This Primer on Fugue is addressed to all who hear or play fugues, as well as to students who desire to write them. To all alike the power of analysing and resolving such compositions into their elementary parts will be found of paramount importance; and this power, it is confidently hoped, will be secured by the careful study of the following pages. It has been assumed that the student already possesses knowledge of, and skill in the practice of, double counterpoint, and that he is familiar with the various forms of imitation; but should any need information on these important branches of musical knowledge, they are referred to the Primer on Double Counterpoint and Canon now in course of preparation. After a preliminary chapter which gives a general idea and explanation of the construction of an ordinary four-voice vocal fugue, and includes definitions of most of the technical terms employed, a separate chapter is devoted to each of the most important divisions, as Subject, Answer, Counter-subject, &c, The several chapters are illustrated by a large collection of examples from the great fugue-writers. The student is very earnestly advised to collect for himself as many other similar examples as possible, being careful, however, to select them only from the best sources, and to classify and arrange them in the manner shown in the Primer. The rules enunciated are in many cases liable to exceptions. This is especially so in the important matter of Answer; still it is believed that the examples selected are of sufficient general application to justify the rules which are given. The collection of fugues in open score at the end of the book will, it is hoped, be found valuable both as contributing to the clear apprehension of the construction of fugue and for the practice of score-reading. The charts which accompany, and are intended to illustrate and explain, the foregoing fugues offer, it is thought, quite a new system of fugal analysis. They have already proved very useful in bringing the plan of fugal structure clearly before the minds of pupils. Students are strongly recommended to transcribe into open score all the fugues they study, and to make charts after the method shown. In the actual practice of fugue-writing it is suggested that the early attempts should, for simplicity, be made without words, although it will be desirable that the parts should be confined within vocal compass and be made after the manner of vocal counterpoint. The limits of a Primer necessarily exclude mention of many of the higher applications of fugal writing. Double fugue has received only a few passing remarks, and space has not been found for any notice of the fugal treatment of the chorale. I cannot close these introductory observations without recording my thanks and sense of indebtedness to Dr. Bridge for many valuable hints and much kind advice of which I have gladly availed myself.