is 1mpose1bla to formulate 9JtQC:t :rul<:~s on ttds

part1oular point. and the examples of oountersubjaots given
1n cba.pters IV and v and at the end of the book. and tb.e study
ot the Bann.f:usues and those of other masters wlll sutf1c1ently
1nf~rm students. so we will dispense w1th the c1tat1on or new
e~ples
I
bare.
419 ~ FREE PARTS... The free parts heard in the eXposition
i

should also contr1buta toward· accentuating th:e onaracter of the

subject J · they can be musically conceived as e1 ther free pans
or ~rmon1c filler; from tb.1s point of view they will be eon-
sld~rad uninverttble oountersubJects~ thus beeom1ng modiflabls
!
at wlll., In a'fl'1 oase$ tha1r style must not be opposed to the.t.
o·f tbe subject.
420.. UNITY OF STYLE -UNITY OF EXPRESSION.. One should
gather from this that~ THE FORCE OF THE FUGUE BEING CONTAINED
I

IN WE EXPOSITION, !BE UNITY Oti' S'f.t'LE IN THE LATTER WILL ASSURE

UNI$£ OF STYLE IN THE FORMER; we may conclude., then, that
I

UNitt' OF SHLE IS SYNONnlOUS W'ITH UNITY OF EXPRESSIONJ 1't is

posl$1ble, then, witb.out 1ntsrrupttng the tmtty. to introduce
new, jelemants, :rnytl:mle,. or melodies into a fugue prov1ded they
do ~ot influence tb.e mod1ficatione in the expressive character
of' the fttgue, affecting only the outl1ne~t as 1t wers:t J;'ather
 366

1;ban tae bOdy ot tb;e fugue~

: 421 .. · For f:)Tifill'l/ tugu.e in Which· each ep1aod~·1s oonat:ruot-
ed f-n a. different flg~a,. there are seve:ra.l fugues . in wb1eh all
the~ episodes are buil.t an tb.e same melodic Ol!' x-hythm1c figure ...
'
In thls case tile essentla.l \b106 is to be. able to ve:.ty~ with
the: aid of tb.a va.rtou.a oo.ntraxmntal detr1ces, the appearance of ·
one melody or one rh.ytbm to c~a'te a atlff1o1ent number of
'
different melodic f1gures2,.. ·
Examples of \his type of fugue wiU be found in Bach;
tor: instance. the orsan lfsue J.A R Minor in wnich all the
ep1$odes
'
are based on this- s1ngl9 theme whicb presents different ' '

coml>Ulations with eac.ll appearanc:uu

Likewise tb.e iwteltth fugue from tbe WELL TEMPERED

CLAVICHORD wb.iah ls d$Veloped Gntirely upon th1a rhytbmlo
fig~e:

2. 'fills is not permitted 1n the school in special eam-

.
1nat1ons; they require, without sivins any reason" th.a:t all.
episode& be bu1lt on d1ffero:t ~emesf, thts is a ooutra.diot1on
of not only ~he habitual p~actioe ot the masters of the fUgue,
buft,of' the process of symphoaio developtnan,t,.,
 '
'fbe student wUl benef'lt •greatly by analyzing these two
'
:r~uea
i
f:rom tl11s point of' view:~~ and putting them in open score_.
I

as 'rwel.l as otners which he may f.ind ror himself ..

422. CHARM~TER OF THE EPISODES • It u.n1 t;y of styl.·e and
unity of expression are synonymous. we must take great care 1tl
enooaing the flgu:res asalgaed to the various episodes. This
shoUld be done im.med1atel3' at the oloae of: tbe expos1t1oth We
should take into account first tbe imitations and various otber
>

devlces to whiob tneee figures lend. themselves; we wUl del!bel\a

ate~ dteeard all oomblD.ations wh1oh. lacking musical ohara.oter,
eouid destroy the cht:U'aoter of the fugue and. detract from the
1nt$l'EiStJ then we will establish a general melodic plan tor
the :,ensemble of the fugue wb!.ch Will conform to tne rules given
ln ~bapter v for the pr~rat1on or episodes. we must always
I

be daref'ul that, at e&<th entrance of tbe subject, we unite all

the parts in tnetr almost final d1eposlt1on in a way which wUl.
b1n4 th<:r aptsodes to each otb.e~ .. '
423. Although melodic 1nvent1onw by its very nature"
ese:a;paa any exact rule, we can,. however 1 direct th.e attention.
of the student to some of tile p~oces aes employed by the masters
'
to ~1ng th.e mustoal idea into :ssli.ef' by prodUcing a more
!
an~ted ~nd intereattn.g deve1opment and givlng more melodic

: 3.. see the egample given at the end of the volume. sse..
504, fer 1nformat1on en tnts s\lbJeat.
 t& the fugue.
One of these prooesaes consists of f1:rst -treating a
e melodic theme in a. f1rst prosreae1on, then. having lt momenta.r1-
ly abandoned f'or another f'1gure, rep:r~ducing 1 t again w1 th. the
same progression. but in anotb.er key. Thls. as we w1ll see . ·
' .
late~, 1s a m$thod or ~bon1e development frequent~ used b.1
l!ozart and Beeth.ove••
we tlnd an outatand1ng ·example of 1 t in Bach's 9rsan
Fsue, J:Q ,i Minor, from the episode or which w~ can present in
bxeief torm tile f'ollowllag melod1o pX'Ogress1on.
A first progression written on two figures indicated
by A and. A1 :

Th1a modulates from .Eb to Bb, then from Bb to F minor;

a!secoDd progression (B)~ also very snort:

--,
f)
~.:!.
If
..... .!. -#- {J ... t. I; J:
t
1
':ll [i i: i~(l ~j i 1./~.p_'j;.-' :...- \ ··--
.. --
------.

l~ds back, through. a series of modulations. to th.e rtrst pro-

g~ession wb1ch, heard this time in c miner and then tn G minor.
- 1s reproduce:~ 1ntesrally until th.e xseturn or the sub3eot 1n
tp;a pr1nc1pal key of the. fugue: A _ $ _ 1:-1 c

1i p
· i 12!'
q
\'~f1 r·l}l'· ~· 1
LOt •7 ~=::f!· •Li!];
•
12!·•t£11 -~; ·~--~1
~r~
 424. The ana.lys1.s makes it olea.r ·that the greate.- par'&
of' the 1ta'te:rest ot this ep1sode oomes from applying e. very
• s1m.ple principle; howeve:r, as lqenlpus a.e, 1s tb.e d1apoa1t1on
ot tb.a parts tn Baeh*s real1zatlon 1 we oaa easily understand,
by Sl1m1uat1ng 1ihe rEJtunt of' 1ib.a first progreas1on, tbs.t all
tl:lej sp1:rr1t and fire of tn1e ep1$ode, and (lonsequentlN its ex-. ·
p.:vess1ve value,. a.re due only to the rehearing or this p:rosns-
. s1qn before the ttEUUttRncc;s ·of' the sub:J.~\..-

Here 1e Baob.ts :r.ea.11sa.tion, figured first in outllne~·

th$n 1n full. scoret

tt--
/\
I I ... .,.
,._
... t

Ct

____.. . -- •... -

..Y. • ·""
------ ........,
'L .1'1
I' ]7
-- ----------f--. ...
J,. ....

~·--- t-- L.\

...
etvJr~·-tl~s=·s~=-··=--lt---J=t=·~-E-:;·2·-,=-:;·-8:-~1;5··~·~~-~~-T!:-+~-=1='£=~::;±~::;-~~t ,----
~---f-t-~--='=-i;:'- ., ~ __ _':.__>--'J.'--_~---__.,
--=--"'-1-.....,...e._~-·-+-- .. t-~ _._i- r

