138. If a subject begins in the tonic, modulates to dominant, and returns to tonic, the answer makes the converse modulations—from dominant to tonic, and back to dominant. No new principles are involved here; two examples will be sufficient.
J. S. Bach. Cantata, "Sehet, welch 'eine Liebe."
E. Prout. 2nd Organ Concerto.
139. In general, any leaps of a dissonant interval, such as a seventh, especially of an augmented or diminished interval, should be reproduced exactly in a tonal answer. The student will find illustrations of this in several of the examples already given. At § 93 (c) and § 126 will be seen a diminished fifth; at § 125 (b) a diminished fourth; and at § 132 (b) an augmented fourth, all of which are retained in the answers. We add one example of a diminished seventh—
J. S. Bach. Wohltemperirtes Clavier, Fugue 44.
This subject also contains a diminished fifth which is retained in the answer.
