Section 1 Section 2 Section 3 Section 4
Cp.11 Anatomy Room
Contrapunctus 11 a 4
Section 5(bar 158-184)


The authentic first theme and the inverted first theme are presented in
parallel here. ; authentic form was seen in section 1 and the inverted form
was in section 3 all solo.



You might find the similar thematic exposition at the end of Cp.5.

Parallel exposition in the authentic form and the inverted of the first theme
can be also found from bar 164 though the inverted theme is third degree
lower than the authentic theme, as it were, double counterpoint at tenth
degree like Cp.10.



You may also find the fragments of the third theme in soprano and alto
from bar 164, in which sequence-like exposition are made successively.

The following bar 68 is the solo exposition of the third theme, and the
exposition increases in four voices, taking the authentic form and the
inverted from bar 170.



It happens again from bar 131 in the same way afterwards.

Three-theme combination occurs again from bar 174 and bar 197 and these
two are stated in tonal key (゛d゛minor), compared with ゛e゛minor last time
from bar 145. The music below is from bar 179, that is, the last thematic
exposition.



At 183 bar, one another voice is added to soprano and three voices
perform the motive゛A゛, frequently employed in section 1, together with
alto. This reminds you of the overlapping of motive゛A゛by three voices at 21
bar.

This increase of voices at the end of the piece is equally found in Cp.5, Cp.
6, Cp.7.

Section 1 Section 2 Section 3 Section 4
Cp.11 Anatomy Room