WTC I/3 in C major – Prelude

This prelude is designed in two-part texture. It features two motifs.

Both of them are immediately imitated before they return to their original
register. The principal motif is conceived not as a one-dimensional melodic
line but in hidden two-part structure. Moreover, the secondary voice in this
motif is not polyphonically independent but a disguised parallel. Yet in its
development, the two lines create a brief play of genuine contrapuntal
juxtaposition. The second motif is designed in barely veiled homophony.

The first cadence ends at m. 71. This cadential close lies embedded in
a melodic flow that continues uninterrupted. A change of surface pattern
occurs in m. 8, where two melodic voices lead into the inverted-voice
texture of mm. 9-15. In this sense, this initial cadence is only an indirect
indication of a subordinate structural ending within a larger context. There
is, therefore, no caesura, and no cut after the reappearance of the tonic.
Exactly the same holds true for the following harmonic progression which,
now in the tonal realm of G major, draws to a cadential close at m. 151.
Here again, the melodic pattern continues through another measure before
giving way to a continuation in inverted voices that marks the beginning of
a new harmonic development.
Owing to the 3/8 time, the structural units determined by these cadences
appear short and, with their eight-measure extension, supremely regular.
The phrase in mm. 25-31 is the first not to be followed by such a voice-

73
74 WTC I/3

swapping link. Instead, the second half of the cadential close serves as the
beginning of a new development. The following diagram shows the
phrases and their tonal areas in the entire prelude. The bridging measures
that link consecutive phrases by prolonging the tonic of a cadential close
before a renewed change of voices do not harmonically belong to either of
the closed progressions; they are thus deliberately omitted here. The
graphic arrangement tries to visualize the harmonic progressions.

1. mm. 1-7 – C major

2. mm. 9-15 – G major
3. mm. 17-23 – D minor
4. mm. 25-31 – A minor
5. mm. 31-35 – A minor/D minor
6. mm. 35-39 – D minor/G major
7. mm. 39-43 – G major/C major
8. mm. 43-47 – C major/F major
9. mm. 47-53 – F major
10. mm. 55-61 – C major
11. mm. 63-73 – G pedal
12. mm. 75-83 – C major
13. mm. 87-104 – G pedal, resolving to C only in the final measure

The prelude features both identical and structurally analogous phrases.

There is a stretch of seven measures in the first half of the piece that recurs
untransposed (mm. 1-7 . 55-61); another span of ten measures in the
second half of the prelude is repeated a few measures later an octave lower
(mm. 63-72 . 87-96). The prelude’s opening phrase is taken up altogether
five times, both transposed and in inverted voices. While the first three
reappearances follow the model phrase and are therefore best named
“imitation in inverted voices,” a true recapitulation can be found after the
interspersed portion with its different patterns (see mm. 47- 62). These two
phrases in the middle of the piece sound reminiscent of the prelude’s very
beginning, particularly since they are conceived as mirror images of the
first two phrases.
Moreover, one can detect a large-scale structural analogy: the first half
of the prelude, visually distinct from the second by its uninterrupted flow
of 16th-notes in at least one of the voices, is designed in ternary form. So
is the second half (with the exception of the final line). Here is a scheme of
this prelude’s structure, drawing only on the architectonic patterns but not
yet on the motivic components:
C major 75