·~ £'\
P..,. .
i' :t=-.; -~-

--·- 1---- "~.---- ~-

----------
------ t;:ZJ·J·~=
('"\C ./,. - - - - - ... --
--·-
 r
370

s-
,.
~~~~~~========::=:====::~ccc:-:-:-:-:-j=::::=====:::::::::::'l=:::=:===:::::::~~==~==~!~~~~~~~~l~
---
IF+e

l -- __ __
,
• -4<--: ::::

...---..
::fZ:
-------,--..-----" ·----"

--------- ----
 l

371

-
#

\
---
--- -- ---------

,, , ------ .
' 1.n
""·' v
\
;I
I
~·
-----
'!--> I
.....
#b-'b . ---,-
t;;

,
\ \ \ ,..= ..... ::;;:_ " \ I
"'
\ n .. \ ---------
------=~-----r--;---1\~--~ L~-~-
\,
'9 !;! \
~
~ -9-·
"'-------
..! :!. ... .! .. ..!.. .... ':t --k."'t: .._ ~. -~._..:r ..!.
I u.
±.L.,_ .. .t..,.. .. 3J,.
..l. <ff
s-
- _,_ __ c----
~ -'~

~~-
,_ I
- --
i ""' I
 •

•
iI

'
prouess; tb.e thetnea ·and aoeesory f:1gux-e$ here ought to have at
e ''
least as tS:fJeat an 1nteroes~ a.s tbe p~tnoipa:l. theme ot the ·episodef
in ~o tar as possible iiba fil'st. progl!'assioa should offer • in
1t_a! new appearance# a di:f'fe:reat disposition which will a.vo1d
monbtony and repetitlone. By oompal'1ng the following example,
borrowed from a fugue or Sbnbert•a* w1th that e1ted above, w&

ean, thus understan.d tbls tault and avoid tt:

I

'

·--"-·· _L LJ : -:.r_·t-..L+--t--\.·-"'"-"'-···--ti-7".A.l_.,·,a-H'~--~--
~ _I_ ~
·-thl=I= .
-- -

'~ 1/

-
' . ----
.. +--

T. •
... --
~-

I ..:":':.
\ - ~ --- \ ·-:- l -E;;_J.--- \ - \-1- 4-
\
 373

426. Here~' contrary to what we ea.w 1n tb.a Baob. example.

'
sea~ 424, there 1a .no development of ttte theme, but a s1mple
' i .

rept;!t1t1on due to the t:ransposition to 'the fifth below of the

'
f1rat part {A) Ot:' ~he progreestoaJ 1:t is a repetl t1on, and
thEJ. impression of monotony and dullness is further accentuate~

by tb.e integral. reproduction, in ,tne second part. ot tile p~~ ...

'
geseion, or the dlspos1tions used in the first pa:rt. 'fb.e
rela.t1on of the parts being the sams. tb.e sonority does not
oba~a; the impression is not of an idea which progresses.
but' of a· formula which repea.\s itself-a sort of sequential
passage ot pseudo~eloditi character~ .
427.. The different impression whicn results from each
or tneaa fragments 1s due to tha fact that in the Schubert
axa1Uple there was not,. st~!et~J speak1Dth a. melodic line result-
'
tnsl from the progress of the_ parts, but ratl!,er a aucoeasion of
for~ulae; while the Bach. exampl.e, c:r a mora simple musical
form, employed a veritable melodic aueeassion of tones, lively
and 'Varied 1n character"'
428. 'rhus • a.ecord1J1$ tp 'the na tu.re of the initial
f'~ure, a harmonic progrEutsi:onr
: '· t ·, '!
wUl soon give r1se to a se)!Jies
of rla.t and dull. formulas /r''~~*r tban a melodic line o~ l1f$
I ,.. :; ;

anal elegance., . \, ;
FOllowing are two a~,~~o4·~~ \ 'One 1s taken from th$
. ·... ·; . 1 '· . ,. :' .
SO~be:rt fugue already c1:t~~\w~y.~ the other .ie from '!1!!1 13
J ••• -:'. ~- ' ;• ' \ .

of tb.e WELL TEMPERED CLAVIQlfqRl); b,otb. a.:re unsi;mtcted after an

: ~~! . \! \. ' .:. !':
.f ~ } ' { . ' ,' .,'
\ 1

/Ar~ ,( ..
\,o
:'
~:i
 3T4

1de~t1ua.l. plan (aaeh part imitating 1tsalf) {sec~ a.Gl and ott
an 4ae.logous harmonic ·prog!'ess1on.. Tbe f1rs1i is only a formula..
l . . .
bat:tbe aecond 1s lively and develops along a melodic line of
cleEtn out contour; the point of' ·departure 1s the aame f'ott ·both_
anti· the means employed are simUe.r-. Betweeu tb.e two, tbafil. we
can'assume o·nly a d:iffarenoe. of quality in tna musical ma.t.erW
use~:

I
I
, rb
-·· ..
.(:> ~
· - - - · ·4-·
I
'f
0·
I

-~L..'-_
_...
-'~--\
.....
~ -- _·
---
. -~- .....
-· -- ·i

-
~Si~~-~~~k;_~;-~-~--~\~--~~~-~~~~~~?EEi~~~~~~~1~~s2E~~-~~~~~~ ·---- -----~------
 3!5

..,.. - +
I
"'

,.
,.-
-.,;~ ..
::1:

-1------

- -'- -~ .t

.............
' I d # # ___ · - - .·
~- --\-F-81---\-+---"-w!L---,.-----.-,-1- -' "- . - - .·
--- u --'---~------~----f--.------·-
..!.h.,_ .......t.. , f3 ..,_c --=
,... I ~--- .
• I

429 ._ Wba t one !ls not likely to not tee in h1s stud.V ot
:ea.cb._. from an art1stlo point o:r v1ew.- is the extreme variety
of' processes-all 'teelmioal skUl aside -wh1oh he uses to ln-
trofiuee the abject;~ either dur!ng or after the episodes. and
thai a.dm1rable manner 1n wh1ch be expressively un1f'1es. musically._
I

the: most diverse elements of a fugue"~'

We bava a.ll'ea.dy · sean tb1s {see,. 4ol at s~g • ) whUe

stu~ing 1ib.e us& or the cadence; we w1ll now show, by aa ex-
ample from the o:rsan ,rusue !!! .1 IiU.nor, how,. 1n an episode of'
g:r~t
,
depth of feeling. Ba.$b knew how to reserve for tbe re-
en1fanee~ ot the subject tb.e most expressive part of' his melodlc
lid-e.
I wish to observe bare that one must take sreat ~are

t~t tha process is 1nt1ma.t$ly allied to the musical idea,

fo~lng a part of' 1t. so to speakt
A:- ,....._,_
c: 0
l
I_
~- --- --\ - · - '--·
~,.- ,.
, II
17, • •

,;..-.. 11
r~~---1~~~~~~r---~----
.~
!!_ 1--. & ____
....,_,~r---___..,,......,,:...=----_,,.,-;--
L!:..U- - - ·r _,_
'L I\ ff -----+--- --t-------f------ ------~
' -"""" II

... .. - - .A, - . 1 -:-\-·t-t-1- -..t::=.= l l. --

'lrl:.
--'"""-----·
- - - J -f ];#- - --- . -- -- - ~- - --~ --··-------
 377

• --f.------

... I , 1l. . --,:;

' "

4'30, I notice tba t Ba4h has procsdad w1 tb. a series or-

contXta.sts,. pra.ct1c1ng tna •ta.rt ot oppoa1t1onsu so unknown to
. '
a number of composers. The episode is made up essentlally o:r
two progressions,. the one (A) de.scencU.ng, the other (B)
as~endtng. This last,. volwata.r1l1 ant1e1pat1ng tbe tonality
1n Whloh the subJect 1s to. r~appear, sounds the same figure
wlith the same eadenoe four ttmas su.ecessively, but with comb1-
:
na.~ions, and oonsequently with different sonor1t1es.. Tbis
: 0

a..arent monotony sets off the subject in ·bold relief, for at

th!1s time all the forces are woxakins together to augment tb.e
1n,tens1ty of e.xp:rassioxu the melodic line in itself' attains
1t:s highest po1nt. the returu. of the su.bJeofi and counter~ubject.

~e effect. moreover., oan only decrease proe:ressively:t and

: ' '

tbi1s tenuatton of express1v·e reeling eont1nues for two measu.res-

eV'en after the subject bas .<teased sounding~ int.o a new ep:tso~ ..

• J. .'
4}1. I t 1s no lOJ1$er a ques't1on of methods of wr1'h1ng 1
one of' mus1o.al composition. and it should always be r·emd-
be;t'ed that a fugue must be oompoaed before 1t is writtetu wbat
 gives qual:J.:try to a fugue, as in any other musical. work, ls not
eo .ucn the skill w1tl1 which one manlpulaiies the various contra ..
I i
puntal processes, as the value ot the ideas to wh1oh these
prooesertaervs as e. med1wn of expression.
1(52.- Besides. a fugue must be the wo:rk of a mu.s1o1an
and compoaerJ aaob. part, viewed in t'b.1 a :Light, must rece1ve
the ,same amount of' care aud work; the stratto pa:rtioula~ly

necessitates the intervention. at any mome~t~ of a keen musical

' '

j~ent.. An essential prino1ple tor the student 1s NEVER

SACRIFICE MUSIO FOR VAIN COMBINATIONS OF COUN'i'ERPOINTJ ! ,., .!.• ~
per~1t 'tbese combinations only in so tar as tbey prOduoe a
mus~eal effect- a·· melodic sequence- and reJect the others un-
spax-lngly • ·however instimious they may
: .
be.
· · 433 .., VARIOUS CONNECTIONS OF THE STRETTO. In the school
fug~ tbere a:re several Ways ~f j01l'l1ng the strettO 'tG the .
f1rsrt part of the fugue. one may;
;

a) JOIN TilE LAST EliSODE DIRECTI;Y TO THE FIRST S'lRElfTO.

' i

b) HAVE AN AVOIDED OR BROKEN CADENCE• WITH A MARKED

DW'ELLING ON AN ORGAN POINT~ BETWEEN THE EPISODE AND THE STRETTO·
c) SOUND,.. BEFORE THE STRETTO, A PEDAL ON THE DOMINAN'f
(OR OCCASIONALLY
! . .
ON SOME OTHER DEGREE), JOINING THIS PEDAL
DiftEPTLY TO TBE STRETTO WI'!'HOtlT INTERRUPTION,. OR SEPARATING I'f ,
FROM, THE STRETTO BY AN ORGAN POINT.

• ( 434. Wbateve:r 41spos1t1on 1s usEu:t. tits last ap:l.soila

shot4.d. due to eompact ett-uoture~ prepa:roe tb.e stretto 1n suoll a

 379

wa~ tha~ ~he latter is the logical and natural continuation of

!

th~ tt:rst part of the f'Ugu$. Oth$X'Wist!f one gets the impression
i
otia repetlticn ·or thaaxpos1t1on or of e.n lntarrupt1on in tlle
mue1oal sensa.
435• ROLE OF THE PEDAL,. We examined 1n deta.U in
chapter IX tb.a various ways in wh1Cb a pedal .c:an be used; wl'mt
we: said there makes it easy to give an acoount of its role in
' '

th$ mue1oal composi tton ot a ·fugue.,

L1kew1se. ha.rmo.n1oally., tb.e pedal baa the advantage of
'
grQup1ag_, on one strong note or a key,. ob.ords entirely foretsn
to ·this note and having them follow ea. on other rapidly wi tnout
l.o~s of tonality. wn1le at the same time it parmi ts the princ1...
'
pal melod1o elements or the fugue to reappear. 1t one wishes,
I .
'
pa$s1ng through and un1t1ng keys of1ien distantly removed ...
I
corlsequently the fugue acq~tree new elan as 1t approaches the
end.
436,. POSITION OF ~HE PEDAL. Moreover, 1t 1s near tb.e .
anQ. that tb.a pedal la lOgtoally used;
.I - .!•• before the stretto.
wniub. 1s like tba peroration of the fugue., or even at the end or
1~

the Petroration.. Obviously \his 1s al·so true at tbe exaltation

ot:tna tonal sense which determines either a pedal en the tonie
or ,tb.e dominant, el1m1na.ttng,. by tbe prolonged soundlng of thiflil'
'

note, tbe almost 1rres1ata.ble need of a perfect cadence;

I
1t stj)

OD r
ba~ens

not.o
that in the second sectton of the fugue we sound a pedal
Otb.O!' than tha dom1nan1i .Ol:' ton1o; but. then. this
 380

aot$ aes'tmles. by virtue of' tb.e t.onalit1ea h$\X'd tmmediat$17

l

berore Qr attar the pedal, the ~ha~acte~ of a dominant, and

nevSx- ·that ·of a ton1.o, wh1cn woul.d na;tu.:rally produee ·~ ·feellng
!
or tina.~1 ty.

437,. tfnde)fstand, then, tbat it 1s impossible to pl.ace

a tcnio pedal anywhere but where 11f would logically appea.tt.
untely, at the e:t-ttreltle end or tne str~<&te • whether the fugue
ends on·. this petlal. or. as rarely b.appena:. J.f tb.e pedal is
followed. by a nne.l cadeneEi,. ~1ther perfect or plagal.
l

th.~oretieally and pr~()tic:u.a.lly • the poe1:M.ou whiott the pedal

l
I

oc.p1es in thE! fugue-it :t-ema1ns tor us to determine lts 1m.-.

!
porta.n0:e and the various ways whlcb... from the . point or v1ew 9f
mu~ica~ eompos1t1on~ we oan con~~e and·realize it.
439. IMPORTANCE OF THE PEDAL. The length and musical
qmllity of the pedal varies for numerous reasons; among tb.e
ma$ters there are a number of fUgues ia wbich the pedal 1s not ·
used; 1n other fugues we f1nd ona o~ several pedals, some of '
whtcb. are very short-not exaeeding two m~asures-others q'Qite
we~l developed~ some'times excessively, if 11ompared to tbe e~- ·
ee$ble
·i
of the fugue of' whloh tbey are a l)Sl't; bat this 1s a
m.aiter for tbe compoaer's· Judgment; the objeot is never· to
;

glte. the 1mprese1Qn of a laek of p:"oportion; the actual length

of:eaeh 1nd1v1dual part ls nGt tmportant if the hearing does
i
i
not: asem long.
440. In the sob.ool f'ugu.a it is the rule to soWld e1 tb.er
 381

a 4.om1nant or. a tonto paaa1 ~~ or bOth if destrE:ad.. Tb.e position

I
i

or:rthe dominant pedal is at tb.e end of' the epteoda wb1ch lmmedl-
i
a.t~ly p:sed~de tbe first s:tl*stto. and ln this case the tonic
i . '
paela.l w1ll come at the end of' the fugue J the dominant pedal
~ appear in the ll!l.st par:-t of the etretto and be followed by a
shart tonic pedal as a 4~nalus1on; sowe t$achars feel that 1n
thi;s l~st case the. two pedals shOUld no~t join 1mmedia.tel7, .but:
be ~epara ted by on~ O!f. two meaetntes of stretto; others show
a p~eference fo·r Jo1n1ng tn~m 41re(ltly by an avoided ~adenoe •

following ~he formu:La frequently used ·tn narmoray"" 1fh1e is all

a 1$tteri .
or taste and does not constitute a rule. but rather a
•

cus~om. varying with the timae.and the directors. I make these

statements only as a. rem1nde:r. leaving it to the student to
detl9rm1ne what 1s d~ne 1n th1a regard 1n examtnat1ons. Tb.1s
b.a.s 1 nothing to do wtth the stu~ or ~he fugue. I would llke tq
I

obsene that, on those rare oocass!ons .wb.an their fUgues do

app,oacb the form of' the scb.ool fugue, the masters have used the
dominant pedal before 'tbe atretto,. reserving tbe tonic pedal
I
f'or:th.e end.
441.., The mus:ical elements ot a peaa,l vary a.ocordine; to
whe~tter the pedal 1s heard before tb.e first stretto or at the
1

end of tbe las't;

, it 1a olear tba.t.- 1n eaoll of these oases. the
mus1oaJ. ,eompos1tton of the pedal will be differen1'i,.
• I .Uth<~~~gh this 1a entirely 'il'!th1n tile domain of' the 1m-

ag~tlon and .we can form no precise :rules· on tne subjaet of

 . 382

m\ta~oa;l 1nvent1ontr there are always signs which· w1U guide the
I
stu¢len·t 1n selecting those p:rooessea wh1on wlll serve as a be.s1a
I
for[ his first attempts and will ult1mate1yenable him to create
I
I '

tbel new torms mo:E*e easily ..

442. COMPOSITION OF THE PEDAL. Gene%'Qlly tb.e pedal
. . .
enters during tile course cf an episode; 1t then helps to
continue
'
it• We will a&n1t., then, for the S$ke of this study, •'
tna~ this tntervention. a.ssumiras that !:t 1s a dominant pedal
so~d1ng bef'ol"e the first stret.to. will in most oases eocu:r at
the following points;
a) WHEN THE EPISODE HAS ARRIVED AT THE HIGHEST POINT
OF AN ASCENDING MELODIC PROGRESSION ..
b) WHEN THE EPISODE HAS ARRIVED AT THE LOWEST POINT
OF ~ DESCENDING MELODIC PROGRESSION ..
i
o} WHENf TRE EPISODE A.SG'UMING THE FORJ4 OF A MELODIC
PRoGRESSION EI~fiER ASCENDI~JG OR DESCENDING~ THE EXTREME POINT
IS blOT REACHED.
I repeat,. this ma.Dne:r ot general1a1Pg is 1n itself too
restr1ct1ve and has no otber aim tba.n to f'urnish the student
wit* a precise point of departure for b1s axcerc1sea.
44). In tb.e first two cases~ the ext~eme point of the
I

i . . .
melodic progression having b-Elen reached. 1 t will be logical· to
I .

•
oon~inue tne splsode on tbe pedal.. following an 1m'erted rom I

I
of ~na preeadins prouessiont this new prog~teas1on shoul.d be
mus'lcally composed of tne same elements ae the f'lret... Tb.ls 1s
tbe:idea 1n pr1n~lp1e but not absolutely;
 a) THE PEDAL ENTERING DURING THE COURSE OF THE EPISODE

AT ~IE HIGHEST POINT OF AN ASCENDING PROGRESSION:

• ,, ~~~·
\,.
I
.. .
\ u\
.
...!. -r".t.f..!.. ~~)... 4
'I ' •.I
-
..
, ,

I t 1>'\'t
i
.
~ ;
.P.'\ /(
i,
i
·'
: \ Tl
\ ., t -~

-~ \
...
\

''
1>
.
f?
,;,
.......
~ . ~. <> -=- , -~-6~.:.. -e- • ..... ~
{£),. +L
'
... O•
• •
-·
.,..
• , -.
l..
, ·-~i·
IT :·,~~ }- ·'
..,..
·#·C -
--
l;r-~
. -1f ~.t- • -c, -- -- 1---- -
()';'"' :-.·• ,
I ! ,. ,,
. ' ·,- ., .!.J..!
,. -.
-· ,
·-
'"' -' T
-U,j_
~-

,. ~
T7JJ
~
-- - ~ -- ...
""'\;

- . ..

,.,. , , ..
I
J..
... iY H _u._
.* • ... ----
---

. '"'
•.t-4.
"' J.bo ~~,.-·· ;
_,,...._g IJ g
\ I
~ -., T
m
~ -~-
~-..---"-+-f·
. ..~,---.
~-
,...
-"-- ·~ ' \•
-- 1----- -..- l \,;,.,~,.,! f
"M:
t·
~
---· ~-.

·~
• • "l'
#
~
\.~ _q_ _!_
*"' <> • ---- --- - -··- ,. 0 • c::i, '

•
 · b) THE PEDAL ENTERING DmttNG THE COURSE OF THE EPISODE
AT THE LOWES1~ PO!'NT OF A DESCENDING PROGRESSION.,
. ... ,. ' .
Max D1 0llone, Fugue on a subject by Gounodt

tv
'Y..
~----L - ---~- ~-- - - - - - f----- ----\r-\------ '
-,I Q
l
--Lil-'1-
"* .. ,;
I -
I
----p ----- ---- ~ ---
!#
IT~
-•
-tf/!,;11.:

-L.OO I
,

---~-""''"'-----J!.__-- --"-~-----~
\

--Y ,.~ --- _,_____ --- --

- J • , A'T
;

____:__1--------
--

', . - \
·u--
--~·

1'.' •
---------
-- __ ,____

-0- 0 -----

•
 385

\ _\_ ~-. t \ ' 1/ t :_t ·-t··--

-,
- 1--------- - ~

444. When a pedal enters an episode in 1 ts aeoendiug or

descending progress.
\
tt is na.tu:ral that tbe episode should not
.

ba interrupted but coaj;illu.e on tbe pedal. in order tbat 1t may

assume an invert-ed progresdon as soon as the extreme point 1s
:r~acb.ed.. Here is an example of the form which oe.n affect this
p~rt ot the fusue in a s1mUar case /•
'
Boulay, Examination fugue (first prize 1897) on a subject
bf Dubois:
......,
----;-·- ---- ~--- - .. _,__ , . , ____ ..

~ ------. -____,_ {:J ::;r--t .. -___ ·---t---y--!~----·· ..

-.· -- ~-~·-·

_: ___ i
l

_', __ ~-Q:-:-:.-: : -.-=-:~_J_- - - - \-c.-:~1L_.,. . _- ~ - (,' -····· ... =..~·\::~ct~'-! •-_C_c_~;t~;:<: -:

: 4. The process used in tll1 '* example oan be used. in an
manner 1n the construction of an eptsode where the

f
~nt1oa1
dal would interrupt an ascending progression; this is ea a1ly
· derstood and el1m1nates tne neeessity ot s1~1ng more examples.

i
'
386
 387

Tb..esa. as they stand. a:r.se the three combination

:'
typ~e of an episode leading to a pedal; I advise students f'1r~t
to ~allow tile form in the models given~t for they can bring e'tlll
''
mor~ variety into t.h.e process~ which. one can easily understand,
:
is ~apable of many a.ppl1cat1ons.. But they must not forget that
they must avoid rigicU.ty in tne1r work, and avol.d world.ng w1tb-
out a definite plant in the school, a·iaorder- bow.ever ,good.
never bas an artistic effect.
446,. EXAM.PLES OF JOINING THE STRETTO TO ITS OONTEX'f.

The: joining of the stretto with the saeond section of the fugue
ts accomplished, according to·the taste of tb.e "omposer, 1n
various
'
ways, as we have al.read3' sean
.
from previous examples ..
Here agaln, tor this particular point of viewt we present some
;

modele for analysisl with suff1e1ent latitude the student

snofd be able to create analogies of his own, rema.1n1ng,
ne~rtheless. within the logical l1m1ts ot proportion.
a) Koacbltn. Ftague on· a sub3eot by Gedalge:
CV\d G~ p.t~'i;l I
I
,. ·-..
g,
, - ~
, L

-
y n -~
"'
f.!~___,, "t y \
v _PtJf~--
...............-
l$.."t ..t-1-~
-~ , _(?_
,
.. #
l
..._
_
...
9 L=.
.~-
I
-- ..
i
"
r

.f,.t(..:.
~

..
_\..~ ~--.. -""
- '1F7f'

,...
p
'
~-
;-- ...
l
... ' \

'*\.
,.
~~ ...... ,----

"
\

•
, •-r;!_,'L_
-- ·-r-·-

\ \ tf /,
.• --
-
.-,.
.T
.. -- \..
k

"\I
\
\
 386

.. -.r.,.. .. ---
I i
.
'
j.
~«J
/Iii::
. . -
- ~
·---
-,
- --·-- ·-
-
~,:J ' • -f, , __.._+-L~..... ., ..J.
#
, I; -"-
!<.....,
I
6
\ •" • t "..-e.,. •
IY
.J.~ ~-=
.J.-4- -- ..

.._.•"
~ ...!2. ---·
""" ,_ ......
~ I
=="""' -~
~ .........:
!
~-
....._; , ,.
I.:?

, ....
14 of S ,
,_ - -
c.. 'S . ,. +
.•
.1.
_.. '. l.1P
...-:
"
l! --
.l~

.
L
-

!f,
.....
r .>1- , ~ ., - , .I. , ¢, I ---
·r---»
..tL
, '11: t?
.X
---·--
- -

-
'
f' ...........
l.\
~

t
-- . II
- I
I ~

b) D'Ol~one, Fugue on a subject by Maseenet:

e \lid of p.--d.

.v
•
~'

\
I

,
,
-·-
v>

--
I

--t~
,.

..
_._ ... R
\
--!)-~~
_L .
~

.!.
-
.
· · --
-·-·
-

.-
~-
, .,.... "" " LF\
~
. ..L
-·-
-
~ --
~±t. -·
\-- 1----
f.-~ ---
~--
1;:6
"", r"' o ":1 9 ~
~
.. - --
17./ "' ··-

-i=~~
-
II ~~
.•. ... --
:
.
(
t \
IU ~
..
,. - ]
..

7 -
-
--
-----1-

0
~
.
.i.

p \
" .'# ··-

\
/t j ~·wd'H~ I :sJ: ~-~- :~-~ ~ 0
- ---
"
\--'
..
'
,. ...
l -
\
_,. - ·-
- -
--

..!' t
'V' • o
-
~ .;p-_ .J-':===
.Q.

-' .l.'
• "- .L.L ..L .Z .!!. ...'Z. _._
"\ lMIFO~ tJ$,--- ,_
~}
V'
\
...d"
, , --
·..,;-,-,;--
,
_"':!_,
I~
---\-- \- -- --+- I .L \ .1 ..l-,. --\~--=r=- - J
·-
+-~-
\ rr · c~s~- -- , .. .£.. -,.. ---..-

., =--::1: -~
';§.
--'~ -+-- - \ .
 c) Rabaud, Fugue on a subject by Massenatt

..,.. <I

't I
' l

(),
-
i
""'-·

'.
- --0

-(!-· --
\ ,.....,_--

- ····-

,., ,, £. '""· ""

·""-" ... (J' • f
l!lL- --
1'--·-·-

