36. Less commonly we meet with subjects that begin in the key of the dominant, and end in that of the tonic. Two examples will suffice—
J. S. Bach. Mass in B minor.
Handel 'Rinaldo.
In the second of these subjects, the close looks at first as if it were in the key of C. That it is not so, is proved by the auxiliary note in the last bar being B flat, and not B natural.
37. It is also possible, though somewhat rare, for a subject to begin in the tonic, modulate to the dominant and return to the tonic, as in the following example—
J. S. Bach. Cantata, "Sehet, welch' eine Liebe."
38. Occasionally, instead of tonic and dominant, the two keys employed for the subject are tonic and subdominant. The following passages
Handel. 'Alexander's Feast.
J. S. Bach. Mass in B minor.
begin in the subdominant and end in the tonic. In our next examples
J. S. Bach. Fugue in E minor.
Mendelssohn. 3rd Organ Sonata.
the subject begins in the tonic and ends in the subdominant. In example (d) we also find an intermediate modulation to the dominant.
