====== On Fugue ======
==== On Tonal Fugue ====

A so-called ''Tonal Fugue'' is a fugue of which the ''Subject'', at its first outset, passes from the tonic to the dominant, or from the dominant to the tonic; the response, in this kind of fugue, is not identically similar to the subject, and it is governed by laws here set forth.

If the ''Subject'' commence by the tonic, and ascend or descend towards the dominant, the ''Response'' should commence by the ''Dominant'', and descend or ascend toward the ''Tonic''.

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If the ''Subject'' commence by the ''Dominant'', and ascend or descend towards the ''Tonic'', the ''Response'' should commence by the ''Tonic'', and descend or ascend towards the ''Dominant''.

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Here follow examples of ''Subjects'' more flord and more extended than the preceding ones; but still conceived on the same principle, in order that the student may become accustomed to find the exact ''Response'' to a ''Subject'' of ''Tonal Fugue''.

Example of a //subject//, which from the //tonic// descends towards the //dominant//: and of the //response//, which from the //dominant// ascends towards the //tonic//. ((These different examples are presented under the form of //stretto//; that is to say, the //response// is brought as close as possible to the //subject//.))

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{{ :cherubini_counterpoint_and_fugue:ex202b-1.png?800 |}}

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Example of a //subject//, which from the //tonic// descends toward the //dominant//; and of the //response//, which from the //dominant// descends toward the //tonic//.

{{ :cherubini_counterpoint_and_fugue:ex202c-1.png?800 |}}

{{ :cherubini_counterpoint_and_fugue:ex202c.mp3 | :cherubini_counterpoint_and_fugue:ex202c.ogg |}}

{{ :cherubini_counterpoint_and_fugue:ex202d-1.png?800 |}}

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Example of a //subject//, which from the //dominant//, descends towards the //tonic//; and of the //response//, which from the //tonic//, descends towards the //dominant//.

{{ :cherubini_counterpoint_and_fugue:ex202e-1.png?800 |}}

{{ :cherubini_counterpoint_and_fugue:ex202e.mp3 | :cherubini_counterpoint_and_fugue:ex202e.ogg |}}

Example of a //subject//, which from the //dominant// ascends towards the //tonic//; and of the //response//, which from the //tonic// ascends towards the //dominant//.

{{ :cherubini_counterpoint_and_fugue:ex202f-1.png?800 |}}

{{ :cherubini_counterpoint_and_fugue:ex202f.mp3 | :cherubini_counterpoint_and_fugue:ex202f.ogg |}}

Example of a //subject//, which from the //dominant// ascends towards the //tonic//; and of the //response//, which from the //tonic// ascends towards the //dominant//.

{{ :cherubini_counterpoint_and_fugue:ex202g-1.png?800 |}}

{{ :cherubini_counterpoint_and_fugue:ex202g.mp3 | :cherubini_counterpoint_and_fugue:ex202g.ogg |}}

Before concluding, one remark is offered, which may serve as a guide: it is, that all the phrases of melody of a ''Subject'', which belong to the chord or to the key of the ''Tonic'', should be repeated in the response, in similar phrases, belonging to the chord or to the key of the ''Dominant''; and that all the phrases of a subject, which bear analogy to the chord of the ''Dominant'', should be repeated in the ''Response'', in similar phrases, bearing analogy to the chord of the ''Tonic''.

To demonstrate this, the following subject is proposed according to the immutable rule of tonal fugue:

{{ :cherubini_counterpoint_and_fugue:ex202h-1.png?400 |}}

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The response is this:

{{ :cherubini_counterpoint_and_fugue:ex202i-1.png?400 |}}

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But if from this simple ''Subject'' a more-complicated one is deduced according to what has been said above:

{{ :cherubini_counterpoint_and_fugue:ex202j-1.png?400 |}}

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The response is:

{{ :cherubini_counterpoint_and_fugue:ex202k-1.png?400 |}}

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for the two notes **D**, **B**, added between the limits of the simple interval **C**, **G**, belonging to the chord of the ''Dominant'' - that is to say, in the key of G - should be replaced in the ''Response'' by the two notes **G**, **E**, belonging to the chord of the ''Tonic''.

Here again is another ''Subject'':

{{ :cherubini_counterpoint_and_fugue:ex202l-1.png?800 |}}

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where there should be no other change in the ''Response'', than from the first to the second note; because the ''Subject'', which commences by the ''Dominant'', does not proceed towards the ''Tonic'' in the first phrase; this is the ''Response'':

{{ :cherubini_counterpoint_and_fugue:ex202m-1.png?800 |}}

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Here is another ''Subject'', in which the melody does not proceed, in the first phrase, from the ''Tonic'' toward the ''Dominant''; but it proceeds so at the commencement of the second phrase:

{{ :cherubini_counterpoint_and_fugue:ex202n-1.png?800 |}}

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The **D** which terminates the first phrase, belonging naturally by its descent upon the ''Dominant'', in the key of G, the ''Response'' should change into a **G** from the first note C of the ''Subject'', in order to conform to the law of ''Tonal Fugue'', and replace the D of the subject by a G which will descend upon C in the key into which will be transposed all the rest of the ''Subject'' in the ''Response'':

{{ :cherubini_counterpoint_and_fugue:ex202o-1.png?800 |}}

{{ :cherubini_counterpoint_and_fugue:ex202o.mp3 | :cherubini_counterpoint_and_fugue:ex202o.ogg |}}

It is superfluous to adduce a great number of ''Subjects''; with the methods and explanations that have been demonstrated, the pupil will be enabled to find the ''Response'' to any ''Subject'' of ''Tonal Fugue'' that might offer.

==== On Real Fugue ====

''Real Fugue'' is of more-ancient date than ''Tonal Fugue''. It is that in which the ''Subject'' commences by the ''Tonic'', and then proceeds towards any other chord than the ''Dominant''; and of which the ''Response'' should be made in the fifth of the principal key, and be in all respects similar to the ''Subject''.

The ancient composers recognized two sorts of ''Real Fugue'': 1) **Free**, and 2) **Limited**. They called it ''Free'', when the ''Response'', which ought to be precisely similar to the part imitated, was not so beyond the duration of the ''Subject'' and of the ''Counter-Subject''.

{{ :cherubini_counterpoint_and_fugue:ex203-1.png?800 |}}

{{ :cherubini_counterpoint_and_fugue:ex203.mp3 | :cherubini_counterpoint_and_fugue:ex203.ogg |}}

But if the ''Response'' were similar, not only to the ''Subject'', but to all the notes of the ''Antecedent'' part from the beginning of the fugue to the end, then the ''Real Fugue'' took the name of ''Limited''; and this sort of fugue was no other than the piece of music, to which nowadays is given the name of ''Canon'', as has been previously said.

At present, these denominations are no longer used, and what the ancients called ''Free Real Fugue'' is the only ''Real Fugue'' adopted as a model.

It may happen that a ''Subject'' of ''Fugue'' offers, in the earliest bars, all the characters of ''Real Fugue'', and suddenly, towards the end, terminates in ''Tonal Fugue''. The ''Response'' should, in that case, follow the condition of the ''Subject''; that is to say, commencing as ''Real Fugue'', it must terminate according to the rules of ''Tonal Fugue''.

{{ :cherubini_counterpoint_and_fugue:ex204-1.png?800 |}}

{{ :cherubini_counterpoint_and_fugue:ex204.mp3 | :cherubini_counterpoint_and_fugue:ex204.ogg |}}