Part 4 (1/2)

Answer]

This fugue in three voices begins with a graceful subject, announced in the upper voice In the third measure this is answered by an i voice continues with a contrasting part called the counter-subject[40] As the whole subsequent fabric is organically derived from these two motives, both subject and counter-subject should be played frequently and so committed to memory Observe also the contrasts in rhythm and melodic outline between the subject and counter-subject In , in measure 6, to the third entry of the subject in the bass Then after another sequential passage, which includes an emphatic assertion of the subject in the soprano ( episode which leads, at measure 17, to our first objective point of rest--a cadence in C minor With the entry, in thisexainning on the third beat instead of the first, as at the outset In the ue we have two appearances of the subject in the related keys of C minor (measures 17 and 18) and G orous sequences, a modulatory return is made to the subject in the home key, and with its normal rhythm at measure 26 A repetition, in more brilliant forives a strong i in measures 34 and 35 to a last appearance of the subject, with a beautiful change in one of the intervals (E-flat-G-flat) The closing measures establish the main tonality of E-flat major, rendered still more expressive by the counterpoint associated with the last chord As to the general structure of this fugue, it is evidently tripartite, the first part A presenting theinto different keys, and the third part A'

reasserting the ical close in the home key (See Supplement Ex No 15)

[Footnote 40: It is left to the teacher to explain to the student the key-relationshi+p of Subject and Answer, and the difference between fugues, tonal and real; for as these points have rather ht part in listening to a fugue]

We should now acquaint ourselves with the h but one of these is eue just studied, which is comparatively simple in structure I Inversion; the melodic outline is turned upside dohile identity is retained by lish Suite

Theme

Inversion]

An excellent example from an orchestral work is the theme of the third movement of Brahms's _C minor Symphony_, the second phrase of which is an Inversion of the opening th of the notes is doubled or halved while their _

[Music: BACH: Fugue No 8, Book I

Theue No IX, Book II

Thementation is very frequent inout the phraseology of a theain for it additional e measures of Schuinal _,

[Music: Motto]

[Music: Motto augmented]

the Finale of Liszt's _Faust Symphony_, where the love theme of the Gretchen movement is carried over and intoned by a solo baritone with i Weibliche_]

III shi+fted Rhythed that the accents fall on different beats, _eg_

[Music: BACH: Fugue No V, Book II

Subject

shi+fted]

IV Stretto; (froere,” to draw close) that portion of a fugue, often the cliether, _ie_, the i voice has finished, _eg_

[Music: _Fuga giocosa_, JK PAINE, op 41

Subject]