The aim of this article is to provide clear evidence of the existence of premeditated mirrored constructions inside Contrapunctus 6 and to investigate the relation of the mirror technique present in Contrapunctus 6 with the rest of work. These inversed and reversed subject expositions (mirror) take place sporadically inside this “earlier” Contrapunctus as far as the ordering issue is concerned. That is because the “mirror” technique is typical for the two later pairs of fugues 12 and 13. In this way, we can acknowledge the fact that Bach interrupted in a way the use of increasing complexity inside the work by introducing a later technical element (the mirror) inside an earlier fugue as we will see in the next pages.