      The four voices of this fugue enter in order from top to bottom.  The exposition of the fugue can be diagramed in the following way.
 
	Soprano   subject and countersubject    
	Alto		answer (modulation) and countersubject
	Tenor 			subject and countersubject
	Bass				answer and countersubject

	Notice the delay before the tenor part enters; there is a modulation back to G minor before the subject enters again.  As is traditional, the subjects are written in the tonic and the answers are written in the dominant.  The balance of the fugue is composed of partial and full statements of the subject.  The texture is rich with imitation, another significant element of fugues.   Small musical episodes bridge the gap between statements of the subject.  The material in the episodes is much freer and offers contrasting textures.  Notice how the texture of this fugue  (and all fugues) starts from a single voice and grows in intensity and thickness.  The final cadence is a resolution of the growing tension.  In this case the final statement is in the bass voice adding finality to the work.
