Before the cadenza in Section 1 ends, the second theme comes out.
The theme starting with the third note is unordinary.
Alto from bar 121 is the counter theme to the second theme, which also
accompanies to the theme in bass from bar 128, slight changed its figure
and to the response in tenor from bar 135.
Frequently employed motive in section 2 is ゛B゛ in blue at bar 119 in the
above music. The sequence by motive ゛B゛ is found from bar 142.
You can also find the sequence by motive ゛B゛ from bar 162.
What to be accompanied with the second theme from bar 147 is the first
theme expressed in the same voice, tonality and figure as the one at the
beginning of Section 1.
The thematic exposition afterwards in section 2 is always shown by the
combination of the first theme and the second.
It is confirmed that the first theme is exposed one bar behind from bar 167.
This positional relation between the two is handed to the thematic
exposition from bar 180, in which the first theme is stated one bar further
behind.
As far as positional relation is concerned, most of the thematic
combinations in Cp.8, Cp.9, Cp.10, and Cp.11 were limited, on the other
hand, diversified thematic combinations in this piece makes us think of new
development of multiple fugues.
