A fugal subject is usually longer and more pretentious than an invention subject, and more nearly approaches what we should call a complete melody. It may contain several motives. Moreover, while the second voice is "answering" the subject, the first voice continues with further melody, and if this is of definite, individual character it may easily assume almost as great importance as the subject itself, in which case we may give it the name of "counter-subject." In Figure XI the subject and counter-subject of this fugue are shown. The long brackets show subject and counter-subject; the short brackets show the three chief motives, marked a, b, and c. The simplicity of the melodic material is noticeable. Motive a, which, with its three repetitions, forms most of the subject, consists of five tones, in a charming and unforgettable rhythm of two shorts and three longs. Motive b is simply a descending scale, in equal short notes. Motive c is four equal long notes. Play the subject and counter-subject through separately, several times, and get them well "by heart" before going farther.
This fugue is a wonderful example of what a master-composer can make out of simple materials; the whole piece is built from these three motives. Our analysis may conveniently be made in tabular form, the student being expected to trace out the development for himself, measure by measure.
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FIGURE XI. SUBJECT AND COUNTER-SUBJECT OF BACH'S FUGUE IN C-MINOR
(WELL-TEMPERED CLAVICHORD)
TABLE OF THEMATIC TREATMENT OF FUGUE IN C-MINOR
| Measures. | |
| 1-2 | Subject in Alto. |
| 3-4 | Subject "answered" in Soprano ("imitation"), counter-subject in Alto. |
| 5-6 | Episode 1: Motive a prominent in Soprano. |
| 7-8 | Subject in Bass, counter-subject in Soprano, fragments of motive c in Alto. |
| 9-10 | Episode 2: Motive a tossed between Soprano and Alto, motive b in Bass. |
| 11-12 | Subject, in key of E-flat major, in Soprano, counter-subject in Bass. |
| 13-14 | Episode 3: Motive b in Soprano, motive c in other two voices. |
| 15-16 | Subject in Alto, counter-subject in Soprano, motive c in Bass. |
| 17-19 | Episode 4: Motives a and b variously distributed between all three voices. |
| 20-21 | Subject in Soprano, in tonic key again, counter-subject in Alto, motive c in Bass, |
| 22-25 | Episode 5: Motives a and b in all voices. |
| 26-28 | Climax: Subject in Bass, motives b and c in other voices. |
| 29-31 | Coda: Subject in Soprano. |