mm. 1-31 two-part pattern, voices interdependent

mm. 31-46 contrapuntal interplay
mm. 47-62 two-part pattern, voices interdependent
mm. 63-74 homophonic pattern
mm. 75-86 contrapuntal interplay
mm. 87-96 homophonic pattern
On a different scale, there is an analogy in the harmonic structure: the
first four phrases—eight measures each, in dependent two-part pattern—
move from the tonic through the dominant and the supertonic to the
relative minor. The following four phrases—four measures each, in contra-
puntal texture—reverse this process and end on the tonic.
The time signature determines the tempo together the indirect melodic
pattern in the non-contrapuntal segments. As we know from other music
by Bach, 3/8 does not so much indicate a pulse in eighth-notes but rather
one in whole-measure beats. With these larger pulses in mind, it should not
be difficult to find the appropriate range for the tempo.
The articulation in a hidden two-part structure is a little more complex
than that in a one-track melodic texture. Here it is the “hidden” melodic
line that is to be articulated, not the progression from note to note as it
appears on the surface. In the secondary line of the main motif’s model, i.e.,
the first seven measures, the left-hand line—C-D-E-F-E-D-C—
should sound non legato in the context of this lively character. This non
legato effect is, however, naturally achieved by the interspersed repeated
pedal note. It would be counterproductive to separate the first C from its
octave and so forth, since by doing so one would obtain the opposite effect
and hear all notes as belonging to one line. In other words: In order to
achieve a melodically correct result in the “hidden two-part structure,”
some surface progressions must be played legato. The distinction in each
hand between “melody” and “background” is achieved above all by two
means: touch and intensity. The ideal shading of the texture consists of an
intense, dynamically molded melodic line sounding against an almost
neutral, dynamically more subdued background.
The performance of the motif derivatives in contrapuntal play must be
considered carefully. M1a and M1b develop from the principal motif’s
link. After the fourth appearance of M1 in mm. 25-31, this link forms two
new thematic units: In the right hand the syncopation, followed by a
simplified version of what was originally the bridge to the next phrase, is
repeated in sequence and thus builds a four-bar motif (U: mm. 313-351). In
the left hand, another feature pertaining to the link, the turn figure from
U: m. 8, also brings about a little four-measure motif (L: mm. 31-351). Just
76 WTC I/3

as M1 sounded four times in alternating voice inversions, so do these two

derivations. However, besides this similarity there are considerable differ-
ences: While in M1 each line is conceived in hidden two-part structure,
both M1a and M1b are designed as one-track developments. While M1
consists of two interdependent lines whose melodic components form
parallels, M1a and M1b are polyphonically independent. While in M1
there is only one rise and fall in tension tracing the parallel curve, M1a and
M1b show independent dynamic outlines: M1b creates a two-measure
crescendo followed by a two-measure diminuendo; the two halves of M1a
each feature and accented syncopation with subsequent relaxation.
M2 is introduced in mm. 63-73. It bears relationships with M1. Like
M1 it is designed in homophonic texture. Like M1 it contains a pedal note
in both hands (G). Like M1 it determines the main part of a ternary form.
Finally, like M1 it is followed by a link that, this time, does not connect
the model to its imitation but joins this motif to the next (see mm. 73-75).
On the surface, the motif may remind listeners of toccata style: the two
parts only meet on the downbeats, after which they move in complementary
rhythm. It is interesting to see that later, after its repetition an octave lower,
M2 develops into a different pattern, also in toccata style and also resting
on the pedal note G (see mm. 97-102).
M2a determines the middle section of this second ternary form in the
prelude. It features polyphonic texture, thus relating to the corresponding
section in the first half of the composition. Here, in mm. 75-83, the right
hand retains its complementary rhythm but ascends in a large sweep up to
B (almost the highest available note on Bach’s keyboard). From there
C major 77

it moves in 16th-notes, gradually releasing the tension it previously built

up. The entire upper-voice motif is then repeated a tone lower (and slightly
softer). At the same time, the left hand describes a curve that sounds like a
simplified version of M2a. It begins with the descent, i.e., with the middle
of the motif, which falls over two measures from E to the lower-octave C.
Thereafter it follows the right hand in stretto imitation, rising over another
two measures before sequencing the figure.
The development of tension in this prelude relies mainly on two facts:
the harmonic progression (particularly in the first half) and the difference
of intensity between the homophonic and the polyphonic sections. The
diagram inserted above shows these progressions.

