$0 Exercises in Fugue No. 4 Exercise J ei [a] (BIExercises in Fugue 51 This takes up the subject of the model for No. 3 and adds two new features to a similar formal scheme. The first is a countersubject in invertible counterpoint with the subject (Le. either may serve as a bass, although the possibility of inversion is not explored here). The second is the addition of a further set of entries (from b. 23) which extend the tonal range to the relative minor and, by abbreviating the sequential tail of the subject, create a climactic effect by having entries at ever closer rhythmic intervals. The form of the subject at bb. 23, 25, and 26 will in fact be identical to that of the model for No. 3. Thus the scheme of the fugue is as follows: voice SATB:S AT BIAS TR ky GDGD:DGDG:e aDG bar 1368 12161822 23 25 26 28 ‘The given countersubject (from the second half of b. 3) will not be usable in precisely this form at every entry of the subject. But the effect of a regular countersubject can be produced by using its opening quaver leaps, which preserve rhythmic impetus through the subject’s dotted crot- chet opening.