103. Our next examples give further illustrations in the last note of their answers of the rule given in § 69—
Handel. 'Messiah.'
Mozart. Fugue for Piano, in G minor.
At the second and third bars of (a) we also see an incidental modulation into the key of the subdominant, already referred to in § 41. It will be observed that the answer here modulates to the tonic (the subdominant of the dominant key).
104. When the subject begins on the dominant and leaps to the tonic, the answer usually begins on the tonic and leaps to the dominant—
J. S. Bach. Art of Fugue, No. 3.
This example illustrates some other points besides that just mentioned. It will be seen that after the first note, the whole subject is in the key of the dominant. It is therefore answered in the key of the tonic (§ 70). The final C sharp of the subject cannot be considered as the leading note of D minor, for if it were it would be answered by G sharp, the leading note of A minor. It is the major third of A, and is answered by F, the minor third of D, a rare instance of the converse of our examples in §§ 68, 69, 103.
105. The student will have no difficulty in finding any number of answers in which the general rule we have given is adhered to; we now proceed to give examples in which it is not observed. Our first group will be answers to subjects which commence with the notes of the tonic chord—
J. S. Bach. Christmas Oratorio.
