Polythematic, imitative work with quite extensive sections of free counterpoint. Despite the looseness of structure, the work is quite pleasing and playable. Some oddities of detail need some rectification. Form seems to show regular groupings and balanced approach to sectionalization: work has 65 transcription bars beginning with two exactly equal 24 bar sections: I (1-24), II (25, 48), III (49-65).
I – theme 1 B/A/T (partial) >> free >> K – S. bars 10-24 are free full texture throughout, but some a3. (Secondary theme introduced at 17)
II – theme 2 A/S – B/T >> theme 3 A/S at same canonic interval of time and pitch >> B/T duo with B derived from 2 and Free T >> 4 free bars a3 >> 4 free bars a4 K.
III – theme 4 B/T – S/A free with two B entries derived from 4 Free to final K.
Formula:
I – expands quickly to thick texture which is maintained [1 theme]
II – concentrates on duos a3 a4 phrases [2 themes]
III – B/T duo >> full texture to end [1 theme]

Free passages have much more quaver movement, and yet not imitative but complementary and hence on-going. Formal idea important.
II – themes 2 + 3 related – stepwise, inverted movement, with 3rd and all in Crotchet movement.
Interval of 3rd prominent = range of themes 1 & 2 (ie from 1st note to last) theme 3 descend 3 also.