WTC I/3 in C major – Fugue

This subject spans a little less than two measures. It begins after a 3/8-
note rest with what listeners experience as a secondary upbeat. Such an
upbeat, relating to the middle beat in quadruple time, is a fairly strong
impulse-giving feature, not least because we anticipate that it will shift to
a normal upbeat position in the course of the fugue.1 The ending of the first
subject statement falls on the downbeat of m. 3. The dominant harmony is
represented by the last two eighth-notes in m. 2, after which the expected
resolution onto the tonic is reached with the following keynote.
At first glance, the subject’s melodic structure seems to comprise two
segments: sequencing leaps unite the last six notes, thus appearing to dis-
tinguish the second half of the phrase from the first. This first half would
then end after the written-out inverted mordent on the second beat of m. 2
(i.e. between F and D). However, the straightforward harmonic motion,
which describes a single progression throughout the whole subject, speaks
in favor of an interpretation as an indivisible phrase. This is supported by
the indirect descent throughout the whole phrase: G—G-F-E-D-C.

6 7
4

1
Baroque polyphony, in contrast both to the contemporary dance types and also to the
music of the ensuing period, knew frequent metric shifts of its thematic material. This is
especially true in quadruple time where a subject or motif first introduced in the middle of
the measure could be placed at the beginning of a measure, and vice versa, in later
statements within the same piece.
78 WTC I/3

There are only two rhythmic values: eighth-notes and 16th-notes. The
pitch pattern is characterized by leaps rather than steps; note the melodic
broken chord at the beginning (E-C-G) and the alternating sixth and
seventh intervals at the end. There are few steps; all can be identified as
written-out ornaments: a turn in m. 1 and an inverted mordent in m. 2. In
the subject’s harmonic progression, the active step to the subdominant falls
on the downbeat of m. 2. An analysis of the underlying chord progressions
that Bach uses later in the fugue reveals the G in m. 2 as an appoggiatura
to the following F. These two notes, G and F, thus form a pair that may
under no circumstances be separated by either phrasing or articulation.
The climax in the subject occurs unmistakably on the downbeat of the
second measure. Here, two powerful tension-enhancing features coincide:
the appoggiatura and the active harmonic movement from the tonic to the
subdominant (or, more often in this piece, its relative minor on ii). The
peak note E (which may tempt all those who connect strong feelings with
high pitches) is in reality only part of a broken-chord pattern on the tonic
and therefore melodically and harmonically insignificant. The dynamic
curve in the subject thus begins with an energetic crescendo through the
first segment up to the downbeat G. This crescendo should develop evenly
and not burst out too early, so as to give the E and C enough impetus
toward the appoggiatura G. In the fairly abrupt tension decay that follows
from this appoggiatura to its resolution, approximately half of the tension
is lost. The remainder is then released gradually throughout the series of
leaps.
There are twelve subject statements in this fugue:
1. mm. 1-3 U 5. mm. 14-16 L 9. mm. 42-44 U
2. mm. 3-5 M 6. mm. 19-21 M 10. mm. 44-46 M
3. mm. 5-7 L 7. mm. 24-26 U 11. mm. 46-48 L
4. mm. 10-12 U 8. mm. 26-28 M 12. mm. 51-53 U

In three of the subject entries, nos. 4, 7, and 12, the upbeat eighth-note
is replaced by three 16th-notes, while in statement 10 it appears split into
two 16th-notes. Metric displacements—a beginning on the last eighth-note
of a bar—occur in statements 7, 8, and 12. The subject does not appear in
either stretto or parallel but takes three counter-subjects. CS1 is introduced
against the subject’s second entry (see mm. 3-5: U) and remains a faithful
companion ever thereafter. It is exactly two measures long, a little longer
than the subject, as it begins slightly earlier in the bar. In its full scope it
C major 79

