!

Form and structure !

Consists of 3 parts with the 3rd voice entering

in bar 3!

Two main elements - the subject and the

countersubject !

Incorporates a lot of thematic imitation and

certain areas combine elements from both
subject and countersubject to add development
and new material to the music!

Can be divided into 5 parts!

A bars 1-6!
B bars 6-10!
C bars 9-14 (3rd beat)!
D bars 14 (3rd beat) - 19!
E bars 19-26

General Harmonic, Rhythmic and

Melodic elements

!
Harmony!

Moves through a variety of keys including

D Major, B minor, B Major, E minor, G
Major!
Makes use of secondary dominants
especially V of V and V of VI!

!
Rhythm!

Voices have rhythmic independence and

there is a variety of crotchets, quavers,
semiquavers, minims and also occasional
semibreves.!
It is interesting to note that in bar 2 the
rhythmic movement becomes more
constant and quick to differ between the
two parts of the subject and
countersubject.

Subject!

!
Consists of two main parts distinguished by
melodic and rhythmic variety!

Part 1- bars 1-2 (3rd beat) !

This is a descending sequence of a motif

based on a descending leap of a 4th
followed by two ascending steps and a
downward leap of a 6th. !
In its first appearance there is an initial
quaver rest in this particular voice. !
It incorporates both quavers and
semiquavers.!

!
Part 2- bars 2 (3rd beat) - 3 (4th beat)!

Based solely on semiquavers and initially

the shape of its first and second groups of
4 semiquavers might look like a varied
inversion of the motif forming part 1!
The melody is more flowing with stepwise
motion!

Countersubject!

Is heard in the bass part and can also be divided

into two main parts!

Part 1 bar 2 (3rd beat) - 3 (3rd beat)!

Initially the bass part actually starts before the

entry of the subject mentioned previously but
the material is only present once on its own.!

this first part consists solely of quavers and

mainly makes use of leaps of octaves, 3rds
and some stepwise motion.!

Part 2 bar 3 (3rd beat) - 5!

Like the second part of the subject this uses

only semiquavers.!

It is very flowing and presents the wave shape

created through ascending and descending
stepwise motion which is a key element in the
piece and is very prominent throughout. This
is also a descending sequence. !

Part A - bars 1-6!

This can be considered as an expositional
part where the subject and countersubject are
firs presented in their original form.!
The first imitation of the subject can be seen
in the inner voice and it starts on the second
beat of bar 3 until bar 6!
It is an exact imitation of the statement
starting a 4th lower.!
while this is playing the prominent wave
shape in the bass and descending stepwise
motion in the upper voice accompany it
creating rhythmic independence between all 3
voices.!
In bar 5 the middle voice moves
simultaneously first with the upper voice and
later with the lower voice. This joining of
voices brings all the basic elements which
make the piece together and prepares the
listener for the second segment of music
which develops on what has been presented
so far.

Part B - bars 6-10!

!
!
!

The first two bars of this part imitate the

their previous two but in this case some
parts are placed differently!
the main motif and imitation of the subject
an 8ve lower is now in the bass part while
the prominent wave form is in the upper
voice and the slow, downward stepwise
motion now moved to the middle voice. !
the similar movement in the second and
third bars are now between the lower two
voices !
in the third bar there is an alternation of
figures between the upper and lower
voices. These 2 main figures are the last
part of the subject and a variation based
on the first rhythmic motif.
!
SHOW EXAMPLE

Part C - bars 9-14(3rd beat)!

!
!

Throughout

this part the wave figure

created by ascending and descending
stepwise motions is once again present,
this time in the middle voice.!

!
The bass part initially plays long descending
noter and later includes a smaller, faster
passage.!
!
The upper voice once again states the subject,
this time a 3rd lower than the original statement.!
!
After this one can notice a sort of imitative
dialogue between the two upper voices. This
uses a particular cell which seams to be inverted
when being played in the middle voice. !
!
This form of dialogue between the two creates a
variation of the wave shape previously
mentioned.

Part D - bars 14 (3rd beat)-19!

!
!

In this section we notice the developmental

change in shape of the initial motif found in the
subject. !

The leaps are enlarged and then contracted to

go back to its initial form!

This motif moves from voice to voice and is

accompanied by material based on semiquaver
derived from the last part of the initial subject.
SHOW EXAMPLE!

These elements alternate in voices until they

are combined together in the upper two voices
accompanied by a single semibreve which
leads to the coda and the final cadence.

Part E - bars 19-26!

!

The coda puts all elements from the subject

and countersubject to lead to the final
cadence.!
The subject is stated one last time in its full
form in the lower voice while the upper
voices accompany it with the prominent
wave shape once again and descending
stepwise motion.!
The first part of the subject is then played
once again in the middle voice and the
descending sequence based on the motif
which binds all together is presented for the
last time in the upper voice.!
a descending semiquaver run leads to the
final tonic.