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Great Lesson, Lee. Thank you.
I do have a few questions:
1) Must the answer(s) follow the exact relative tones in another key? I've been looking at Bach's #2 Cm Fuge (From Book1) and I notice that one of the tones is changed in the first answer. This fits the harmony of the counter subject, but I'm wondering if there are some basic guidelines to follow. The answer is exact in every other way, in the Dominant, except for that one tone.
2) Following on from question #1 - I would assume that a variant of the answer is allowed near the beginning of the exposition (as long as it obviously derives from the subject, follows the same notes, adds/subtracts passing tones etc...)
2½) I notice the only two choices in "answers" are "tonal" and "real" whereas a tonal would use the relative pitches but keep them in the same key. For example. Subject C,B,C,E,G Answer G,F(instead of F#),G,B,D. Is there any more licence than this? For instance, the answer to the above subject pitch tones (following the same rhythm) being - D,C,D,F#,A (key of G, but not stating the tonic chord of this key in the answer)
3) I've been working on #8 (G) fuge subject for some time now. Originally, the pattern of subject/answer entries was thus:
Subject(Tonic), Answer(Dominant), Subject (Dominant of Dominant), Answer (Dominant)
I assume that the Tonic-Dominant-Tonic-Dominant is a basic guideline only for statements and answers of the subject?
4) You state at the end of the exposition "from here it is not neccessary to Answer as was done strictly in the exposition".
Are there many more licences after the end of the exposition? If you notice I depended on alot of false statements after the exposition and especially at the end of my (edit: Gm) fuge. I assume the form is more relaxed after this?
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