begins with an “inverted-mordent” figure on the keynote, followed by a

five-note scalar ascent and a “turn” figure on the peak. From here to its end
there is a gradual descent in ornamental waves, interrupted only rhythmi-
cally by one prolonged note.
CS1 is thus conceived as a unit without subdivisions. If we consider
the dynamic development without taking into account the simultaneous
events in the subject, there are two possible interpretations, one based on
pitch, the other based on rhythmic features. The pitch pattern suggests a
climax on the highest note at the beginning of the turn figure, while the
rhythmic pattern seems to favor the longest (tied) note. As soon as we stop
regarding the counter-subject as an independent body and look at it as a
counterpart to the subject, the choice between these two options becomes
much easier. As the second solution would cause the climaxes of the
subject and its first companion to coincide, this option is contrary to the
polyphonic requirement of greatest possible independence of the voices.
Therefore, the first dynamic design is the more appropriate choice.2 In the
course of the fugue, the first counter-subject undergoes one significant
variation. The turn figure is sometimes written using the leading-note to the
fifth degree; in other instances it retains the context of the natural scale.
This results in inconsistencies in otherwise completely analogous portions
(see, e.g., U in mm. 3 and 44, M in mm. 10 and 52).
CS2 is heard six times in the course of the fugue. It is introduced at its
anticipated place, i.e., against the subject’s third entry, and taken up again
in mm. 19-20, 25-26 (with a shortened beginning), 26-28, 44-46 (with a
varied beginning), and 46-48. Its rhythmic and harmonic features create a
distinct contrast to the two other components: Rhythmically, an initial up-
beat precedes syncopations the first two of which are eight times (!) as
long as the so far prevalent 16th-notes. Harmonically, its beginning places
the first notes of the subject in a V7 context, while its ending omits the
resolution into the tonic (at least in the original statement; this is later
“corrected”). The tension layout is quite unequivocal: the first prolonged
syncopation builds the high-tension interval of a minor seventh over the
initial notes of both subject and CS1. It thus represents a natural climax,
with the ensuing descent providing the relaxation.
CS3, an unexpected further companion in a three-part fugue, appears
only twice. In mm. 10-12 it sounds against the fourth subject statement; in
mm. 51-53 against the last. Its characteristic features are the eighth-note

2
While the mind may easily accept this truth, the fingers seem more reluctant and often find
it difficult to resist stressing the longer note.
80 WTC I/3

upbeat followed by a descent in longer note values. These features and the
long release of tension resulting from this melodic shape reveal its
relationship with CS2. This impression, however, is weakened both by the
harmonic progression and by the concluding cadential-bass steps.
The sketch shows the phrase structure and dynamic design in the
primary thematic material of this fugue:

The subject statements are interspersed six times with subject-free

passages; a seventh episode closes the fugue.
E1 mm. 7-102 E3 mm. 16-191 E6 mm. 48-514
E2 mm. 12-142 E4 mm. 21-244 E7 mm. 533-55
E5 mm. 283-422
Two of these episodes are related to the subject: In E4, the upper voice
recalls the first half of the subject twice (mm. 22-24); in E5, the upper
voice quotes the subject’s first segment three times (mm. 34-37), after
which the lower voice imitates the threefold quotation of the subject’s
initial segment (mm. 38-41).
E1 introduces an independent motif that plays a major role in the fugue
(see mm. 7/8 U: from G-E to tied note A). M1 is imitated in stretto, with
a slight interval adjustment, in the middle voice of the same bar. Both the
model and its imitation are then sequenced. In a second sequence, both
voices show a variation in the second half of the motif; moreover, the upper
voice is completed by means of an extension that provides the harmonic
resolution to its tied-note appoggiatura. In the original version, the dynamic
curve expressed in M1 is obvious: the jump upward creates a rise in tension
followed by a release in the falling broken chord. In the extended version,
the upward motion is enlarged. It would therefore seem logical that the rise
C major 81

