This piece is in a three-part structure.

• Exposition (measures 1-12)
• Episode (measures 12-17)
• Stretto (measures 17-25)

Characteristics of the Subject

The subject is first presented as the dux in measures 1-4. It begins on the tonic, descends scalewise to the dominant, then ascends a second to scale degree 6 (A), then ascends a third to reach the tonic again, descends to the leading tone, and finally resolves back to the tonic.

In the initial scalewise descent from the tonic to the dominant (a fourth), the melody passes through scale degree 7 (B). Although this B is a leading tone (which harmonically is a tendency tone that must ascend a second to the tonic), it descends directly to A instead of ascending to the tonic. This melodic movement creates a sound reminiscent of a church mode.

The subject as a whole features many stepwise motions, resulting in a melody with a strong horizontal connection. Although the score indicates a long slur over the subject, as noted in the footnote at the bottom of the score, this merely indicates the subject itself, and articulation must be considered separately. In the style of the Baroque period, short slurs that do not cross bar lines might be considered. It would be beneficial to experiment with several possibilities, considering the character of the subject and the overall structure.

Overall Structure

Although short, this work establishes a basic structure as a two-voice fugue. In the exposition, the subject is first presented in the lower voice in the tonic key (dux), and then imitated by the upper voice in the dominant key (comes). From measure 9, the subject is re-presented in the upper voice in the tonic key.

There is no fixed countersubject or countermelody, but the motif in the lower voice at measure 5 is utilized in the upper voice at the beginning of the episode.

The episode begins with a VI chord in D minor. From measure 14, a subject beginning on A is presented. In this subject development, the latter half (measures 16-17) modulates to A minor, but the first half (measures 14-15) is in D minor, with a harmonic resolution from the dominant seventh to the tonic triad. This entire subject development is not presented to establish (secure) the subject, but rather, from a harmonic structural perspective, it has a transitional meaning.

Focusing on expressions tied to individual tonalities in this section can structurally lead to a stagnant expression. Therefore, it is desirable to convey an overall image of the subject presentation in the minor key that contrasts with the major key subject presentation in the exposition.

At measure 17, the subject begins in the lower voice, followed by its imitation in the upper voice at measure 18. The subject is imitated in another voice rapidly in quick succession before one subject presentation is complete. This is stretto.

In large-scale fugues, there are small stretti that occur like skirmishes between two voices during the piece, and grand stretti that unfold majestically with all voices at the end. As this work is a small-scale two-voice fugue, it cannot be described as grand, but the section beginning at measure 17 corresponds to a grand stretto. Within the bright tonality of C major, the presence of stretto creates a lively and energetic atmosphere.

The conclusion, measures 24-25, is difficult to discern due to the two voices, but the chords change every beat here (IV-II7-V-I). It would be effective to express a poco ritardando while feeling these harmonic changes.