A newly exposed at the beginning is the first theme hearing throughout this
piece. And the inverted theme of this becomes the second theme in Cp.11.
All the responses in Cp.1-Cp.7 are tonal, but the melody in bass from bar 6
is a real response, being transposed to dominant key.
As the middle part the three voices is alt of a clef in the first edition,
it should be regarded as alt in conventional way, but the register goes further down tenor.
No clear counter theme is found here, though the counter theme-like
figures appear in alto from bar 7 to bar 8 and bass from bar 12 to bar 13.
Besides this motive is only used at later coming bass from bar 94 to bar 95
as a counter theme to the third theme.
The motif ゛A゛of quarter notes in alto at bar 5 and in bass at bar 10 are
followed by the first theme at the beginning, and are sometimes utilized at
some other parts, taking their inverted form. You will see the same at bar
129 once again.
The motive゛B゛in alto at bar 15 in the music below is frequently utilized as
sequence in the following parts in the section 1, reminding you of the
motive in ゛Invention, C major （BWV772）゛. The music below reads that the
motive ゛A゛ goes side by side with the motive ゛B゛.
In stretto by the first theme and its fragments from bar 21, the theme in
alto is chased by the thematic fragment in blue.
As already mentioned in Cp.9, the false stretto of this kind is often seen in the art of fugue.
You might find some other thematic fragments from bar 79 and bar 88, and
also sequences consisting of thematic fragments everywhere.
From bar 28 to bar 30 is the sequence making up of both the thematic
fragment and the former motive ゛B゛.
The motive ゛B'゛ in soprano at bar 31 in the music could be the variant
form to the motive ゛B゛ and was already seen in soprano at bar 23 and will
be stated from bar 35 as sequence-like succession, counterpointed to the
theme.
The last chord in section 1 is almost the same as the last in Section 4, in
short, the final chord of the piece.
