Other fugues in the same collection, such as those in C-sharp minor and in B-flat minor, are more architectural. But, though the marvellous building up of themes and counter-themes, as in the C-sharp minor fugue, seems to outline a very cathedral of sound, we shall find none the less the same tri-partite harmonic base underneath the work as a whole. In longer fugues, such as the great one in C minor coupled with a toccata and that in D minor which is associated with the ‘Chromatic Fantasy,’ the balance between the opening and closing sections is somewhat obscured by the long free section in between. But even here a unity is maintained by the skillful repetition of striking passages and the return to the final section is always magnificently prepared. Bach did not bind himself to rules in writing his fugues. He handled his material with great freedom. Witness many fugues like that in F minor in the second part of the ‘Well-tempered Clavichord,’ in which he often subdued the main theme to a capricious, obvious second theme. Such a treatment of the fugue approaches the dramatic; and this, together with the division, quite clear in so many, into three sections of exposition, development and restatement, cannot but suggest some sort of kinship between the fugue as Bach conceived it and the movement in so-called sonata form which grew to such splendid proportions in the half-century after his death. At any rate, we are compelled to recognize that in spite of the contrapuntal style, inherited from an age in which harmonic sequence was a secondary element in music, the Bach fugues owe their imperishable form to the same principles of harmonic foundation as those upon which the sonata-form of Mozart and Beethoven is known to rest. VI Though in the matter of musical form the name of Bach at once suggests the fugue, he brought the suite to no less perfection and significance. It must, however, be granted that the suite suffers by comparison with the fugue as a great form in music. First, the convention that all its movements be in the same key is more than likely to make the work as a whole monotonous. Secondly, the more or less obligatory dependence upon dance rhythms tends to restrict emotional vivacity and subtlety. Thirdly, since there can be but little contrast and variety among the separate movements, the suite lacks organic or internal life.