[No.] 7 [Description] The A major prelude is a two-part invention that begins with a tonic pedal and a cheerful, delicate motif that almost could have come from Bach’s quill. Amazingly, the fugue contains no vertical dissonances whatsoever, instead creating harmonic motion by sporadically touching on unrelated keys such as B-flat major, D-flat major, and C major. While there is little in the way of thematic or textural development, the piece oozes charm, and the final cadence comes all too soon. The three-voice fugue begins with a statement of the main theme, or subject, in the soprano voice. While fugal subjects usually use stepwise motion, this subject uses only the notes of the A major triad. This subject is then stated a fourth below in the alto, as would be expected in a Baroque fugue. After a brief interplay between the soprano and alto, the bass is introduced with a statement of the subject, completing the exposition. The modulatory section begins in the minor key; a brief return to the tonic key provides a breath of calm before an increasingly frenzied series of modulations. These lead to a climax in A major, signalled by a dominant pedal, but this lasts just four bars before the music plunges into C major. The music then settles down, gently leading to the recapitulation, where a single statement of the subject in the tonic key brings the piece to a close. [Key] 
A major