Section 1 Section 2 Section 3
Cp.8 Anatomy Room
Contrapunctus 8 a 3
Section 4(Bar 147-188)


The first, second, third themes are combined and exposed here. Now, the
second theme (Section 3), not yet completed around bar 125 and bar 131 is
finally accomplished to the complete figure in this thematic combination.

Moreover, a motive ゛C゛to the first theme is newly added, like soprano at
bar 151 and alto at bar 156 in the music below.



This motive゛C ゛does not always come along with the first theme, so when
the thematic exposition is stated from bar 158 and bar 182, there is no
such.

You might find sequence from bar 164, in which the blue-colored motive in
alto is followed by soprano with half beat behind, meanwhile the bass
repeats another motive.



This sequential motive in soprano and alto is thought to be the ornamental
variance of the former motive゛C゛.

Repetition of sequence-like motive are found from bar 174, this time the
motive゛C゛itself is utilized, followed by the first theme.



The intensive phrases by sixteenth note are scattered over this piece but a
bigger commotion will occur before the final thematic exposition. The
improvisational phrases like these determine the character of this piece.



The final chord at the end of the piece is almost the same as the chord at
the last of Section 1 except a slight difference that alt in Section 1 is ゛ｆ゛
while ゛ｆ＃゛in section 4. Supposedly, this intends to give a symmetric or
recurring impression, and will be further clarified and expressed in Cp.11.



Incidentally, the number of the thematic exposition is five in number in both
Section 1 and section 4.

Section 1 Section 2 Section 3
Cp.8 Anatomy Room