Unlike the sonatas of Eckard's émigré compatriots in Paris, none calls for accompanying instruments to heighten expression. The texture is enlivened at times by the contrapuntal involvement of the left hand; and in an effort to make the accompaniment of greater musical significance, Eckard did not restrict himself to the Alberti bass pattern, but used it rather as one of several devices. Although his thematic material is not particularly distinguishable from that of his contemporaries, Eckard's ability to develop it anticipates the mature works of Joseph Haydn and Wolfgang Amadeus Mozart (e.g.
Unlike the sonatas of Eckard's fellow composers who had fled to Paris, none require additional instruments for accompaniment to enhance expression. The texture is enriched by the left hand's contrapuntal involvement; and in an effort to elevate the accompaniment's musical significance, Eckard did not limit himself to the Alberti bass pattern but used it as one of several tools. Although his thematic material is not particularly unique compared to that of his contemporaries, Eckard's ability to develop it foreshadows the mature works of Joseph Haydn and Wolfgang Amadeus Mozart (e.g.).