Example 19. Two of William Renwick’s exposition patterns: (a) for $\hat{5}$–$\hat{4}$–$\hat{3}$, subject paradigms and low–middle–high exposition schemes; (b) for $\hat{1}$–$\hat{3}$–$\hat{2}$–$\hat{1}$, subject paradigms and low–middle–high exposition schemes; (c) analysis of the exposition of J. S. Bach, Fugue in G Minor, WTC II, BWV 885, according to the pattern in Example 19a