Ascending chromatic scale is accompanied to the second theme.
Alto in blue in the upper music is the second theme and chromatic scale
always goes along with the second theme in section 2.
Motive゛C゛in alto at bar 31 is often employed in section 2 and 3, and is
equally found among the sequences in Cp.3.
From bar 38, Motive゛C゛is repeatedly stated, together with descending
chromatic scale.
Now, you might find the phrase in tenor across two bars from bar 38 to bar
39, passed to the phrase in alto from bar 39 to bar 40 and then bass from
bar 40 to bar 41.
Furthermore, at bar 60, this descending chromatic scale and the motive ゛
C゛ are united and imitated canon-likely over four voices as you can see
here.
The second theme in inverted form is presented from bar 56 and bar 67,
(seeing from Cp.8, it is authentic form) accordingly together with
descending chromatic scale.
You can see the thematic exposition from bar 67 as the second theme in
inverted form in bass, descending chromatic scale in soprano and part of
chromatic fragment in alto.
In the following section 3, the inverted form of the first theme is to be
presented.
