Questions on Fugue No. 7
Well-Tempered Clavier, Book I
by Johann Sebastian Bach
©2014 Timothy A. Smith

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  1. Select the best answer.

    The E-flat prelude is a double fugue.
    The 1st subject of the E-flat prelude is in the stile moderno.
    The E-flat prelude ends with a praeludium.
    Two of the above
    None of the above

  2. The subject of the E-flat major fugue can be heard as. . .

    modulating to the key of the sub-dominant.
    tonicizing B-flat
    followed by a real answer.
    Two of the above
    None of the above

  3. The green on the timeline represents:

    material that some people would include as part of the subject.
    the motive that receives the least development.
    a bridge passage.
    Two of the above
    None of the above

  4. How is the sequential episode of mm. 22-23 different from the other sequences that are fully green (the stair steps)?

    It incorporates elements of the countersubject.
    It descends where the others ascend.
    Its texture thins to two voices.
    Two of the above
    None of the above

  5. The author draws attention to mm. 7-9 because each measure contains a descending arpeggio that is simultaneously heard in eighth notes in one voice and sixteenths in another. In order, what are the triads?

    B-flat major, A-flat major, g minor
    b-flat minor, a-flat minor, G major
    E-flat major, A-flat major, d diminished
    A-flat major, d diminished, f minor

  6. This fugue demonstrates the ritornello principle in its:

    statement of the subject at the beginning of each development.
    recapitulation of the 1st development in the 6th development.
    boomeranging exposition.
    Two of the above
    None of the above

  7. In the study of fugue, the term “subject” can have a generic or specific meaning. Generically, it refers to ALL instances of the main motif of the fugue – its “subject.” In this usage, the word “subject” includes even that subtype of itself which is technically its “answer.” In its specific meaning, “subject” is distinct from “answer”, with the subject heard first, and what transpires in reply being its “answer.” Yes, this can be a bit confusing! If it helps, we more often make subject/answer distinctions in fugues where the relationship between the two is “tonal” – meaning that the answer actually changes the interval content of the subject so as to stay in the same key as the subject. This fugue is of that type; it has a “tonal” answer. Notice that all instances of the primal motif that begin with a falling 3rd are identified as “S” (for Subject), and all instances that begin with a falling 2nd are identified as “A” (for Answer).

    Study the timeline and compare each of the developmental episodes. Which are analogous in terms of their subject/answer relationships?

    The 1st development is like the 6th.
    The 2nd development is like the 3rd.
    The 4th development is like the 5th.
    Two of the above
    None of the above

  8. The following options mix roman numerals with scale degree names to represent keys. Which option describes the sequence of keys in this fugue?

    tonic, V, Eb, relative minor, relative minor of the dominant, I, IV, I
    tonic, Bb, Eb, iii, relative minor, I, IV, I
    Eb, dominant, tonic, vi, relative minor of the dominant, I, V, I
    Eb, Bb, sub-tonic, relative minor of the dominant, relative minor, I, V, I

  9. Select the best answer in completion of the following sentence. Having established the home key of E-flat, this fugue . . .

    doesn’t range beyond keys of one flat more than home.
    doesn’t range beyond keys of one flat less than home.
    doesn’t range beyond the key signature of home.
    None of the above

  10. Which option represents the chord progression m. 33?

    V/V - V - I - V
    V/vi - vi - ii - V
    V/IV - IV - V - I
    V/ii - ii - V - I

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