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=== Variatio 10. Fughetta. a 1 Clav. === Variation 10 is a four-voice fughetta, with a four-bar subject heavily decorated with [[ornament (music)|ornaments]] and somewhat reminiscent of the opening aria's melody. <score> \new PianoStaff << \new Staff << \new Voice \relative c''' { \key g \major \time 2/2 \voiceOne R1*8 | g2\mordent g4.\prallprall fis16 g | a4 fis d fis | b,4 e e, d' | cis4\prall b8 c a b c a | d4 d, d'2~ | d4 d, d'2~ | d2 cis | d1 | \bar ":|." } \new Voice \relative c'' { \voiceTwo R1*10 | \once \override MultiMeasureRest.staff-position = -8 R1 | R1 | a2\mordent a4.\prallprall g16 a | b4 g e g | e4 a a, g' | fis4\prall e8 fis d2 | } >> \new Staff << \new Voice \relative c' { \key g \major \clef bass \voiceOne \override MultiMeasureRest.staff-position = 4 R1*2 | \override MultiMeasureRest.staff-position = 6 R1 | \override MultiMeasureRest.staff-position = 4 R1 | d2\mordent d4.\prallprall c16 d | e4 c a c | a4 d d, c' | b4\prall a8 b g b a c | b8 a b4 e2~ | e4 a, d2~ | d4 b e2~ | e4 d cis e | a,8 b a g fis2 | g2 r | r4 e a2~ | a8 a g a fis | } \new Voice \relative c' { \voiceTwo g2\mordent g4.\prallprall fis16 g | a4 fis d fis | e4 a a, g' | fis4\prall e8 fis d e c d | b8 d e fis g4 b, | c2 r4 a | fis2 r4 d | g4 d' b d | g2 r4 e | fis2 r4 d | g2 r4 e | a2 r4 g | fis2 r4 d | g,4 b g e | a2 r4 a | d1 | } >> >> </score> The exposition takes up the whole first section of this variation (pictured). First the subject is stated in the bass, starting on the G below middle C. The answer (in the tenor) enters in bar 5, but it's a tonal answer, so some of the intervals are altered. The soprano voice enters in bar 9, but only keeps the first two bars of the subject intact, changing the rest. The final entry occurs in the alto in bar 13. There is no regular counter-subject in this fugue. {{listen|type=music|help=no|filename=Goldberg Variations 11 Variatio 10 a 1 Clav. Fughetta.ogg|title=Variatio 10 a 1 Clav. Fughetta|description=Performed by Kimiko Douglass-Ishizaka on piano}} The second section develops using the same thematic material with slight changes. It resembles a counter-exposition: the voices enter one by one, all begin by stating the subject (sometimes a bit altered, like in the first section). The section begins with the subject heard once again, in the soprano voice, accompanied by an active bass line, making the bass part the only exception since it doesn't pronounce the subject until bar 25.
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