354. An interesting fughetta of a different kind, also by Bach, is that in F.
It will be seen that the subject is identical with that of the fugue in A flat, No. 41 of the 'Forty-Eight'; and if the two pieces are compared, it will be found that, except as regards key, they are exactly the same down to the 24th bar, where the fughetta ends. The latter is the earlier version, and it contains a complete exposition, an episode of four bars—no middle section at all—but a large final section with entries for all the voices, which, when Bach rewrote the fugue for the 'Wohltemperirtes Clavier,' was made to do duty as a counter-exposition. If the student will read the first half of the A flat fugue, he will see the fughetta complete; there is therefore no occasion to quote it.
355. Our next example, by Handel, is different in form.
