F minor, 4/4 time.

Similar to No. 3, the piece is constructed using triple counterpoint, where the subject is combined with two counter-subjects. The subject, presented by the middle voice at the beginning, expresses a sigh-like character through its rests and descending seconds. Furthermore, counter-subject 1, placed in the bass voice, is based on the "passus duriusculus" (a chromatic descent by a fourth), which was used to express suffering and sorrow. Additionally, the subject includes a tritone leap (at the beginning of measure 2), the most dissonant interval, emphasizing the lamenting character of the piece.

In the first two measures, the upper voice rests, resulting in two voices. However, from measure 3, with the subject's presentation, the upper voice takes the subject, the middle voice takes counter-subject 1, and the bass voice introduces a new counter-subject 2. Throughout the piece, the subject is presented 10 times, and in all but the opening presentation, it is consistently combined with the two counter-subjects. The piece is structured approximately symmetrically, with the 4th-5th and 7th-8th appearances of the subject occurring in a major key.