This theme feels very long. The technique called diminution, which shortens the length of the original theme by doubling its speed, is used within the theme itself. This can be seen in the AHCA in measure 1 and the opening sixteenth notes of the AHCA in measure 3.

The theme extends until A in the third beat of measure 4. From this point, the theme appears repeatedly, but after its last appearance in measure 33, it is absent for a while. Instead, a new descending chromatic progression begins from measure 37, which could be perceived as a B section.

Chromatic progressions were rarely used at the time and represented a highly convoluted world. They also served as an expression of sorrow. This continues extensively. The theme next reappears from the bass in measure 61.

The most challenging aspect of this fugue is how to perform the chromatic progression section where the theme is absent. Tracing from measure 37 to measure 61, where the theme re-enters, one can observe that the chromatic progression gradually becomes chaotic, and the register is written in a considerably low range towards the end. Therefore, for instance, one possible performance approach is to begin measure 37 pp and generally apply a crescendo towards measure 61, thereby increasing the tension.