Here, on the basis of harmony, the first broad part ends, and the music goes on to explore and develop through other keys. The harmonies are rich, the counterpoint melodious, the theme whispered as a recollection from the first land of familiar tonic and dominant. Then clearly we are held for a moment to enjoy E-sharp minor before we play back again, with fragments of the theme, to our well-known dominant and tonic. Off again on motives we cannot fail to recognize, as if we were again to wander afield in harmonies. But, no; we sink firmly upon a swelling G-sharp, our dominant again, the best known note of our theme. The captive harmonies rise and fall. Movement they have, but escape is impossible. The return home is inevitable, it is imminent, it is done. Cheerfully our theme traces its old ground. It pauses a moment as if contemplating further flight, but the tonic key is all-powerful and the flight is ended and with it our fugue. It is all lucid and logical: the first broad section with its twice-told tonic and its accustomed urge to the dominant; the many measures of wandering that yet pause to make harmonies clear; the long struggle against the anchoring G-sharp that pulls ultimately home. Or take, for example, the more complicated fugue in G minor (Book I). We find, with few exceptions, the same plan. There are four voices to enter, and the exposition of the theme and counter-subjects is consequently longer. But they come in regularly, one after the other, tonic, dominant, tonic, dominant; and then the irresistible sway of the whole fabric to the relative major, made clear by an unusually obvious cadence. There follows the development section and the various episodic modulations, all held intimately together by recurrences of the main theme. The keys are well-defined. Then, instead of a firm anchoring of all this variety on a pedal point, we have a descending, regular sequence which inevitably suggests an objective point to be reached--the return of the music at last to the keys in which it was first made known to us. And now in this final restatement, instead of retracing step by step the opening measures, we hear the entrances of the theme pressed close together, overlapping, a persistent leading F-sharp from which there is but one escape, the final chords settling majestically into G minor. Both these fugues are built upon a well-balanced and yet varied harmonic groundwork. The art of Bach shows especially in the middle or developing section in the clearness with which he brings out the various harmonic stages through which he leads his music, and in the manner in which, by the unmistakable method of a persistent pedal point or a regular sequence, he brings back the final restatement of his material in a section balancing the opening section.