Page:Fugue by Ebenezer Prout.djvu/65

Chap. III.]

In example (a) we have quoted the counterpoint accompanying the answer, to prove more clearly that the latter is in the subdominant key. The two examples by Buxtehude are very similar in the character of their subjects. In all these subjects the prominence given to dominant harmony, which we have already mentioned as a feature of all subjects which are answered in the subdominant, will again be noticed.

111. Sometimes in the exposition of a fugue the first answer is in the key of the dominant, and the second in that of the subdominant, as in the following passages—

112. The proper method of answering subjects that modulate into the key of the dominant will be treated in the next chapter. We now sum up our conclusions with regard to the subjects we have already dealt with. From a careful investigation of the practice of the greatest composers, we deduce the following principle:—

"Though frequently expedient, and even preferable, a tonal answer is never absolutely necessary for any subject which does not fnodulate between the keys of the tonic and dominant."