d) Hal.phen, Fugue on a subject by Gedalge:

r ST Rf l'f'{)
..
IY
'.!. J
t
',.
Y"'

---

::.' .. <?-- - ----(T-- L-~ '-'" """

j ·----- ...... -,----------------- !---· A ---- -

-···
. >

fl •I f .N._._J_-1---- · ==f-- +· -~ · - ...

 +----"'---". . '-r:::-::;.t___
._. !...!::' - r--r-- _' . . _l_,.__..;:a=-----t-----------
__._._ ~ --- ----------·-- - - - - - - - -
.,. ... ~.~ • ... ..-1"+~+ ~"'}>.!.~

•••
A
J

t"r:: : ;if-·. · -- -\" - ~-T .. -\;;J-t-~~ - ~- ~f -.. r::-:-:~--~ ~-- -1:L;:;!i;.,.....~l=t;hc__ :=-=
,. (

~~--·"!'_ \'
--~- --
- - - - - - - - ---:--

e) Savard. Fugu~ on a subject by Massenet:

" ,.. ._.

"~" I -~
-... " "
- ---- ·-~- _,-- -Yt -p-;--- r·-\-- -1-----1"::-----1'~------"--
_I' '' ., J ~
'll
'•·· .,
...:.
' " ""
-""'
- ....
-- ~-, ,

J :_ __) ..
c: .....
'YI" -
p_,"" ----
--
--
., .
---
--
"--· L I

"' • .. !i!'
~
-
.~- \ •I I - \-,
\
I!
"""\ \

~ """
e.•
.} f!, ." ~

-~- -~- .. - __L

I ....
-+--~-
f"l.
. I \

~--
•_;-~_

~
~ lt<J
J''
•
< ~-
r_/1

~- '

,.... ,.,.~ _!

"-- ---·-·
_..._ .,_
-
dr
,
.#-
'WI ...... • , , T.

'-· .....
!"" •
~~
:·- -r
l'l. ~
-r)l.
\ L , ...
, .t:...
\ ··~~ \.--\ -\.l "' f
·-t!:t!.f
 391

441 1 If' we do noil ha~e a pedal before the first st:retto,

;
tb.e: latter could jo1n ~be ep1aode which ~ecede it by a process
• an.allogO'tls to those previously described; the pedal 1a actually
only a.n incident in the episode. and if it influences 1t. from
i

tb.eJ point or v1ew of the harmonies produced by a ·varied progress

ana more freedom of wr1t1ng,. 1ts om1ssion will not free the
student from the necessity or g1v1ng tb.1s last episode the com-
. . 5
paet form which existed at tbe bag1nn1ng of the atretto.
448,., I.n this case 1t :1s beat to sound the subject onoe
a little before tne en~noe
of the first stretto, either in
6
thE.' dominant or th.e subdem1nanii, or 1n the pr-1nc1pal key., as
the masters have always done. Here is a oonv1nc1ng example
bol'rowed from tb.e Bach Q!$an l!s~tte 1n g, k3Qr:

' s.. Furthermore. wb.$n a subjec't l.ends itself to so many·

canonic comb1nat1ons that. we can'*t use them all in the stretto
without having it too long, it 1a permissible either 1n the two
episodes wb.1ch preced the stretto. or elewb.ere. to use the
le~st compact of these combinations; we should not anticipate
tbe stretto.
I 6. In this case lt 1a perm1ss~ ble to transpose from
maJjor to minor and viee va:raa; this process g1vee more rel.ia~

•
'tq tlle entrance of' 'lib.estretto by the return of tne subleett !
t~ the original. modEH this is 1ll.ttstra'hed in tb.e following ·
eXa.mple.
 392

. i

- -·-
T---

·-.v-
,.. ,
::- _; :t ;:t
'
=:± :1;_,&. :r ~,.,.. .!. :t -
....
•·
----
, ..... -ft;:.
""'~.
1-1 .! "'
,:_ 't:t ..!.. :;:t-:-:t-1-A-~o-
--, #>

--
•L ~!!~'..&. ;
I
_, --.- ~-
~
--
-
b., ., , ,..." ,. .L~ !A• *·..__, .,. ... ~..,._,_
.t.<!_.
. "'
'i- .....
-.
..11-
•
-
•
- • );.;;;: 1.:::1: ' '=+--
--
-----

.. ... -r..ol.l, - -
- ____

-· -
.
--
.f ,~ t..~ ,_ --1----
...
-
... -~ -
I.VL' olt"
-r ... " "' ""I
., !lr' 7

......" -
1 l
\ "
~ -\::!:.J + "' I

I
-.,U-··-
---+---

'"'
iV
. ..t ..,. .. ... ~ .t. , ::~:,...

~tJ,~~~~~~~-g§·~~~~c~~~~~~~~~-~--=-~--=
. .. .
- • • • ,
, r.l'•

\
-· --lol
I I

-
"~--'+- ~-
I .\-1 "
'ff ,
l::!::=.LI ~
-------
-

~w
 ~ ..
-u -tt
-,, .

v .t;..,.---~ , j),"t ~ , -~~----=-.. ___,___

""p.,;;J JL ' -
..
;;;w ' II
..... f
'

\ -r
\

449.. We have 1ntentlonally extended the preceding ex-

ample after 1t bas shown, witb the subject heard on the super-
tonic~ new the m-it1ng -of' the pa~ts ties up and connects pro.- !

gr~ss1vely the character or the stretto. The

. episode construct- .
ad from a. tt-agmant of the subject in canonic form t1es 1 tsalt
d1~eetly, by the design_of the bass~ to that hear.d immediately
bet ore tn compact 1m1tat1ons between tb.e thf'ea upper parts., It
• w1l.l be noticed also tba.t the theme ot the episode, proposed by
the tenor tn the fifth measure of the example. is always pre •
se~ted 1n such a manner that the melodic progression, which
 end$ a. t the reant:rarice of the subject (eighth measure},. 1s easil.y
per~eptible.

450. MELODIC OONDUC'r OF THE STP.ETTO.. !he essential

quality or the stretto must be ~esent. even at the risk of
con~us1on. The stretto, as we know 11 1s a series of entrances ot
th.e subject and answer which.· draw closer and closer together;
these entrances must be combined so that their ensemble w11l
giv~ an impression of an uninterrupted melodic line, and no,t of
a group ot melodic fragments, separated and p:J,a.ced side by sideJ
a s~t of composition 1n compaxatments,. or drawers, 11' we may
eay so.. The least fault o:r tbls arrangement would be the·1nco-i
herence. and the greater tault the monotony due to the mo,re and f

more rapid l'epet1t1on of a single formul.a-the bead ot the subject.

451.. As an a.i·d. to this it would help to form a plan of -
the
for t samble of the stretto -a plan similar to that
he first part of the fugue; 1f the st:retto is
developed, 1t can be viewed 1-n the form of suooess1veper1ods
suggested
t~. be well

of definite d1m.ent=t1ons; what we must avoid at all cost is

lett:ins .the combinations go hapbazardly. thereby p:roduo1ng 1n-
coheX'ence ;. . a fugue is comparable to an ed1f1oe ln whteb. the
deta~is contr1bute much to tb.e ensemble, without ever altering
it» ~egar·dless ot tne .angle from which it is viewed.
i

• the
452., Th.e student will better understand this quality of i
~tretto by analyzing and scoring some of tb.e fugues in the
WEILl TEMPERED CLAVICHORD, pa:rt1cule.rly numbers l., 4, 8, 20~ 22.

'
 395

27,:29, 33, a.nd 46. !b.e ·oompos1t1on e>f the stretto not hav1Jl6,
in f,b.e· school fugue, as strict limits e.a tbat of' the first sec-
tion of the fugue. lt will be aaey for the student to approx1- ·
mate. the fc>:ttms or Baeh,. always being caref'ul. not to borrow
oe:r~J.n manners o:r wr·ittng. oon$1dE>red. in high. circles as
! . • ,, •

l1c~nses.
I
Nevertheless,. I woul.d adv-ise the student to sttadY
'
clolaely these pretend$d l1cansas. wh1ob nearly always ~vs an
;

artistic reason for. being;. :f're~m all points or view this work
oan,be nothing bu\ profitable to him, tor there 1s always
'
somath1Dg to be gained by keeping good company..,
45)... '!'HE TONIC PEDAL.. 'the various pJ'OCGsses Of COmpo .. ,
sittt.on wnicb I have 1tld1ca.ted fo:tt the dominant pedal betore
the, stret.to are aqna.lly appliaable to dominant and tonic pedals
wllen til'S .latter are used at the end of the fugue. Tbe only
dif~ereno~ comes in arrang1n~ the musical material; tb.e part
wr1~1ng 1n tli.is latter case m"'st always be. in the oh.aracte~ of .
tne[ stretto; ref'er to examples in chapters IX and XI ..
! 454., CONCLUSIPN OF THE FUGUE. Tb.e conclusion of a fugue
ooc. rs either on a tonio pedal or t.mmediately after; at a.ny
rat it ~s achieved by a perfect or pl~gal oad(lnoa. Here aga1n ·
a· is no rule; it is left to the ingenuity of the etudent. ,
.My ly suggestion is not to uselessly prolong the conclusion; '
sacrifiee some combinations~ wn1cn are Qsel~ss

and not to g1ve the contrary impression ot

tnt rrupt1ns wb1le he still has something to say., Thus 1 t
 follows that thera must be a logical stopping- point• If' there ·
is ':any part of the fugue to w111oh applies the est modus 11'1

-- re!us of the poet.- i'b is 1n tb.$ conclusion7,

. 7. In the fugues cited at the end of th1s volume, one

w1lll :rind examples or strettos with val:'ious oombinat1ons; one
oan .also refer to chapters IX ana XI where seve:ral model.s wtU
be found, both w1tb and w1 thout the ton1c pedal.
 ·· · ·· CHAPTER XIII"·
THE INTRODUCTION OJ' A. ND SUBJECT AND SOME. IVIODI-
FIOA'l'IONS WHICH C.AN BE·· APPLIED· TO THE
SUSJEO'.t' DllRlNG 'rHE COURSE OF THE
FUGUE

455. So :tar we have looked upon tlle fugue as a musical

composition developed entirely upon material bor:rowea r:rom the
exposition~ however. we f~squently find among the masters
~ues in wbich are sounded, at a siven moment, malodio forma
eq~ all.y. foreign to the sub3a<Jt, eounteraubJe~t, or the free
1

pa. ts heard at the beginning~ i'fb.ese new figures are not 1ntro:"
I

du~ed arbitrarily; they are intended to add interest to tne

i
fueue* as much for the contrast they p~eeent. with the subject
as :for 'bha oombinationa wb1ell oa.n be formed with it.
456. In order not to destroy the unity of exp:ressiou.,
the style of any new figu~e wn1oh is introduced must be similar
to :that of' the subject. Tb.1s does not mean that it must ra-
ea~bl.e 1t,J on the oontrary, 1t should f'orm a contrast w1th it,.,
' iI
but not a. dlsl)ara ta one, b7 ·presenting a ob.aracterist1o a.n.d
we* mrked 1nd1v1duaUty both :rJ:~.Vt~~mioally and melod1oally,
Tn~s oontraet w1ll naturally result in n$w interest.
 :598

457• QUALITIES OF TiiE NEW SUBJECT. A MELODIC OR

RH~IO FIGURE HEARD UNDER THESE CONDITIONS DURING THE COURSE
OF .:A FUGUE IS CALLED A NEW SUBJECT.
~--··.
!his new subject must be
written t..n oounterpoint, invertible with tne prino1pal subject
at.least, and if possible, with the original countarsubject~

The new sub3eot can also be aooompan1ed by e. eountersubject,

invertible or not with the principal sub3eot and its counter-
subject. At any rate, the naw subject should be conceived so
that the chief importance is reserved for the pr1no1pa1 subjeot-
tne foundation ot the fugueJ any infraction ot this rule
would obviously resUlt in destroying the musical sense or tne
tugue 1t the :lnt:roduC)tion of tnt. a new subJect resulted 1n bring ...
iUS 1n developments too exoltte1vely foreign to the exp!s1t1on.
Now 1t is necessary not only _to attr1bute to the new subject
alseoond.a.ry
I
1mportanoe in 1ts general appearance, but also to
e~bord1na.te 1t to.tb.e p:rtnolpal. subject• and 1f neoessa:rJ, to
S:'a oountersubjeet, br eompall1ng it to oombt.ne with the en-
e•mble a.coGrd1ng to the rules of' double oowtterpoint 1n two•
three, o:r fou:r parts, a.s th~ case may be*
458. It. follows, then, that the oompos1t1on of a new
eu~jeot is simply oreattng, in regard to the principal subject,
i '

a; supplementary oounteraubj.eot wbiob. will be heard only at a. -

slven moment. _L1kewise 1 . 1f the new subJect 1s accompanied ·by a
obuntersubjeot, one must. understand that 1n :real1ty 1-t will only
I

add one oounte:rsubject more to the pr1ne1pal sublaot-.

 399

we should mak.e a mus1oa.l distinction between a slmple

oo~tersubjeot
I
and a nsw subjeuta .
the new su.bjeot should haYs
i

a. Piore d.ist1not1ve and well me.:r>ked appearance than e ·oounte:r -·

' !

subject.~ It will be u~aless, from th.is point ot view, to.

have it any longer than the principal subject; as we shall sea
la~er. ·
459. POSITION OF THE NEW SUBJECT.- In general, in tne
I

school fugue. we sound the new su.bJae-a

, ~ .
after the seoond epi-
so4e, e1ther in the principal key o~ in one of the neighboring
keysJ to present 1t mo~a c;early it oan be ~eoeded by a
oa4ance or a point ot on the dominant ot tne key ln
r~pose

wh!+oh it 1s go1ns to be beard, and it than proceeds to an expo-.

sitlo:n of the new subJaot, 1dent!Loal to tb.a.t ot the pr1uo1pal
sub:jeot. at th.e beg1nn1l'JS of tb.e t'ugU6h
i

1 4150~ Following tb1s custom. we aacompan;v the new sub-

jecl by a oountersubjaot of its own, o~. 1f not, by the
eouhteraubjeot of the prinoipal e~bject'<;l It is batter, howeve2-,
not: to sound the p;r1no1pal. subject before the rou.:rth entrance
ot tne new subJect.. It is p:retera.ble to ba.ve th.e :r-eturn Of:
the·P~1no1pal subje~t preeeded by an episode developed from
alexp.ents borrowed from the ~ew sul>3eot. Then the fugue ca:rrtes
on. ~o the end by sounding stmult~neously the prlno1pal subject
and\tb.e new subjeot 1 wS.tll the countel'-aubjeeta~ tr an;vJ all

1. The new subject, like the otJ1g1nal sub3ect, anoulit

OQmplete melod1o sense~
 400

t~ther deve~opmants
: .
are taken from one or the otber ot those
tll$m~s·
461. ~RDim OF MODULATIONS. Followlng 1e an order ot
mo~la.t1Qns for a school fugue 1n. wn1ob. a new eubjaot ls intx-o-
duoadJ students are free to use other armngments 1f they
onooee:
a). Exposition.
b) Episode.
·c) aounter... eXpos1tion (not obligatory).
d) Episode.
e) Subject in relat1ve minor (ot' major. according to
mocie).
t) Episode and repose on dominant ot p:s1no1pal key ..
g) Expos1 t1on of the new aubJ.eot 1n th.e prinf.l1pal k$y •
b) Episode ·built on the n~ su:bJ·eot*
: '

1 1) maw subject and p:caino1pal subject combined in the

su+%'toD1o (o%' 1n tile DledianG 1:1:' t~ tl!gue 1s nt1nor).
/ j) Answette to th.e new subject and principal subJect
com'b1ned.
k) Ep1aode built on elements of the new eu.bjeot and
pri~o1pal
I
subject eombined.
l) New subject and p:rlnc1pal subject oomb1ned 1n the :
subdom1nant ..
.m) Eplaoda and dominant pedal. with. oomb1na.t1ons ot
trat-entS b~ed from bot~ subjso\s.
, n) stretto.
 401

Tl1e answers SUS$ested 1n {J) may be om1ttedt the rusus

will then pass on to ( 1) through a. eb.o.rt episode.

• tiona;
1f
.:
ll62.. Under stand tnat we can vary the order of module. -
for exa.taple, after- the expos1 tion (or counter-i3xpos1t1on
th(!JrEJ' is Otl$) :t W$ may J:u1VG an epS.SOde lea.d.1ng tO the pr1no1-'
'

pal subject 1n the sub~om1nan1u then, with tbe aid of' a sb.ort
~pisode, sound the answer in the supe:rton'-e (assuming tlle fugue
1s. majo:t:t)J a. new episode leads to e. point Of repose on the
dominant of the relative minor, in wnioh kay we expose tne new
sub~eot ....and so on to the end.
463. ARRANGEMENT OF · STRETTOS.. . ':fb.e strettos may have
tne!follow1nga:rre.ngement, tb.e student being free to proceed
at1 he will, basing his a.ct1v1 ties on the nature of tb.e subjects
and, the combinations intendedt
·a) Flret stretto ot t:he pr1ne1pal subject.
b): st:raetto ot' the new subjeot •
. , o)· strettoa combined from tb.e two eubjects 17 the
nmnber va1'1a.ble, following tb.e gene:ral process of the s1nlple
st:retto.,
464, Hare a:re soma ·examples from Bach • showing the
new subJect lu :ralat1on tO·-tb.e pr1nc1pa.l eubjectJ students
ma~ refer to the fugues cited and study thai~ developments.
a) Bach,_ qrgs.n Fugue 1n F Major:

·p~~~~ ~. ~~~:~Efug~~~a~~~~~vJ;~. ~J~~~-6~':'~~§-~~0~I~~~~-~-~@~~-. i~· j:.~

r
-l-.,___·_._~ , -·-+--:-:-
'" .. -~-
• ---=- &----r:t-+ -,-. ''.¥-;..
u
l
•
LJ
- ....
I
 the answer or the principal eu.bje(1t calls f'o:r a corresponding
mut~tlon 1n the answer of the naw eub,ect:
., ;-
--- ··-------···· - - - - --t--, , .;
f

o). Baob, ART OF FUGUE

·-·· _ _ _ ...,.., .L .. -
~,¢1t. ~...,....._,; ___ . t- -··
~vo,~~~--------~--~--~--------~------4-~~-----~~
c~~j,
S,,
NQJJ ~ ---- --- ----~-·- ·- --··------
...
-·-
1----1
\ s, i <I "

\' u \ {
In the last example the new subject and 1ts counter-
subject begin and end before the principal subJect; this helps I

greatly to emphasize them and completely elevates the cb.araeter

ot,tb.e simple oountersubjects of th:s principal subject.
465"' .!'LACING THE NEW SUBJECT. When one wants to sound
i
a rew subject 1n a fugue 1t would be well to· arrange for 1 t in
ad~anee, !• !.-• when b.e would be pla.n1ng the countersubject of
t+ p:rinoS.pal subje$1lJ tb.U oorabinatl.on calla to:r tb.a usa ot
 1nv~)!'tlble· caunte:rpotnt in three parts. ·If the new subject is
ace4lflpan1ad bJ a aounte:rsubjeot wh.1on is invertible also with
the:prinolpal subject and 1ta oountersubject, combine them
a~oot-d1ns
'
to the rules of tnvertible counterpoint in four parts,.i
Tnt$ requires, as was sa.1d.. beto:re, the sea.ron. ro:re a fN.bjeot and
tnrea· different and 1nvert1bla eountersubjacts. W$ begin it
the' first measure or two before the bes1nn1q or the pr1.nc1pal
'
sub3ect, reserving tb.e most <tb.are.eter1etic figures from 1t.and
cho~s1ng it as a new subjectJ tb.a other two countarsubjacts
ahould always 'J?e sh.orta%' than the pr1no1pal subject.
466., ANALYSIS ·OF A FUGUE WITH TWO NEW SUBJECTS. Hare t
beg~nn1ng with tha aapesit1on, 1s tne analrsis of tna last
tugua from tne ART OF FUGUE. in wh.icb. two new aubjeots are
sou~ded sucoess1vely.
Baah, AR'f OF FUGUE 11 fu5U.e l5t

--

. 1-D-_,.. -._-•-.~~--
ff"\·n·,.. . ·-··~----·-
- ·- _· -~----.--.·
···-- .. __ ----- --·- ··-- -- . -- A=~-
.. ····· ---- ~- #....
- Q-·
~r--
-- -o-- -()-9.·
..c... -·-·
~:-.' - - r-· - ,"' ' '. ----,j

• \ ' \ \ I II
 404

·-+--- --~~·- ---- -

~ -On .. ---, ..... .}£.-...-- ~-~~

- ....
' Dli')f
,, ,.. 1,;.

\
~

-,_ ~--
71._!
. -
~-----,:-...

++-
~

I
t--:.o!'
'
\_y r-t~IH
..i.'
•
.

q
, -v-"4' -v --
\
\
-1
-cr-t--
\ -

~ ~---- ---- --~- -~--:A.-

, "'
.ll. ,,,-:n;:
., ·-. _.i.,., <>---- ~-- ------- ----·--
-,- -~ - --- -i-1-- 6 l
--' I
q\ "(j'
\. \'

T)l.is expoei tio~ does, not contain a oounte:rsubjEiot 1n t'b.e

str.1.ct SE)nse which we attavb. to th.a word here1 l':u)weve:r, 1\ will
be notice~ that, aside from measure th1~teen. tne two_ trea·p~rts

wh'l.oh.. accompany th.e aubjaot atr.e reprodueed almost 1dent1oally

witb ~b.e fourth ent%'a.nce of tna answ~rJ a.l$0 note the tonal.
uni~ty of this exposi t1.on, the sub3eot and answer r-emaining
an'ti1rel.y w1tb.1n the principal ke: of' D minor, ax~ept measures
15J 16, 11-, and 18, wb.er~ the keys of G and A minor are souJlded
!
o~omat1~a.lly . .
467. 'l'b.e development which follows the exposition of'
the principal subjac't 1s trea.ted, no'h in the ma.nn$1' of tb.a
school. filgue, but in the fo~m of atrett()e, alte:rna.tins between
di~eat and inverse, ott contrary motion. the ent:ra.noas ooourr1l'l6
a.t variable distanoeeJ. tb.a themes of the episodes of
1
~n1s
I
I
f'1tst paz-t are borrowed from the figures wh1oh 1 in the expos1-
e !

til>n. are used instead of .,ountersubjectsl

 405

-.:::T -r--·
I
-~

"-- --
-
--;;;
S'-~ \ ·- --"
-;;-\ "

'T I

\
_/!-
'
h~ .
•
\ I
\

; -1--- -~---,: 4----- " -

..,..
""

- v ,
\
, ,
._,
"-~­
,
\ ():"
1
-- .. ----
, -·
c..;
"I
---
h
U ..,
:.-...;.~"
\ I I I \ \ \ I \
• t '

""-"

- " -~ ;; ··;t- -
'"-t --" \ "" --

.
i -,---------1~---
. .
. --·-
:;;,..~--
t
---~~T---l--------'---\--
--- l.
0 -L, ,_ __s.._T- I

l '
 i'
'

406

,,
---
---
' \ ---- '-\ -~-+-- --- --------
·-
----------
- f) (/

I ' II'
'-""1.1$ ' . _t,_ _-t-..:r==. . '\•- _.__._\.
t
. -, , ~~G~
~~-- -\ .+ i- ---
-~
-+P-~
-- .. ---- -\
- -- - -- ----'-'------.~·- :j:_ _ _!

i
u!"l!._.
I JU. ' I
~r- -t-- -

-,c •

n~--
' -.'
·- , '
 407

T~-"'t--•---1'
v . (::
,. I --- 1
llo.'
... --1- .
'
- - ,.----()-
, ~~ ~~~-.,. .
, ..;--- --Jt;t)j----

, r , '
 408

-t--
I

~
..
A.
. , -e- ~

+---·
... ·-
A
"
~
,..__.$::..

-~-\- ----
4f:::e-
\
I
-
-
111 -··· -. --· 1- ···-- S' ---- F- - - ----
....
~

J
"' , 0 -
0
·- --
'to'. If Q
-
,1.,1 :n \
k' -- -\- _\ -- -- f---
,,
-

~ ,,, .-,.
:-r~-
T
n.· . A
0 - ".J/P.
lr
"
OJ;;'

!
,
- ,
I
h
-,
'#lu
7
Q- •

+=·
~-
..__
-U -- -- \ \ -
rr"",.
-

. -, ), ' .,
f---
0
f----
!--_,
, ..,. ,
,.
"/r([----;;-
,.
I
--~=-
<Y 'I
=-=+=i
-y
'
T
\ I -- ---L
\-- -

).~ EP·
-1-6 ..
•.....
v
...!..
\ T I
I
__
---
:
~~~-
-+ , " +~...,.. - ""61- ·- !-1- , o·-,+.!..,.. ..
;~
'---p: ~ t"J ""I• T
I I
::£)1"t
I!-"!'__ --\
'""
. lot'
, I , 4
,. ,/, rt' ---t=== _·
""" \ ·--
-------
-s -- ---
II•
-,, 'A·--

