The sequence here seen in the treble is founded on the figure employed in the tenor in the second half of the seventh bar of the exposition in § 204. It is accompanied by a sequence in the tenor, formed from the beginning of the countersubject, and imitated in the second above, and at one crotchet's distance by the alto.
242. Our last episode is more elaborate, and is given to illustrate the incidental employment of canon in fugal writing.
In the second bar of this passage the first bar of the countersubject is introduced in the alto, and treated sequentially in the following bar. It is also accompanied by a sequential counterpoint. Both these parts are imitated by the tenor and bass, making a "4 in 2" canon; but the inversion of the voices, instead of being, as usual, in the octave, is in the tenth,
