posth. 67, No. 2 begins with a double period (mm. 1-16) that briefly modulates in and out of the relative key of B-flat major. The first two measures use a v-i progression in g minor that is the mimicked with a modulated V-I in B-flat in measure three and four to finish the phrase with an IAC to solidify the beginning of the common double period structure. The motif then repeats itself over the v-i progression in g minor again, but changes from the original statement by staying in g minor and using a iv-i progression to provide a plagal cadence feeling by the repetition of the iv chord in mm.6-8. The first phrase of the consequent is parallel to the first phrase of the antecedent, but the difference is that it is over a v6 chord in measure nine, which created a HC to resolve the second phrase of the antecedent. The fourth phrase (mm. 13-16) mimics the beginning motif again but uses a descending melody and a PAC (g minor) in measure sixteen to complete the harmonic thought and overall, the double
posth. 67, No. 2 begins with a double period (mm. 1-16) that briefly modulates in and out of the relative key of B-flat major. The first two measures use a v-i progression in g minor that is the mimicked with a modulated V-I in B-flat in measure three and four to finish the phrase with an IAC to solidify the beginning of the common double period structure. The motif then repeats itself over the v-i progression in g minor again, but changes from the original statement by staying in g minor and using a iv-i progression to provide a plagal cadence feeling by the repetition of the iv chord in mm.6-8. The first phrase of the consequent is parallel to the first phrase of the antecedent, but the difference is that it is over a v6 chord in measure nine, which created a HC to resolve the second phrase of the antecedent. The fourth phrase (mm. 13-16) mimics the beginning motif again but uses a descending melody and a PAC (g minor) in measure sixteen to complete the harmonic thought and overall, the double