of the art of fugue, is presented. This time, the inverted form is taken in Cp8 while the authentic form is taken in Cp.11 as the first theme. music below. ![]() in bass at bar 98 and the two upper voices between bar 99 and bar 100. Moreover, the first thematic fragments and the second are seen from bar 114. ![]() resume. The second theme in soprano from bar 125 is connected with the motive゛B"゛so that the nature as a theme gets stronger. Precisely speaking, the second theme has started transforming toward the perfection. ![]() in bass between bar 124 and bar 127 exposing without a break, and also find the effective stretto by the second thematic fragment, together with the double counterpoint at the tenth by the first thematic fragment. second theme starts one bar before with a little shorter length, so this gap is the only happening in this piece. As a comparison, we exemplify the following thematic combination from bar 131. ![]() delayed one bar behind implying that the exposition as a perfect figure is still further. (Section 4) and the inverted, then make a bridge to the next thematic exposition, ![]() |