Practice Exercise 0,3 Hyd Example 6.6) Sonata in Eh Major (Hob. XVI45), mvt. 2, mm, 20-28 (see also Teer eeer + Eb Major is tonicized throughout this excerpt from a movement in A> Major. Regard Dt as a diatonic pitch. * Compare measure 20 and the first beat of measure 21 with measures 17 and 18 of the Schubert excerpt (Example 0.13). What firnctions in the same way? What is different? Does the F-D-B» chord represent a Siufe, warrant- ing analysis via a Roman numeral? Provide a harmonic anal 20 through 22. + ‘The embellishing chord of measure 23 features concurrent upper neighbors ysis for measures to all three of the tonic triad’s pitches (similar to Example 0.7), which works best when the chords are in § position. As often happens within a harmonic progression, the tonic chord’ easure 24) prior to the nt through Ab to dominant root Bb. Draw a line that extends the § position sounds (in m ass as I numeral from 22, , through the end of measure 24. * Sometimes a 5-6 shift is accomplished by adding the 6 to a persisting 3, rather than replacing 5 with 6.’Ihat is what allows Ed and F to coex sure 25's first beat. Provide a Roman numeral and other symbols that account for the harmonic act at the end of me: ity of measure 25 and the downbeat of measure 26. + ‘Though the principal cadence occurs sions help close the section. The stepy nently stated in the bass, This line is heavily embellished at 26,, foreground harmonic progres ¢ ascent E)-F-G-. Bb is promi the five noteheads corresponding to the arrival moment of each of the line’s pitches curing, measure 26, (Careful! The same pitch might also be used as a local embellishment.) Then provide a foreground harmonic anal 26 through 28, adding a second row of Roman numerals below the founda tional I that commences at 26,.