in tension be also increased. Also in E1, the lower voice presents a motif
that can be traced back to the first counter-subject. It sets out with the same
inverted-mordent figure, followed by ornamental waves recalling the final
groups of CS1 in inversion. This motif is also frequently used within the
fugue and will be called M2. In terms of tension, M2 contains very little
active power. The short upbeat-like impulse in the inverted-mordent figure
is followed by a long, subdued drop in tension.
E2 is related to E1, but both M1 and M2 recur in considerable transfor-
mation. There are some significant changes that create an entirely different
character: In M1, the leader of the imitative pattern is now the middle
voice and the tie prolongations in the motif are replaced by rests, creating
a definite interruption of the tension. Moreover, the imitating voice does not
follow its leader but restates the second, relaxing half of the motif. Toward
the end of the episode, both voices abandon the motivic context altogether
and join in a cadential figure. M2 sounds in the upper voice where it no
longer appears as a sequencing one-bar figure, but is extended to a two-bar
curve. In free inversion, it is pushed upward to a slide-decorated peak; the
effect of this climax is enhanced by the fact that it sounds in a diminished-
seventh interval to the C in the lower voice. The ensuing release ends in
a so-called “female extension,” a melodic tail after the harmonically re-
solved strong beat, on the fifth 16th-note of m. 14.
None of the subject-free passages serves exclusively as a cadential close.
But the final 2½ measures (E7) and the first 1½ measures of E4 both
present non-motivic material that leads to perfect cadences with distinct
closing formulas (see the cadential-bass patterns in L: mm. 21-22 and 55 as
well as the two typical melodic formulas in U: mm. 22 and 55). In the case
of E4, the cadential close divides the episode into two segments (E4a: mm.
21-223, E4b: mm. 223 -244). Another episode, E5, is subdivided even
further (E5a: mm. 283-303, E5b: mm. 303-344, E5c: mm. 344-422).
Finally, several episodes or their segments are varied repetitions of
earlier models. E1 recurs in three varied repetitions: E3 uses the tension-
extended version of M1 from m. 9, E6 is closest to the model but begins
with a half-bar extension, and E5b appears most remote in its use of the
motivic material: the voices are exchanged, with the lower voice in the
lead, the middle voice reduced to a broken-chord figure, and the upper
voice recalling M2.3 E2 recurs once: E5a recalls it in inverted voices, with
3
Despite the varied beginning, the statements of M1 in the lower voice should nevertheless
retain the tension curve characteristic for this motif (with, e.g., a crescendo in mm. 304-311
followed by a diminuendo up to m. 31m), while the figure in the middle voice is too
removed from the original to take part in any subtle dynamic shaping.
82 WTC I/3

the lower voice now featuring the dramatic ascent (a slide should be added
on the peak note in m. 29) while the upper voice, partly crossing over the
middle voice, recalls the developed version of M1 and the middle voice
just fills the texture. E5c, the last segment of the longest episode, features
an internal correspondence: U: mm. 35-38 (with 3/16 upbeat) are taken up,
voices inverted, in L: mm. 39-42 (with 3/16 upbeat). One may get a clearer
picture of what is happening in these episodes by completing the earlier
diagram as follows:
E5 (. E2 + E1 + E4b)
/
E1 E2 E4b
E3 (. E1) E4a E6 (. E1) E7
The role these episodes and their segments play in the dynamic devel-
opment that shapes the fugue as a whole is both relevant in each case and
significant with regard to the understanding of the overall structure. E1, as
it is determined by the introduction of new material, demands a change of
register or color (the same holds true for its three variations). Its sequences
progress downward, thus causing a relaxation and suggesting that a section
is drawing to its close. (In fact, all three voices have already stated the
subject.) The last sequence, however, extends the rise within M1 and re-
establishes a higher level of tension, thus preparing the listener for more to
come: a redundant entry. E3, the first variation of E1, shows even more of
this extended rising. The ascending trend within the melodic units counter-
balances the relaxation implied in the descending sequences and thus
defines this episode as one linking adjacent subject entries. By contrast, E5b,
the second variation of E1, stresses the decline. Its role in the overall
tension is one of announcing the forthcoming end of a section. E6, the third
variation of E1, returns to the pattern of the original: the smooth tension
decay in the descending sequential pattern is arrested at the last moment,
thus granting the following (redundant) subject entry to be perceived as
still being part of the section.
Both the original E2 and its variation in E5a are self-contained units. In
a color distinctly different from that of the subject-determined passages,
their dynamic outline runs in curves; within each of them, a rise to the
climax and a subsequent relaxation are concluded by a cadential close.
Compared to the relaxing E1 and the self-contained E2, E4b represents the
type of episode that conveys a preparation for a subsequent entry. The
incomplete subject statements serve to suspend the tension before the
ensuing full entry. This impression is further enhanced by three facts: this
episode segment sets off after a cadential close, it is presented in reduced
ensemble, and the secondary voice is confined to non-motivic material.
C major 83

