It is primarily in a three-voice fugal form. As is typical, it contains conventions found in standard fugues, such as modulations to various keys, thematic fragments, sequences, and stretto, but the issue lies in the treatment and conception of the theme (subject).

Suppose the theme begins in measure 1 and ends on the first sixteenth note, G, in measure 4. In measure 2, the theme descends, but the intervals progressively widen, and a seventh appears on the third beat of measure 2, making it possible to build a crescendo up to the seventh on the first beat of measure 3 as a peak point. It is then assumed to decline.

However, the issue lies with the three quarter notes at the beginning. While it is certainly a valid approach to vary the volume of these three notes, another idea might be to consider these three quarter notes as ringing out impersonally, like "church bells," and to play all three with the same volume and timbre, without any dynamic variation.

The initial three quarter notes of this theme are very difficult to discern unless they are brought out with conscious effort, and they can sometimes sound like mere pedal points. When the theme appears, try to play these three quarter notes loudly so that they are clearly audible to everyone.