The fourth note of the Answer is altered for the sake of tonality. This Fugue has a РІР‚СљtonalРІР‚Сњ Answer, and would be styled as a РІР‚СљtonalРІР‚Сњ Fugue.Final chord major, called Tierce de PicardieР’В . Couter-subject absent, the inner parts being independent. Counter-subject divided between the Treble and AltoР’В .Р”В«ars 29-31: Tonic Pedal and CodaР’В .Р”В«ars 29-31: Subject in Treble. RECAPITULATORY SECTION:Р”В«ars 26-28: Subject in Bass. Counter-subject in AltoР’В .Р”В«ars 22-26: Episode IV, modulating from C minor to E flat Major and back to C minor. Counter-subject in TrebleР’В .Р”В«ars 17-20: Episode III, modulating fro G minor to C minor.Р”В«ars 20-22:Р’В Subject in Treble. Р”В«ars 13-14:Р’В Episode II, modulating from E flat Major to C minor.Р”В«ars 15-17:Р’В Answer in Alto. MODULATORY SECTION:Р”В«ars 9-11: Episode I, modulating from C minor to E flat Major.Р”В«ars 11-13:Р’В Subject in Treble. It modulates from G minor to C minor.Р”В«ars 7-9: Subject in Bass. The artistic method of the Prelude is akin to that of the first, though much more animated and energetic, owing to the use of the dissonant passing notes in each characteristic figure.Р”В«ars 3-5: Tonal Answer in Treble, with Couter-subject in AltoР’В .Р”В«ars 5-7: Codetta formed from the first limb of the Subject in the Treble, and from the first few notes of the Counter-subject in contrary motion in the Alto, both moving in an ascending sequence.

In Period III, there is not division in the strict sense of the word, though there are differences of РІР‚СљtempoРІР‚Сњ at Bars 34 and 35. In Period I, there is a Sectional division at Bar 4, and in Period II at Bar 18. This figure, which is persistent throughout the Prelude, till five bars from the end, takes its distinctive character from the Passing note, which almost always forms the third note in each group of four. This Prelude is constructed on chords of a simple nature, which underline the constant reiteration of the figure seen in the first two beats of Bar 1. Dominant Pedal from Bars 28-33, followed by Tonic Pedal at Bars 34-38. Built upon the Dominant and Tonic Pedals.

Bach fugue