In the first measure, one plays only on the first two notes, but not on the others. In the second measure, one plays on no note except the first, likewise in the third measure, but in the fourth measure again on the first two notes.

In the fifth measure, only the first and eighth note are played with the appropriate and specified chord. The same applies for the sixth measure. In the seventh measure, it must be noted that the 6 above the last note must already be struck and anticipated with the preceding b. In the eighth bar, the right hand does with the F# and B that which the bass played at the beginning with B and E. In the ninth measure, this continues with B and G# to E and with B and F# to D#. In the tenth it is the same as in the fifth. In the eleventh, however, the right hand takes the subject and begins with e C#, then e B, then e A, then e G#, and finally e F#, just as the first four bars of the Prob-Stück read note for note.

With the following measures 16, 17 and 18 one proceeds as with the fifth measure. Where the transposition of the theme begins with the tenor clef, one proceeds just as with the beginning. In the 28th measure, it is to be noted that the right hand goes along in thirds with each note in addition to the sixth, which remains lying. Further, the 37th and 38th measures are to be taken into consideration, where one plays exactly what the bass has had in the two preceding measures, however, as if a lower treble clef were now in front of it. The next four measures up to the end of the first part are played quite strongly with chords on every note and full-voiced.

It can be observed that in the second measure of the second part, the first note passes through, which rarely happens and depends on the judgment, since one must observe on which note the emphasis or accent falls, which here does not happen on the first, but on the second note, because the latter is the last which rises and it is at the same time the beginning of a new progression.

Up to the 27th measure of this part, there is nothing further to explain or elucidate. Here, the first subject must be placed and developed again, first with f# c#, then with f# and d# to B, then with f# c# again to Bb, and finally with f# b, as the seventh to G#, which is resolved with f and b.

In the 31st measure of the second part, the material from measure 37 of the first part occurs again, although with other notes, so that here one has nothing more to do than to play with the right hand the same notes that the bass played before, but in the previous manner, as if a low treble clef were in front of it. The following four or five measures can easily be played in thirds, and finally, the conclusion is made again with a transposition of the subject in the right hand as follows: However, the left hand must play everything as full-voiced as possible, which is set now and forever.

I have diligently wanted to place the whole passage here, so that, if in the previous descriptions some things might sometimes seem obscure to one or the other, it will all be illustrated and made clearer from this example; since it remains the case that whoever is knowledgeable about a matter is naturally not so adept at presenting it as is often necessary for an uninformed person; therefore, no one can be too comprehensible in teaching, so that even a little prolixity and repetition is not immediately to be blamed, as long as its intention is directed to clarity.

The famous Mr. Telemann once published six concertos, and had them engraved very neatly in copper, which the late Serene Prince Ernst of Saxe-Weimar composed with his own hand and from his own invention: in these the Concerto V. is in the above key, and it is one of the most beautiful. Besides, to find free lords who compose music and who can be mentioned is something that does not occur every day, but it gives a peculiar advantage to the precious music.