e
71 .__:
_,. u
- -'----1~-~-­
\ \
 409
l

u .~

• .,____ ::t"f _j- *' - 0

\ I I I

-~ • ....! -~ ..2_- .
f,-bl-. A1 '

- +----- c

\
._ .•
-~r:;;. --~- __,--~. ~- ~~--k--,#- _,_ ., -lilt' ~!__1
•I

--!- ·;_. :t f)-- .,

........
- ..
...
_:_\
'6- - -&-
---.--- 0 - &----
_,
t-- _..;_
-,
,_
--r-+ . F-__:-_:
-Er
' (_ \
1.11
fJ. ... r-..\--
..!+r I - \ -~- ~- _IQ> -~
• --o 0
':' u l -iiii

r~'-9- Ill "

\
\ '
~~~- -~-+------ -n.--~,1~-t:'F---l!--~-AM'v},Pr.;.....C""--.__-_-_-- . J - -
-~ ... \---1-- '6 -.,-

- - r-- -·•
Ut:7 -f:iJ--i.i
\ .I _\ I
I
"'

•• -
---
-G>-- _, ; \: ,_ \-
-----

,
·~
-~ -
T

+- ------:;;,;:
·i-'- -

-~-·--- a--------~~­ o. .. --·-- 0_

'' I
"' . - ___
---

I
 410

'

•
--r---...... --

\ \ \ \_\ \, tLJ '

. --~
--
--- -- -- -
-
----- -- ---·------ __________...,.,... ....... __ --· .
v
---

" .. .... # , a_
--
'I
\ '-!.....l,.l \ \-.!..!.. \

468.- EXPOSITION OF THE FIRST NEW- SUBJECT .- 'fhe exposi-

tion Of the firs~ new ~b~ect begins at measure 114; 1t is
pr~ceded by a. short pedal on the dorntnan\ of the pr1no:tpa.1 key,
ancl. 1t 1s 1n tl:d.e key and on th.e same cadence that the ent:ranca
of :the new subject appears, which, by tts rhythm• its exterior
mel.odio 4lb.araoter, and 1~e length, differs eseentle.lly from
tb.$ pr1notpa.l. St».b~eot .. 2 'the eXpOe1t10D.* Which 1s regular. Wda
'

at jimeasu:rs ' 140. It is followed by an episode of six m&aaurea,

pa~tly oa.non1c, built w two figures heard in measure 126~ At~
measure 147 tb.a new subject :reappears in th.e prinoipal key 1

2. ·Tn1s ft:rst new sttbje('lt 1e longer than tM principal

sul;JJe¢Jtl this pa:rtloula.:r1ty has tne advantage of more olai11,_..ly
differentiating it from a simple oountersUbJeot, wb1ch, in a~
u-a$e • ought to 'b$ sho:rteJt than the subject; in this fugue the
pr~nc1pal subject not having a.fl.V countersubJeottt 1t was necass;-
axt, in order to a.void oonfusion of' tnt a sort, to glve the new:
subJect more prominenee as well as duration; this is of\an 1

do~e. ;

• 1 · It wlll b~ turtb.e:r noticed that th.e ent~ancee or tbe

pr$.ncipal subject on the new su'bjettt ax-e at varying distanees ,
t:rom the b.ead of the latter, wb.1ah U.Onstantly adds tnteres1h
 411

b.a$rd tn1s t1me in the aoprano,, and in the following meaau:re it

is: combined with. the pt*1nC1pal subject h$a:rd in th.e bass* A
• 'f'ety $b.ort episode~~> c:onstru~ted from the V'<!J'IlT same elements as
th$ p:raeed1ng. modulates to tlle dom1nant. and th$ same oomb1na-
t1on of new and pr1no1pal subJaet reappears bstween the alto
and tener. A new episode (measures 162 -167) 1s followed by
a i1fteren.t combination of the two subjects, the p:r1no1pal sub-
Jeet thta time sounding only at tbe th1%'d. measure of' the new .
sul;>jeot. ·
After tb.e eigh.th episode the nsw subject :reenters in the
su"J:)dominant;
'
wn1le it 1s tb.u.a l:ud.ns b.e;a.rd in the ba,ss, e.
.

canonic etretto of tb.a p:r1nc1pa.l subj eot and e.nawer .is aQunded ~ ' ' I

beg1nn1ns at meas~re 182, and joins with an episode which ends

e.ii: mea.aure 19; w1 tb. a .Pa:rteQ.t eadenoe 1n G m1nor ( subdom1naut
of the prr1ne1pal key) •

...·- ··--~
----
. ...
--
~~
,
-
II'
\

f' D> ..
\

_.,
,,
"
•
... r
;
., , c
--\=
--
II n

- I -~-
I
-"""'-- Li_
,;_
I
I
........
< ..... . - ---
-~
'
---.
' 1
L
_•;;u,
~.,_ A
.._., -- f.
..._ ..- ...... ---
--

•
-~
---
'
 J.

412

•
...,.
-- ·-

-.;::. ·--
-= ··-----+--
·-- .... !---
-··--
--- - ·--

-
--· --------- --!---
..
---
li!Ci-

-
-
___-1
:I

I
 413

•
•

•
 415

~~.c--.-l· - ~·-~-,. -~-r~-"\- ~-·lL-L~-~- &- _- .- -~- - ·-.-_- .·-·rt - ~- . .:~ ~-,-~--- ~ f-~--l
• •• - __ ,-_-¥'--• ..

..
, . l • , •" .

~ .,

··•·' I I
.

I
'j ... ;
'.U
·--

•
I v I I
I

--=.
~-~··
-1 . I
... • .

•
 416

' '
""'
.o
- ""
b, ~;-..4+ ..£ -~ -k +....-+ (), 1-7---
\ I :l.i.:.: r== ~

•
\
-

~ ~-
. r", ..,. ·4~~.:t
I
, . ..,.
"""'
Q
~
L ~ll?..:.f--~
" !:~-""

_\
""T
~
i,;ii>"

- -

,
1c? I;
/,
IJ

- - .... ._,-,

-
I J1 f•l.
. -.- -., .,-r • -1-
\J :...__--- rv·~· I I
,., \
rw
""''U~
v
~ ..... ., --·--·-
.. -
•
...
v
• ~

\ w
I
, .. "
,
' Ul " :n
., -1~-~.~~
{,J:;::U
-

'
I
I

'
A - ...,
t?.
-, ~ 4 b0 ~ ~
- ---
...

' .. -- -.
.
-·
--- --

'" ..
Qj
~. ...!. b.-A ..2. ~ ,., ., =(7.
:.,-· l \ r-r-~4== ~--·

.,
\ ' ,
, • -'
.. .#
-,-#I
Ut
..
~
- LW....J i
--· -. - -----
-·-
-----

'
' f!
J. -~
'- ~ 14

i--. L.!..W \
\ ~' '
'
1..4
", I(
'I
.... ... . • ;,. ""],; r. K
-u .. - - ~ -- -

''\,;,..! •
l.l.-J.. ~ u.t' \ \ \ ~· (.._:..o-
::Uj\ I

•l..
/I'
·' [) - .. --.;- ·;;, ••
b e d 6.9 . ..
•
. ~ .., f ··:·1-
·--
. -
---
··@--
,__" :..:.ii"' 1---T-
u
!
.,. , ..
•
.,
(;;>
-
:t..t-LP ..-• ~~'-
II
''·;~._- -~ I'·
•

,
J'

~
1.-
....
\

II

I I
-

.. -- - - '-
.;;
.I-t "").;
,...., _,,- ~
.. , • \ .. .#
. I?
~-
---- , .
-----
jc --
;~
1"1
u.,...:r \ '....J' -· ' v
L

'
. .,,... t
Jl.>t,
I><'" .,
·'
. .--.....
-
..
I
.,.
\
" r
t.J...'
.
\.,..:.-1
. ----p----(} .

.. \
..
l : I:
/"

1,11
-·---II
-I

'
'
 411

U9. EXP031TION ·OF A SECOND NEW OtmJECT. Immediately

after tne cadence tne.exposition of tb.e second new subjeet

~ begins; the first four nates ot it fo~. 1n tna Ga~n alpha-
bet, the name BACH. The exposition, of th.1s new subject is in
the' form of a etretto between the new subject and 1ts -answer,
tne' latter entering before the subJect, na.s finished.
470.. In measure 198 the tenor takes a figure alraaey
. heard ~~· a .free oounte:rsubjeat in the exposition ot the p:r1n- ·
eipal subjeot {measures a, 15# 20) and wb.loh bas served the
ep!li.sodes of the t1l'et part of the fugue. Afte:r an episode
built on this same. f1g~e, tne ae()ond new subject reappears in
th~ tenor, followed. 1n 1ts-next to the last measure, by an
en'firanaa 1n the alto 1n_oont:rary motion; 1mtned1ately a.ftGr
!.
thts begins a compaot stretto (at a half measure) of the
eepond new subject and its answer, wb.tch 1a slightly m.od1f1ad :
ati the end; the bass resumE.Ha, without interruption (measure
22~) • the second new subJect in contra.:ry mot1on. the alto
sounding it again in d1raot motion (mea.aure 227) 1n the sub-
dominant wn1le var1ous figures x-ecall1ns the ft:rst new subject
rE~appear in the free pa:rtsJ e. shcn't episode, bu1lt on tneee i
same figures, joins th1s oa4ence on the dominant or the pr1n-
clpal key. ·
'
471· It will 'be noticed that the answer of this seoona
·• n$w subject is not regular, but tbat is of no great impor-tance;
in the strtctest ot school fugues one h.as the right to proceed
1~ tn.is way, and ma.y even b.a.ve the anawel' to the new sub3ec.t
' .
 .I
i
ent~r at any 1nte:rval he may wish..
It will be further noticed that this pa:rt of ths fugue 1s

• altnbat entirely within tha tonto 'and. sabdom.1nant keys in relation

i
'
to tb.e p:r1ne1pal key of the rusue1
any l1berty :tn this respect 1s left to the student; ·we f'eel
this is not a rule, ·nowevarJ
1~

nec$asarr to obsene, however, that a limited number of lre-

stra1nad modulations if p:rererabl$$

'
-.v
ll
L:
I~

""
t
- A
- fY\~
-
·filS·
- - --
····-
-··
-----

..r-,

,-
'A
.._:11:1! ¥
'I-
T.
0
•..a;:
-
.. ..
-- --
, "" . A. & •~
' ·- n~
t::J---1 -·-
~-~
:.un
T
~
'

It:'
\

-, \
~
- ..
!-..
.~.
>
,_ .... "")
',,
~- -y_q~1q.,
\ -===+ -l-

\
'B A. c.
"
. .. ~ --. --
\
'
: v.
...
- - --- "-
~-

- ·-
- .

-
'==
,.. 0
I
--- ~---~-
-- .
~ lA •" ... - - - _
~--
w • ...
....1..
,,
, --,- I
.. . - II 0
1- . . ,- - -
" .,. . - -+--- =:I:\-,
'll .-;, <
I \ T ·t ·_ --,------ •
----1--- T .
~~- -\- . -1-- I
I

, ---
T--,;;:
-
I.
-"' , • . , ·-·---
- - -,~""
--- , ..=rJ;i~-
---
P""-~- ... -~ l- ~-
,.,. ii.U • ,.-+- -

''
.
\· ··---

\
'-\ or '
IIJ' -,
' I
- I II
(J_Ia \
- ~-r ~

A ~~t}..
\
#

NS
7T. ... -if--- --
!
:7
..11 -- -- - - - ~-
.. ·r i

•
'
 419

, , - -v-__ -
-1'1 ,
.
olfe: , "'
II..
/>..
J
-~
-- (
--,--
v
I
"'I
. ... "
.... \ IPJ
.T
• ~-
- (:-__::_::::
--
.D
n ~·

-PJ+
. "to
.... ,
i
-y --

•
- -,f---,_ --
-j:;. :.-
A
,_ _}_

'.:1 ""
'J
~: u
I
. "" -
~ J,J.

L. I ~- 1--h.-
-, -~~
J
--...-
-
-- -<I---- --
I' f).---,-;,~;-------, -~
. -,- ' --
-~
--
-'.1 -
• \
. \ --......

--o
\..J-l L! • I

~·.T"'---;
.. - , ..-1--- •• "' ... h ,. -~-
~
.:-t-~~~
.I -- i -- -
~-IJ
, \
...__. , ----- .!.+--
\

r'

}\ "'
' IJ-+--___fi_ --
-. -~ /A
. ---
- -.\

-,
~ it-e. o,... , "%, ~-
j
,
-.' ··k--L
y ~( -
...... " \ I
=---
'
.V"
JJ
- Jl..l-'
J

----
I
...."'
-,;;:
-...,- -.
-. ... "' __(_
_
r ., r
"
c·- "
\
" ..
~,

I
1- •- -4
0 ... ,
. p
"#<1 •
...
1\f 1:01'\t,_h ~
6 --

~ v\~ .1'/·S
{
•I--
--z;;
---,;-~ . ()-

·-,,, .
(",.1?
,, u - --- 1------- - ----c::-- .,
r:J.-
--,_-,- ---=--
.h
-----
-
\ y L. ::1 -,
.. \ \

... -~~------ -~;- -•=--~~

' _ _,___, •• ,,---~
~-
,- tL----;j._ -4-= ·o-~=-"f" "
IK
r ___+2-t--
.I 1\
.... '
"" -v-
\

. .. n ,_ - u=~-

,IU
·""
I.A
1<'\
'-"' \
V·
•

~I
_
"'U-
---
~-
~- --;,;;!;;;
6
I
,
t.J
--
\
-"""
v
(
-,
v
\
'
T

,
\
\_ --

.. I-
___,__-, ---- --$---
~--r ------ti== -, .. -----
0!
-
-:-D.·t--'-
J:J,.
--,- c; -~;;;-
\
If
nn--n
IJ;i1 \ ' .,
~
:;u- ......
"" .,
-~,..

-l
I
" -
\ \
... "' _, - ~-_,_-
~-

W· -. , -6---#,....
:.
~-
u --~ -vf.l-~ -I;;. , - T 6 r--,
--~----

... ... , ,..,,

,
I
_

~
...
-
1 •
- -------+- .... [
- -~

•
-
7.
~~
.It Gf P- 'cliVS
1

HJ.!,-T------1- -----~-- '- _.. 1 -e.-- _,' __,_

t -# -
-
_ _,__ -,- ------
.. A ...

"'
...,
A'

\
\
:.. h

"'
a------
I'
v \ \
\ \
' '
 420

14
-,,,
,p
- ·:u..~
..
t~
,_
11

..
!!. +~- ..
,.
\
I
w
J. ••
."'t
-"'
-w>- . . .--~ + ~ --<#~~~
~"'! -Tt- Ll -- -
-- ~-
--~

- ..
J) ,.
/)_ 1 b.,. 0 -~ t. , ·r--. bcf_/;vt
11-
11
- .• ,._
I.R
<

I - 'c "" - ~ I
---~", J ---: J. +

-
r \ T
~5'

m,
:.....
·M
. ..e- . -~-
.. ,
--
··- --------·

-- =~:~-=-
-,._
~ ~-

U! >
'!:'
...... ..- "'
, ~~ -y.-
-dA--~

,, -- - . -z::r"" .ll ;;::=l [.,.\ ~'

-,.~A •--~
~

•
r ·1;- ~ .. tr ~- --·~
.R-~--? ____{,L 1-'--~...:...:. Ill' IJ '- .. --
--<--- ·- -- /
-- -~ \
""
\ \ ""'

..t.~ !J .. .. . "' - ~ ·::. , I

.-li> •
--y--
, , -..,.. . J
NIA'Jt, , __
- ------- ---

-
~--

' "I
-T ·v·ff:•
-,
-- . -
to(
---.-.. ~ I
~ C> ~
.... A_. ~ .£ :IJ..! .::&,... I""
b> ~---
....___ () (.:.. J. -1 .. -
1!:>
I ----\-- "" -\;- ' ~c\- f) --\-··.
~
"
·- -·

.•
~-

'!..
cia\ 1. --
. - .. --·· -- -- !->-..;;.~ ·u··---· - -----
-,--
-
LU .-;;tT
- 7"dt-'
L I
u, , I 'I 'f1"F
p ..• '
~- \ \ \ \4 11....1 I \ -, \ \ T ~f '
•
n,,
·-

-,.:
f---·
r.F
.... .. -~---

- L ;;.,n;
--;:._----,;··-}z:

"
-- rd"X
•-.
;;. _, ~
,_ ----,.--:: ':
t1.f-d .
!I ., 11

\
--~

~\
()
\
r \
l ~ \.-J-"'

..., ...... .. . ..
I ;r .:± .1! ±==., ..,..!. +~ » ~. -·-·-··

-
~-~,

" --·-· ----

.;; ' . \ ~~..--
IIi+ ---
Cl
_,.. c/ .
p "'
--~

:t:: , ..Jr...!h .... .A. "" ..!. .r!O .11:! .. :t. ..

'*- ----- - A
-

i
-
-
- --
-- ~.
!'
~-
_ ___2_.,
1--
1-~ -
. -
"

~ --

..,
.;,-,. "
.. -
~.~
...
I-t±" rr..
•" ~
Ji"Jd

u -- '""" 'f
~ -~ \
\ \ \..!::1
y ~

--
.• fi._ ..
~ -·-

• ·'"
, . - - -~

---
. -·-
---
~--- --r- ---
:-....: -- ~111-h-~ •.:. "
•;>
-\
: w \ \ u...- \ \ \
 421

412 • COMBINATION OF' TliREE .SUBJECTS. At thls point the

. .
last part of the fugue begins• Baoh 'has written only six com-
PlSte measures, the seventh being merely outlined; tbis last
pa.~t should include all the aombina.t1ons wl:l1cb. 1t bas proposed
w1th tb.a three subjects heard successively. It would seem pre ...
sumptuous to want to .terminate such a work; however, I tnink
1t.would be well for tne student to try to write the conclusion
of th1s fugue, approaching aa nearly a.a possible the 1n1m1table
model left by Bach&
~v b•
Cow.~l\'\t~tlo-.. of ~

IJ'
..

-
-1- , _,. " ·'
,,
' ' I t ' ....
' I
-
.,_ .1. - -~ - - - 1 - -

I;J I u fll•') •
• ' ., -+- -., ~ , • •
~~.
'Q 'vi~
-=
IVt~.
.JI ....... ·-n
_'!. ~ ·-- - r-- ·-
.. \· ..
I
... , ,
'
7f
;v -1.!
\
, - I
·--

,..~o-

Ao _ ,. • ' ...., a .,. . .,~·

--&- ~~~iTi ~ ~-~ ...
·\ ... ··- ~­
\--- - -··'
 47':;.. I't will be noticed tx-om a stuey of this tugue tbat
tb..a·new subject permits introducing into tb.e fugue sOJne figures
wniub. are very ditf'erent from tb.e p:r1no1pal subject and counter...
subJect •. This may be done at a moment when the expressive
cha:t'acte:r of tb.e p1eoe bas been clearly determined by the·
developments already drawn by the la. tter • and the variety ot
new· figures can not harm the unity of the ensemble. It is for
this same tteason that tlle new subject •. even more than a simple
countersubjeot, m~st be well marked and form a complete melodyJ
in a. wo~d, the new subject must be a mu.s1oa.l phrase or oompl·eta
sense, Just as the prino~pal subject or countersubjeot.
474. !t 1s eVident tb.at no school fugue will atta.1:n a
development comparable to that or the fugue studied above;
the' student should see 'here not only a synthetic model 1n
wb.toh are exemplified most of tha combinations which could ba
uead 1n a fugue
'
or several subjeote.
475. In a general wa t we learn from tb.e preceding
analysis that ln a fugue .of' twp o:r t~ee subjects, we employ
th.~ following o:rdert
a) Exposition and d(;)velopment of the first subject .•
b) Exposition and development of' the second subject.
i
i.
i'
c) Oombination of the two subjects, and a definite
i

de~elopment or the fugue on this combination.

476. MODIFIOATIONS APPLIED TO THE 5UBJEOT. A~ide froml•
tha 1nt:roduet1on of a new subject, we oanalso vaey the fugue
by mea.nili of var1oua mod1f'ictat1ons of tne Pl'1nc1pa.l subject o:tr
it~ oountersub3~pt.

'flleae modlt1oations can resemble tb.a rhythm of' the

subjeot, .and oooas1onally ttla melodic ·line wh1cl:l, 1.n any case,.
mu~t-not be altered be~~nd reeognition.
Here are some examples in tb.is oonnectionJ the student
w1ll f'i.nd num_erous &X$mplea to gUide b.1m on thie pout among
the tusuea of' Bach, Handel, Mosa:rt,_ e.nd Mendelssohn.
477.. MODIFICATIONS OF RHYTHM. In the WELL-TEMPERED
CLAVICHORD, tqsua ''• the aubJeot;

19. !&-i § t r1 ~. ~ n ..

1s,. e.t a given moment, presented. 1n this form, rb.ytbm1call;r

I

modif'1edt

and t:tteated tb.us (measure 2' .it. Ji!S.a~) •

s- IV\0~\~\~~
~l

" . <# ... -- ·-···-

~-

iT )/,
-~---
' f~- \'Mil i.(:. , .....-~~
I
\ \ I \ \ -, .#
-_i

'"ff-A4f-IJ
'..'T-.Jl.'~
- ---
"'tf'
-~
"''
•
'1ft;"'
, . . ~-
~
_df -,,

·-
, • v·
I
\
.J
'f--
c;>
, --f)
:I
\ I \ I

~ tflr
\ 1
,. .A

nv~
I
' - -
--------
~- ( #

,,
--
·o-r-~\+; \ ':ft \ lfl' I
•
u
. ,\ I
"' (}----
" \ l \~I.
,.l
1.'
\ I I

1-,.. I f'.i6>
_VL <<'!r

"
'"1lf
•·1/1>.
!»"
, p
.,
'
.t'JL-+f
L

--
--·-
. .
--- uv -
, ~
. I _L_ -
. -- ·-

v"-
-:;;.

" \ I T --
I \ I I f IJ
\ l ~ I \
\ I
' \ I I
 . i ·-'.
I '
!

I Th$ AR'r'OF FUGUE.bt Bach., s1vsa several models ot

I
I
these tl'Qnsfo:rmations Of a subject, all of wh10.b. oan b$ uaad 1n

·479 • MODIFICATIONS IN THE LENGTH OF THE SUBJECT.

J.\s1de trom these moc'i1fieat1orul of rbytb:m., the sub3eot ma7,
r
d~1ng the course of' the fugue. be used only in part J !. .§. ~,

it:may ~e 1nter~1pted either ~o sound the answer or to basin

an episode.,
'.fh1a suppression must nnly be of th.a last part of the
theme~ must be ae restralned as possible* and can 1n no way
affect tb.e head ot tb.a subjeet. 'rb.is prof.fass 1e used onl:v with
fa1rly long sub3eots, there be1ns no reason to use 1t otb.erwtse.
• !

460"' THE FIRST NO!E MODIFIED • The length of the firs'b. !

note of the subjeet oan also be altered. When, for Gltample., &r

•
I
subject takes tb.1a form:
 o~ a s1m11ar form. one can at any moment present 1.t thus:

FP \::: ~ ~ \ -+--
\
;-t.

' r -·

ormora ra.relys

@ 't1 .. ' I Hi . .•.·. 'I

guiding b~mself 1n tne neoess1t1aa ot writing or of mustoal
sense, wn1oh. alons should determine e1m11ar changes, whether
tor harmonic reasons the aubjeet aa.n not enter w1th the initial
note of full value, o~ tna return of tbe subject ao~uir~s more
rel;1et by the mod:l.fioe.jJ~on to wb.ioh 1t has been subjected_.
481!' 'fHE FINAlt NOTE OF THE SUBJECT MODIFIED IN THE
~x.POSITION. In any case, these various cba.nges ea.n not be
' '
us'd 1n the expos1t1onJ the only modification which oan be
i .
a.p~lied to the subje"t in the exposition is to its final note
whJ.on. from the se<tond entrance alone -never 1n the first- may
be held 'by a suspena!,on.
M:enlSlssohn, orsan Fugue:

--·· ---r-- .;
I"
. 0 ,
.!\-

• -\· . - - --
\ -
-'-I-- ·4 -1- :-{- w

I \
, . ~
 ..

. 'fha same is txaue of the oountsrsubjeot.

482.. MODIFICATIONS OF THE ANSWER.. After the first
• entrance of' the subject one can also. for purely musical
reasons, modifY the last note of th.e answer 1n o~dar to join it
bs~tar to the ep1aod.e or to a new entrance of the ·subject, .by
replacing a mlnor 1ntel'Val wltn a major interval as in the
following example.
Ba.oh:
A-

. we mtght sa7 that the opposite is scarcely permissible;

tbie should need no further exPLanation.
483. Thls ends the study of the var1ous elements
which go to malta the sehool fugue; in conclusion we will give
a s~ort
:
resume' of all we have said, and see which 1s, 1n
practice, the best wa'3 to p:rooaad to make these processes workJ

• '

Tbls w1ll be the object or the le.at chapter of this first part"'
 It 1s well to notice that all the prooesaes which nave
' '
bee.n given, tosetner with those wnion follow, refer to the tOUi'
.• pa.~t fugue. I do not bell eve it necessary to formulate special
rul.es ·for fugues in two or three parts tor tbe writing of two.
o:r :three parts is de~tved f:rom the writtng of tour parts.· For
th~ exposition of the 1'tlgue·11t was useful to give models tn
twQ o:r th.raa parts. Students will have no trouble appl;y1ng the
rules of four part fugues to those ~itten 1n fewer voices •

·
.
•
UODUS OPERANDI-GENERAL REVI.EW

484" PROCEDURE. Onoe the subject is chosen, tb.e follow-

1ng 1e the preferable method of prooedur~u

a) DETEIU!INE THE ANSWER.

b) CHOOSE TaE COUNTERSUBJEOT OR OOmlTERSUBJECTS, AND

IF ANY t THE !JEW SUBJECT AND ITS COtn~TERSUBJECT.

c} ESTABLISH THE VARIOUS STRETTOS AND CANONS WHICH TiiE

&T.JiTEOT, ANSWER, COtJN'llmSUBJEOT, AND NEW SUBJECT CAN FURNISH SO
I
T~T TREY !lAY BE CONSIDERED SEPARATELY OR COMBINED AMONG TH.im-
S~VES. •
d) WRITE THE EXPOSITION.
e) DEI!ERM:tNE THE MELODIC ELEMENTS SUITABLE TO EACH
EPISODE, AND ESTABLISH THE UARMO.NIC AND 'MELODIC OONDUO'r OF THE
FUGUE TO THE END.

t) WRITE ~HE STRETTOS.

3) WRITE DEFINI'PLY THE PART INCLUDED BE'IWEEN THE EXPO-
SITtON AND THE FIRST STRETTO.
1-
1 · ln easa a new $Ubjeot 1s 1ntrodu~ed, 1t will be neeesea.r:,-
to write the entire exposition by establ1sb.1ng the mel.odio aon-
dutat of the fugue as W$ have 3ttst said Cstep (e) ) ,
 i
I
I
4~5... DE'rER'MINING THE ANS\VER •
a) Ha.rmonlz~ the subject with its natural tundamentale,

• ~
:rem~;nnb~r1ng
. '

tna t f'rom tM point c:rt view

dombm.nt t.o-f the subjeoil heard 1n the f1rat melodic movement or
at
I
to.~
.
Qf the

$tl.d of the subject mus-t always be oonaiderad the tonic

anew~r • the

of tne dominant key.

b) ln. cas~ of am'Pigu1ty 1 take to:r tne anawer that
wnt.oh,. eat1sfyins the rule. moat netlrly app:ros.oh.$e th.e melody
of tna en.tbjeet, if Q,ne has been obl1sed to use one o:r more
B1Utat1ons.
e) Be sur$ to 1nd1cate numerically the degree in the
tont.o fiJCe.la (or of' the dOminant scale, a.s the case _may be)
-, .. ~·

oc~upied by eaoh note of the lilubjsctJ then answer interval tor

interva;L ln. the dominant f!J.oa.le wnen the subject :remalns in ttte
p:r,nc1pal key, a.nd in the tonic scala when the subject modulates
to th.e . dominant,,
. (
·
'

486. CHOOSING !HE OOUNT~SOBJECT AND NEW SUBJECT, IF ANY.

THE COUNTERSUBJECT*
e.). Fuast of: e.ll determine the tunaamental basses of' tt~e
harmony of the subje~t.

b) For the sk$leton of th$ Q:ounter~ubjeot taka trotn

a.mons the notes wn1eh are 1:nveJ:~t1ble with the su.bJeot, the bElst
of, those wh:teh. eonstitute these h8rmo.ntee, remetnber1ng that the
e au;t>jeet a.nd oouutersu.b3acts ought to be able to serve each
other as a good-ha.rmonto-basa.
c) Use as many suspensions as possible"'
 j:'

·d) Give the oountersubJeot a distinctive otmre;.oter ana

e.pp~arsnee • 41f'fe:rent f:ro,:.; that of the eubjeot, ot which the
i

.•. ooul1tersubject must- never imitate tb.e smallest fragment• _R$.-

tnem~er the role or the counte,subjeot is above all. to datermine

tbe_ exp%'ess!ve oha.racter of· the eu'bjeot. Differing from ttua-
la.ttar melodically and rbytbm1oa.Uy, it n1ust still be of the
same style·, but like it, 1t must· form a Qomplate melodic pl'U'*ast:h
. e) Nevef\ loolt fo:r- the oounteJ~subject with. the answer
when the -eub3eot is t()flal,.
f) Be sure the countersubject agrees with the answer~
487. THE NEW SUBJECT •
The new aubleot must eontom to the same rules as the
(lountersubjEHlts. It me.y beg1n a little before th.e subject,
wnioh sh..ould 'be to the new subJect as t.b.e countersubject is to
'
thai principal atAbjeot.,
I
j The bew subject is w~1tten in counterpoint invert1ble
I

w!.tn the· subject. oounte~subJ eet,. or both; it may itself. be

a.oQompa.n1a-d bf a. oountersu.bJaot 1nvert1bla with tl:le principal
su1dject, the PJ<inc!.pal eountattsubjeet, or both ..
488. The new sub~ect lends itself to the followtns
<tOnlb1nat1ons:
. a) lt may be invert1ble and appear with th.e first
subject •

• 1. b) It may be 1nvert1bla and appear with. the ti:rat

e 0 ntersubjeot. ,
o) .It may be UJ.vert1ble and appea~ with. a new counter-
 iI

e"b1eut.
d) It'b$ bEi tnvst>t1bla··and appsa:r with a. new counte:r~
•. subJeo t · and the pxstncipal countet-aubj eot.
e) It> may be invertible and appear with a new nounter-
sub.1caot and tbe p:r1no1pal subject.
f) It ma.v be invertible and appear wi·th a new counter-
subject, the prino1pal aubjaot; and the principal counter-
subJect.
489. · ES'l'ABLIS:IING'· THE VARIOUS S'rRET'l'OS AND CANONS~

·a) Look at all intervals for possible canons ot the

sub3ect with 1tself or with tne answer.
b) Do the ee.ma tor the oountarau:bjeote and the new
subject ..
I
e) :tn tha same· manner build 4ouble oanona of tb.e sub ... '
jec~ wtth. the oount~rsubjeots; of the subject with the new
subject
,.
or its oountersubjeot; of the pr1nc1pal oountersublaot
w1t1l the new subjecta ~~f the new sub3ect and its answer wttn
its' oount-ersubjeet. ·
c. d) If th.e eubjeO"t does not produce canonic strettoa,
bu11d artificial strettos; . . !' Jh·, strettos 1n wh1cb. one 1s
obliged to interrupt the su'bjaet to sound the a.nswe:r. In tb.1a
case the' part wnieh. oontinu.ss the subjeet must recall som.~ ot

•
tbe.mel~d1o tra1ts of \he answer"
~) Look for possible combinations, ea.non1c ot' otherwise,
of the subject and oountersubjacts w1th tb.$ new subje~t 1n
 432
i

a.Jnte.t.ton o~ dtm1nut1on, with or without tht) use o:r oontl'ary,

rettograde, ·or combined contrary and retrograde mot1ona •

•••
' '
490. WRITINq 'fHE EXPO$ITION. ·
a) Alwasrs m.a;ke· tb.esu'bjeQt and oounteraubJeat oonspicnt·
ous• a.tta.ohitJS leas importance ·to the r:ree parts.
b) Avoid using too many notea and too dissimilar
patterns.; it 1s always well. t() remember that any tigltt"e i~tro ...
dueed 1nto the exposition may nave an 1nfluenoe on tbe later
d~•elopment ot the tugue from the point ot view or tns melodic

and expressive character.

o) ona may tnse~t a sno~t ep1~oda between the aeoond
and tht:rd entt'a.noes ot the-subject in ordeX' to sound a ~hythm1o
or: melodic figure whlt.'h 1s f'ore1sn 'f,o the subject end counteli-
m1bject~ but a.ppJ'opr1ate to the atyl~ and character-" of both!
he' ls then obliged to use the elements thus added 1n the free
pJ,ts.
!
d) In tour parte eaon voice must sound the subject
or. tne a.nswe:r suooeas1wly.
· e) When the anewe~ can not enter on tb.e last nota of
t~e sub3eot, or oonve~sely. w~en,tne aubje~\ oan not enter on
the· la.et note of the e.nsweaa t we insert e. sho:rt ooda to lGad tile
o~$ into the otne~4

t) The subje~t o~ the a~swer should enter as soon as

pf· aalble after the preceding ent~anO'e bas l)Jtopped; in the ex•
p sition we must a'V'Oid baving the answaX> enter on a wee.k beat
1 the subjaet b~gins on a strong beat and nee !'.iX>.fl@a sxoept
 , . """"!~

433 .

in t!Uilll iWnel'EI the rl!Ytblllio 01" melOdic oba1"aote1" o:t' the sub,leet
is not a1 teriad by th.1s modifica t1on.
• s) 'rb.e exposition of a fugue should be tonal; ,!" il••
it $hould ·move uniformly between tile tonto and dominant keys~ :
h) TI1G pex-tect cadence Should. bEl avoided in tb.a EUtpos1~
t1on, and 1 t should not be used to lead to the episode which
tollowa 1t . .
49ll' HAF.M.ONlC AND ·MELODIC COUDUCT OF THE FUGUE •.
a) Divide the subject and countersubJeot 1nto malod1c
. .
and,~bythmio f~agmants. ae a malodto ~~ase
~
1s divided 1nto
pEJrtoa.s~

b) Reserve the use of' the heads ot the subject and

countarsubjaot· tor th.e stratto .. ·.
1' , o) Oomb1ne malodlcally among themselves the va:r1oue
melfcU.o and rnytbmic figures taken f!"om the aubjaot 1 counter-
1

sub~ee,t, f':ree parts, and tb.e new subject. 1f' any.

d) Reject those figuJ'Elis wh.1cb. would not appear ·1n
stt'ong xoel1ef'.
el Look a\ all intervals tor oomb1nat1ona (eanona and
various imitations) to whioh tne onosen figures lend themselves.
Group them metnod1oall.v ao that they may be useet su~case1vely

in an order of 1noraae1ng 1nteraat, and in the order of mora

'
or lese compact 1m1ta.t1ons to wb.ioh they give rise~

• t) Establish for eac@ or tb.oee figures a natural

ha:rmonl.cr bass, upon which we oan build a esr1es or barmonic pro ...
gressione Which Will modulate losically to the neighbOrir.tS keys.,
 434

. l. Determin~ 1n advance the various rnodlfiea'bions of

s)
rny,\mt and. movement to whton we w1ll·SUbjeot ea.ob. figure, as we

• would to:r the subject, oountersub3ect. anQ. new subjaotJ also

'
.detiermine tne poait1on and the importance of these figures 1n
the cou:ree or th.e fugue.
h) 'fh1s do.nta, draw the tnelod1o outline of' each ep.tsode,
thu~ a.ae~~1ng them of easy :ttea.l1$lt1on 1n tour par'tsJ thls w1ll
bappen 1.f one is oaratul. bo build a l~gical tmrmon1o progression
wtth the chosen ba.aa,.
~) Grcu.p the V"e.rlous episodes by separat-1ng them from
th$· parte of' tbe fugue in. whtoh the subj~ct and answer are
'
hea:rd .entirely in different tona.:U.tlesJ be careful to write
the.following parts 1ntb.e1~ ~omplete tom; the episodes alone.
be1.~ tnua outlined and tied to eaob. other e.s fax- as the f1.rst
.~~./.

atr~'to •
.· 492. WRITING THE STRET'fOS.,
a) The plan ot t~e ensemble of the stretto unites the
ele~ents trom the beginning, just as !. t d1d the first part
wld.ch follows· the. expos1.tion ..
. \)~.·:-The first and last atrettos only should eonta1n
four entranc.es; tb.& atl:te~s may oonta.1n onl;y two.
c) ~1ng the course of the sttetto we may pass trau-.
s1m..t1y through various neigb.bo~1ng keys, but 1t ·ls well to

~·
ma.k:e frequent. rstu.rne to the pr1no1pal key; e.t any rate the .
rea~ ~tlr!Qt.: ~~~~ . l~~l.Jjeot and answer} ~ .namel.J. the first; and las,,
mu~ be 1n the p:r1no1pal key. .
 'd) The f1ret ct'l'atto must avoid recalling the exp()sition

-
otL I
f'\tguEH to do this 1t is best be have th.e entrances close
together a.nd keep the entire stratto within the p:r1n<t1pa.l key, '
det~:rmin1ng, by the progress of the free parts heard with the
ansWer as well as with the subject, tbe harmonies belonging to
thlf! tonality.
e) we generally and the atretto on a tonic pedal, p:re ~
eedad o:r not by a dominant pedal (or rarely on some other
dag:ree).
49,.. THE PERFECT CADENCE. DU:r1ng the course of tbe
fugue we aan, except 1n the exposition, use the pe:rteot oadenee
e1tner at the end or the beginning of an episode~ or ver,
rarely dtt:r1ng one • HOWEVER, THE OADEN CE SHOULD NEVER CHECK. ALL

!BE PARTS AT ONCE.

1 494.. INTERRUPTION OF THE PAETS. We should never si·len~e

a ~:rt without :reason; 1•·.!•l taken aJ.one.o betore its melodic.
sense has been expressed; · 1n th1a caee it should ba abandoned
1n sueh a way that, taken alone, lt can be harmonized by a
oa~enoe.

49!h PROGRESS OF THE l?AR'f5. An 1.mpress1on "of a ver;-y

o·lea.:r e~t ~ general melodic l1ne sb.ould reeul t from the progreea
of •the parts. All the parts • moreover, should be treated entirely
. . I
mel;od1oally, and the· upper part should be· very well marked.. j

4 496. A.s tb.e fugue proceeds toward the st:retto eacb.

eptsoda should be more and more compact~

 497. When a subject lands itself to so many oanon1c cma-
binatione that we ca.n·not use tnem all in the atr~tto without
• having i.t ·too long, it 1& permieed.ble. to sound, in the differt;'nt
tonalities toucneo upon in tne first two sections of th.e fugue.
' .
tha $1.lbjeetand anaw~: in the form-or strettos, reserving less
oompaott combinations for this p\U'pose.
498 • ENTRANCES. The purpose of any entranoe should be
only to propose the aub3eot, anawett, or a.n imitative figure,
and not· to aot as a. harmonic filler ..
Any entrance should be pl'eceded, a.s often as possible,
by ·a. more or lesa p:rolonged. silence 1n, the part wh1oh 1e gotns
to sound it, in orQ.$r to gS.ve it as much prom1nanoe as posa1bl~h

'~e do not have two _auocessive entrances of th.a subject

an« answer 1n the aame vo1C$.
r Two successive sroupa Of entrances in d1fferen~ keys
should, never bEll used in. th.e same orier of ~ts. . .
499 • CONCLUSION OF THE FUGUE.. When the interest ot tb.e
tusue ie eXhausted, do not uselessly prolong the eonclueionJ 1t
is no longer necessary that th.$ latter, under the futUe pre-
text of' sounding something agreeable·, have a character foreign
to wba t has already been heard.
500. ABOVE ALL, WE MUST BUILD. THE FUGUE ON ITS SUBJECT
and not treat subjeota or dl,tferen\ style and cha:raote~ t:n the
same manner.
501.. l t 1s tb.e ax_p;res eion, ·and not tne rapidity w1 ttl
wb.ten the notes follow each other, wn1ch gives wa:rm.th and
 .....
~

afllgt.!l to t!)a idea. . . . .

•
1 $G2.. Always boor the following in mind:
. .
a) TRE FUGUE, EVEN THE SCHOOL FUGUE, IS A !9!ECE OF MUSIO·
b) TIME SPENT STUD~ING THE FUGUE, FROM THE POINT OF
·'
VIJ't17 OF OOMB!NATIO!H3 ALONE, IS TIME LOS!.
o) TIU'!. PRAC't'ICE OF A FUGUE IS USEFUL ONLY AS THE .AR'J!
OF DEVELOPiNG A MUSICAL IDEA • ·
!hat is what I wUl tvy to show in the next part.
503. Batore giVing examples of oomplete fugues, I thtnk
1t•well to snow the student how, once the exposition 1s ended
an4 the various elements are analyzed and determined, we can
build a gene:ral plan to tuolude tl'1e entire fugue, wb.ieh ena.blee
hl~ to see rapidly tne melod1o and harmonic progress.
The elements of this work bavlns been suoaees1vely
i
I .

st1d.1sci from tne beginning of the book, it may be useful to

reassemble, synth.et1oally,. the 1n.dteat1ons aoatte:rsd tnrougb.
tile vaa~1pus chapters so fa:xr and apply tnem 1n a fugue.. The
method.1nd1ce.ted in the following example 1s recomended to
et"dents; It w1ll fao111:tate their work and enable them to
ro~low their ideas more logioa.lly, and by avoiding long
passages and repeats, give batter proportion to tne1r tugues.
504. Following is the prooadura tor oompos1ng a. f'uguet!I
~
I

a.) Melodic and ha.rmonto plan~

b) :Plan of exeout1on"
o) Realization.
 _;;.-.rf,

. W(:; assume t~at all the w~k of building oountereubJaots,

strettoa, and canons. and the analysis of the exposition tor ·
the ono1ce of tbamea foJt th.e episodes bas previously been done
according to the rules given in this book.
'fb.e numerals place~ before the various fragments wb.ioh
se;rve as tb.emes tn the episodes refer to the corresponding
numerals plaoed before the same fragments 1n the exposition.

;·f
I
I
~-
/
I
·;·
/

' j
~
'j

/
;
./'
/
..
,,i

/
I
/
I
 ..

,2 c.s.
- - RP·
- '-1 J4j.
.,.---=J
1 ._ (3) 8 9
,___ _·___!(..25.LI_:t~O:__
1
_.. 'u
6] -
. .. A -
.-- _.._
--
~

-~-
~

,_
flt:- I -
t....
~~-
- - ._
,Coda--,
=IL#
____;:~
-- ---..
.itt! •
c..!'--r-p-,9-~... -;-:: .•. "--
~ ~ .. /.!~
-
-
!1.. c.s .
iiP. ~-,- .
I

tzj-u .:::. .
o -
-~
_,_ ,..--
-
..
- -~~ ,..
i

~~-·
~~:-::.~~:rt'-~~
1-. -
=~__...
'
_,.__ .
1 ~
--
-
!~. . ' ,~ ,,. .
,,. ;_· .... ..•
!i- ::;a="' t ;.
. - '·'

---------
 .. -

•
!4- £/ A

};f~ I "If !jf'·

.
A
p. & ~

~~
'- •t-

p/c; ,; f-
0 ill e t
Ej>- .If>.

II:.,
C--t-----
-" .,_._. 1... ... ..

_jj,
B--j'---------1-

'
c
... 8

I
1 rf l/Ji A
'

A
:
:

!-,----
.... -t. , ~-;_.-- n
:

IF! I I I I I

c
_u" ---.
~-- :ot .. ~ .. .
.. --"'~

r..
 -, r-m- ~ ~!!.- r-- ~. ,--..--
1-M·
•
kel!J .., MJ/
...-..
(j ;...
-&
. ...
.:t..: a.s. ___;
~

llR I
..
• c:-'.•• '

- I~ I

• l···c . . I
i .--- .----
I
a
~
~ IR " --. ·"\
~. \r-- !' I
.
I" I
"" etc.
II;
-··L
---,

I I

~ •of-.f-e/··
I
i
·Ha/, ·/Lc.s. !
u II • - .--- : : .... ,a~l ·1- .... ,a~i

I I
IR
1111 ~ ••u ..t r ~~ ...----
·i
" I I
---,
~
'I"-'

I I

..---.. .· ~· -
"
- I
22 I I 23 24 25 I

~
,. . ~ I

IR I
·IrA~ :(!~
r~ ·-;;.;.::.::.
p.
~"" ~

;-·c:..:. :

!~ "

[;~

.U II .,. . ,. , I ,.--... :

~,
.--- .. :
I
[IR" _,.....--, ,--- A····

•
11

,J .--- I
..---- I ~s.
"
'I

I: ... ...--.. .- .---- .--- ~

.
I I I
.
I
i7
+ - 30
 A

tic.. f. r II 1 ~ -
llR
. I I I '
).;/<'1 / I (; f J... ""'u/ c:..jJ)· '$.
, Ll I ~
X I I I J :C.
T

B
.. : : I ,9-~,. ""

-=
p/tl/V} of exec.t-t -
R
1J,.J I
8
Jt_,_.. i'n
f
v.. .. fl...- •

f (• tJj i ·H ' / " I

e..p-
(J fV1

Il-l
lA 1
I

:
.--- 8
"II "-· l~ ... ~6- "' -.
IR
B A
. '"II --, ~.. ,...- r--_, ,----. .. • ,. 1'-

I I
A .-----
I tt-l
+
I

"' ;
r:-- .--- -
" __,
I
! IT
3 32 33
•I
 A A
-"7 .I
..--,.....,
-lR
X I I 'X
IT
X d~lJ ~X - .__

I I I I ... "'7
----,
"' v

IIR .. - . :
"-.fl.~~ ~ . ,. ·---
.---
'".
'IL-l \ B ,... •
\A B
,,.. 'n _.---.. -.----
:

jJ-- _.---.. :.., ..

r---
~~. !
.---
,._l. ? .
r-- ~

.
6.
IR -, r---
"~ I? ~f~~ 1-#~
----~
B ..--- r--;- I-
IL-l J.l---, I n
~ -----
A ,-----,-- B
I I I r
• #1,a ,.,r- ~n _.---.. ,..--... .----
:
35 36 37T 38 39

J'. ·.('"' £ c/1 /'-'"'a •

IF!
..._ . I c-r- 'I T

"' qz:l- #<;I. u

" · c·s
~ ··.: 1

IR r;-;-
-"
I I
;~

-
I
_f- I : :
"ll :

f/R
Jj ..
....--- ,...--- ~ ~~ ~
,.-

I=IC
---,
I'
..-- ,---
I
.....---:- f- ..--- ..-;-- ~ .--
Il-l
. #-
II I
n
.--- ..--- 2.. c.s. .
:
.u '·
~

-
...- -
r
~
4.4
-
40 I 41 4-·• r 43
e,

'(9- ",.......,. ,....__

~ 1l=l
-~
'
\

A
19"
I

... ~.-
:
B
.... -~-.'#'

I
I~

\
~
11-1
\A ,.--

l
B
I

:
:

--., A B_
II
_,._ ,r+. _,... .1:._ "'--... ... _..
IR I I

.11---..:... ~
~.---

I - I

IIU
A

I
- I

.-- ,-

- " . •
41
I
48 I
 -,. .
' ,....._

~- T T
I

. lo- ••
:•
. ---.. .-----;

r~R .. IZ ~~·*- ...."' ·- I

,... _a I

8 ~
·......--
-

---•1'--.. ~-~~f!.~ ~~~~-

-IIi
..._...
II .... : ~
- ·a--
...--:
~

""· -
~
J_ ·~~ ;r ~~~. ..- - .. _.. 0- .
I
i!n~~
I
--
11..1 ~'
!
I I • I •T I I
--. ~

-
t
~~-::~:a;.;
~-
$0 ...__.....~--~6 ~·~ e.;<l-""....~
Ul
"

~ .. ~\ I
I I
Lli.._
....
--..
...
.,._ ....----,- : ,.,.----
~-

~-
-E-"'JI·
-
I
I I 'I

--
I I

~~

- -
,. .
-~ I

- ------
_...·_-
I
I _:..:.; - - - ::::

I
H
 ' . if
•
- ~~
~~~ a~ ;9 q~~ p. ~
,p-------~ .... +~

