Initially, the bass part of this invention gives the impression of being a carbon copy of the treble, just a few beats behind. Actually, although it closely imitates the rhythmic values of each measure of the primary theme, at phrase ends the bass line tends to veer in a direction opposite the path the treble has taken. Thus, the player can't merely synchronize the two hands to play the same line out of phase; it's always necessary to realize that the left hand has its own distinct melody.

Although originally composed for Harpsichord, I created this arrangement for Viola Duet.