Bare accidentals as figures

The ♯ in a deep flat key: it means "a semitone up from the key," so over this dominant it demands E natural — a sharp figure whose product carries no sharp at all.

The 4–♯ pair over the dominant: the suspended fourth falls one semitone, and what it lands on is whatever tone the ♯ demands — here B natural, three flats notwithstanding.

The bare ♭: a semitone down from the key. Over the subdominant after the close it borrows the minor iv — the Picardy third’s mirror image.

The subdominant melting from major to minor over a held bass: one voice inflects E to E♭ under the bare ♭, then falls its half step onto the dominant.

The ♮ as the flat-key hand writes a raised third: it strikes the key’s flat off the letter, and the soprano climbs to the tonic in whole and half steps.

The two hands side by side in one climb: a ♮ cancels the key’s E♭, a ♯ lifts B♭ to B♮ — different signs, the same grammar, one rising line.