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1. The author quotes Colin Fletcher to make the case that
   a fugue has something to do with "colossal sameness--
   not of monotony but of endlessly repeated and endlessly
   varied pattern." Fletcher's quotation was originally
   applied to:

   the Colorado River.
   the Grand Canyon.
   the Tonto Plateau.
   the Esplanade.

2. Although Fletcher did not use the word "fugue," he alluded
   to music, and to the fugal process, by describing the Grand
   Canyon as:
   
   
   • a rhythm of rocks.
   • a stretto of layers.
   • a real answer.
   • point and counterpoint.
   
   one of the above
   two of the above
   three of the above
   all of the above

3. The author follows up the fugal analogy by likening the Canyon's
   subject and countersubject to the "point and counterpoint" of:

   cacti and cottonwoods.
   moonlight and daylight.
   algae and tadpoles.
   rocks and water.

4. The exposition of this fugue presents the subject in the
   following order: TASB. This would be like discovering an
   Anasazi trail wending its way to petroglyphs in the:

   Toroweap - Coconino - Hermit - Kaibab
   Bright Angel - Redwall - Supai - Tapeats
   Supai - Hermit - Coconino - Redwall
   Coconino - Hermit - Supai - Toroweap

5. Hearing a fugue's subject without perceiving it to be in a
   particular voice is like:
   
   
   • finding a cliff dwelling in the Redwall.
   • being lost on the Grandview Trail by moonlight.
   • seeing a promontory without knowing its elevation.
   • spying a condor perched in the Coconino.
   
   one of the above
   two of the above
   three of the above
   all of the above

6. I'm three steps behind you on the Bright Angel Trail.
   You descend five steps and I ascend four. We are now in
   double counterpoint at the:

   8va
   9th
   10th
   12th

7. Again I'm three steps behind you. How high would I have
   to leap if you tumbled down a 4th and wanted to hear me
   sing in double counterpoint at the 10th?

   5th
   6th
   7th
   8va

8. The following measures are from this fugue. What is the double
   contrapuntal relationship, if any, between melodies connected by
   the red lines?

   

   no relationship
   double counterpoint at the 8va
   double counterpoint at the 10th
   double counterpoint at the 12th

9. Even though both melodies may literally move in the same direction,
   double counterpoint still occurs if they switch registers in relation
   to each other. What is the double contrapuntal relationship, if any,
   between melodies connected by the red lines?

   

   no relationship
   double counterpoint at the 8va
   double counterpoint at the 10th
   double counterpoint at the 12th

10. What is the double contrapuntal relationship, if any, between melodies
    connected by the red lines?

    

    no relationship
    double counterpoint at the 8va
    double counterpoint at the 10th
    double counterpoint at the 12th