Questions on Fugue No. 3
Well-Tempered Clavier, Book I
by Johann Sebastian Bach
©1999 Timothy A. Smith

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  1. The subject of this fugue is jolly for its:

    nine leaps
    momentum toward the subdominant
    angular harmonies
    negation of melodic expectations

  2. A “compound melody” has:

    antecedent and consequent phrases
    progression from dominant to tonic
    two harmonizing chords: I and V
    two melodies expressed as one

  3. The countersubject of this fugue

    is mostly of eighth notes
    is mostly of steps
    implies “sol-fa-mi-re-do”
    all of the above
    two of the above

  4. The subject has

    four leaps of a 6th and two of a 7th
    three leaps of a 6th and three of a 7th
    one leap of a 3rd and one of a 4th
    two of the above
    none of the above

  5. Of the fugue’s seven sequential episodes, which statement is true?

    More than half develop the countersubject’s “galloping motive.”
    More than half develop the subject’s head motive.
    When the “galloping motive” is heard, it is melodically inverted.
    Both a & c are true.
    Both b & c are true.

  6. All of the sequences in this fugue

    follow the subject’s pattern.
    start in one key and end in another.
    are fueled by their harmonies.
    two of the above
    none of the above

  7. The two minor-mode statements of the subject are in the

    submediant key followed by the mediant
    relative minor followed by the key of nine sharps
    key of seven sharps followed by the one with a leading tone of d##.
    two of the above
    all of the above

  8. How does m. 16 relate to m. 9?

    M. 16 picks up the pattern that m. 9 had abandoned.
    M. 16 restates m. 9, then continues the pattern.
    M. 16 is in the parallel mode of m. 9.
    M. 16 has stretto where m. 9 did not.

  9. Measures 14-15 are in a# minor, which requires g## as leading tone. According to the author, this passage would be easier to read if

    g## were re-notated as a-natural.
    the passage were re-notated in the minor key of five flats.
    the performer were to have opportunity to study the music beforehand.
    all of the above
    two of the above

  10. From the story that was related by Bach’s son, Carl Philipp Emanuel, we might surmise that Bach:

    wanted this fugue to be nearly unplayable.
    had a sense of humor.
    didn’t care if people could play his music or not.
    was in a jolly mood when he wrote this fugue.

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