Various things will need to be noted if one wants to play the thing according to the author's liking. This – it should be said once again – necessarily has to happen, if anything should be brought to perfection. Somebody who does not catch or divine the author's intention, misses it by far, even if he thinks to have found it. When having played the cadence in the seventh measure, the right hand has to play right away something more than the bald chords and sixths, for this can be done by the left hand alone. No counter subject can now be found prior to the 20th measure, which has to be taken here and begins on the c with the third, and will be repeated four times, always one tone higher. One can easily conclude that afterwards, in measure 13 the same is required once more, however, not with the third, but starting with the octave on the g the progression is repeated four times, always one tone higher, just as before. In measure 20 the previous counter theme shows up in the bass, so it can be turned around and the progression that was before in the bass can now be used in the discant while still playing full-voiced chords. When it appears in the last half of the 22nd measure, where three crotchets are, one is well advised to descend from C3 down to D2 for an imitation; but not forgetting the 6 and 5 in the bass. The 24th measure alternates again the two subjects and in the 32nd one may play scales in thirds, and where the three crotchets are, one plays the just mentioned small imitation clause. I am afraid that the musical lawmakers will throw a lawsuit at me for using the C3 in thorough bass. But my defense is already done.

The 37th measure and the following ones require a special arpeggiation, growing out of the preceding ones, while playing exactly the figures placed above. Since for everyone it might be hard to guess right, I will specify a bit of it for the juniors:

Now this might be enough of instruction, everything else can naturally be deduced from it. However, in order not to be once again accused of demanding unwritten things to be played and the hangman (for he is an experienced fellow) has to guess what I want to have, I will write down some more measures.

And this shall be enough for one who does not know at all how to help himself. Those who want to stand for something and want to be of significance, must ex tempore bring out such things even finer and more elaborate than instructed here; otherwise they are, though not particularly bunglers, yet quite mediocre. I very much like that St. Lambert even approves of imitating the subjects or entrances of the arias in all parts on the keyboard when accompanying a single voice. His words are: When one plays the thorough-bass for one single voice and a brisk and lively aria comes up in which multiple imitations occur, as they often are found in Italian arias, one can imitate the subject and the entrances of the aria on the keyboard and play the parts as well, one after the other. But it requires a complete knowledge and it has to be a master of first rank for whom it is easy to play. For that, our test pieces can be taken as an example. I would like more of first rank to be in this world, but there are indeed too few. Those of last rank pretend to be the masters everywhere.

The three following bars are done simply with thirds, which sufficiently fill in an Allegro, and finally the two measures before the last one are done with the counter subject and a full-voiced bass until the end.