The first four notes of this piece are to be played unbroken, with four full and short strokes, and on the fifth one should do a sharp trill in the lowest octave. The following measure is played as it stands. The first six notes in the fourth measure must be doubled with octaves, and this figure which immediately follows in the bass by transposition Here, the first edition reads "repercussion" instead of "transposition". must be used in the right hand.

In the last half of the mentioned fourth measure the right hand has to play six times per crotchet. This must be observed throughout all similar cases. These crotchets are, as you can see, composed of eight notes and are broken down into as many parts. I remind this because otherwise it might seem strange to the reader that in just one crotchet he should play six times with his right hand. The fifth measure again requires octaves and in the treble the above-mentioned figure begins, transposed and starting from e: with which the sixth and seventh measure alternate as well, each in its own tonality.

The eighth bar develops the already described interlude three times in ascending degrees in the right hand, while the bass is doubled, in this way: In the ninth bar the very first subject occurs again. Here the treble can easily find a subtle melody in quavers and the bass can be played full-voiced. In the tenth bar the trill on the first note must not be forgotten; but there is nothing to remind about the eleventh.

The twelfth bar must be played full-voiced in the bass, while the right hand can make use of everything that has been there in the previous measure only by turning the g into a d and continuing that way. The thirteenth measure is to be played as written. The first half of the fourteenth measure requires the little interlude to begin in the treble: The same can be done in the first half of the fifteenth measure but transposed down by a tone, and in the seventeenth measure one only observes what has been said in § 1.

Now it has been hinted at in § 3 how to deal with such notes as occur again in m. 21. But if someone wants to make a variation here, it is so much more pleasant to listen to. But let the trill be recommended again in m. 22, namely in the low octave. It cannot harm if someone wants to try this trill with the right hand in sixths at the same time.

Now we turn around the motive in m. 23 a little and take it in the right hand as it can be seen in the next beats in the bass: but a third higher. An enthusiast of counterpoint will take the opportunity to note that both motives can be inverted backward and forward. However it is not really our intention to bring it out that way on the keyboard nor is it possible to do it in all the pieces.

In m. 25 the simple subject of the beginning occurs once more. Since it now can be heard for the fourth time it fairly deserves ornamentation in the right hand. The counter-subject that would otherwise fit it might, in my opinion, be taken from the fourth measure and be applied, earlier as well as here, in this way: So you can see that these things are not just whims, empty motives, unordered and wild ideas or dry basses. Rather, everything is connected and there is almost no note to be found that does not have its certain relation with the others. After having played the counter-subject a couple of times it may well be varied for the third and fourth time in that way.

What happened in the 23rd measure occurs again here, mutatis mutandis, in the twenty-sixth, twenty-seventh and twenty-eighth measure. The last six notes in m. 30 also require a special treble. And then one can play the end as firmly as one's fingers can.