Chap. III.]
Fugue.
23
modulates to the dominant, it is always to the dominant minor; and the same rule holds good when the first modulation that is made is on the entrance of the answer. This will be seen from the two following examples—
J. S. Bach. Wohltemperirtes Clavier, Fugue 4.
J. S. Bach. Wohltemperirtes Clavier, Fugue 20.
67. If the student will examine the various counterpoints accompanying the answers we have given, he will see that (like the answers themselves) they are in the key of the dominant. Were it otherwise, the feeling of tonality would be obscured, for the music would be in two keys at once. Occasionally, however, the harmony of the dominant key is not clearly defined till toward the end of the answer, as in the following passage—
