Since the key itself is a bit hard, I did not want to load this test piece with other special difficulties. Instead, I wanted to make it as naturally as I could think of, so that nobody could say that one tried to make the so-called difficult keys even more confusing and difficult with all kinds of artificialities.

It should be noted that the beginning becomes particularly ornamental when it is played note for note in thirds without forgetting the figures, while the bass can accompany it in octaves. Further, since the harmony is already fully present in the arpeggio, in the 3rd to the 6th measure I would like to see only the mere third leaping down an octave in the treble, followed by a short rest, just like the figure that occurs later in the bass. I think that this makes the listener more attentive than if you keep hammering with full chords all the time.

The seventh and eighth measure again contain the beginning, and are thus also played in thirds. In the ninth and following measure , the above-mentioned manner is repeated and thirds are played that jump in octaves, just like that: In the 13th measure it is turned around and the right hand must syncopate.

When the other part begins, one will note that the figuration can also be delicately applied in the right hand since the bass continues as the first part ended. It is only important to make sure that the intervals are taken as far apart as possible, because, as has been mentioned several times, thirds sound too narrow in such broken chords. But necessity knows no law. I am only saying that when it is possible to be changed. Like for example one can make the broken chord like this for the b in the other part. Nobody will refuse such a thing: But nobody will dispute that it would be better in the following way:

In the fifth measure of the other part the bass has again the above-mentioned arpeggio, which is why the right hand may let its thirds jump into the octaves again. In the seventh measure a variation appears. In the ninth measure the opening subject occurs, whereby the favored thirds can be played on every note. The eleventh measure requires the leaping thirds mentioned so often, or whatever else has been indicated by the figures. Although redundant, let me put down my opinion:

This key, B major, is called "B Fa Si Becare majeure" in the rotwelsch here to be understood as "incomprehensible". dialect of St. Lambert and again, I do not know why in the world, rare is attributed to it. If we want to make only rarities out of our keys, I am not surprised that the poverty of the thorough-bass players is so great. If it were written in the primer that Q, X, Y, etc. are rare letters because they do not occur as often as A, E, I, O, U, it could still not pardon the student from knowing them; and much less a printer, if those letters were not to be found in his workshop. The application is easy to make.