30
Fugue.
[Chap. III.
which is therefore answered by corresponding tonic harmony. The counterpoint accompanying the answer conclusively proves the key of the answer to be G.
79. We now add a few examples, by other composers, of real answers in the subdominant key—
Handel. 'Solomon.'
Beethoven. Quartett, Op. 131.
Schumann. Fughetta, Op. 126, No. 2.
![\new ChoirStaff << \override Score.Rest #'style = #'classical \override Score.BarNumber #'break-visibility = #'#(#f #f #f)
\new Staff \relative d'' { \key d \minor \time 4/4 \mark \markup \tiny { ( \italic c ) } R1*2
d4_\(^\markup \bold "A" cis8 c bes a g a\) |
d,4( g) ~ g8\( g16 a bes8 a16 g | f4_"&c." }
\new Staff \relative a' { \key d \minor
a4_\(^\markup \bold "S" gis8 g f e d e\) |
a,4( d) ~ d8 \[ e16^\markup \italic "Codetta." f g8 f16 e\) |
f4. \] fis8 g4 bes,8 c |
d c bes a16 g e'4 d8 cis | d4 } >>](http://upload.wikimedia.org/score/6/l/6loemb6n15fdp0hu8m8i4sfp6qad321/6loemb6n.png)
After what has been said, these examples require no further remark.
80. We shall find a few more examples of answers in the subdominant when we come to treat of tonal answers, but we have already given enough to enable us to generalize from. The rule to be deduced from an examination of these and similar passages is the following:—
Whenever, in a subject which ends in the key of the tonic, particular prominence is given to dominant harmony, especially near
