Questions on Fugue No. 11
Well-Tempered Clavier, Book I
by Johann Sebastian Bach
©2014 Timothy A. Smith

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This quiz should be taken after one of the two available for the E minor fugue.
  1. Comparing the fugue in E minor with the present one (F major), select the best answer.

    • Both are canons.
    • Both employ canon at the octave.
    • Both employ canon at the fifth.

    none of the above
    one of the above
    two of the above
    all of the above

  2. Comparing the fugue in E minor with the present one, select the best answer.

    • The countersubject of this fugue (F major) participates in its canon.
    • The countersubject of the E minor fugue participates in its canon.
    • The subject of this fugue (F major) participates in its canon.
    • The subject of the E minor fugue participates in its canon.

    none of the above
    one of the above
    two of the above
    three of the above
    all of the above

  3. The remaining questions all pertain to the present fugue (F major). Select the FALSE statement about figures a & c from the subject.

    Fig. a is the rhythmic augmentation of c.
    Fig. a is the melodic inversion of c.
    Fig. c is the rhythmic diminution of a.
    Fig. c has the same contour as a.

  4. The author writes: “Since the subject begins on the dominant (C), it is answered on the tonic (F).” This question pertains to the use of the terms “tonic” and “dominant,” which can mean different things depending upon their context. Select the true statement from the following.

    "Dominant" here means a chord, but "tonic" means scale degree.
    "Dominant" here means a scale degree, but "tonic" means chord.
    In both cases tonic and dominant mean chords.
    In both cases tonic and dominant mean scale degrees.

  5. The contrapuntal relationship of motifs a-b-c-d in mm. 5-6 is most like that of:

    mm. 10-11.
    mm. 18-19.
    mm. 22-23.
    mm. 48-49.

  6. In this question “mirror” refers to what you would see in a mirror that is held horizontally against the timeline. Each option references the voice order of subject entries.

    Mm. 37-43 mirror the Exposition.
    Mm. 37-43 mirror the Counterexposition.
    Mm. 47-53 mirror the Exposition.
    Mm. 47-53 mirror the Counterexposition.

  7. Listen to mm. 60-62 and study the score, then fill in the blanks. The outside voices move primarily in _____ motion with the upper two voices moving in _____ motion:

    parallel - oblique
    oblique - contrary
    contrary - parallel
    parallel - similar

  8. Compare the sequences of mm. 31-34 and 56-59 with each other and the first statement of the subject (mm. 1-3). Which of the following statements is NOT true.

    Mm. 56-59 contrapuntally invert figs a & c as heard in mm. 31-34.
    Mm. 56-59 rearrange the voicing of fig. c as heard in mm. 31-34.
    In both sequences, fig. a is melodically inverted from m. 1.
    In both sequences, fig. c is loosely derived from m. 3.

  9. In which section are all the abc's present but never in the order that the subject presents them?

    Counterexposition
    1st development
    2nd development
    3rd development

  10. Charles Taylor writes that modernism “is characterized by a polemical refusal of any qualitative discrimination. There is no more higher or lower; all that belongs to the old, metaphysical views. There is just desire, and the only standard which remains is the maximization of its fulfilment. (p. 78 of Sources of the Self: the Making of the Modern Identity, Harvard University Press, 1989). Assuming that Taylor is right, then (select the most comprehensive answer):

    This fugue is good for those for whom it satisfies a desire.
    This fugue is bad for those for whom it does not satisfy a desire.
    Bad things are good if one desires them and good things are bad if one does not desire them.
    All of the above

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