cherubini_counterpoint_and_fugue:on_fugue:on_coda_in_fugue [Bondari Wiki]

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====== On Fugue ======
===== On Coda in Fugue =====

The coda is that portion of the ''Subject'', by which it is continued after its second compartment; and which serves, at the same time, to prepare the entrance of the response, and to bring the ''Counter-Subject''.

{{ :cherubini_counterpoint_and_fugue:ex208-1.png?800 |}}

{{ :cherubini_counterpoint_and_fugue:ex208.mp3 | :cherubini_counterpoint_and_fugue:ex208.ogg |}}

There are cases where the ''Coda'' itself becomes the commencement of the ''Counter-Subject'', and so intimately joins with this latter, as that the ''Coda'' and the ''Counter-Subject'' form an undistinguished whole.

{{ :cherubini_counterpoint_and_fugue:ex209-1.png?800 |}}

{{ :cherubini_counterpoint_and_fugue:ex209.mp3 | :cherubini_counterpoint_and_fugue:ex209.ogg |}}

Here is another example of the same kind, in four voices, by Padre Angelo Predieri:

{{ :cherubini_counterpoint_and_fugue:ex210-1.png?800 |}}

{{ :cherubini_counterpoint_and_fugue:ex210.mp3 | :cherubini_counterpoint_and_fugue:ex210.ogg |}}

In modern fugues, it is the habit to prolong the ''Coda'' of the ''Response'', before the ''Subject'' re-enters; this plan is wise, and should be maintained. It has the double advantage of causing the re-entrance of the subject to be desired, and of the imparting variety to the composition, by breaking the monotony of subjects and responses too closely brought in; it contributes to the elegance and good conducting of a fugue, and it may also furnish an additional theme to the imitations and digressions. This applies to every kind of fugue, whatever its number of parts.

Example of a second attach of the //subject// immediately after the //response// without the coda:

{{ :cherubini_counterpoint_and_fugue:ex211a-1.png?800 |}}

{{ :cherubini_counterpoint_and_fugue:ex211a.mp3 | :cherubini_counterpoint_and_fugue:ex211a.ogg |}}

Example with the coda:

{{ :cherubini_counterpoint_and_fugue:ex211b-1.png?800 |}}

{{ :cherubini_counterpoint_and_fugue:ex211b.mp3 | :cherubini_counterpoint_and_fugue:ex211b.ogg |}}

It will be seen here, that the latter example has the advantage; and that the intervention of the coda, between the response and the ''Re-Entrance'' of the subject, has a very good effect.