Tonicizing In The 1St Key In The 2Nd Theme Of A Sonata

Is it so important to avoid any reference to the 1st key in the 2nd theme of the exposition?

I think it's no big deal, but if I ever post the sonata form I'm writing, I guess everybody will point it out and bash the piece.

The piece starts in G min and modulates to Eb maj for the 2nd theme group.

However, I made a feminine P.A.C. in G min at the end of a phrase of the 2nd theme, even though that key is not "confirmed".

Eb maj is still the prevailing key:

Start 2nd theme--> Eb  [...]  Fmi  Ab_/C  D⁷  Gmi  Fmi⁷  Eb/G [...]  Eb_/Bb  Bb⁷  Eb <-- End

I've tried workarounds (deceptive or inverted cadences...) without success. The melody seems to "call" for that cadence

What do you think?

Thanks

I personally think you should not worry about harmonic progression but focus on thematic excitement and idiomatic usage of the instrument.

The progression reveals that you are comfortable going from Ab to D in terms of harmonic root. And rightly so, it is a nice move. But this also reveals that apparently your inner ear has passed these classicist schoolbook worries.

Eb Major is the subdominant of the parallel Major of G Minor. This means these two pitch collections are incredibly closely related, they are directly next to each other on the circle of fifths. As such it is ridiculous to try and not mention one in the other, they naturally mention each other anyway.

Wow thank you guys for all your answers!

I'll try to be more intuitive and less picky xD