The subject of Fugue faults but one note of a traditional Hebrew chant (Maoz Tzur, or Rock of Ages), which it precedes by at least a couple of centuries. Fugue 2 is in 4 voices, Fugue 3 switches meters to 12/8 and ends with a rocking pattern. Fugue 4 returns to common meter and the subject appears to modulate within. Fugue 5 is brightened by a sassy repeated note and a few extra ornaments. Fugue 6 is a bit fanfare-like, so the Great Trumpet was used, brightened by the Sesquialtera. Fugue 7 is very brief. Fugue 8 has a naïve, childlike subject based on the interval of a second. Fugue 9 also uses an almost identical motiv for the subject. Fugue 10, in 12/8 meter, has a gentle rocking rhythm. Fugue 11 uses the Brustwerk Regal stop to wake the listener from the previous reverie. Fugue 12 uses the full Hauptwerk plenum with Trumpet to bring this set of fugues to a stately conclusion.