This is an unusual pairing, in that the prelude is much weightier than the relatively light-hearted fugue. The fantasia opening gives way to a simple four-part counterpoint in the tenth bar, in which the rising fourth is a recurring motif. By bar 25 the semiquavers from the opening combine with the counterpoint and the piece develops in a complex fugal style during which the different lines strive for dominance until the last line when the tenor voice declaims the rising fourths motif and the top two voices take turns with semiquaver figuration, all over the bass pedal E flat. After this four page prelude, the fugue in 3 voices combines a dance like quality with rapid semiquaver passages.