Since other keys seem to be made for lamenting, for laughing, for rejoicing, for devotion, and so on, it almost seems as if this one is especially suitable for playing and joking. A violinist will be very pleased to see it, and will find much that agrees with his instrument; and he who is capable of the flute must hold this key in high esteem, because it is one of the most convenient to give it its right strength. But whether an oboe or bassoon will also be satisfied with it is doubtful. However, since it must not matter to our thorough-bass player from which key he plays, because one tangent does not require a stronger finger than the other, let us rather go through this example a little than dwell longer on the character of the key.

Now, one would like to see the first two measures played quite simply, so that the main theme would come out distinctly in accordance with the saying founded in nature and reason, that all beginnings must be simple, plain and clear. With simple playing it is mainly demanded that for every six notes in the said measures the right hand strikes only once, before and with the note, whereby it must be remembered that playing before refers to the rest.

The three following measures are played with the figures in the most exact manner, and on each eighth note, the appropriate one is struck; however, in the last measure of these three, one must be careful not to take the usual 2 together with the 4+ since it would not be possible without a mistake, but instead play again the octave which is already in the hand, then such a movement will sound completely strange because of the 4+.

As for the 6th, 7th and half of the 8th measure, one can take a little more liberty and not only play them with a doubled octave in the left hand, but also play in the right hand three times for every six notes whatever is in the hands or what is figured. The rest of the eighth bar and the ninth measure are to be played as instructed.

Just because of the simple notes the fifteenth measure suggests consideration and the occasion to take up the main subject in the right hand at will (not that it necessarily has to be done), with the very notes with which the beginning was made; however, in such a way that the left hand, as was said once and for all, does not forget to play in full voice at the same time: so that even when playing alone the quality of the thorough-bass is not suspended, but only embellished, as has already been amply reminded above in various places.

In the 11th measure, the right hand may continue with thirds as it began, and the bass can also be played double, but it must not be forgotten that the right hand must always play full chords on the first note of every six beamed together.

When one comes to the 12th, 13th and 14th measure, one recovers a little and does as one pleases – or nothing but what is written. In the 15th and 16th measure however, one will already see that the right hand may again have to do something, but it will be at the beginning, which must be made after a sixteenth rest with the 4+ on the d, and then everything will follow according to the subject in thirds with the bass, whose beats must all be in full voice. Otherwise, nothing more is to be remembered until the end of the first part, except that the three-tailed notes in the right hand are also in thirds.

That the other part now seems to begin a new subject is done out of love for variety, and each note may be given its proper chord, also taking the bass as strongly as possible, which makes a good effect especially on the C-sharp and the chromatic notes. The six ascending notes in the second bar, as well as the six descending notes in the fourth and fifth measure are to be excluded from the restriking, and are to be made to sound distinctly in octaves. Then the bass takes up the first main subject again and continues with it according to the instructions above.

In the ninth measure of the second part it goes again vigorously across the whole keyboard, to every note; in the last half, however, the right hand can apply a soothing manner that is similar to the main subject, which will show a student and ponderer the nature of the movement itself: and thus it is correct until the end of the thirteenth measure, where the first subject again appears, almost as it was in the sixth and following bars of the first part, for which reason one may only consult the above and follow the annotation made exactly.

In the last half of the 16th measure, a small invention is to be added with the right hand on the same beat as in the tenth bar of the first part; however, the rest of what is required must also be taken into consideration up to the 18th measure, and can then, just as everything stands, be brought to an end: whereby nobody should be confused by the 9. 7. 2. appearing last, because these are chords that just preceded and are made good and proper again by the 6⃥/4.