termed “shifted rhythm;” the subject beginning on the third beat
instead of the first, as at the outset. In the middle portion of the
fugue we have two appearances of the subject in the related keys
of C minor (measures 17 and 18) and G minor (measures 20 and
21). Then, following two very vigorous sequences, a modulatory
return is made to the subject in the home key, and with its nor-
mal rhythm at measure 26. A repetition, in more brilliant form,
of one of the previous episodes, in measures 31 and 32, gives a
strong impression of unity; leading 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 the material, the second part B affording va-
riety by modulating into different keys, and the third part A ́
reasserting the material of A and bringing the composition to a
logical 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-relationship of Subject and Answer, and the difference
between fugues, tonal and real; for as these points have rather
more to do with composition they play but a slight part in
listening to a fugue.]
We should now acquaint ourselves with the more subtle devices
of fugal treatment; although but one of these is employed in the
fugue just studied, which is comparatively simple in structure.
I. Inversion; the melodic outline is turned upside down while
identity is retained by means of the rhythm,e.g.
[Music: BACH: 3rd English Suite
Theme
Inversion]
An excellent example from an orchestral work is the theme of
the third movement of Brahms’sC minor Symphony, the second
phrase of which is an Inversion of the opening measures,e.g.
[Music: Inversion]
II. Augmentation and Diminution; the length of the notes is
doubled or halved while their metrical relativity is maintained,
e.g.