-IH
... -& ,Sl n -e- J *J J I

- ; :
-- ;;:::;>':

•
r-j
~r-c~ #t= qr~
I
,., f2~, ~
~-----
• ~ fl -{9- fl. .--;
"~~----
II=!
~.:1111 ~h--k. ,Sl -------~k·-
-------~ n•
- .

~
IL ..
f-·
- • - l
"

59 -
-~101.___ 60 - 6i 11:5(
______ - ______62 - ~---

__..,
1- STRt:TJ:O
.J.

IR A.
I I I

"
-
".::::-
iI I
;
I I
:
:

: • 0

.T
IR I I I
Sujct
n II I n

I I
\ . IL o .. If· sf .f. d l!V"\ . Repon:;c_

. I I
I I I
~.:t

63 64 " 65
u ..
• 66 ~ 61
-n

A(7,,.;1 c/ol/1 .1. ~1:.,-o{ i~

)

s--~------~---------

•
 ... .- A o/,'fo-1 c 't:
-
6""1
-..
t~ )(
n
I
--. ...,_. s
~J·

1t 13
_..... or
14 15

--···
1=1" u

~!T~

.. x~.~ .(l• r-;~~-~ ~~ ... ----

~ R
I

FK:-

....
'·'c··
~.... d
:..:,.~~
r--
~ !: < ·~ \: d-tfo/e of,·IWI.
~l··
I 1 1 1 I

18 19
. -
1=
~~!I.C:: --
-s :I
s ~

- n

1=" ·.
~·.
~~ £"""'
I
......
c;:
~: ---.
J:t-~- ~

f-rr.at+, -~
.,j..
,...., ........
- I

tO;:- 81
 r..
~- C 6r~ {
.. ..,. I ""'
l=l I
J'c(fr'~ · 1
---. _l 1

- . .~~ d~IAA--/.£.4eM:
,.~,_1*-
If .......--- • ~.;. 1*-~
- ;:..

.f'c o ._,_::f.
IF4 ... ,. _j

-
_llo(_
- (:
"
c/ ("")_ ~
-
- j
··.
c 6 /'/jl.
II
...,
-!
-·
-
c -
~ '
" 86 :t:; I

s---~---
~rr·

A----+-~
-·- ...... --

s __ --

~
•• i..... 0
; t ~
 .-
---:::' -& n ..
~R s
-
----,
..... -& ..0 -& " ..J.o. ~

-11:
IR
"Ll
-----.
n.
- n ~ ~
r

"-- .--· . -
T

~·
~· ..,.~..P- v !--_..--....--- ,.--;;;.
-
s sl
III-I n.
I:IE;

1-1-l:!l
I I I
.
96 97
""":-:
98 - 99
~· ·~,...,
!I

- I I I I
..--- .. s
11:1 I

~Q
r 'I

v
jR•

:
Largo
.
1Ei---J_l91 s._[
--
-
Jl
rail. ~~· II !. .,-,--1
-,R~ ll I I I
s
. .
~

.. I
II.J .. --.. ll
R
rll::
I I .. ·n
·v" ll it -~

101
s ___ 102
'•
~·
0
"• 103 04 - {05

..-
.

I
1 I I

I I I I I

...... ·""
.:I. it -----4---.-4--,..--,. I

106
---~-**- ~-~-tei.L_.1Eit
107 lOS 10 () ttU 111 tl2

.....
 Large
=-~

·rR

1::11.
.-:::::= =
"

~dc::r-:
t:!n::: = -
..:1!:... I< .....
~

-
.~

fiR Cud a
-~..:!!.. 1:..
-
... I I

Jj.. ,J,__l
=
--~

~ _l .l
t::
:

_£_ k ...k.~
= j,
-...,
JR -
s
~-

~.J L = , ...k. r
....

.
1- .1.. ..II.
r I I y

- I
f~~
rtF- -
~
:~e.:f-!l~
. +- ~ ~
- - 1-
~

~fi-t· :.:b:x _._

=-l
'fl _bn _._.,..
Iff" - - --;
-
IU
~-
ll
t- -;-- -- -
__,...
I

r--
1"'-
-;- I
-
- ~
- -
t-"""'
c.. f.
Eq;T ..... ==f?::- -r-· ;.-: _._
r---
~ --+-
------
--r-r-;- I
~

I l!,..j +--
 --- .
',IR - n
'
-r
-.- -
I r

:-.r I -~-

11-1. l I

I r I r r I
---,
1-c.... . L

I
-
,.....,. . . ~
~

IR -
n ,., ,.,...- .• '1.. ..---... I~ ' ~ .. .-.P. ~ ...
...
IL L I.

.
-I
- 10-1

c.s. ____________
n n n . ,.,......--. ~ L ..---... I .----..

IR
,.-tr
- ,.,..---...
"
JY.l
I

.. ,.,
. -
I y I I
R' .
n
-
'-
-
I

r=±t.
.-.-.. ~ • .-P.· ---~ ~- .... n • ~ • -6- n

lFf
.......... • 11" • -6- 1-e- .
-..- ....
r I_,.-...
11.1 L I 0
/

--
I
- ......------.
........,
 I
-
..J.,' .::::=::::..rir:;;:k ..a....:r...
==t: = --t ;;::= ===.
HQ- ____,.-
t::
_, -- === -
- '
I

IIR
~
-
==== ===:o:::
..12.•
-t~;t-..L ::::=JJ
-=- -
r" - - -:: -::
::=:t: =-
r === ===
~

- ::t::::::j

r-- -
I

~.L t _k_
- ~-=
=I ---r = I =- ====-=
= ::t::::::
- =
-
===== o----r-
. ::a:::::: - ==::!: '""'t:::±: r--= --....
t"'
.t::"~
I
=:II:
= :::::t:::: -= -,...,- I
~
:::;;c: r::-
-= = :::::=

,I
~JF?=f e:
.
C..J:
:1:

J,..
:5o
-::t.:: -
-+-

.A..J!..
--
.a_
.--.....

j,
~ g::,.

-
.... -
j,...._
~-
.
- -
~J _.. ~ ~~
t::ll. -12..

' I
I

--l
c.
-' I
.-
'I
jj...o.l""\ C.f
..!2. .a .J.J:..
!IR -
-~.Ll1..v .J...b..- ~ .a
ElE
...

JbLJ ....£e.
- .. _:2-_ _n.
r.:n .1s.
- -
..1. ..a. _b .d:£.
: 1--11.-
~
-
.:ft:_ h LL~ .:/:..1_ Jle_ ..£. .1..

