in the upper parts a tightly phrased semiquaver figure ornamented with a demisemiquaver dactyl is heard in the harpsichord, then in a response in the violin and finally in the harpsichord where it leads into a cadence. this is accompanied in the bass line by new rising figures made up of chromatic fourths. as comments, although this new material is quite different from that of the ritornello, bach subsequently relates it to the ritornello: in the two bar reprise of the fugue subject of the ritornello at the cadence, chromatic fourths are included first in the descending left hand of the harpsichord; and in the next bar they are then heard as a rising quaver motif in the right hand, forming a new countersubject. this four bar passage is immediately repeated with the upper parts exchanged.