Questions on Fugue No. 2
Well-Tempered Clavier, Book I
by Johann Sebastian Bach
©1999 Timothy A. Smith

Your instructor may have referred you to this page with instructions to forward your answers to the following questions on the C minor fugue (Flash or Shockwave). To do this you will need to enter YOUR NAME and INSTRUCTOR'S EMAIL in the spaces provided. When you have answered all of the questions, punch the "Send to Instructor" button.

         YOUR NAME: 
INSTRUCTOR'S EMAIL: 
                    

  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
Don't forget to enter your name and instructor's email at the top of this page, then click the "Send to Instructor" button.