Note that all the episodes take the form of sequences, as, for example, in the following instance (measures 9-10):
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FIGURE XIa. A SEQUENCE FROM BACH'S FUGUE IN C-MINOR.
The general form of this fugue illustrates the same principles of modulation, and of restatement of subject after contrast, that we noticed in the folk-songs and in the invention. This may be tabulated thus:
TABLE SHOWING STRUCTURE OF FUGUE IN C-MINOR.
| A. | B. | A. |
| STATEMENT. | CONTRAST. | RESTATEMENT. |
| Measures 1-10 in key of | Measures 11-19 in various keys, | Measures 20-31 in |
| C-minor. | beginning with E-flat. | C-minor. |
The modulation in this case, however, is not to the "dominant" key, but to what is called the "relative major" key, as is usual in pieces written in minor keys, (see the folk-song, "Sister Fair," in Chapter II), the reason being that the relative major affords the most natural contrast to a minor key, just as the dominant affords the most natural contrast to a major key.
The conclusion is emphasized by the finely rugged statement of the subject in Bass at measure 26.