The first line of this piece is played only with octaves in the bass and the seventh is resolved a little more delicately than usual. When two measures in the other line have passed by, the main subject occurs again, but varied, with nothing beyond to be observed. In the seventeenth measure one must be aware of the scale that begins in that very place and memorise it, since the right hand will use it afterwards.

In the 21st measure the main subject comes again in the repercussion of the fifth, with once again nothing colourful required if played nice and purely. Then one has to place the above mentioned scale in the 26th measure in the right hand right away with the seventh in the fifth and has to continue that way for three measures with a full-voiced bass. From measure 29 to 32 it is played as strong and on each note as full-voiced as possible. It cannot harm to employ fast arpeggiations with both hands at that place.

In the 33rd measure a new invention begins, which requires that the right hand canonically follows the left hand note for note when it is three steps in advance: and that lasts until the 37th measure where the passage that has already been in the 13th measure can be used again as an interlude, placed in a fourth.

Four measures later the bass takes up again the previously mentioned scale in transposition, which should be memorized, since it will be used again in the right hand. In the 46th measure the first subject can be seen but varied in another way. Here it has to be observed, that the seventh and its resolution can be changed and arpeggiated in the same way, as it can be seen from the following example:

After this passage the often-mentioned scale in the right hand appears right on the great C, at the fifth, and continues so into the fourth measure, but as always with full-voiced chords in the bass.

In the end, the music of measure 29–32 follows again and it is played with all forces as full-voiced as possible, also with arpeggiations in both hands. Concerning the actual use of this arpeggiation, considering that it makes a big noise and is the most pervasive way of playing on the keyboard, it must be used nowhere else but in full-voiced pieces such as strong concerti, ouvertures, symphonies and choirs, especially there, where a forte and tutti is placed; otherwise it would drown and ruin everything too easily. This aria can be used as something of foreign hand.

I placed this rather neat aria here for different reasons: (1) so that one solmisizes it; (2) since ♭D, ♭G, ♭C and ♭F appear often in it, (3) since the last section has modulations and cadences in both, D-sharp minor and G-sharp minor; (4) since it demands a great master to accompany this aria well without figures: for nobody will do justice to the seventh, eighth, ninth and tenth measure, who does not see from the 63rd measure and following how to treat them correctly; and (5) because in the second measure in the second line of the previous page in the singing voice and also in the 10th and 13th measure of the last part, for the first time on page 358 in the penultimate measure on the syllable -ne and for the second time on page 359 in the second measure on the syllable -ven, appears an interval that cannot be counted among the so-called common ones but still indicates how a skilled master might make use of it. It is a minor ninth in relation to the fundamental voice, and I do not hesitate to admit that it is the first which then I found in a melody in that way and considered useful. Likewise, the cadence of the first section on the seventh scale degree is something strange and nothing ordinary. But I cannot really say that it delights me, especially considering the repetition: but everybody has his own taste.