Section 1 Section 2 Section 3 Section 5
Cp.11 Anatomy Room
Contrapunctus 11 a 4
Section 4(bar89-157)


Lead by the second theme, the third theme is presented.
(The inverted theme to the second theme in Cp.8)
We could see the third theme perform very freely, taking no specific form.
As to prove it, the third theme in different length in tenor from bar 89 and
in alto from bar 90 are stated, besides, the tail of the third theme at bar 92
is not rigorously maintained after this, not once at the combination of three
themes. Telling the third theme from its thematic fragment is sometimes
difficult though the fragment of the third theme is employed many times.



Bach's name is said to be included in the figure of the third theme in alto
between bar 90 and bar 91 as the alphabet shows above.

From bar 96, the inverted third theme in soprano is chased by the next
voice one after another, however, each one of these are fragmental.
Stretto by the third theme can be found from bar 89 and here in the music
below, crossing over four voices, other than that from bar 149 and 167.



Following this, you might find the first theme and the second to be exposed
orderly surrounded by the inverted third theme. The first theme in alto are
found from bar 101 and the inverted second theme in tenor are from bar
105, again along with the descending scale.



This happens again from bar 132 in the same way.

Between bar 117 and 131 highlights the third theme in both authentic and
inverted form, with ascending or descending chromatic scale.



Bar 130 starts presenting the third theme authentically in upper two voices
and inversely in lower two voices at the same time, and then bar 131 gets
filled with the third themes at all over four voices.



This happens again from bar 169 in the same way afterwards.

After exposing various thematic incorporation, we will finally see the
combination of the three themes by means of rather remote key of e minor.



For your information, the initial three-theme combination in Cp.8 is made
in ゛ｆ゛major. (the position is ゛ｆ゛, but the tonality is different)

Section 1 Section 2 Section 3 Section 5
Cp.11 Anatomy Room