rial of A and bringing the composition to a
logical close in the home key. (See Supplement Ex. No. 15.)

[Footnote 40: It is left to the teacher to explain to the student the
key-relationship of Subject and Answer, and the difference between
fugues, tonal and real; for as these points have rather more to do
with composition they play but a slight part in listening to a fugue.]

We should now acquaint ourselves with the more subtle devices of fugal
treatment; although but one of these is employed in the fugue just
studied, which is comparatively simple in structure. I. Inversion; the
melodic outline is turned upside down while identity is retained by
means of the rhythm, _e.g._

[Music: BACH: 3rd English Suite

Theme

Inversion]

An excellent example from an orchestral work is the theme of the third
movement of Brahms's _C minor Symphony_, the second phrase of which is
an Inversion of the opening measures, _e.g._

[Music: Inversion]

II. Augmentation and Diminution; the length of the notes is doubled or
halved while their metrical relativity is maintained, _e.g._

[Music: BACH: Fugue No. 8, Book I

Theme

Augmentation]

[Music: BACH: Fugue No. IX, Book II

Theme

Diminution]

Augmentation is very frequent in modern literature when a composer, by
lengthening out the phraseology of a theme, wishes to gain for it
additional emphasis. Excellent examples are the closing measures of
Schumann's _Arabesque_, in which the reminiscence of the original
motto is most haunting, _e.g._,

[Music: Motto]

[Music: Motto augmented]

the Finale of Liszt's _Faust Symphony_, where the love theme of the
Gretchen movement is carried over and intoned by a solo baritone with
impressive effect, _e.g._

[Music]

[Music: In augmentation

_Das ewig Weibliche_]

III. Shifted Rhythm; the position of the subject in the measure is so
changed that the accents fall on different beats, _e.g._

[Music: BACH: Fugue No. V, Book II

Subject

Shifted]

IV. Stretto; (from the Italian verb "stringere," to draw close) that
portion of a fugue, often the climax, where the entrances are
_crowded_ together, _i.e._, the imitating voice enters before the
leading voice has finished, _e.g._

[Music: _Fuga giocosa_, J.K. PAINE, op. 41

Subject]

The effect is obviously one of great concentration and dramatic
intensity--with a sense of impending climax--and its use is by no
means limited to fugal composition; being frequently foun