After reading Chapter 16, compose a countersubject to be used in your fugue, this semester's final project:
- If your subject is in a major key, a real answer will be in the major dominant key. The countersubject must make good counterpoint with the real answer. A tonal answer would be in the original key.
- If your subject is in a minor key, a real answer will be in the minor dominant key. The countersubject must make good counterpoint with the real answer. A tonal answer would be in the original key.
- The subject and countersubject must make a good melodic line when performed one after the other in a single voice.
- If your answer is a real answer, it should modulate like the subject did. You will need a bridge to return to the original key before the third voice enters with the subject in the original key.
- Begin composing your first episode. It should modulate in preparation of your second entry group. Decide in what key you want the second entry group to begin.
- The episode may contain some material from the subject, but the listener should not perceive it as the subject. You must decide how much of your subject, if any, may be included in the episode before it sounds too much like the complete subject.
- The episode may also contain material from your countersubject.
- It should follow the guidelines for a good melodic line:
- Leading tones go up to the tonic
- The subdominant is most effective when it goes down to the mediant, especially in major.
- Leaps are best when preceded and followed by stepwise motion in the opposite direction.
- Use strong cadences (IAC or PAC) to signal the end of major sections such as entry groups and episodes.
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