Understanding the Tonal Answer

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• Change the subject’s ending harmony (thus destroying the sense of tonic associated with the ending of the subject)? Or, • Alter the answer to accommodate the harmony? Composers opted for the second option:
• Note that we had to change only ONE note of the answer to accommodate the underlying harmony. (This is the solution that Bach uses, by the way.)
Page 2 and 3: • The melodic structure of the fu
Page 4 and 5: • First, if given a fugue subject
Page 6 and 7: • Here is J. S. Bach’s subject
Page 8 and 9: In actual practice, the answer ente
Page 12 and 13: Assume that a fugue subject will ta
Page 14 and 15: • The subject starts on ^5, so we
Page 16 and 17: • Consider the fugue subject by B
Page 18 and 19: • Modulating fugue subjects are u
Page 20 and 21: • The alteration takes place at t
Page 22 and 23: • In the actual context it sounds

Understanding the Tonal Answer

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