Naumann. 1st Mass.
show the leading note very early in the subject treated as the third of the dominant, and answered by third of tonic. The following notes of the subject are all answered as belonging to the dominant key.
133. So strongly is the leading note felt as the third of the dominant that it is not seldom answered by the third of the tonic, even when there is no modulation—
J. S. Bach. Wohltemperirtes Clavier, Fugue 19.
Here Bach treats the second and third notes of his subject as the third and sixth of E, and answers them by third and sixth of A, though the subject ends in the key of the tonic. In our next example
Macfarren. 'The Resurrection.
the second bar is treated as containing a modulation to the key of E, the leading note being answered by the third of the tonic.
134. If the subject begin in the dominant, and modulate to the tonic, the process will be reversed. We shall now, as soon as possible, consider the sixth of the dominant as the third of the tonic, and the third of the dominant as the seventh of the tonic.
Buxtehude.
The first half of this subject is in A; in the second bar it modulates to D; and F, the sixth of A, is therefore at once regarded as the third of the tonic.
135. Our next example shows the third of the dominant in both its aspects.
