opportunity. The first E, being the resolution of the F in the preceding bar (the chord being the dominant seventh), must of course be the third of the tonic, and must be answered by B; the: second E is treated as the submediant of G, and answered by the submediant of C—viz., A.
129. We give a few more illustrations of the same point.
J. S. Bach. Cantata, "Gott ist mein König."
Here the second note of the subject is regarded as the sixth of the dominant, and all the rest is plain sailing.
Mozart. Mass in F, No. 6.
Here the presence of the subdominant prevents our regarding the subject as being in the dominant key till we reach (a), where the third of the scale is treated as sixth of dominant, and answered accordingly. There is an implied modulation (§ 118) in the subject, for it is very rare to find a subject ending on the leading note. It is almost invariably regarded (as here) as the third of the dominant key.
130. In our next example
Handel. Concerto Grosso in C
the change is not made at the earliest possible moment (in the first bar), for this would have disfigured the subject too much.
The mental effect of the music is distinctly that of the key of C, till we come to (a) where the double significance of the third of the scale is very clearly shown. The first E, being followed by
