Questions on Fugue No. 10
Well-Tempered Clavier, Book I
by Johann Sebastian Bach
©2014 Timothy A. Smith

Your instructor may have referred you to this page with instructions to forward your answers to the following questions on the E 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.


These questions are based on the usual narrative reading, but also on the "Make a Möbius strip out of this fugue" reading (button beneath the timeline, or here).
  1. This work is two fugues in one because:

    its second half recycles the first half in double counterpoint.
    it is in an abab pattern.
    it is highly symmetrical.
    two of the above
    all of the above

  2. Select the best answer from the following (where “DC” stands for “double counterpoint”).

    Mm. 15-18 have two motifs in DC.
    Mm. 34-37 are the DC of mm. 15-18.
    The DC of mm. 15-16 is like the DC between mm. 1-19 and mm. 20-38.
    two of the above
    all of the above

  3. This fugue is also a canon because:

    It has two voices.
    "Canon" means rule or law.
    Its imitation never stops.
    It has a real answer.

  4. In which of the following works did Bach write another fugal canon at the fifth?

    The Art of Fugue
    The Musical Offering
    The Brandenburg Concertos
    The Goldberg Variations

  5. The narrative likens double counterpoint to a game of leapfrog. Which of the following is also analogous?

    Shuffling a deck of cards.
    Liking a page on Facebook.
    Getting change for a $20.
    Walking your dog by a fire hydrant.

  6. If line 3 of the timeline is a transposition of line 1 up a 4th and line 4 is a transposition of line 2 down a 4th then:

    Line 3 is a transposition of line 2 up a 5th.
    Line 4 is a transposition of line 1 down a 5th.
    Both of the above
    None of the above

  7. All of the music for this fugue is heard in mm. 1-19, with mm. 20-38 being their double counterpoint at the octave. By the same token, and in reference to mm. 1-38:

    The 1st half of the high voice = the 2nd half of the low voice.
    The 1st half of the low voice = the 2nd half of the high voice.
    Both of the above
    None of the above

  8. The composer Hanns Eisler once said that “Writing variations means to be free under constraints.” How does the subject of this fugue undergo variation and what are its constraints?

    Its keys are varied, with canon being its constraint.
    Its modes are varied, with its Möbius strip being its constraint.
    Its intervals are varied, with its contour being its constraint.
    All of the above
    Two of the above

  9. The narrative refers to “the twist” as that which allows the fugue to move seamlessly to the counterfugue and back. That twist involves one interval.  Which statement is true?

    A rising 4th later becomes a rising 3rd.
    A rising 3rd later becomes a rising 4th.
    A falling 4th later becomes a falling 3rd.
    A falling 3rd later becomes a falling 4th.

  10. Did you make the Möbius strip and “play” the model between your thumb and finger? (Button below the timeline)

    Yes (bring your signed Möbius strip to class, with line drawn through it as prescribed in the narrative).

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