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Melody

The third movement starts with the subject, which begins with an anacrusis. The countersubject is single detached quavers played on the beat. This continues throughout section A. The flute performs the answer motif in bars 3 to 5.

The subject is heard in bars 1 to 2 and the countersubject is in bars 3 and 4 - both are played by the violin from the concertino group.

It is typical for the performers to include lots of ornamentations, eg the trills in the harpsichord in bars 19 and 21.

Structure

Usually the subject is two bars long and then the countersubject is played. In some cases there is overlapping of the subject - such as in the harpsichord in bar 39 where the subject is in the left hand, then in bar 40, the subject is in the right hand. This is called stretto.

Texture

The main texture of the movement is counterpoint, which means tune against tune. This is created by J.S. Bach’s use and development of the subject, answer and countermelody. It is important to understand how Bach uses subjects independently and with precision throughout the piece for the most effect. Counterpoint is a form of polyphony or polyphonic texture.

Harmony and tonality

The movement begins in D major, which is a comfortable key for string instruments to play in as it uses lots of open strings. It modulates to the dominant of D major, A major, because the note of G is sharpened in bar 12. The section continues to modulate to A major's dominant, E major, working back to D major. The music is punctuated with perfect cadences before each new key.