IR
.£:. .:e.. ..__1j_ ..h.dt: _£_ .ka_~

_IL .J,.J. J,..a., 1:. i -A1.£:_

- =-:::o- clo .M . fi e cl
-
.:e.. ..a. a_ ~
= \

...__,._
I
lfTl
I _1E_ ,.......
..Ji1:_ I_~ ~a_

'
,-

~ J..J. ~ ~ a_ l_..r"i .L

- -. "-""

:
I
-
 - --
-
,._ -
=
-
- -
,_
=
IR
~
,__ - - - - -
- "- --::::=--
Jtl-ef/r; - .. - - -
l.YJ..r
- - - -
- - - - - - --
-== -=
....:=:=
f. ....... -
-
.__ - -
=+ -=- ,____,
-1-
f

..L
-- -
H- - -
-- - -- .c. - - - - -__;._:
lR n

..!..:
.-,..L
-:::::----:- - - '- _..,..,
-not:t-Pr-
- -
-te"' -4--
- - - '-- - '-t:
A -
Jb!.J. I

-j-
• =+=
_._
~
-
.,_, - -----
'-"+
-,- +-= += - TT- -
l
+I-
._ -!- =-=
p:.:: ;.__
T- '- - '--
I = - =F-r -, -r

6.
..--I. - - ~ - >--,
'
~ '- ~-·
1-l
- - t-+- ::::;= '-- __;.
-= -
lR -
........
-+ ._ -~

:±
·:::;,c:::::.
-+-
~ .::;..;
- :::;:.;::
= - ·-'-- --'-
~ -1' It- r I
c.s._
.JW.l.
~
~

-+-
- - • ~

~
l
-
-
-'--
--
-
'--
-
-
-
= ~
=:t==--

f-rr.-t--,- -:;:--
-= - - .,..., -
::_
-
--.:;-
- -=
j '-"
-=- -,'I -1.1-
T
1-H
::....J.

- __._ . Sp· .
~_£_ ~ jj..~ ~
::IIi![~ -
- " -+-
~
-
=
-
r-
+-- -l-
a

+-
..-\,

'--+-
=
..-!. _;_

IR
' ......
::JI!!!:t¥r-ir-
::Iii[ -9'-
-r-
-
- -
-
---
1--
-
= -r
L-

--
.p..
-+- - ~

,..,
lJI.c..J...r-
-+-- ~
I -r
-
11.-1
'-'l-
L

-
-
F- ~

-
-
-
-·
..,!-,

I
- - - --L .,..._,
- ~

-
-- -
-'
- ... - -'-
I
~

•
 c.s. _____
~-

,~vm~~~-
' -&
=---
-
i1 _f!__ • :,-__..__ •
~~~::- _:....._
. L~ ::::
·-±--J I
:::::::
1\.' 1.1
~ll'-

~:11-4-'-
- ===tot:
--- - -- - - '!J"+-: _,_ ~
-"
-
---------- '-.9-
.-.: _:;. -
I-'"-- -- -Y--f---4
-~-
--

w- -
3'' STRETTO

--
- -- ~ . 1. ...
-ilo;--

~iSH-~- -~~
- '+---+-

~
-
- ·1· 't :I:J;;;t.:=
--r--
- .~ .J. . ~

J~J.t
(9.---- ~ --- -- -- -
•
- -- '- -----·
I=J!;Wt. ----'i
-t-:
I - -.

Bl!~:=;-_ 1-f
. .-

-
- . ~ _._
-~J_.,_ __ -~--L--

---.
...
- -I
....,
~~1~£~-f=i==--
L
--
!L - - - - ,,

tit~
---- --___ ------ - -- . I

~~~-:' ~+==~
. ·- - ----
10
 . - - - ---,

. "e STRETTO ~~-:- .f-4•• ""ft-

::rt"-
i
I I
- ...>;.
-
lA
~
-~·-~
"""W:. ,.. -IL"t- 1
'""' f-*- -1-:::;;w:r-
~
-I-
- - - -===
...Dd.l.l ~ ~~ .~ _h~ I
-+-
:::-.: -- ~
,!--

-.:::::::::::o-

- -
-
-
- -
...,_, - -
-~
JUI

I I. _-:i
1- - --"'14-
___;_:_:
lA I

~ '
-
- - ----- . -
- 'I-
I
-
-
--
-
l.Jl.i .J.. I -
- --- I
-
I
_;.,....k-
'H.
~
I i'
- -
--,
+- -' I -I- _.2...
- =1
:--1
I -, I ""=="' ::;._ - - I
---'

----, :;:>
~~--..... ~: --1!:- - I
..-- +-
! Jl=: -I -- -
'"'' - :;:>
'
i
1:2c
- -- -__..,
H~
- - - .---;
-r T -v
II
. . . . ! :.~
;...-
.J>.(.I.
"-!- - -9 .a
-
-
=--
r
-.._
T r -p
H.
. :;:>
=<!:--
-I-
..__ - ._
I -

..---
H -- -- - - -1-

'IF! -:::..;::.:::: - ===

- - -
J-

L....
- - -
- -
- -
--,

-r
Ln.t .l •
-
-te-l'
...:.-
= - -+
--'=--
~

'-
- I -
- -
I ~-+- ~
-l-
...... ~
-
~·
 f.XPOSITltJS
Sujet -
~f-: __ ,. --
l..,.
~~~-=

_fU

,!!,..
.. - ~~

-
:
I
-

ll=
_,...
--- I
1Pr C.S.

- ,_ ___
.. ?
Jl.L
. ~

TT - .-r-~-r-:+ I
- .
- -
:-=
I I

IR
_L

- -----..

-tel+· -
"
.Jk .,

idC.S.
-· ' .(L I I

·e - II..~ .. ~ .. ~ ~---"- - .:>.,

,.
 :
' c.s.
._ l!"
~.,. ... .:_
- ~

+-
~
-
.fl.~
-1,- ·-
--1 '"""""'
----'
-
--1- ~

~
;;;::: '--
-t- I Ti=" II I
I lA IO:.r G.S.
- --::::.
L.... ,.-...
- ;.._
1- - ~
.=::;;;;: ~
~ - =- = = --
..11..1. :::;;;=
- ~
- == -1
-l
-
--=~
-=
=
- --
I
\ H
T
~
~
__,.-
+-
'-++-t l--
====
= ... =
'-
~
:.===;I .....---1
l--
=

-
 ·"
. .......

:'-\
 -
,_
lR
. -·
.- .
n a . - - r----

- I I

~ ,.._~ I:P.· 11" • ~

"' . '

~ --.......
nR"
--,
.... • --- . .
. I
------.
Il-l - -e- I I

: -

IF
j 1..., -~~-
\ ~~
r.
...,...~.

. =
=
i i
I

~
-lr"
!

';
-- ''

:-.::+-
-ti
--
~

!
• '--'
-
-
---
-
!
F-=
.:;_;
'

x r ••:m
~.
I
---- I
!
--

.... - .
-= .
. -· c_ _ ,
-~
I

¥==~q, rrJ
·-
·-
,~
-
-
- -= ~
IR r r
-;;---'
~
..., -
- - -

'- --
-''"'-
7
-- ;;> ,_;,.:.·
-"'"
__;_. .
-- -
' I
1
~ r "f. .,._:f:.;..a_ 1 I I

+ .±: -
I I
-= .... .=:-~-· ===1
-------=·

··- . .... ti1J .. , ,, • ..;:

.,_~ .(2
.----
e•
~

._.
l"l

lH .. ..
IT - -
....... r- .---
.... '--1-
I I
~

J>.t
- -;· - ::::>-

~-

' .
-
'""' -
' ··-
- !--
,___, __.
- ~

---. I
~

lFf
...... - -
T

- ~---,

'-

- I
-
-
-

-- ' ..
I

IL_~
 ~:

---, 1_ -~'-+· .,._

-~~~

I I i
IR I
.--- .-----
.
..
Jl-l +l! .. bn
-
I

........

•
I I
IR I
I

. I I

IU

I I I .. .. r· .....
I

. -· ·-
_.., -=-- .1::> ->
.........

--
" • ,.. -1'-l<tf- ~ • b.. ~~----,.

IR I

,. - .p. b~ . . .
~? _fi
:If

. ,..
I

_.II-{
_1;---- ~,.. " ..... !'o

. . .. 0 - ••

::>

. I ~ --=-r~
>
>
=r > > J -& kj"
........

• 11'. 1- .,.._ ,..,- ·-

. .2.---...,.
JR, I I

.flb1'"~+-. h . ... .JI

• Jl.l.

7
.,... ,L _l

I I I

-
\
I
!.

~-

........ i
--+-- -- -.:;. -- - -

-
- ;
IF!
,.......

u •.

u
---,
. . -'

----.
- -
..------,

.,.?t,..
--_.- -r ~

...
r ---t ~
..

-
-.~--·----=-.::-:--:::.:::
-- =-==== :-_ :.- ~E~
-- - - - --- ..- -.j_·-. J--J-- 2
=-~ -+~~i-
--- ·--
-- _:-:: :____.:::..._--:-
IJ . J ' l ;:.:~~-~C:::i

,. . t .. tLr i_[··r~J
 ,.---
"" . . ,; II
-
-
~-

iF" --

-
,I
r-;,;-.- _ ...
? '!:=>" :;..-
~,.
- i

•
I

·+ -
r-
.. . - . ..
111.-J ~---
- =- ::;.- :::;.- > ~
>
-- I

. r-

·-.r

~- ·l..b.,. - • ~ -- .. H...- .f2. b... .,_ .. .,_ k- ~ . ;.,_

lR T
. ... ...
,jj• t ''IJlo
.-----
b... ~ ~15>-

IU
---. . ... .
.l :1. ·! : · ·, r t, 1 •'

:::>- > > I r I

t"· ~,.. ... ..,_ ... - ~-

lFi
. r--:- • - - ..--...:. ~

'·
.:\.

~·
II
.--- .
- I
- ,...---

--.-

- L .......---. .. -. ~ ~- .. ,.. #
1'1'-
i.f2

~ I L-J .. -
---.
- .. . .
"' -· .. ~-15>-
I

It l. ~ .. - - l -

..... --::::: :::::::- -

 S'!RBTTO
---. ~ ~L . !J.- ~ _-f_ -=- !1, 1"
-~~---
..
--1
~

I
lR
.
•
-
"t"
~
I I I - -
.- ' -
-- --
'IU
-
-

--
-.
·-
- .1
__ ~
....._
--
-
.l

-
....... -~ 1- -"-# t--- ~ t-'f 1,..
t-:
.. _1_.._
-lR -- -= .tf
-
-
-
~
I
.11
IU - -
-r-

'
---
-----
-
I

. ---.,1· J J Lj l I -
-
. _.... =- -~ 1- I

_II_
__ ., ;:;>-
__b_._
..• ;:;>-

r-
.r ~~~
..!

ll=il
1--r
- t-
I
~

::::>-
-
;:;>-
-
~

....... -, - I

;:;>-
IU ::::?"

- ---- -=--
..
;:;>- J', ;:;>-

---
t:'
=::1
---
I
-·
-
• . ;:;>-

::> -

ff

I
 . -- ~-
--7. 7~ > .p.
--E~ : £2.:::- ::± .-~
J,..,c- ~ _j,_
~ ~
-12-
-
~'
-.:; ~
,. =::::c:::::t= - . -+-
'
~ ~
-
.-
-~- _::::.::
~

~
11-0-' .. -
--
~
-
,.,
-
- -----
-
=====
...::
pp -
~
-
-
- ~
p
- -
....... 'If'- -
-F-
-r -+- -- - -
pp 1--
I -
- -
- ~--:::..._____:: - -
......__ ==========
....___- -' .... ....._____- ~
ICt - -1
- :::1

-61-
+-
- I
j:;;;=
- - - .,. .....,-r - - J- - - ~

IR
- - =
-IL ""L _.:f!_ n
- - --- -
=- - -+ +
-t- = -
I
_Il-l 19" -~
- --,.,- - ~- -
-tr .c-.
- --'
=t= I
F-- ~-=r- 1- ___..;

I
-

--
.1 ...,· -
- -
-
I== =:..=-

-""---
-'=- =· _1tt':::_ ==-
- - ~-
=:::t

-
I~

~
..1.
I
~ =j:
I I
-fL
:;.._
-:-_-1'-
~
..,....
-+--
-
F- 1--
- -
.e::::=:=:::
- -
~

:II;;-
<:::::>'
- - - 0:::::
1-- -t- -t- -
M
-'
--1-
=-- -
+- ___..;
- - - 1-- - -

_____ ------lUI·
I
-:;;.- > > >

.._,"itt"~
- -
- _,.., ::>"
-
-
-
- ...... --
-
;;....._
--1

--'
- -'-

I f.\
+- - _l
-
I I
.......,
"-'- - - - F-
!IR
,___ f.\
141 -
- -

l.n.L - ..,..
-'-- -
~

-----.
- -
/';\

...
--.at:::::: -
t"-
~
 d

IIR
..
IN

ltu

s ..-.
;--- ---..

--
1..

..
JR
La . d

a.
l.Jl-1.~
--- ........
---..
---- -
I
---,
- c.s.
... .. ~ .. 't*" ..
"'
- I

11 - '

IIR
l..a.u&.
s
-- -----
,

lJI.t ---.. c.s. - -

---.
- -·- I II I
- I
~

I r I
-
T
'
 R--~~~~---------------------------
...... ::;..- ::::o- ::::o-- >
.. ... ..
--
-

[Ff
a . - •
c.s
"· -• . ._II. ~

• .
-
,

• ~
--

-- ---.,
•
-
-

I ._,
I

11 _.---.. . A-----
.
IIR
.
- .
c c c
_-f'-~•-11 . --..

-
!"- I -..,I '-1 I

-
I I I C
A 8 """ ,I

r I I
- I I I 11,...1

pR
-

I
8 -- - ~~~-
.......
C-----
--- .
1-
-6-.

-" ,._

llu

c
--
-
A

c c
- ---r--.
A

c
lrrni--
Sf' ·-'IF
I I I
I """"
11,...1
,_
"""" I

_A-- c.s.
_u _+ • ~ .fL.,.

,,~

--"
-+·
s
> > >-
·- __>

II ......
IU
B c
-~- -~--

• I '•ool
c
I
A
~ 3'-. .
- --
... j,.ol
-- ....

-
 ! .

..
I~
__......
I I

- - -
I ... I
-
I
R
ID.J >- >- >-

c.s.
- .r- r-.I/. -1*- •II .
~ I T

.
~ r---------~

II II.
-•- -1*- 1#" jj, ~ ~~ .,.
~
IlA T ~

L._ .. u
- "1*- • • II
lip .fl. .-
LlY. ~· ..--..
I I

::::--
- I

.....-...._

-, ~ I I

...
I
., - -..- ..
-
I

'f:. -~~- -
IIAJ I

..... ill 7
- ___, __, -

--
---'--
A
Ln..r. - -.;. -
.... I 1
A r- 8
> -~/- 1*- .. u
---
I....I...J...I

> > ::> :::.--+-

a tt>mpo
. > :;.-
-----------
I

- I
 -
';?"

e
~· - ld If 'fi ~ ····- F 'fi
qr . ~
1:: I=

iffil' vi J
- v
lfv
)
~
' - )
r'
I
'
i
I
1
-
v ~ It
~
t. ~
;;~.I
I' ~
v I"+
v ; ~ '~I
""
li II
rr
!II
i
r -
v ' ~~
-
v
1: 11'
I
'""
ft;
.
1 .
• !
r v ""' 1''J t-+
I
1\
•
v I
- v
~,.
II )V
v
, v
v i
I
1/
-
~

~ty I I

~
v
v ~ -
v
t-+v
I
J
I
•
- )
v ~
v I
~ 1-+v
l ~ ~ v I f1:-
I- ~ I
l
~ v
~ f+) I
' - 1 v -
., ~ ""
' - v l I 'r)"" I ~:I
z I

u...
 t• STRETTO .
lR a tempo
-r~.,._~.,._~ . ,__ r--_

R
IU > > >-

S a tempo
----.
I

--
--
I
...... Il-l - ~

R--------------
.....----...
IIR s
. , L_c-- -- _r-~ .
, ....
l1u -
-- ,...-..,.
-- ..
--- -- _,...,_ ~

- -
.----.. , II L r-- . -- ---
-
-
I .,.
IIF c.s.
In-. .--- t-. . II !'- > >;:?."~~ ~~

.............
c.s.
llui .... > > >>>> > > >:::> > >

II ...
-.
-
I
--- I ..;._. II

.. . ~ •
IR·
... ?"u>

::>>> >
> ; >~:;~ ~~~> ~ ._II.

.
--
--- --.
--
.lbL > =-

R
i :..- ;;-
:
. --:=:.__:
I
I
 5----~--------------------------------
;.-
~

_,..II.

•
- '

IIR ~ s -----:>::----->-~--------------------J_
' > -- ;_,. >.2:,;

-~
'
ln..a - - •
""" - -
-
;

- - -
--1

.. . ,., . .
llR
- .. > =--~ > ;:-
- L> .>---- >;--> > - ..
_
=::::
_
....--.
-
-
Ln.! _., j
-
u....L.-1 U...U I - ~
"
-- • -=-f

!j
--;
---'

_---..____. :e: · - - - - - - - - - :&~ --.:......----

IR
. -
_.,._J.I-..,.~-Jj . - .. . R

- -
Jl.l
R
>
"'! I

- I I
.
---
-~­

--
i ••
-~· -~
~~--------- ~~----------------
I -

_j
 ~$=
~---~--
p.
p. ---.,_~-!*- =---------
- -~~ . . . ::::::==---:--.

...-
IIR j'
..
. -,., ::>- ~ f;:ela.~ p. -~ ;-.;- 19-'

•
G9-- - 1 1 - 11-

J
ln-t
'15-HI- -
>

.t•
~

- .
..
. .Q------..,_fl. ... _
It
- ..
-..... ...;.

r. J I
t!1TJ ------
...
1-"-}:
. ... .
' -u- .t~
'{'; ·-- u...__
\

-- ..
p _#fi" ---.
~-
-
~·

IIR
~1/:;:....p__-.
..
.----.
"T :::±==F='
lL
p
p
rll
IJ---- til-_
-
~.!!.---': -

-
~

-
lt=·-P--=--·· •
"'~ r- :n
p

~lf~-
p
~ --
·- ~:-:· ..
.-t-
-~--~- --------- -~
u-=-
-- - j-=--
-
-~

-~· <:>

------------- 4'' STRETTO

~- .r
-~ - -II
--
IIR I a tempo
Lu.
1-!G-
J.L

__ (._ ~..r~~-'1-f-
f>
s
k3;> -- ---
a tempo It >
~ .f' > >-----..
~d~e
-----

~~~.----:
... --
. .

-.
!!+t.'~
~-

- -- --
.. :
.f'
.. -
s
j'> r -
-?}
. h~. b'i
>- ">-::>;:;.-> :::':---.-------1":'1.'-..
--=t
--- >:>-:>- >

•
 n.
. • .,. . fr
.. . -
jiR ~ .....
Lu
- ~ .-- c.s.
l11 ,
~

,...-.
-
~

._...... r
ill-~

I
---.

-
A

l::!::::::::l ..._, I===

~
--
- -
:
- fr - -
r . " r
=== r

-'.l ....
IIR -= ~
F
. ..-. .. . .. B
. ~ ~

1'-1 -
-
~
~.,_ ..- r--.. - -
~

--
~

c
.. .. -
r
~
~Jiiiiiiiiiiiiii
liiiiiiiOiOiOI 100"""

. .,___.: ,.,. -~
B_

. -r
I r
-
f I J-,J
c _________________
~

.... .,. . .,. .. -------.......

IIR
:_., u
-+ .if. '
r
- .,_~.,..11- ~ ... ~ ~-

Jl,L
~

-- . .

-
.. .
--
:
~ .,____,
. - II

'---J
-, . . ...
-- ...... tr

IIR
"
-
II
c
~ .. .,.11 .... ---- ,_ ll

s
11'-1 - II . ' - .
r
i '
-
~~~' jliJF-::::Z. ~ : ... ~~- -
+- y
. ~

r I tf1'" "r 'I

 A-
-
~~~ ±--~-I=-
!IR
.
'-'

u
-• ~1'-. 1'- i"'_.,_
-
1:.. --"-~~·~--"- .:J!:__,. -
-
-
£~ - .-:=-=:-:'J
- -
.
IIL.I --"- u _._ • -• _.._ tr .-
--_.~ ~ . .,..,...
- -
--
tl

~
-- :f,;
-...,
~ r- -~-.

I
.
-----=
-;-
:£
 ....11.- ~
- -
f
--- - i===:l:::i:!::::i-
~
-

-iJI,l ;:-,.,
.c::::::.

.......
-
~
-
- r-
=

-
----
~

-
----
;ii"""'"
= -
-----
<
-:-
;j-,

-
·-.

