for the remainder of the movement, bach ingeniously permutes all the musical material at his disposal, with thematic passages from the ritornello interspersed with more elaborately developed variants of previous episodes. between two bridging episodes, the ritornello theme returns in the violin but now starting in the middle of a bar. the fugue theme is heard again in the bass line accompanied by the countersubject in the violin; the fugue subject then passes to the violin starting mid-bar; and finally it is heard in the upper keyboard of the harpsichord. after a further extended concertino-like episode revisiting the trilling exchanges from the beginning of the movement, the ritornello theme returns mid-bar in the left hand of the harpsichord, accompanied by the countersubject in the right hand. with the upper parts exchanged, there is a repeat of the dactylic interlude along with its eight bar sequel. it is linked by a brief quasi-stretto section to a three bar cadenza-like passage over a pedal point, leading directly into the concluding eight bar ritornello, its opening marked by the rising chromatic fourth figure in the bass line.