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Specifics
Form AAAA BBAA - Chord Pattern M53-24 - Subject line 1-1 - Counter-subject line, preferably 3-2
Another 16-bar fugue.
However, there is a chord at each  instead of each  as was previously the case.
The fugue opens with a half-bar and closes with a half-bar.
The Expositions The Fugue-lines
Here each Orbit 3 (In CS2 and CS1) has NOT been replaced by 0(3) 3
because the Sonorities between the Subject and the Counter-subject (in thirds)
are better with Orbit 3 itself,
and it is quite simple to attack it directly from the preceding Orbit 1.
NOTE that there is very little choice for the X fills.
With a Subject 1-1 and a Counter-subject 3-2, the first X should be 2-1,
and the 0-0 is left for the second X.
The Choral Dispositions The last Exposition (AA)
The last Exposition, being a consequent, must come to a full close (cadence),
Here we have only 1 possible disposition because Fugue-line 1 alone can offer the FB.
With Fugue-line 1 in the Bass Voice, ending on the FB (G-C),
Fugue-line 4, with its 1-1 line, must be in the Soprano Voice,
producing the appropriate cadence
with the static Primary Note lines exposed in the outer voices (S and B),
Fugue-line 3, in the same direction as Fugue-line 1, must be in the Alto Voice, and
Fugue-line 2 in the Tenor Voice,
with the Secondary Note voices concealed in the inner voices.
Leaving this in the Key of C gives us a good Choral Disposition.
The first Exposition (AAAA) of this disposition will be seen later.
NOTE -
Remember that only the second half of the last Exposition will be used,
because it is only an AA, the first AA being replaced by the BB.
The first Exposition (AAAA)
Invert the high Voices (Soprano and Tenor) and the low Voices (Alto and Bass)
to avoid the full close (cadence) in the first Exposition, an antecedent.
The outer voices, Soprano and Bass, now expose
the Secondary Note resolutions 2-1 and 3-2, and
the Primary Notes resolutions 1-1 and 0-0,
are now concealed in the inner voices (A and T).
Ornaments
In this class, we will add unprepared Non-chordal Tones as melodic ornaments
for the Subject and the Counter-subject.
NOTE that it is often preferable to sharpen inferior Non-chordal Tones
when we are dealing with flat notes (F# and C#).
The end of the Counter-subject lends itself particularly well to this treatment on Orbit 2,
producing successful sonorities with the substitution Orbit 1 of the Subject.
See the complete fugue.
Once again, we offer simple, silly words to fit the Melo-rhythm,
or possibly vice-versa, the Melo-rhythm fitting the words -
for the Subject : "I just want to write a little fugue"
for the Counter-subject : "but I ne-ver"
for the first "X" : "seem to make it to"
for the second "X" : "the very end."
The Divertimento
Only 1 Divertimento of length BB, composed of 8 chords, 4 cells of 2 chords each.
We will use here a complete circle from DOMINANT to DOMINANT,
with dominantized ANTE-1 in the fourth cell,
2 voices, with lines 0(3)-2 and 2-1, using the second half of the Subject as canon motif.
The beginning of the Subject, stationary on the same note, and
the end of the Counter-subject, which begins on Orbit 3 itself,
would not be as useful in a canon.
The Fugue-lines The second half of the Subject (S1) as canon motif - 
Using S1 as motif, with the words "To write a little fugue"
the canon starts in Fugue-line 1 with the pick-up on the TONIC Orbit 1,
followed by Orbit 2 on the DOMINANT,
with superior and inferior Non-chordal Tones,
the notes CBAB/C, then passing Orbit 3 B,
and is answered in Fugue-line 2, also with the pick-up
followed by Orbit 2, on the TONIC,
with the same superior and inferior Non-chordal Tones,
the notes FEDE/F, then passing Orbit 3 E.
At the end of the Divertimento, we see (in parentheses) the resolutions,
which we will need to tie in the lines of this Divertimento
with the next (and last) AA.
