 The first of these transitions starts in F major, the key in which the first episode has ended, and progresses by a series of modulations to the home key of E flat, anchored by a bass line descending largely by step.The second transition is tonally unnecessary, in the sense that the episode has already landed back on the tonic, E flat, with an emphatic cadence; but Schubert disguises this fact by carrying out a feint towards F major again, the key in which the first episode had ended.This excursion Schubert uses as an opportunity for further harmonic progressions.