TABLE OF CONTENTS.
[N.B.—The numbers refer in every instance to the sections, not to the pages.]
CHAPTER I.—Introduction
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The requisite preliminary knowledge, 1—Definition of the term Fugue, 2—Double, triple, and accompanied fugues, 3—The difference between Fugue and canon, 4–6—General description of a fugue, 7—The Subject, 8—The Answer: real and tonal answers, 9—The Countersubject, 10—The Exposition, 11—Episode, 12—The Counter-exposition, 13—The middle section of the fugue, 14—The final section: Pedal points, 15—The Stretto, 16—Close fugue, 17—Strict and free fugues, 18—The Ricercare or Ricercata, 19—Fugues by inversion, augmentation, or diminution, 20—The Fughetta, 21—Fugato, 22—The essential nature of fugue, 23.
CHAPTER II.—The Subject
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The essentials of a good subject, 24—A Subject defined; fugues with two or more subjects, 25—The necessity of clear tonality, 26—Implied harmony, 27—Subjects that remain in one key: major, 28–30—Ditto, minor, 31, 32—Subjects in the dominant, 33—Subjects that modulate from tonic to dominant, 34—Ditto, in a minor key modulate to the dominant minor, 35—Modulation from dominant to tonic, 36—Ditto, from tonic to dominant and back, 37—Modulation between tonic and subdominant, 38—A subject in the subdominant, 39—Incidental modulations, 40, 41—The cadence of a fugue subject, 42–45—Length, 46—Compass, 47—A subject may begin on any degree of the scale, 48–49—The subject must be contrapuntal in character, 50—Adaptability for stretto, 51—Melody and rhythm, 52—How to determine the limits of a subject, 53—Directions for work, 54.
CHAPTER III.—The Answer
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