Section 1 Section 2 Section 4
Cp.8 Anatomy Room
Contrapunctus 8 a 3
Section 3(Bar 93-146)


Leading by the motive ゛B"゛at bar 93, the third theme, the common theme
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.

The third theme (=common theme) is embellished, as shown in blue in the
music below.



You might discover the fragments of the second theme here and there like
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.



Passing through the cadenza at bar 123, the first theme and the second
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.



Now, you might find the fragments of both the first theme and the second
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.

Let me tell you further that in the thematic combination from bar 125, the
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.



Even here, the motive ゛B"゛ to be connected with the second theme is
delayed one bar behind implying that the exposition as a perfect figure is
still further. (Section 4)

Continuously, the motive ゛B"゛ after bar 134 appears in the authentic form
and the inverted, then make a bridge to the next thematic exposition,
three-theme combination finally.



Section 1 Section 2 Section 4
Cp.8 Anatomy Room