E5c seems to repeat this pattern on a heightened level: It also begins

after a complete decline in tension, it is also presented in reduced ensemble
(this time it is the middle voice that is resting), and its secondary voice is
not only non-motivic but actually displays a barely disguised prelude-style
accompaniment pattern. This last fact especially sets this episode portion
furthest apart from the remainder of the fugue. Most of the active strength
and tension otherwise characterizing this work seem temporarily withheld.
Finally, the two cadential formulas in the episodes together with their
extended preparations form dynamic curves. In E4a, the climax falls on the
downbeat of m. 22. E7, the closing episode of the fugue, is launched from
the interrupted cadence at the end of the final subject statement and
describes an increase toward the dominant bass note G. Whether the very
ending, with its quotation from the subject’s tail and its voice splitting, is
interpreted as a relaxation or as a triumphant close, remains at the individ-
ual performer’s discretion.
The basic character of this fugue is rather lively. Both the pitch pattern
with its many written-out ornaments, leaps, and broken chords and the
rhythmic pattern with its predominance of two note values support this
impression. The only component introducing a hint of contrast is the second
counter-subject with its long notes, chain of syncopations, and stepwise
motion. The overall tempo should be fast enough to allow the written-out
embellishments in the primary material to retain a touch of their orna-
mental character—i.e., the four notes of the “turn” at the subject’s beginning
should be heard as an entity rather than as separate notes. The appropriate
articulation in this rather lively composition consists of non-legato eighth-
notes and legato 16th-notes. It is possible and gives the fugue a lovely depth
(while admittedly increasing acrobatic demands) to play the contrasting
CS2 with the characteristics of a rather calm character, i.e., with legato
articulation and a singing touch. But it is obviously also possible to opt for
unity of character in all components of the material and play this counter-
subject with long but slightly detached notes.
A good tempo balance between the prelude and its fugue is reached by
transforming a triplet (i.e., three eighth-notes in the pulse of the prelude)
into a duplet (i.e., into two quarter-notes in the pace of the fugue). The
proportion thus reads:
1 measure corresponds with ½ measure
in the prelude in the fugue.
(Approximate metronome settings: 72-80 for one prelude bar, 108-120 for
one beat in the fugue.)
84 WTC I/3

The fugue features three ornaments: the slide in E2 (and, correspond-

ingly, in E5a), the cadential mordent in U: m. 22 (not included in the fair
copy but deriving from a copy, presumably because Bach regarded this
conventional ornament as self-evident), and the compound ornament toward
the end of E5 (see U: m. 38). The slide often causes confusion, probably
because it is conventionally printed slightly to the left of the note head it
ornaments. Yet just like other Baroque embellishments, it also begins on
the beat. Thus in m. 13, the right-hand downbeat G falls on the left-hand
C. It is followed, in 32nd-notes or faster, by A and a B that is sustained for
the remainder of the note value. Correspondingly, in m. 29 the left hand
plays C-D-E with the C (not the E) coinciding with the middle-voice F.
The cadential ornament in m. 22 is a simple mordent, beginning on the
upper neighbor note and consisting of a double shake: E-D-E-D. The
symbol for the complex ornament in m. 38 asks for a turn progressing into
a trill. Because of its tied ending and delayed resolution, this trill should
conclude without a suffix. The result is, in 16th-note motion, an initial
A-G-F-G.4 This is followed by six A-G groups. (In order to further
enhance the suspension it is possible to play only five A-G groups and
stop a little earlier before the bar line.)
The most prominent feature of this fugue, in terms of design, is the
striking analogy of mm. 1-12 and mm. 42-53. Here are the details: The
order, position, and keys of the three initial entries recur identically. The
surrounding counter-subjects also correspond (although mm. 42-46 now
feature an additional voice, owing to the fact that the ensemble in a fugue
never drops back to a single voice). As has been shown above, the
subsequent episode, E6 in mm. 48-51, is a variation of E1, with its initial
half-measure extension serving to modulate. The subject entry that follows
also corresponds with the redundant entry in the first section although, as
a result of the modulation in the episode, mm. 51-53 now sound on the
tonic and not on the dominant as did mm. 10-12. However, the order and
position of the voices are the same. The analogy of these two entries is
additionally enhanced by the fact that they are the only ones in the entire
fugue to be accompanied by CS3. This prominent analogy defines the
major structural traits of the fugue. In addition, the episodes play an
important role in determining the design.

