an analysis of a fugue from the _Well-tempered
Clavichord_, let us explain some of the technical features in fugal
structure. We shall then be in a position to understand the more
subtle devices of fugal treatment and to appreciate more
enthusiastically some additional comments upon Bach's style in
general.

FUGUE IN E-FLAT MAJOR, NO. VII, IN THE FIRST BOOK.

[Music: Subject

Counter-subject

Answer]

This fugue in three voices begins with a graceful subject, announced
in the upper voice. In the third measure this is answered by an
imitation of the subject in the alto; while the opening voice
continues with a contrasting part called the counter-subject.[40] As
the whole subsequent fabric is organically derived from these two
motives, both subject and counter-subject should be played frequently
and so committed to memory. Observe also the contrasts in rhythm and
melodic outline between the subject and counter-subject. In measures
4 and 5 we have a short sequential passage leading, in measure 6, to
the third entry of the subject in the bass. Then after another
sequential passage, which includes an emphatic assertion of the
subject in the soprano (measures 11 and 12), we enter upon a long
episode which leads, at measure 17, to our first objective point of
rest--a cadence in C minor. With the entry, in this measure, of the
subject in the alto we have an interesting example of what is termed
"shifted rhythm;" the subject beginning on the third beat instead of
the first, as at the outset. In the middle portion of the fugue we
have two appearances of the subject in the related keys of C minor
(measures 17 and 18) and G minor (measures 20 and 21). Then, following
two very vigorous sequences, a modulatory return is made to the
subject in the home key, and with its normal rhythm at measure 26. A
repetition, in more brilliant form, of one of the previous episodes,
in measures 31 and 32, gives a strong impression of unity; leading in
measures 34 and 35 to a last appearance of the subject, with a
beautiful change in one of the intervals (E-flat-G-flat). The closing
measures establish the main tonality of E-flat major, rendered still
more expressive by the counterpoint associated with the last chord. As
to the general structure of this fugue, it is evidently tripartite,
the first part A presenting the material, the second part B affording
variety by modulating into different keys, and the third part A'
reasserting the mate