60. In our next examples
J. S. Bach. Wohltemperirtes Clavier, Fugue 29.
J. S. Bach. Wohltemperirtes Clavier, Fugue 43.
the answer is above the subject. In both, the subject commences on an unaccented note, and ends on the accented note (here at the half bar) immediately preceding the entrance of the answer.
61. The following passage shows some new points—
J. S. Bach. Wohltemperirtes Clavier, Fugue 9.
Here the answer enters shortly before the end of the subject, which terminates at *, the nearest accent to the entry of the answer. In § 53 it was said that the length of the subject could mostly be determined by seeing how much was imitated by the answer. It looks at first sight as if the imitation were here continued for another half bar; but the subject cannot end on the D at the beginning of the third bar; because, in that case, as we shall see later in this chapter, the answer could not possibly end on A. Besides this, the imitation in the half bar is not exact, D sharp being imitated by A natural, not by A sharp. The fact is, we have here a common case, in which part of the
