Section 1 Section 3 Section 4
Cp.8 Anatomy Room
Contrapunctus 8 a 3
Section 2(Bar 39-92)


Firstly, the second theme is presented contrapuntally to the first theme.
This theme is commonly used in Cp.11, but only its fragment is exposed
there.

The phrase in blue in the music below is the second theme, which makes up
of the same successive motif and seems lacking a nature as a theme in a
way, how ever, it strengthens the character by adding a new motive at the
end of the phrase after the thematic exposition from bar 124. (Section 3)



The motive ゛B"゛ in bass at bar 42 could be the inverted form to the
motive゛B゛and is frequently employed throughout, while taking the inverted
form later on. It looks like sequence in the upper music. The music below is
the sequence by the motive ゛B"゛in the inverted form.



At bar 57, you might find the motive ゛B"゛ performing simultaneously in the
authentic form and the inverted form.

The thematic exposition is gradually becoming free and extending further by
the succession of the motive, like the second theme in alto from bar 74
and in bass from bar 79. The second theme form bar 74 is unusually stated
alone.



The fragments of the second theme in each voice between bar 77 and bar
79 are confirmed, and the first theme starting at bar 79 in alto is
discontinued at bar 81.
You can see the thematic fragments in soprano and bass between bar 89
and bar 90 as well, in the music below.



The motive ゛B"゛in the inverted form in soprano from bar 85 is extended in
length. And the motive is imitated taking the authentic form in bass from
bar 87.

The intense phrase by sixteenth notes from bar 90 is introduced to lead
cadenza in dominant at bar 93. This suggests nothing but the sign to
expose the third theme, that is, the common theme.

Section 1 Section 3 Section 4
Cp.8 Anatomy Room