Page:Fugue by Ebenezer Prout.djvu/48

30 which is therefore answered by corresponding tonic harmony. The counterpoint accompanying the answer conclusively proves the key of the answer to be G.

79. We now add a few examples, by other composers, of real answers in the subdominant key—

After what has been said, these examples require no further remark.

80. We shall find a few more examples of answers in the subdominant when we come to treat of tonal answers, but we have already given enough to enable us to generalize from. The rule to be deduced from an examination of these and similar passages is the following:—

Whenever, in a subject which ends in the key of the tonic, particular prominence is given to dominant harmony, especially near