As this is a polyphonic piece, both the left and right hand melodic lines must be heard independently. The author questions whether the dynamic markings in the score currently being consulted were indeed written by the composer. Please read the following with this premise in mind.

The theme will be considered to span four measures, specifically measures 1-4. When examining these measures, measure 2 should be treated as the peak point. Measure 1 begins p, increasing in volume to approximately mezzo forte by measure 2, followed by a diminuendo through measures 3-4. Keeping this shape in mind, subsequent thematic entries should be similarly shaped. From measure 4, the left-hand theme begins.

This left-hand theme should also be shaped similarly. A sequence begins from measure 7.

Although this sequence descends, a crescendo should be applied to prepare for the theme at measure 13. Assuming the theme appears four times in this fugue (1st entry: measures 1-4; 2nd entry: measures 4-7; 3rd entry: measures 13-16; 4th entry: measures 16-19). Currently, the third thematic entry is designated as having the greatest volume. The author's intention was to slightly reduce the volume for the fourth thematic entry and conclude with mp, but surprisingly, fortissimo is written at the end! While this might imply a slow, allargando-like ending, the author would personally prefer to end with mp. This is for your reference.

There are four instances where it would be advisable not to emphasize the volume (i.e., to play with diminishing volume, fading away) due to harmonic resolution:

• When moving from D# in measure 5, beat 2, to E in measure 6.
• When moving from G# in measure 12, beat 2, to A in measure 13.
• When moving from G# in measure 14, beat 2, to A in measure 15.
• When moving from G# on the off-beat of beat 2 in measure 20, to A in measure 21.