Exposition

• The four-part exposition presents the subjects, followed by tonal answers. The order is alto, tenor, bass and soprano (c1a- see Fugues Expositions Classification Using Circles).
• The second subject and the answer are shifted by two beats.
• The exposition ends on the third beat of measure 5.

Exposition

The exposition in the violin version is very different:

• The order of entry for the voices is subject - answer - answer - subject.
• Only the last voice appears rhythmically displaced.

Motifs

The subject and counterpoint accompanying the answer give rise to three motifs that serve as thematic material in the development of the fugue:

Bars 5 to 16

• Bars 5 to 6: stretto where the second subject imitates at the ninth (C - D).
• Bar 7: subject starting in G.
• Bars 8 to 13: the first passage to abandon the contrapuntal style. It follows a cycle of fifths.
• Bar 13: motifs m1 and m2 prepare the cadence to the tonic in bar 16. Note that the use of these two motifs forms almost the entire subject and could be considered a varied presentation of the subject.

Bars 16 to 26

• Bars 16 to 18: subject, answer and motifs m2 and m3 in G minor.
• Bar 19: subject starting in F.
• Bars 20 to 22: motifs m1, m2 and m3.
• Bars 22 to 26: we now move to D minor and the subject reappears, followed by motifs m1 and m2.

Bars 26 to 44

• Bars 26 to 29: the subject enters following a pattern of fourths (D, G).
• Bars 29 to 32: episode based on motifs m1, m2 and m3.
• Bars 32 to 40: a cycle of fifths using major chords and dominant sevenths leads us to a dominant chord in D minor. The key of D minor is established.
• Bars 40 a 44: D pedal tone.

Bars 44 to 57

• Bars 44 to 47: several progressions of II-V-I lead us through G minor, C minor, F minor and E-flat major to C minor.
• Bar 48: a series of seventh chords descending in parallel? See the detailed harmonic analysis of this bar below.
• Bars 49 to 54: insistence on the dominant of C minor.
• Bars 54 to 57: two appearances of the subject before the key of C minor is affirmed with a perfectly authentic cadence (see detailed harmonic analysis of bar 56 below).

Harmonic analysis of bar 48

in this measure we find four seventh chords descending in parallel motion. This progression is the result of a compressed cycle of fifths. Two of the four notes in each seventh chord form two chords that make up the cycle of fifths.

Harmonic analysis of bar 56

The chord on the second beat (marked with an asterisk) is very interesting. What chord is it?

• With a natural D it would be a diminished seventh chord (G# - B - D - F). This chord resolves into a dominant seventh (dominant of the dominant). It would be what we consider a diminished seventh chord resolving by a common note (D = D). See Diminished Seventh Chord - From Bach to Jobim
• But the D is not natural, it is flat. This flat D is similar to a D flat in the Neapolitan sixth of C minor (F - Ab - Db). It is a way of emphasising the arrival of the dominant chord in C: Db - B - C. We approach C with notes a semitone away. Note that we have a double function: dominant because of the diminished chord, subdominant because of the Neapolitan sixth.
• Interestingly, when the D is altered, the chord is enharmonically similar to a dominant seventh chord (C#/Db - E#/F - G# - B), suggesting the progression C# dominant - D dominant.

Bars 57 to 66

• Bars 57 a 59: The subject leads us to B flat major. Two further statements (the last of which is varied) confirm the tonality.
• Bars 60 to 66: The episode based on the motifs m1 and m2 affirms the key of B flat major. In bar 66, we again encounter the seventh chords descending in parallel motion, the result of a compressed cycle of fifths (see the analysis of bar 48 on the previous page).

Bars 66 to 76

• A non-contrapuntal section begins in B flat major but quickly modulates to G minor.
• The passage ends with a dominant pedal.

Bars 76 to 89

• Bars 76 to 79: episode based on motifs m1 and m2.
• Bars 80 to 81: a non-contrapuntal section follows.
• Bars 82 to 89: motifs m1, m2 and a complete subject in bar 85 (the last to appear in the fugue), followed by motif m2, confirm the key of G minor.

Final Bars

The fugue ends with a non-contrapuntal section.

Complete Fugue