A characteristic feature of this fugue is the presence of elements that precisely mark time, much like a metronome or a clock. In this fugue, the eighth notes fulfill this role. In the first measure, the theme appears in the left hand. This theme undergoes various transformations, and it, or fragments or inversions thereof, can consistently be found in one voice or another. It is so pervasive that it is difficult to find a measure where this continuous stream of eighth notes is absent; they appear in approximately 90% of the measures.

Thirty-second notes appear occasionally, and their number, along with that of sixteenth notes, increases significantly towards the latter half. From measures 31 to 32, thirty-second notes emerge as scales. Once this peak sequence concludes, the thirty-second notes disappear, and a sense of calm returns, as seen in measures 33 to 34. However, as mentioned previously, this fugue must absolutely maintain a consistent tempo and rhythm, without any slowing down, speeding up, or fluctuating. Do not slow down the tempo at all during measures 31-32, and likewise, do not change the tempo at all during measures 33-34. Finally, in measure 40, beats 1-2, a slight ritardando should be applied towards the end.

By consistently maintaining the tempo, the interplay between the eighth, sixteenth, and thirty-second notes becomes enjoyable, making this an optimistic fugue.