Page:Fugue by Ebenezer Prout.djvu/14

viii minor subject, 69—Subject in dominant, answer in tonic, 70—The answer in the subdominant, 71—Ditto, in a minor key, 72—Example by Bach analyzed, 73–75—Ditto, 76—Ditto, from the "Art of Fugue," 77—Further examples, 78, 79—When an answer in the subdominant is possible, 80—Subject in the key of the subdominant, answer in the tonic, 81—Modulation between subdominant and tonic, 82—Treatment of intermediate modulations, 83—Tonal answer: its origin, 84—The old rule, 85—Its usual application; modification required, 86—The practice of the great masters, 87—The leap from tonic to dominant answered tonally, 88, 89—The rule applies only to the beginning of an answer, 90—Examples of a real answer in such cases, 91—The dominant approached through the third of the scale, 92—Subjects beginning with the notes of the tonic chord: tonal answers, 93—Ditto, with real answers, 94–99—The principle involved, 100—Rule for our guidance, 101—Subjects that commence on the dominant, with tonal answers, 102–104—Ditto, with real answers, 105–107—The reason for real answers here, 108—Fugues with both tonal and real answers, 109—Tonal answers in the subdominant, 110—Answer in two keys, 111—A real answer always possible when there is no modulation to the dominant, 112—Warning to students, 113.

CHAPTER IV.— (continued)

CHAPTER V.—