---
IIR
-·
. . . r-
-
I.Jl..l.
- -

IIR

- -
- -
~~~~~-._:-~~--= -------- :_:-:-~t~: ~~-~=-~··-.~--~~-
--1 -------------------
 I

ii
.J
 i
I
STRETTO
_a.:::::: JL __,__:tt:_ L

[IR - R
11'
_1_ J!.L ..f:.. .JL ..AJ!:..
~

= =
-s-
-
r"
_._ - -- ..!.ll.

---
1.1.
::::+: ::: ~:j- -- --
-
-
----
r-
- . - . . - _jL __.._ _.k.
- -
--
-
--r I

S-----------~-
1:... --fL -.,c.
--
=It::_·

jiR -
~oil•

·tr.;
I - r.~

~----
 _.._
:----.. - ~ ~-
... -It- 1_ ..a.:f!:__ 1:...-d:.i:__ .k ~ ~

IF
~-
- t:'l
• .1-- .II. Jt._
.£ J:l.

~ ..11- t:'l
=--- :L-..:~
r 1.....1::::= !....;. I

: ;.;:: ~
--
I ==
'l~ STRETTO
n-- .L ..%:..
-
II~
.JL
s
_._ _._
- .:!':.. _._
~

fr
-tr'l- -
R
=
.-:: r
-
':.:::J
-
s - - I I y I r I

m _r::::en_ 1 -~ -~ ~ rhn l

tr
"U

~- ~-- .... ~
_-u-

...
s _____ -
....11.. ..11- r1:. ~

!IF: I

--"- • _.._ .....

.---... ..._......
- T r
lJl,.j_ _,...--... R

T I
-
_C1 J:1J. 1 __l __L J.

'--""TS ..... -n--. V; "'pI tJ

~- _!.._ ~tr ..Jl.
..:!!;_ "! ~- .1:.... ~ ' ~ __£_ .f1:_ r::.
IIR
,.......
~ -•- ·~-
__"fi1"_
~ ......... _._ .L _a_

-..c:::j

·W J l -~ n1 1 t ~ _,I
v~ L....J -1.--J "--'l I. . I I
'
~I
_d_ .L
:
\ -T
:J"=- :-_LJic-_
.. ....... .. 7J"
 1!1 POSIT I 0 1'1
Mod Prato

tJR
--
-- =
i.n:LJ.
- :.:===:

.-.. ~ ..II..
. --
_._. - ..II..

·-
p - - =::::! .........

-
=
lA

=-=
LJI..lj, ..--...... 1:.. _. -- ....
P-
c.s.
_..:1!:..._ _k
--- .A_•
-......

1...a. J,
~

t:::::=_~
. ::=
- -....:ll -

llA
s
..II.. .L .L
~·- ~ ~-- .J/1. ~
71!f--c ~loo"""
c.s.
..II.!...J.

-
...t::::=::L ..II..
---- ~
. .:e... ......

. ./1.. 1.._~ .~~-1:.1:.. ~ ...L ~· .AJt

...:I
--- ::::.=:-
 I

R
. . . ---. ..fl. 1 __ •
A
.:-;;r.... •
IIR
c.s.
~ .. ~ k .,..---..,.
• I.,. • .,..,. -=~
. .,..
~
1
_,
JI-L 'I. .,..--..,
......,

- - ~
- B

p~·

.,. 4'1- _-,: _.,._

-
A

IIR
•
o.......a f"
• .fl. + .
- A_
,-......
8
_... -
~

~
B
L ,-. .A
1Lf-:b:Jt- •
'-"'
A B
. -
.-.o"'l

-~
·---· - s
-: /-1t~. ---. •
II~
~--
.. r i •
~-
L--~··r
---
...

--- -
.fl. .,.. k, . ... b..
- -
ln•./ L ... A...
r+.,. •.,.. . c.s.
~

~-..::

.
Fl
.........
s__ - .-..
-
I
~
t::::==
.
- ~

.
~.s. 1 - - - - = : - - - ; - - - -
~.. . ...- "·
-
-
""""' -

1
...llf:llli'.........;';..__ .. ~- '
lilltll123

'""
 A ___ _

•
 ~I ,......
A
--...... .. ... . ... ... -
--
·~ '
...
IIR ....
- ...... 8-

liu .L
I 11=1.
8
......_
- • f II
-~
I;:IJ

L-J ~I
....,
. - l. I

- .......
s ___________________
~
- . ~ k .....~~.- z:---
IR I
... r...~-
1..-1 "'-l:l::;:j I ~lo..,.j

flu L ~ _,...-~_ .....--... -

A

~
~

.
A
..--....

~
... I. . 1..

-~
--- t-.. .

............. ... .,_ ... ...

A
.....--.....

IR I r I I
...
--
~
.,_ -~ .
-.
I" I I

-
'IL-l L
,..,......... .

.
t:::::=l
r
--- ,.
. ..
-~------
I

- .....---.. ....--.... ...-..... ~. ~

IR t=--"' -I l
u
=--'
_). ...
- - ... ...

I~.L
....... -
-- ,. ~ ~

..__,?J :;}._ -~
~- --
 ::> ::>
.,..---:;--. ~-:;;:;. ~-· Ul!: ""t:~t:. i- :;;
r:-" ";::l

•
IIF
-flot-:·k
.. ~.fL--fL"t:~ .. . - - - . +.

''"" L
. + ~ t:~ .. _,.. "• .,.. - -
> >

:_,:; ?J._ _71_ __;J ::>-

~ • ~ fL .,..--:---- ~ ,......----::; I

IIR .ff
> > >> ~.
(q)
. - r-.._ ~
- I

- -
L...J

T 10" I

I~ L > > > > ~ .\,. I I I ,......

:
ff --......
I
I I 'I

=t ,.....
""
>>l
. .
... .._ .-'

. a tempo 1 STRETTO

-,
IIR
-"-
,.... /':) r--. ..,...,..,... c.s__

11•..1 l t:'\
I I r- -
-.:::::
,.... s

--- -
IIR

-1101-tl -- s
.
... -
-~--

~-
il-l . L ...-....
~----
- __ . -
...
~:·1"-
.
--- .. - r:.... -
c.s .
~ .:
~

i'..~ -~"· l

-
~--

~ ...
 ~-~- .,.... ...
liP
.----... .,.. ... -
,..
_.,. .,.s,_ - ... -
1:i3"
r-

-
1 ..
~-

""""! =
Y.L . - -.q-
..
---.J I

~ ,.__ ,...__
.
- l
- Ar
-~

. - .....,..- .;.. ...

====--- A

IIR 1=-..-1 ....

Ln. _.L
.,..
- --..
A
- ~··
L--1=
A
·JI..l.L I
..;;
-
- -
-
~::=*== I-

.
~ -r . -
IIR
-- ~
-- ~-
A, __________
- ~ .,_ .,.. :t .,. .,.. - . . , . .
A
... .,..

+ - l'

~-I.
~-
... .
- - A

-~ ...
.
-.
-. A
-
... p~ ~ :t ~ :t:--:r.,.. ... +• . ..----..
IIR
1 ..
A
.h..~ ... ... ... . - s -
~

• - . .. .... R
iII. L
:r---
·.·'.:.~~-:-
---

---
J:;Oil""

s
I l ~"S-

+ -~--~#:
.:.:;.. -
....... --'
. r:::o--
 H ______ _

·-
• II
• •
:..·- !=::~
====-
-·-=

• . .-~ ·~

==
1E~
---.. :::==----
f-._~ ~ ~~

===

..;;; --------,

s_________ -----
... +
----------- ...........
- .. -=
.,_. " • +II.

- - =
:_;------------
~~~~~~~~~~-:~-~i~~~~-·~~·~~~*1
.II. .,.-1

. ---------===-· . >
_'==.JI ____;

s_________________
~~~ ...... tt L
= _______ _

s---~.--~-
....... '"!: .II. ~ :ll. M.
-j·
--

_---=- 1
....... ; -~
!--==LL~--~- ~~!'~=~-~~-~~~~~~
-I
:a - -::-=:-- ~ -_ ·~~ -: - :~ _,. ·~~
•
II~ p
- -....;;;~
>
.
>·>

.----..
-> ->- >- >
---.. -

I~ L
-
I ----..
- _.--..... ~

..
!
p -- --....
-
....--..
- ==::::::=
-. - - ~

I >
;,., -~
-,...-------..... --
-e-.- ~
-
If --.....
I
/ j • ?'
--
-------....--..,.1*-. • 1*- ~ ..----.....- r-. :

I :

1U . L ,-.._ -- ..------1'---.
------ - ..
.....-;;;;

- .• ~--"

- =====
-- ----
~ f..-.1:=

/ - ~

---- -- ------
--..,.-- .
......____.

·.-
..i 19-• .;;----. , •• ·• n

IF;l ~ pp
I 1":\
!
~

1":\
JbLJ. .L
I
pp
. J I

-
ITT I I

..
I:\
-
 riFf
fie--
'
IIU --
·-
;.. -

.. .,.. .,_ --- .---

I
Coda
~ t
I I ..,. I '-oj I ......__ -:i

·• Jt=1
s

LII-l kn-- ,.......... . A

.
I
Coda _ _ _
.
c.s.
>-
·-
>-
-I ...., I
r I'
- c.s.
>- :;:>- >- >- tr· . I

r I I .
~

IIR 1 .... I
Coda c.s .
.p;---~.,.. .. ~-fl. ...
_ .u >- >-
I".

IJL.J
I

,.. >- tr
- lR>
>-
I

I I- I

. -· I I

-:--
I 1-
 '- .....
.,._.,..,..,. ..,...,. ~
- .
• 1) •

- ---
IIR --------- I
:::-.. > tr_
~-- 1'" .. 11---'il- ...-- --
I I r
it..;
.
I I I

"'
.(1. _,__.__ L.,.-~>- >.--.,

!IR
-
.........
- .ll.n--.._,_,.,,_'f>'lll
-~

.J ~

• ----

>
I
-
,....,..,-,::::.:- --- I
-
I'"""

-
-·· >II .. H+ • _}h.-

~
I I ~I
!IR
,.,.--..-.. .,. ,.,.
- """
~·
I "'-1
-- R___
y
~.
I

- ... ~
c.s.
> 7-.. > Ill'
,....,._
I '-1

C.S.--------------:----
>
;., Ill'
~> > > -
I
[IR I '-II "-.....
lu ~.(l.r.,..,._ ~ . ?:" ~,> '-...--.'--

llbl ,...
-- .....
I

...
-
I I I L..j
u..J
•

•
 >

IJR
>
- fL
-· -- ~ ~ ~

lru >

,
.......... L,;.l .,_ _ _ _ _ •
--..
+ -
. • - ~ ~ . .. ~

- -..
IR
-
I

-1'-~_-1'-- ••
- ~
------ .... -
lru ::::-
-- ;;: ·- -~-1'-~ ..
-

. >-
-- -
-1'- ...... ~_,.~· f:t- :r: ·-~-fl.~ ~ .. ~ .
IIR
... - ~.,. ~~ .. ~ ~ ~#~ :t~... -1'- :t h.-. ~ -1'- • ~ .p:-------1'- ... -1'- ~

ltu ~.
-- ---
I

..--.. I'
......_ ~

IIR
- --- -
>-

l I :J I

-----.,
f. I

'LJ --.. I
,...., > 1

~~.
- - -
~j =--
..... -:::::::::: --
 ~·
1
'•

~
....
- ---UIJ ---
t•! STRKTTO
a tempo

s :::::.... ....-.... .
I

err ..._ ·..;:.:;,_ I - rT

R
I:IU

1-"- ..... I I ;;;;j"J I -r --T lool

... .p._ ...

= " --:-- ~-- I
U-1--l

R
~ ~ .. .... ~.~.~

~
I
I ~ ....,. .~~- ~~,-.:t If:
.;:
- I

.........
- ...
....... . ..
I L..J

l,u
-·~
...
-~ I I
---.

1 •••r 1
-
s :::;:::::::
~---i -
I I I -.;;r • ~

-- .
m:r I

.. lJ ..... ~

..... - .....
.iiU -· . - > I

I y I 1.-1 ""=="

. II
==
-
~
>_

.............. -
..:::...~
-
I
I

IIR"
. ~-=- . .......
~ --- . .
,....,,
~ r1 -
-ll ..__,
ru ! . R,
- ~

T T
s
I

. I I
1-'
I I-J,...I...I
 - - .,.. . -
... ~ -
-
T
liP
- ~ ~
,...,_
-
r ...., -... --
!JH :::::....... I ..-.>
-~·
?'-

-
....j.
'--~

I ........., I
s
' .
1--
- -I

=I
!='· 1--
....,, _.

.
~ . .,..
--
.~~. ......_ ~
R
~
rresc.
llP
1

s_
~ -;:;;:--
,;;:::;::-
- . . Jl

- -
I

ill-1_-,...,..---.. . - R r-
.
-, r-·
--
I
--1'
I
R - s
,
~

I I -c::t:r IV
'
,__
' -......... ~.~-"-.,..
t.;: .- - - - -- . .>.--... >----=-r--
~-
' - ---- -~-- - - -......
L... . . . . lL
- ~

I' -
- s
ltbt.
...u... -
-=
I -..,;
R
. ~
- .

s
--- -=
~

.
'
I -~

. ~ ...
-
1--
IlA
R
k ·- l::t. ·_ ~
~
:
...... .......... I
,....,
~~
lJ8.
i ~:~--- -~!~~-~ --- Ttt-·:=r= -
--
!
I

----
.
. ~:~;~~~;-~. -~
- --.,
~
- ~
- -~ ~~:::
------
.

: ~= i~~~-~
I
-
~ -· ; • • it•
 -------

lR
n .. "t-~-- '.- ... -- . . - =----.

.,.~ ,,.---......,. • :{t_.,.~!- .. ~ lu--.... . -..

• IU

..
...i-..
~
-
_..

,...,
---
-
R

I I J
-
-I

--

.........
_; -:j.:J-7 ~ ....
--u,

I
_...

IR I I I I
-
- I I
-
--
. I
I I I I
n
IU I
- _._.,__
! I I
·'i
I I I - - --·
~-
-- --

-----
--

jw l ~ - ~
-6-
- ::&!: "t'J".

S----
. ..,.-
\
I :::,
i -1,-------....-~r'>r- "t ~~~-

IJR-.....1- I I
s - -- --- --

~-- . s.
. =~ ~-~
- c_ -
- - 1 -.
I" I --....1
s
IU
---
·--t -- ~~- ..-..-....
+=-~--
,..... 1--
.
~-
--- -=··t-
;
.
I l.,j

~J:
'.
. - -- f-·
...:: ~~-- -

------- i&i - - - - - - - - iQt, _ _ _ _ _ _ __

fi _____ s ________
'
. !- _,.--. ~
1';'\.

lR ..,_____ - -- r
R I':'\

•
~
t--- - -
s
-
I
s
IIU ~ I':'\
-
. .
I I L..Jl
I':'\
- - -- ---
--- t---= -
_flit--
-- ---- -~
 ..... '''lt:OO •••••••••• •••

. ... J.l '.. ••

EXPOSITIOX
! Con xnoto
$----------------------~---------------
,.,
u .,..~ .fl.

IPI

I.!... L
I'
i
. I

c~
1.-b
·-·
..--... ,.;-;_ _,.....--.... ..--... .Q.~II .Jr..L

II= c.s._
_L i
R
-5- ~- ·~ i • .~ ... .L2_ ~

!
ill-1. L
'
i
s

' -

.'· '
l

--

---
lJI.I L ------------------r-- c.~

- -·
B-_,--_-.-1

--

,._j .
 > .p: ~H~~- .,..J:~~ J.· - -=---... .
IIR
- ~ t"--~ r r~ .,..~~-..,..
-
~
1 .. ,.-...,
"""
M~
I

L....,....

...
~-
~

--- "
19'-

,. ~ 1+!-~·

llR \
j ,.---~ ~~~-+·
--- . - -=
--

'"
I ~ r I'.P ~- ~ . . --

Lie!_ .ll. - - .. ,...., .......

-
-6'- ~ I

.
-=-:I

- R
> ~- + .. :::-->
-

IlA !
T I I

~..a.·
!
> > + .. c.s.=-
....-=

LIYJ. I
c.s. ·;;......

I
s
LJI I
- I

::>>

i ~ I
.
I I I ,, I

-
fiR
- l
I I I

La.. ~
- -
lL - ~

~
. :i I
= I --o:D'
.
'
~'q~:""_ ! '
. =E.-
:....,
-
-·
_:_
-~
I "T 1 U-J..J
.~=
 --
--
lR ~
-
:
F
! -
.
I I
,.--...
--
i IU ~ t
.
- T .1~ I I
-
. l
I

"':---------
I

- .... ..,... ._... h --... ,...--...,

·~ I

~
- "J9'----;:--. s
L .
I
..J .L ~L
-
i ._._._. I I T T
I I I I I

!
. -
I I ~~II r I
i
i
c.s:-
.,_ "-----·~. . t: ~. >->-

1nr
:
crPsc. poco a poco

I
.- r-...
-
I
s
JW - ;::-.. L>-~

--
L
" ~

-, I
c.s. I
I I
:

k~~
- ~

-
~.:::-- >- >-

I lA
n i
l;;l'
L:::--- :>->-~·. . - •
--
•I .....--

I I
J L ::> ::> >- > l ~ >>- >- :>>-

i
. ..
I
I
'
I I
- ----..,;' -..
 ~----------------------------------~~---
:::>> >-> >

IH f j'

• IJ..I .1. L •

v
:::>:::>::>

·r T
:::>>
I

I
I

--------
I I f
-----
f

. .
'17-6·· T

.. >> > >&;.-~.P. ,.,_ H._.

- ~

IR
>> > . ..,
=----
w·-
1"'..5;:" ...~ -, ~
ciim.

11..1 L ;
I >>>:::;- f >
>> > - I >

,I
\
r
I
--
----- .tf
>>>
- clim •

. .
'"0'~ '"0'-·-------

JR
:::::r
'
\-----.. ~.
.
----
'
T T
~~

...., rr•'
~:::>------~-~~--

. - .
l
. SCPn
~
. . .

I
: IJ..I. L L i. -.._ ._ -I ""- -
' L.J' I "--I I ~ -.
~ -
e· .- .
------~ ~--·_ _ _ _ _ _ _ _ 1:)__.____. .

•
 I
-------
1er STRETTO
ps_
" -k0. •-~~-
\ ~- ... ~~
lR I

. ........ 1.;------- - R~.-

-9- II ~
~
-T
-.
p
'IU :L ~k.l --
~
I
p p I I -t--

.1-.-,

""" .
i ~~
'
i_ ... _. o.------..
====--
-
~ ....... .... - ~
-
,._
IIR: -
.. .
I

...r '). ...

p =
-
....._ 1!-

s
~-- l
. l ~-

j' I I T
R
k..... ~~. - ,
I
!

- 1..~- .... I

IIR;
~
-..---.
---
I
I
- "j""';-

k!l.
:
I.

,,
> ·-

T
- I
~

I .......... I II I

•''
I -I__,
I I

\ 2d STRETTO -- --
;----
_..L ..:::::::::,..,
- ::::::- ~:::-.

w ._
'
I ""'""'"""" .. 1 I -
.-. s , &-!!..
..IL
--

'- ~
JbU ~ ----.--:---..-. - L

r..;;:::
I

l
1-,

I
I
~--'7i---
j~--+-·
- -
- -
-

.
 3 STRETTO
s
-,_H., 1:1.. >~ > > &.--11> II
>l>>.>
.1!._..: "3< > >>

-~~ lll~~=:t>;'>"!,;""
IR
~ l&~~ 1--.. " -• ~- ...
JJ..I. L ~ L .&. .. :"ll;'"~~> ~~>-
s>
:

R f
>;;"" ;;- > >::>::>>> > >;:,..
.
fl I "f I ,r l.LL.I ~r v'\:s.-
4 STRETTO
f._ > >
:lui_~> J... ----......" 1.. ,_ &.,;...-----

IFl R j'
>,$' u> 3;> ~> > • -" >.>

~ .r ,... f
11•..1 L L> >> >>

-, -,
- ----
v·· .._
'U' • ______ 'U' ,-r
I

::>
I
>

lA
+. ~===:-,,>
,;...---..._._

--- • b.;-.-

-- --
.frail. p suhito
>J,> >> ,..--... . "U.l_
-
- I I
111-l.l >> - L
= ~

,,_,,
_L I
frail. p subitn-

- ---
I I ·--

~
~

;. ~ ;-u .
> >
-
-------e;-~ ... ------
__ . _ ! " ; \
---;
rail. _1!: A A•

·IIR
-----:;:_:;-. ~ .~ .... ~ ..... fPf='fl:.~
~ I";\
11:~>.> > >..

.Ji..f'. L ::--.
:::::::-..

-
>>>>> > ::;-.. I':\
> >

~ I I
rat/.
I 1':\

I . .
-~~- .. 'tJ'.... -
-'0'· ~~
~q-9-
-
'U'•
• '-"-·-·· \_"-
EXPOSITION
S~------~~~------~~----------
Jt c.k_ .....---.. -----
, IF
.. l R-----1
..
1•r C.S·--+----+----~------4-
·: nc-----1

I :I I I I
:I I I
j1erc.s. _ _

1er C.S. - - - - - - - - . , . . . - - - - - -
•
:I I I
·IF ..._·---+---t----+- ge c.s.+~-----
~.11 • .,.

I I
2f c.s: -,..-----1----..;..-
,.~:
S----~----4-----~------
111-L

•
.I I I

+--,.,

IIR 1•r C. S. I _ _ ___,.;_ _ _ _, __ _:-::::-:-:---

1- ,., n ~+.

I I
a• c. s. _____,_.
-t--
~~-- .lin

:I I I I
:a ~---+----+---~~
,...-r-,
 - - --
.........
-- I , .__..,._ ...
:
.~~.p.. .p. ~~ . .p.,
I

lF1 : 1erc.s. ap c.s._ !

r-~ A -(r l.P.. fl. ~fl. -(r"f9'"f!:.-(r :f' .a.
: .(L-(r£

IU

I
-
I
--
:I :s
;
. - #, kn : _.---....

: "
;
n ?-· . -

/-19- "19- -6- .fl.-#- n ~~-.fi-t!=

"' :
: :
r1R ~-#-._.,..f:
R
. :.a.
. _£_£ _1:_
------=-- ""
2~C.S
! IL
- : _f2 l~lla_ :oL
;
),,., 1/,.,

1"r C. S.
,., ; ; "f'· 'f' "19- .,.._..

IIR-
j_,.,-
~-··

l1u :;--- -t- ---!----- -

~ _a_
!--
-

, :

__,
.
~ -r ,.,-
: '-I--
!IR I I I I I I ; I
_..__ 1Prc.s. _
I I I :I I

IU ~
--
_, : , --
I

1.~~,., l
28 c. s. :R
I
: : .
I I I
 -, 2~' c.s. ---------.;...·· ...
:
I :
I -_I
llR :
I I

•
I..a : _,- ;--..
~
..... I I I I
aec.s. -
lll.l

:I
I :
:
: I I : _l -
I I

',
aec.s. _ __
-o.!L .....---.... .~.o..~ .,.-;, q., ---. n
II/A s :
b..sr-~. :"' Jl . ~- ~

1r I I

2'G. s.
ru ------:-. n? ~.,._.;::;, _q : J, ~
:

!
. -- -
. .
I.

2~ G. S.-1---~-11--:-:-.,. p. ~

r'' i I

IJ~.:~
-
-
I I I I
3'~~~--------:-

I
-
-----, =-- -~

r~
; II
-· #: n • _k,.,__ •

•
"' .

1u!
I
I I
-

I
 - --
-h""',
11
-· ,

-
..~a--.a.l. _!Wf.. ~~...,

-- ;.~·
:
b

p
...--...
:

u , ~+· .~ I.a .p.:f!t1A ,.:--- r-.,. II.!. .- ~

-
: A
-l 1. =--·-r 1---=
: 1-:- :.
IU
.
-, I
,-;-
- : .
:--II

..
:
:
.._..•...._______--· -u 4-Yl!*"" ~-u :l!lf
't;t._~
:!!!t ¥
~

1"' STRETTO s
~ .II t.

IR I :'1 I.
!R 2P S C
r , 1: 1 n. , ,., :II ~ >-- ..;
"
!I
s -. f.- ~ ~
Ltl.l

I I

'7.'.. .:;: ~
--- .
~ - fl"'!l'
liF
r :2• STRETTO' ___ _

"
,...--..., .:.-- ,--....
: :

IIR ~- :
'!. .. ..---.,... • 1Prcs----;---l----·=-{;;~k
: ~ R --~---1
:
Ln_ ,.,
" ,., ,., ,~.: . ., ,., l- liP.~

!R :
~ . : J.l. ~~If, k....---
!R ___~~----~:----+------
.---~-... b
:
I
.
-t~-
..... --..
~~ rf._c
~' : h
h

I I :

,., ...fl.-s- ~ 1--'--

:s-
S---:.- :s
 'l" STRETTO
r--
n • ~

--
I

,...

I
r

. --------
.----==--
..,. ~-
b s R

:;•· STR ETTO (

R_ _
s ~· ,
--

I"•
IF ~ u.
-· ~ It ---l-1- ~----::::t---::- ;s_ _
0--,.,,--::-::11--:-- u

_I;,., ~ ie-b? iii..., k,.---- 'n "

S--~----4---~~=
I

..,.
 j- Jrr C-~c(qfjc
BXPOSITIO~

IR R
"
n f2.

s
Jl-1 n I 19" tf.

I I I ~ I'

s _____________________
_i_ j)_ _:2-_

IH:
c.s.
- _a__

t::tb
.. :
c.s. - I I

I
I I I

~' _l

I
"
\

I=Z:_'-
-- -
:
. I

cs . -- ---- -~------

' (~I _£._ d~ ,., ----.

....J_ f=X -::e=.:::E::IIf:±-
.,, .: 1'11~.-- ~~
:~: ......... 1---r-· I 'J,.I I I

'
I

'
_B- a -~--·
=
--H;:
... I
~- = -f'·
I

JH
\
,., .
1::18.

\
R
-
-(r- ..1.
: ,..- -
- ~±- --- --~-=t::-·
. t----·
~ :_ - ---~
- Ef'_:-:. -=ff.LT.f=:.Jt: -~

... , __ ~ ..i ••
 .,. II
-
.,. b. ::----.. t ~,.it.

••
I~
f:: ~ .,. .,.
I

---~-~--- ~~ ~.f2 f2~

- ._. .u ... ~ ...,.
-

I iL -• !I " ~- ht. l
~-
-
·r
- r"'""T"!1
: . ?

! I I

~~ .,. • b.- f2--.,.

-- I I
~

..
HE
-IR ~ ---- . ~--- b• .,. ,..---.....- .,_ -
1-11'

~
..
s
? f2
..
~
- -
'
, fr
c.s.
..

- I
,--..
:
.....
R------------------------------------
n I
-
m _...;.

..---.- "
I

/'
f-F:-~
I I

Rt
~

- c.s. -
IL
- - -~i. - - ---
""1...1
__I
-

-
: ,-....
~1-! _.__
-f'-ft_Ji:
.....
~::-J:-. J-~c= ~+----.U-
-" -

~~~~~~~:=~~~~~~~
-;=~~~atf'~=Fr -t.;-r_~::~ rttr~r=J~~~"i~-:ff~-M~~B~~
-~- ~- .--- ._

f¥}\": 1t r.rwr ft .. •
j •
 '-!£:
IR
- -----
·f}_ ~b~ £. *'· ~~.1 k ~ .1-_,.__._

-
c.s
~~ ~--_. _ __.-(!_-- ~----:
= &~ •
..-_--_. --t-
......__
'!

