====== Extended Examples ======
===== Chromatic Fugue in Four Parts =====
==== With Three Counter-Subjects ====

The subject of this fugue belongs to tonal fugue, as it descends first from the tonic to the dominant; therefore, the response should go from the dominant to the tonic.

> Example of the response according to the rules of tonal fugue

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But this response would have rendered the working of the counter-subjects extremely difficult, and would have compelled frequent changes. It has been judged fit, therefore, to treat it as a real fugue.

This fugue, by its mode of treatment, and by the nature of the subject itself, may be considered as a fugue of imitation:--

({{ :cherubini_counterpoint_and_fugue:extended_examples:ex220.pdf |Download PDF}} of Example 220)

{{ :cherubini_counterpoint_and_fugue:ex220.mp3 | :cherubini_counterpoint_and_fugue:ex220.ogg |}}

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{{ :cherubini_counterpoint_and_fugue:ex220-07.png?800 |}}

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==== Observation: Authentic and Plagal Cadences ====

Mention has not been made until now of ''Plagal Cadence'': which is frequently met with in ancient compositions.

The ancients gave the name of ''Authentic Cadence'' to that which we at present call ''Perfect'' cadence; that is to say, the progression from the dominant to the tonic.

They called ''Plagal'' cadence, that progression from the ''Sub-Dominant'' to the ''Tonic''; and often terminate their compositions with this sort of cadence, by taking the chord of the tonic major, whatever might be the key in which their piece was. This cadence was peculiar to the plagal tones of plain chant.