4
The pitch of the lower auxiliary needs a comment. The harmony underlying these
measures of retransition is normally interpreted as the dominant, represented by an
alternation of dominant-six-four (C major with G in the bass) and dominant-seventh
chords. If this interpretation is adopted, i.e., if G major acts as a dominant, its seventh is F
(heard repeatedly in these bars), whereas its leading note in ornaments should be F.
C major 85

There are three instances in the C-major fugue where the concluding
force of an episode sheds light on Bach’s intention of partitioning the work
into sections. The first is the cadential close that ends E2 at the beginning
of m. 14. The second is the explicit cadence in the middle of m. 22, already
mentioned repeatedly. The third is more complex. In E5a, the variation of
E2 seems to conclude something in the middle of m. 30. However, this
cadential close is followed by the variation of E1 that, as has been shown,
makes no attempt to launch any kind of new development. Neither does the
ensuing segment in which the tension is suspended. To see these three
episode segments follow one another is already unusual enough. To see
them trying to surpass each other in “tensionlessness” is even stranger.
However, it is this very strangeness, this long retreat from the active
striving in the piece, which gives this portion its particular effect: as a
protracted buffer before the last section of the fugue it succeeds in
highlighting the symmetrical design.
Finally, looking for features that might indicate section beginnings we
find that two subject entries in this fugue appear in reduced ensemble.
They are the first minor mode statement in mm. 14-16 (which is thus triply
justified in being regarded as a section beginning) and the first entry in the
recapitulating final section.
86 WTC I/3

The harmonic outline confirms the other findings: The first four subject
statements remain in the home key of C major. The following two are in
minor mode—the relative minor keys of the tonic and the dominant
respectively. E minor, the relative of the dominant G major, is also the
key in which Bach concludes this section with a cadential formula. The
episode segment E4b modulates back to C major, and all remaining
subject entries are presented in the home key, in the conventional
alternation of tonic and dominant.
The analogy of the first and last sections requires correspondences also
on the level of dynamics. Both times, the first three entries sound gaily
bouncing, with a slight increase caused by the growing number of voices.
The redundant fourth subject statements regain this mood after the very
timely pickup of tension at the end of the respective episodes. The second
section also shows a slight tension increase between its two subject state-
ments, mainly because of the growth from two to three voices.
In the third section, however, the first of the two entries most probably
contains more tension than its successor. The main reasons are that it
appears at a point of heightened expectancy (after the two incomplete
subject statements) and that, in unmodified ensemble strength, the subject
appears in the upper voice, making it appear more powerful than the
following statement’s middle-voice position. This decreasing tendency is
then continued through the long string of episode segments that, as has
been shown above, become ever lighter.
Among the four sections of this fugue, the analogous outer ones take
the lead. The second section sounds softened, due both to its minor mode
and its shorter extension. In the third section, the four measures containing
the two subject statements return to the home (major) key but contain no
special features that would emphasize them in any way. While they may
sound more self-assured than the preceding minor-mode entries, this mood
is overshadowed by the nearly sixteen measures of surrounding episodic
material.