tes more ambiguity to make what comes later more effective. Measure 16 is clearly V65 for two beats. We now expect a strong resolution back to I or i. Instead the tonal movement is deceptive as the next chord is a C#dim. It is not a familiar deceptive cadence but a deceptive move from V to viio/ii, a chord that implies a cadence to a chord that implies a completely different cadence. The viio/ii does cadence to ii in the next measure. The second harmonic event of bar 17 is V7/i which resolves to i in bar 18. This means that the viio/ii did not really tonicize ii but rather set up the familiar ii-V7-i cadence. The second harmonic event of bar 18 is an Adim which is viio/VII. This mirrors the viio/ii figure in bar 16. This time, however, the viio does not resolve as expected. The next measure starts with a D65 chord. This is the beginning of a progression that sets up IV. The ‘D’ chord is V65/ii/IV. The ii/IV comes in the last beat of bar 19 with a g minor chord. This is the first of a ii-V-I set up (ii/IV-V/IV-I/IV). The downbeat of bar 20 is V65/IV. However, it is too weak an inversion and occurs too quickly (one beat) to establish ‘F’ (IV) as a key center. While the treble flirts with ‘F’ as a key center with tertiary harmony movement, the bass jumps to IV/IV with a Bb, delaying our arrival at a true key center. Bar 20 does succeed in decreasing the tension of most of the developement. The previous seven bars have mainted similar motion in the treble, this measure breaks away from that. There has also been 2-3 suspension between beats one and two of each bar until now. This added tremendously to the tension earlier and increases the release of the arrival at measure 20. There is an implied tonicization in the last half of a beat of bar twenty; a ‘b’ natural in the bass. It functions the same way the ‘b’ natural in the pickups to the second theme did. Howe...
