the answer enters on the last note of the subject, because it begins on an accented beat. Our last example was an exception from this rule.
64. In our next example
Hummel. 1st Mass.
we see a somewhat rare case. The first voice ceases for some time to accompany the answer. The quotation is the commencement of a fugue with independent orchestral accompaniment; and the tenor, therefore, though the bass is silent, is not left entirely alone.[1] Such treatment is, however, exceptional; and the student is not recommended to imitate it.
65. Our last example in a major key
Mendelssohn. 2nd Organ Sonata.
shows the leading-note of the dominant treated as the third of the supertonic chromatic chord, and therefore inducing no modulation. It is consequently answered by C sharp, the third of the supertonic chromatic chord in the key of G. The last note of the subject, also, is here slightly altered in the answer, being delayed by a suspension.
66. We now give some answers to subjects in minor keys. These will always be in the minor of the dominant—never in the major. We have seen already (§ 35) that if a minor subject
