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1. The subject of the C minor fugue is made of skips and steps. In terms of melodic contour, what is the relationship between the skip/step figures below?

   

   Fig. 2 is generated from Fig. 1 by retrogradation.
   Fig. 2 is generated from Fig. 1 by inversion.
   both of the above
   none of the above

2. In terms of sheer repetition, the most important diminution in the fugue's subject involves:

   passing tones.
   neighbor tones.
   consonant skips.
   arpeggiations.

3. If a structural reduction of the fugue's subject yields le-sol-fa, a similar reduction of the answer yields.
   
   
   • le-sol-fa transposed up a 5th.
   • downward continuation of the scale to the tonic.
   • the retrograde of le-sol-fa.
   
   none of the above
   one of the above
   two of the above
   all of the above

4. In the context of a fugue, what is the term for a melody that accompanies the subject most every time it is heard?

   countersubject
   counterexposition
   free counterpoint
   stretto

5. If triple counterpoint is like a Neapolitan ice-cream sandwich, double counterpoint is like:

   a banana split.
   playing leap-frog.
   bungee jumping.
   turning summersaults on a trampoline.

6. Invertible counterpoint facilitates:
   
   
   • the generation of longer works from shorter ideas.
   • continuous variation of textures.
   • motivic development without tedious repetition.
   
   none of the above
   one of the above
   two of the above
   all of the above

7. Which statements about canon and sequence are true?
   
   
   • A canon requires only one voice, and repeats a pattern.
   • A sequence requires two voices to repeat a pattern.
   • A canonic sequence requires two voices and a repeating pattern.
   
   none of the above
   one of the above
   two of the above
   all of the above

8. Detaching a subject's head from its tail is called:

   decapitation.
   fragmentation.
   inversion.
   canonic sequencing.

9. Poor Dan is in a droop, is an example of:

   inversion.
   retrogradation.
   palindrome.
   canon.

10. Measures 9-10 and 13-14 of this fugue employ techniques of:
    
    
    • melodic inversion.
    • retrogradation.
    • palindrome.
    
    none of the above
    one of the above
    two of the above
    all of the above