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.
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:
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
.
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
.