Fig 2a
As said earlier, the descending chromatic progression in bars 37-38 is used as a transition from EbMajor to FMajor. The style of this chromatic descent is similar to the ground bass progression, except that octave leaps are used to add interest. A secondary dominant chord is also used to ensure the smooth transition, and it is a lament bass. (refer fig.2a)
Fig 2b
In the final bars, the descending base line takes up more of a chordal structure rather than just a single descending line as seen throughout the piece. It is more stable and allows the cadence at the end to sound out more. This gives a strong sense of closure. (refer fig.2b)
Fig 2c
Here's the analysis of the opening phrase using secondary dominants. Can it be analysed this way too even though they are passing in function? (refer fig.2c)
Fig 2d
About the phrase structure, this piece is made up of symmetrical and double periods. (refer fig 2d)