Fugue-line 1 resolving to Orbit 2 ties in with the first "X", and
Fugue-line 2 resolving to Orbit 1 ties in with CS1.
NOTE that the canon motif used the line 1-1 in the S1
but must now use the line 2-1 in the canon.
However, the melodic motif remains unchanged.
The Complete Fugue
Place the Expositions, insert the BB Divertimento,
have some voice tie in the AAAA with the BB, and adjust the words.
The first Exposition AAAA is disposed as the second example,
without the strong cadence.
The last Exposition AA is disposed as the second half of the first example,
with the strong cadence
(the embroideries and unprepared Non-chordal Tones are added, of course).
NOTE the inferior chromatic Non-chordal Tones (C# in the Soprano and D# in the Alto)
at the end of the first line.
NOTE, in the Soprano Voice, the subdivision in  s and  s
to place the words of the 2 "X"s into 1 "X"
(for the words "seem to make it to the ve-ry end", at the end of the second line).
The 2 Divertimento Subject lines have been disposed in the Tenor and Bass Voices,
replacing the 2 first entries of the AAAA with the strong cadence,
which tie in to the remaining AA,
Divertimento Fugue-line 2 tying in to the CS1 in the Tenor Voice, and
Divertimento Fugue-line 1 tying in to the 2 "X"s (with the FB) in the Bass Voice.
NOTE how the Tenor Voice ties in the preceding AAAA Exposition
to the following Divertimento BB, with the words "lit-tle fugue",
at the same time as the S1 pick-up in the Bass Voice
with the words "To write a lit-tle fugue",
and that, also in the Tenor Voice, the CS1 after the Divertimento comes a late,
after the word "fugue" and even after the added word "But".
NOTE, in the Bass Voice, the word "ne-ver" is borrowed
from the Counter-subject fill in the 2 "X"s (in the last line).
NOTE, in the Alto Voice, the word "do" at the very end, to close off the fugue.
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Exercise
Write your own fugue
Keeping the same Specifics-
Form AAAA BBAA,
Chord Pattern M53-24-53-24, for the AAAA
with a full circle from DOMINANT to DOMINANT for the BB,
Subject line 1-1,
Counter-subject line 3-2,
first "X" 2-1, and
second "X" 0-0,
but freely choosing-
from the Subject or the Counter-subject, the motif for the canon of the Divertimento,
and freely changing-
the Melo-rhythm time signature (6/8, 3/4 ... at Level -1)
the embroideries and Non-chordal Tones for both the Subject and the Counter-subject,
the words (or possibly scat singing) for the Subject, the Counter-subject, and the "X"s,
the mode, using the Diatonic Minor Mode (see below).
Check each Voice carefully(Soprano, Alto, Tenor, and Bass) from beginning to end,
making sure that the melodic movements are easy and natural, and
that the words are coherent.
Correction is always in the performance.
RESEARCH - You might enjoy finding a melody which starts with M53,
which uses Orbit Line 3-2, 2-1, or 1-1, to act as S1 for your fugue.
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In The Diatonic Minor Mode
Chord Pattern w53-24 - Subject line 1-1 - Counter-subject line 3-2 Exposition Fugue-lines
From a harmonic point of view, the second "X", in Line 1, should preferably be 0-0 A-A,
but that would leave us without the possibility of producing the FB.
In such a case, the second "X" can borrow the 1-0 Line D-A,
even if that leaves the chord temporarily without Orbit 0 A.
To produce the final, strong cadence, Line 1 would thus be in the Bass Voice,
with Lines 2 and 4 in the Tenor and Soprano Voices.
Exposition closing cadence
A transposition to E minor, a fifth higher, would place this exposition in a good vocal range.
For the first Exposition, without a strong cadence, invert Soprano-Tenor and Alto-Bass,
the Alto having preferably the original 0-0 Line, A-A, at the end.
The Divertimento and the Assembly are the same as in major.
Double-check everything.
Good luck, and Enjoy !
On to Class 4
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