Page:Fugue by Ebenezer Prout.djvu/82

64 149. Chromatic subjects usually take real answers, unless there be a modulation expressed or implied.

At (b) the leap of a fifth is answered tonally, but the chromatic passage itself is exactly repeated. The answer is in the subdominant (§ 71.) At (c) other notes occur between the chromatic notes.

150. Sometimes a composer has chosen to consider a modulation implied where there is no real necessity for it.

Here a real answer, as at § 149 (a), would have been much more usual, and (with all respect to Mozart, be it said) much better. The threefold repetition of D spoils the form of the answer.

151. If there be a modulation before the chromatic notes are introduced, such notes must be considered as belonging to the new key, and answered accordingly—