IL' ,.... ~:,._ .L ~-~~--~-~.

s - _h,
I ~I 1-' I
-

' ~ I I
i
s
i
.
. -+- r"1-· - ----::
IFR I I

· .It 0 _a_ I,...

... :L . ,,_,
I
'
ll;
c.s
HM--- . • .L n
-
'-
-:..± --
I
-- -:j'~-+-:::::
-- tJ I I I

I
-.r- ~:JJLe-
.............., ,_ ....:=.-:--·~.t~w~ -
~
I

---
.............. ~ #~
'
_[

H~--
-

IF=l
---- •.:=-.if-: . J=::J·re --·-- ·::.=±: cT .
I
-r

>
> >>~~ >
-"-
> I? ~~~ n ' ....
- --t '-- ~-=!;;::!::
'"

- ~ ~.l
+
:'.t== --- :'$;
-'-
-=--

> >:::>-~> -~
:
I ~
~·

-F- __,._
I I
K--+-·

-
I::
--F OLf"· ·tt
r
-!'"- ::.:l"Jl~::
·:±::::1-

__ ...__,[_
 ~~---
- l 1 ..
... :-:J__ n
1· 'STRETTO
_Q_~
-
F - I
- n_ _

•
~
I
. :::>>2i'">> >
.L:I::::.. n _£._
rrr n
I I
II,..J
s
~

. -- 1 I
I

I
>
I

-
I

I
!I

I
- ,.
s
0 b~
----------------------
_!:_

IFl
L r,.,.
c.s.
I I' I
-.p. _±
,, -
I I
I I I ,.....
II
_i ---
. -
I

_'?_
I

_p_
-
. - I I
I

\
'")-_,_.. ~ .,..d#' ~;;- ;;'"\ ~>

,\
11=1 c.s
.
·I
,\ ....:2:..
1-1-... I. ..£_--...
n • ,II
• I, > :>

... \
'
'< '· s>
I~ .--. 1:L

;I
~
- -

'--
I'"""·
I
~ \
g _____
 -
I I ,.. l
~

~ ,.fl",
--- -- -- I-
-
--- -=-
~
- -
7-*--~$=
--
-------
-~----:::f!}_ -.
I
-·

t1R R-----··-- ··-- - --

-- - : s ~ J:_ll
f' F i1n -~~ J!::::J: __X
Rt :::±:- +-_=
-
- --
--.._...
I
_ _.,
> ~~~
~;.:
>~-
_IU
HI:
--= 14-=--
- I I ,.. .
.-- r-
I
-~~ :L=t::

,.. ~
,.,...,..._ b.
:
•-r
lool!""~ I
- I
:t,: :.x-~:1±:!:~
--1

s .. ¢~11.#~ ~.u. -.,_ .. II~ ~-e- -.,. .

+-:IJF- ~..:t:--=it:
I
-~~ I
s >
.~ i- fl" • .,. . .~JI'" >.,.. ~ >.f.~ -
~ ~~a
"
>:>> lgf#"~,.
~; ..£.1'"f'
..11-l >k:;- >' 1! • >:> _._~..L

I
s - r
.a 1:_.,. ~;--;;>- _l
:
I I~~- tat -let i8l
#

I~ ~ " s
- .,.,..,
-
s
K ~
..=.

I I n II:>- > >

~
_Q_ _12_ > 1•11 •
I I _I
·---
> L~,
-~~ ?- ..2
=-~-
-=
- '---
I I R
I • I > ~
:
-~at_

7 7 -;;>-
- ·---·~ ?f.
- -
~-
~-

-
ffF -,
lo I
--

._ Jl.{,-.
I

•
-
.
!
--
 1.}
A.GEDALGE

i
I 2_)
! A. GEDALGE

3'....J
A.GEDALGE

4j

5...)

6.}
A .'l'HO,l\IAS

7...)
A.THOMAS

8.)
A.THOMAS

9)
GEVAEltT

tQ)
RAJJEGLIA

H)
GOUNOD

I •
\

";UJLMANT t ll v r l•r g • •r IIJ i<J IJ n:m IE-=

~~ (j 'irrrrrfr1Ut3:oi:tFIE3tcr r 1r-
tt5)
I
fiEBER J#ij t
iii)
.\IASSE.SET :v:p1, ~ - r rQr rr rr r r ar tJJ af#=Jggk
1

t~~I:iT·SAENs if=l~~~x~F~F11~'f9§@fr~----~·~SJf=~-+~~~ffiMJ£~--Hfr~~Q~·@~E~
- - ·I - -
1

-B-

1H)
A.GEDALGE
'
'
·ul) ~
:.\. GEDALGE ±E ~-~-- ~ft-F~ r 1r4-·-~¥t1-~~ ----kr
lr.-
.::
~b)
A.GEDALGE tc& J r·tlf=PJtr~~=:r=ttlL~Tttat=¥£-
- ~- '

21)
.MATHESON ti § -
0

$ l!£..t7?#fi~~-:­
2V
A.GED.HGE l~~ wtf · r :Cir r r ~WtftM~!_~=Jtff=ff~~:
2:-i)
A.GEDALGE
'

"'
 J.S.BACH ~:;
~
., ~ ~-· eo·
~·-a~
I D ,,...._~A~
b~crp

~=t:_--=?1- FFF J 4glj tl_J s

21)
J.S.B.-\C/l

3!!)
J.S.HACII I:=!
@J I
II

33)
J.S.BACJI

:i!l} . ...--.....E •
A.GEDALHE ~4tf o 1 rr -&

1
a

1 rr 1 ..

I,
 -c-

• ~
• IE!t 191 lc4 ~ ........----.
. 40) '
HALEVY
=::- I: I: I: lrl,-,0
: 1= :-
I?
: r F I •··
4:1)
I ~ I ~~ I tel I 0
"IT" qe I {'

1
.: 45)

: 44)
REBER

i'
:45)
. ·--- A.GEDALGE
:::llii~
]3 ,, ~ r ce v r r v .. r r lr r
1 1 g +:;;;;
~ 46)
· Anonyme

47)
: AUBER

; 48)
AUBER

!49)
i A. THOMAS

50)
' ~
i G. BIZET
 ;') _/ .J
•,. 17 J

• 71
<·~:·EuHGE :Jrll :·t(t=~tf1i¥Jn~f-i±1f-'LW-
.I

j
,., ·.....J
 I - ~ .
~
72
~.~EDALGE ~Hi~ xrrrrrFr 1rr~~rr ,df&"lf rrrrau•r
73
~.GEDALGE ':JIWr i - l Erctr FIF" rJ J:wiJ JJ J X j r ijr Ef+.
9'i, ~ - x rrr1•r~t rr 1rr -r wMr r "rTr rrPr
74)
A. GEDALGE

- •' i - r r •r I·• = f rFFl•r F - 1F I F qF~F i" hb£

' 75)
A. GEDALGE

76)
tii'·IOM· ~-~\ I '" o. I F ". fJ? F r rijf r FF I r
1~11# ~- 1 rFf If
: 77)
E.GUlRAUn r xf FQ"If f#f.Fr1 ''lrFMfiF 11

l~'i ~
: 78)
A.GEDALGE r 1 r· vr· r r·ijP r ' r' r rr r r
1 1

19)
REBER I~" ~ " F E . IF Fr U" I Mf_ " Ip
(-

~~ ~ --I" xrFFI&rx Fctrr1!rr'"

80)
REB Ell. lr
~ ~
r •r r r_FA arr rr r r E! r r r _
81)
1
Q ,--:.......

:-; \ t <,
t 0 1 1 1

91hz 1 r r r r aIE r•r r~ tr ~r r w'r ~ r

I

82) . r--- 0
~
1
A. THOMAS l l 1 1

1- ~ - x rrr 1"r ~r Mr ~r 1r r~ u e tEU 1r

S3)
; REBER

84)
ONSLOW tJ:~I;, I " "' ttr r r r I "· r Ir FFr r I r

l~'jt~ ~ r I" xqJ JJ IrF" (lr krr Pr l"r· Ef.F

8~)
q....._1 c,........,

I ... ..l ..l·

--~· _....__
 ·•

"~)

It \E ~liE I.

11!1) '
H \~ SOE I.

!Ill)

l'rltCE 1.1.

!II) '

J.~.H-\I:H.

J.~.R..\CH

~:;) ;
J.~.RACII

!H) :
J. ~ .11.-\f.ll

H:J)

-'' o'z .\ItT

'I 0 Z .\ H T

!17) :
Hfi:SSI~I

!I"!) I

r.HI\HrRJ Sl

!
' !1!1)
~- A r j1 r: It

111 •I) ;
FF:~\IlOLI

tq:;) .

\ l' 1· E It
 ~·~..J ~~~ (j x rralrJ r5jt ctr r lbfCRt lr ~wrnr •r 1r =

r l l#r 'i p EF FE! 1rr rr F

•
~
~in
!105) 0

C{/\iON\

iOiEICHA . ·-wt '? x rr r r r r r u r ffMer r r

1 1 1

{O~Vl ~ ~·V1 p ,., e I J r I r~, F F I B" It.. I I " IJ

X e

iO·;.THOMAS 1# ·~ f r _I Et r X r5+ "tt ~r I"E f' vc!f I r

~ F ~ ~
r r IF' EJ Ir r F I
r Ir Ir
:t09J _
• SAINT·SAENS 1 ~ ·~ X F n

HO) , j I~~~ o r rr r· ~ r r r ur a r arrrr r r

1 1 1 1
I

111)
REB Ell. I~" (p r FEJif xrlt Kr~riMr''rrEirf «r IF
H2) ~I •. ~ • ~q~ ~F ' f, • -:!I
A .THOMAS ~ i 3, lj L RFj Fr I Fr ~ v lJ I t ., vp Ifi)F r'¥ .
1~3)
EBERLIN 1- (j r r r 1 x r IBCfiJ em r•r r#r r 1

11'4) 0
CHERUBINI ~~~ ·~ I('" qF lrtr r Jx JuJaJ IJ kJ I J
.,_
·.;I H5)
C.M. WIDOR ~# (j

11.6)
'GOUNOD I~". ·~ x err r l•r r rIBr r x+ar err r 1r r«rlrr 1r
x

2:~ 11: x fr r IFrrJr· bFIF "!vr ccg lr e •r 1r

H'7)
!B.GUIRAUD lj

~ ..,----..... ~ ~ . ,
r 1r
HS)
J= , ·~ v 1r e:r 1r
.

MASSENET 1t r , r l•r

•
!
,..-...
11~)
~.THOMAS ;EJ:& «t x r EttJ 1r r 1x r "r l"r •r 1x r r· FPer r

v:& •j . .,r r r f r r f1 EFr gr 9 r q~ r 1 1

1:111)
A· UF.IJAI.rlE

1 :\1~
A:. G E II A l.li E

~~~~tH®fit:.r-t:r~~a~~
132)
A,lof.IJ·\I.IiF.

1:1:1)
\,tiF.fJAI.f.E
~;#~if ;J1rlf1'Eflg"i~.~
l~l;·.-c~f!~~tFtfltr~Hf-tfifJ-400¥=
1:\.\)
,\ i liE II·\ 1.1• E

1:\:i)
A )I,EIIAI.Ii~:
")=~~~ c r tr-:crt r~ rr=u-~Ffl~mt=-1:£
1:\ljJ,
·\ .. !i E II A 1.1 i E

1:; 7 )i
.\ .•ld·.ll \ I. 1; I·

';a_;
 13
~. GEDA LGE ~9~1 ~~~j~£ijf~WJ~·(~j~'~r~------~~·u~FJ•f[J[~C~C~E£!4!§-~~~f~®§7~~f~
~. -~~~~i~'!rn~-~1(J~r:g~r~fo~-lf[Ert!Iff~~'i~Vl~c&~v~wmu~'t~HPIr~r
14
GEDALGE

149)
GOUNOD

. ~
150)
GOUNOD '1: ~~ f I r V IF WUr If ~ 0' F U IF ~ F1f IF
~%1 "j wr 1r Or ur J 1(---ltf! 1fflJ J 1J
1
1.51)
A.THOMAS

152)
MASSENET
v
JSh lj r 1r r ·~ r 1e:± r u1r r r EJir
~ •

153)
. MASSENET
 \
U6)
I
1
{5 5..1
J.~.

"~SLtlW
O.HH
I . ; r 'r g \\
\
i5T) \
CiE\".\ERT

i59j
REBER

f'itl)
llASSE:\E T

f6tJ
Jl'ASSE~ET

f~2)

l1J\SSE~ET

t t;'1_~ \
.\ .r,f'::, V.•,;::

I:.,_.;

~ ': ~. f, :: t. '• F.
•

- - ·1I - -

1110)
MOZART

i 11'1)
C!!£RCB1XI Fz r· lfqy-TUt r IF r r IUr F 1Ur
1K~J

AOBE!t f-- M¥ 1 nP f- J I J CC I f EEg I f' IF

r r 1r r 1rt r f rr 1r· 9 ttrr r

1113)
AUB&R ~:r. tU
184)
~-=r~ge·,r·1r v r IFrP~r ,,.l.r+FfE
•
REBER
,~ . I
1R5J ~ ..--..
REBER -~;;;;;;)tJf~=r£¥-tmr 11
FTr r 1r =
 fHti)
AoTHO~A~

t!l7)
.to TI!Olf AS

til II)
A o THO~IAS

1~11)

FRo DoHH

1!13) . ,, •
A.GED.\LGE ~2 J. 1v+Jf#J r llj(ffr ltf9tfrf· pIt=
1!14) ::IRt:= r:e:;:, ..
A.GEDALGF. ~tafiCFCIUh rrrrr1rr· Eilr t~ffi:IDF
19

:~GEDALGE 4M&H4~ElfliF rTr rr lr· g-IDJ 1ffiJDJ 1n

196) ,.-.... 11 ~

A.GEOALGE ¥Fz t 'P"CfWDr•r r 1r·1rr r'r UIEJr r 1c 11

;GEDALGEJ~ z r IF f!IFFFIFF,~Iufr'tplftrl!lur
19

1911)
AoGED.UGE ~§!t~M~~·I§·~-
f~ 2 d'Ctdlt[;pttw H®~~~a~
Ul rx~~··· ~--!~
rlc~rrftilfiL

f"t~;~~~~~'~tl~EG~-~CCJ~'~tr~h~P~r~·~jlr~'·,.,~~tt~r~pr~s~m~-~r~
11
!; GE DA LGE

- - ·1I - -
 2ocv
AUBER .p rflm•ur1·· w•r lf"t1Fwrw·1~~
~ 201)
AUBER tn r(lrrrr· lr·fllirrr·l&rrrrrr wJ.JIAiJ.jJ
209:)
)I:ARPURG
1 n
#
z P"
r rEr r· r r r e
v r r
1 t r r·
•
1 1

20:V
CHERUBI.XI s~:uz
~
r· r·4PrC rlrFrriFirErr fl •

204)
J.S.BACH if¥2 rr v~ t& n ccr!r1r· ~r~irfar 'r
x

~; 2 - FV FI F ~r F UEFl r fUr 'F" I f

205)
::lfASSE!<lET

...
N:;pp:;i r r ' ur 1ur r r r r 1"r r ~ · 1v· r
206) ~

::lfASSEYET

.:r . ,. -. . 5,. . . . -
~~~~ x x rr ver IU"r 9 v¥ 'trr rJ r fttir· m=
207) ~ ~
DELIBES 1

::lk:i IY rlJd! - ~ - !j ~~~~ ...~lr

~~,k~& 2 xr~rtrGPcrr r etf ICFF FtiLfKEi
208) •
A.GEDALGE F[(lf{lbr

J ,,~, & -. 'i vr. pI F' rr"r w:-r t§- E IfPfqrc rr r

01.0 t. ,_...--....
- ;GEDAC.GE

2 Hj ,..---.._ ~ tr
:J:Q, £ r r·J'G r If rr r IV Ff:J lr· EBrqr It
6
A.GEDALGE

"!.mAL•• ~~!if~ r r1r r Clr rtf rr 1 twu

213)
A.GEDALGE

2:16)
/
SCARLATTI ?'jVx * 6Jnr 1 r r r r r !9rt f? r ·1 r
 :'!17)
. ;: : .
:: 11{) .
A. Tlltl.IIA~
F r~¥;ffi1-f&ITtt; r P1•. r:ffi· ~-· 1-
~~ - ~ --- 1 _,

"A. TIIO.IUS
qw=iH+-f'i@ftA?JtmtHtt-tt!Pr Dlrrr~wr=
A. TIIO\IA~
,_~-YfFJ ..4 ~--Ei-8Uf-4i2E]ir ,,: llg
:?:!H)
A. TIIO~AS J&\2i±fM#+Fttrm FPfr~rfir,k· rronv
::?::?1)
A. TIIO.IIAS p=HfRtlW1Pr **Ufr Pla~uyr·rrr p 1

~==J
A. GEDALGE ljL u, u+lr rrrrr±r crt rfUi., a-m 1

I§ biz~ ux 'rMt£11 pr c:u 1r?ertqrrfl [)far ·I 0

'22:i)
A.GEOALGE

~ F1
r F r f cr r r 1rr rr;q F" ::r rt tr · J-m;;
1!:. -t-" fr,-
2'27)
A. GEOALGE I§ a~. _li
. :?:2M}
A.GEDALGE -JH fi CUcy(t trl[.ftCr'FF" lfL(r(frbi:Uf I £13 J'.

">!im•• ~'lh IF E' EE:t; C!f I ( C(U EG Ir· ftJttn f

lr r•-·~ w 1r• r· r f 1F fr---

f Ff

• ~ii.
i!:tc!J:l. -
A. liEOALGE 1 .,
 .•. ''~j~~~\';~1- _____,,,;,;:r.----..... ~

. ; •· . .· ';_::'?:?~

.....
~
Bak~r f

:G.
. Th.eodo,-.e

·B1qsr.a~h~cal Dto1i&<>AArY . o.f Mus.iaians

S'tlfi>'J'Uler. Oompafllr.·t :1919 ··. ·
Bal t~ell, . WlntOJl J •
· Dl:Ct-iiQeia
·o:n.:~7bftson comPany,
st ,UQSieia.ns1911 ~~~ ·
cne.nrubin!., Mart~. Ltd.gt, ·
: Oqunte)Jt1oin,t and fti!S9e (Val~~ .1. and II)
Nov{;J..J.o... · ·Ewe:r~pany 1 1684 {Translated by tire. Oowden)

Ol:lerub:tn1 ;· Ma~1a. Lutgt

. Qoyn'ter;eoint;~
1
F~u{ . {Vol~ef:l I. and-.II)
: oocks Oom:Pfl;ny, 1891 . 'l'ra.nsla.ted by J. A* Ha.mi·l ton)
·

Den~. J. ~· and sons

D~~.t1onar2:, Pi! Modern !_usio !!P<l Mue:taiane
. E· p .. m-ttOJl Oompe.ny ~ 1924
Dub()1s, Tl:teodo:re

· Trf+*-!i'f. de Qqntre~2l91!. ..ill .s!i !fMue

ifause! company, 1901 ·
Els~n; Arthur

'MfJ~$f\9: .Qpmp,osers !£ Eut'o;ee

PagEr company, 1922
Fwt• JO'b;n J ..
: f!rac·t1sa.;!;~'~ef:l fQit' !f!a:rn1W> CompO.ft1;1!&o~
. Prestc>n, • · ·
H1S$st Jatnes
Pr,.1ile~ .2!1· Fue;ue
NOVell 0 t E\Ver company ' 1878
H1U, Edward B*
;Modern Frenon Music
.Rousiiton ·Mif':flln Company, 1924
Huskies " Rupelft
'Tb.e ila:aioal p.u1de (Volume II)
Moetlure; Phillip$ Company, l9o:']
Koeohltn, Charles
~tude, · sur ;!; '~or1 tyre de la !'l!SU! d.' ioole
ax Esehig E 1t1ons, 19,;- tLb.

Mason- Daniel G.
~ .9t !!U§1! (Volume I I)
~ National. soeiety of Music·, 1911
Pratt, Waldo s~
. . ew Enoyglopegia .9!. !l]:!§iC and .Musioiang
1:ne N
mrimillan ·aompe.ny, i9~ · · · ~ "' ·
Prout~ Ebene:aer
;tysue
.Augener Lim1 ted. 1891
aa.er$n1nger. Cesar (Editor)
inta:rnat1ona2; Wb.o' s ~. jn Music
<;h!rren't ·L1 tara. ture·'' Ptibi:l.sb.irig ·company • 1918
The ~e:rnat1onal Libra2:7 of Mus1o
Unlve:rs1 ty sootety, 1936