although parallel to the first part, the second part is not a straightforward inversion (it is ten bars longer with 64 bars instead of 54). only the fugue subject and countersubject are inverted. both are also transformed in other ways: the first by adding intermediate notes and removing some repeated notes which change its rhythmic character to a more continuous melodic line; and diminution is introduced in the countersubject, now playfully scored in syncopated groups of three semiquavers instead of four (see the 5th bar above).