4.1 Numerations and content plan of the Autograph, main body (P 200)
4.2 Rastration in the Autograph, main body (P 200)
5.1 Order of pieces in the Original Edition
5.2 Rhythm and metre changes from the Autograph to the Original Edition
10.1 The first set of four fugues in the Third Version
10.2 The first set of three fugues in the Third Version
10.3 The first appearance of the theme in diminution in fugues VII and VIII
10.4 The first appearance of the theme in augmentation in fugues VII and VIII
10.5 The second set of four, based on double fugues
10.6 The mirror fugues defined by theme presentation
10.7 The second set of three: mirror fugues (initial variant)
10.8 The second variant of the set of three mirror fugues
10.9 Ordering of canons in the Third Version (first variant)
10.10 Organisation of the canons by an increasing entry interval
10.11 Final organisation of the canons in the Third Version
11.1 Cp12 and Cp[13] in the Third Version, before the introduction of Cp[14]
11.2 The mirror fugues after the introduction of Cp[14]
11.3 The mirror fugues after the first reordering
11.4 The mirror fugues after the replacement of Cp[14] with Cp[14F]
11.5 Probable repositioning of the mirror fugues, avoiding juxtaposition of similar tempi, topics and presentation of themes
11.6 Comparison of Wiemer’s and Butler’s subsidiary paginations
13.1 Plan of the Original Edition
15.1 Reorganisation and resizing of the first set of four pieces
16.1 The ‘natural’ numerological system
16.2 The ‘trigonal’ numerological system
16.3 Value of ‘contrapunctur’ according to the natural numerological system
16.4 Numerological interpretation of the fifth fugue’s title
16.5 Value of ‘contrapunctur’ in the trigonal numerological system
17.1 Score sizes of the Canon in Augmentation in P 200/1–1 and in the Original Edition
18.1 Text comparison: the advertisement, the notice on the first edition and the preface to the second edition