minor subject, 69—Subject in dominant, answer in tonic, 70—The answer in the subdominant, 71—Ditto, in a minor key, 72—Example by Bach analyzed, 73–75—Ditto, 76—Ditto, from the "Art of Fugue," 77—Further examples, 78, 79—When an answer in the subdominant is possible, 80—Subject in the key of the subdominant, answer in the tonic, 81—Modulation between subdominant and tonic, 82—Treatment of intermediate modulations, 83—Tonal answer: its origin, 84—The old rule, 85—Its usual application; modification required, 86—The practice of the great masters, 87—The leap from tonic to dominant answered tonally, 88, 89—The rule applies only to the beginning of an answer, 90—Examples of a real answer in such cases, 91—The dominant approached through the third of the scale, 92—Subjects beginning with the notes of the tonic chord: tonal answers, 93—Ditto, with real answers, 94–99—The principle involved, 100—Rule for our guidance, 101—Subjects that commence on the dominant, with tonal answers, 102–104—Ditto, with real answers, 105–107—The reason for real answers here, 108—Fugues with both tonal and real answers, 109—Tonal answers in the subdominant, 110—Answer in two keys, 111—A real answer always possible when there is no modulation to the dominant, 112—Warning to students, 113.
Subjects that modulate to the dominant, 114—Only two chief keys used in exposition, 115—Rule for modulation, 116—Point of modulation, 117—Expressed and implied modulation, 118—Examples, 119, 120—Modulation to be made as early as possible, 121—Double significance of each degree of the scale, 122—Its importance, 123—Example of subject modulating, by Mozart, 124—Further examples, 125—Reason for making the tonal change early, 126—Treatment of third and seventh of scale, 127—Rule for third of scale, 128—Examples, 129, 130—Treatment of leading note, 131—Examples, 132, 133—Subjects that modulate from dominant to tonic, 134, 135—One note answered by two, 136, 137—Subjects modulating to dominant and back, 138—Dissonant intervals generally retained in answer, 139—An important exception, 140–143—Disregard of semitones, 144, 145—Dominant answered by supertonic, 146–148—Treatment of chromatic subjects, 149–151—Answers by inversion, 152—Ditto, by augmentation and diminution, 153—Change of an octave in pitch in course of the answer, 154—Irregular answers, 155 Summary of general principles, 156—Bad subjects, 157—Exercises for the student, 158.
Countersubject defined, 159—Must be in double counterpoint with subject, 160—Need of contrast, 161—Examples, 162, 163—Key of countersubject, 164—The inganno, 165—The material of the countersubject, 166—Often forms the basis of episodes, 167—Sometimes accompanies only a part of the subject, 168—Countersubject in tonal fugues, 169—Sometimes needs modification, 170—Must make correct two-part counterpoint with the answer, 171—Deferred appearance of countersubject, 172—A fugue with two countersubjects, 173—Two countersubjects used in succession, 174—A double fugue, 175—When a countersubject is unnecessary, 176—Directions for working, 177.
