Example 31: Link
between the main subject of the Funeral March and the first
subject of the first
movement
Having already highlighted the importance of mediant
relationships as a unifying source in this sonata, Walker goes even further to show that no
fewer than six of the sonata's themes begin on the mediant degree itself, as
shown in Example 32:
Example 32: Use of
the mediant degree in various subjects
Another revelation by Walker awaits: he observes that the falling
seventh-rising second interval of Réti's motif Ia is present in the seemingly
athematic, incomprehensible Finale. Example 33 shows that the notes D-flat, E,
and F beginning in the second half of bar 1 of the Finale are exactly those of
the introductory notes to the entire work.
