Questions on Fugue No. 18
Well-Tempered Clavier, Book I
by Johann Sebastian Bach
©1999 Timothy A. Smith

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  1. Were you to agree with Tovey about the quality of this fugue, you might call it:

    profound.
    monotonous.
    Jugendarbeit.
    diabolus in musica.

  2. Why does the author describe Bach's exposure of the tritone in the fugue's subject as "furiously diabolical?"

    • It ascends.
    • It is chromatic.
    • It involves the tonic.

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

  3. The subject of this fugue modulates by means of a pivot. Which of the following describe(s) the pivot?

    • It involves an elision.
    • It is heard as fa-ti in the head motive of the fugue's subject.
    • It is perceived differently in retrospect.

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

  4. Bach's exposure of the tritone in the fugue's subject was probably intended to test:

    the wohltempirirt system.
    the intonation of meantone.
    the T-P-D-T cycle.
    the technique of elision.

  5. In addition to implying another tritone (a phantom fa-ti), the subject's repeated pitches fa-fa-sol-sol suggest:

    • a tonic to predominant.
    • a dominant to predominant.
    • a dominant to tonic.
    • a tonic to dominant.

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

  6. The T-P-D-T cycle is like hiking:

    Grand Canyon, rim to rim.
    the Tonto trail from Hance to Boucher.
    the Bright Angel trail to Phantom Ranch.
    the Hermit trail to Dripping Springs and back.

  7. If a dominant is signaled by the presence of ti, a predominant is signaled by:

    • fa with fi.
    • fa with le.
    • fi with la.
    • fi with le.
    • la with le.

    two of the above
    three of the above
    four of the above
    all of the above

  8. Which of the following predominant chords does Bach use in this fugue?

    Neapolitan, supertonic, augmented sixth
    supertonic, subdominant, submediant
    augmented sixth, subdominant, secondary function
    secondary function, Neapolitan, subdominant

  9. Bach's Canon super Fa Mi contains the Latin phrase, Fa Mi, et Mi Fa est tota Musica. To what does this phrase refer?

    • the tritone
    • the T-P-D-T cycle
    • medieval hexachords
    • the canon's ground bass

    one of the above
    two of the above
    three of the above
    all of the above

  10. In what measure did Bach use a half-diminished 7th chord (ø7) as a predominant?

    m. 8
    m. 18
    m. 27
    m. 36

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