Specifics

Form AAAA BBAA BBAA, a ternary form at the large level, in which
         the first AAAA and the last BBAA will cadence strongly, but not the first BBAA.
Chord Pattern M6-4 -
         In the first five chapters, we had only TONIC and DOMINANT chords in our Expositions,
                   with the S1 and S2 centered around the COMMON TONE, degree 5 of the scale.
         We now have the COUNTER/TONIC progression answered by DOMINANT/TONIC,
                   with the S1 and S2 centered around the the complete TONIC chord, degree 3 of the scale.
Subject, the beginning of Frère Jacques, with principal Orbit Line 3-2 and auxilary Orbit Line 0-0.
Counter-subject with principal Orbit Line 2-1 and auxilary Orbit Line 1(3)-2.
NOTE that both the Subject and the Counter-subject have Orbit 2 on the Beat, but
         the Subject has it on the first and the Counter-subject on the second .

A 12-bar fugue (in 4/4 meter), with a half-bar at the beginning and a half-bar at the end.

Choral Disposition of the Fugue Lines

Divertimenti

Since the S1 starts on a COUNTER chord, the Divertimenti must end on the TONIC,
         thus a half-circle starting on a Dominantized ANTE-2 (D⁷),
                   using the S2, see the complete Fugue (below).
         The habitual inversion (T-S, A-B) will produce the second Divertimento.

The Complete Fugue

NOTE the words -
         The Subject uses the words of the first line of the song, while
                   the Counter-subject uses the words of the third line, and
                             the "X"s use the fourth line.
NOTE the Pick-up into each Divertimento in the Alto and Bass voices
         with the notes A-G-F#.
NOTE in the Soprano voice
         the notes C-C-C at the end of the AAAA, but
         the notes C-C-F at the end of the second AA at the end,
                   to make a difference between the two strong cadences.

On to Class 7