3. In the Sonata in F (H 269), the other sonata from 1780 published in this collection, the seven bars of music that follow upon the final cadence of the first movement move chromatically through E minor and close in F minor. If, in theoretical terms, the relationship of F minor to the F major of the finale is closer than the relationship of the close in C major to the finale of the A major sonata, in effect it seems even more distracted—a digression with no purpose other than to set the finale in relief.