The inverted form to the common theme in Cp.1 is employed here. It is
generated from pivoting tonic (d) of the common theme and tonally varied,
to the variant form.
The counter theme to the response is found throughout the piece, and
compared with Cp.1 and Cp.2, its figure is maintained rather strictly.
In Cp.4, this theme and the response is switched, in short,
The motif in soprano and alt alternately appear at every one bar, and this
sequence comes up again from bar 39, in its figure a bit changed .
The motive in bass at this sequence is rather freely stated in later coming Cp.11, in terms of imitation and repetition.
Subsequently, the syncopated variant theme can be seen from bar 23, in
which the counter theme slightly varied from the former one is stated with
its figure a bit changed.
Similar variant themes are from bar 29 and bar 35 in tenor. Then the theme
in soprano from bar 43 is exposed in the original form, in other words,the
same thematic form from the one at the beginning of the piece is employed.
The interesting sequence can be seen from bar 47.As the dotted lines in
the music show, the phrase is divided at every three beat.
It looks like a hemiola, often seen in a dance music.
This kind of odd-beat sequence appears in Cp.5 and Cp.6.
Another different variant theme from the one utilized in from bar 23 can be
found from bar 55, which resembles the themes in Cp.5, Cp.6 and Cp.7.
The counter theme is indeed transformed in a little degree.
The following soprano from bar 58 also has the same variant theme.
The last thematic exposition in tenor from bar 63 is the original form,
that is, the form is equivalent to the theme in Cp.4.
