====== On Fugue ======
===== On Fugue of Imitation =====

''Fugue of Imitation'' is that, of which the ''Response'' is very nearly, but not entirely similar to that ''Subject'', the composer being at liberty to introduce some alterations, and to curtail it, if he thinks fit.

Fugue of Imitation possesses still another privilege; which is, that the ''Consequent'' or ''Response'' has no fixed time or interval for responding to the ''Antecedent'' or ''Subject'', but may enter at the most-favorable opportunity, or at any interval.

Thus the ''Response'' may be made, not only at the ''Unison'', at the ''Fifth'', at the ''Fourth'', and at the ''Octave''; but it may be likewise at the ''Third'', at the ''Sixth'', at the ''Second'', at the ''Seventh'', and at their compounds; by these means that variety, so desirable in music, and so much admired by listeners, is produced.

It has been already said, that the ''Subject'' of a ''Fugue'' should be of judicious dimensions, neither too long, nor too short; but in the kind of ''Fugue'' now in question, the ''Subject'' should always be very short, so that the ''Response'' shall not delay being heard.

When treating a ''Subject'' of ''Fugue'' of ''Imitation'', it is possible to change into a fugue of this name, even a ''Tonal Fugue''; by responding to a ''Subject'' of the nature of this latter ''Fugue'', with the freedom of a fugue of imitation.

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There is no ''Fugue'', either ''Real'', or ''Tonal'', which, in several passages of its extent, is not liable to become transformed into ''Fugue of Imitation'', on account of the ''Imitations'' which may be introduced, by taking a portion of the ''Subject'', or of the counter-subjects; examples of this will be adduced, when the entire composition of a ''Fugue'' is in question. In accordance with what we have said, when a ''Subject'' occurs - even of ''Fugue of Imitation'', composed of more than one portion, as thus:

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Sometimes one, and sometimes the other of these two portions may be taken in the course of the ''Fugue'', for making the imitations, and for inverting them by contrary movement, in order that from the conflict arising between the parts with these devices, a more-learned as well as agreeable effect shall be produced. The following little fugue by Padre Martini will serve as an example, and give an idea, of ''Fugue of Imitation''.

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Before proceeding to what concerns the entire composition of a fugue, it is essential to enter into some rather more circumstantial details relative to the ''Coda'' or ''Conclusion of a Subject'', which has only hitherto been simply indicated; and then to speak of the digressions in the fugue, and lastly of ''Modulation''.