/LMAR=0/XLINE=10/FONT#0=METL/FONT#1=METLI/FONT#2=METS/FONT#3=MUS[HHA,LCS]/FONT#4=MUZ[HHA,LCS]/FONT#5=BASL35
␈↓ α∧␈↓␈↓ ε108␈↓ 
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␈↓"β␈↓ α∧␈↓Example 85. Mozart, Sonata in F, K.533, Andante
␈↓"β␈↓ α∧␈↓␈↓ β@␈↓¬⊂⊗⊃L[%0.12,%-8.25]:N85XA.PLT[HHA,LCS]⊂⊗⊃␈↓
␈↓ α∧␈↓␈↓ ε109␈↓ 
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␈↓"β␈↓ α∧␈↓␈↓ βB␈↓¬⊂⊗⊃L[%0.12,%-8.40]:N85XB.PLT[HHA,LCS]⊂⊗⊃␈↓
␈↓ α∧␈↓␈↓ ε110␈↓ 
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␈↓"β␈↓ α∧␈↓␈↓ βB␈↓¬⊂⊗⊃L[%0.12,%-8.40]:N85XC.PLT[HHA,LCS]⊂⊗⊃␈↓
␈↓ α∧␈↓␈↓ ε111␈↓ 
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␈↓"β␈↓ α∧␈↓␈↓ βA␈↓¬⊂⊗⊃L[%0.12,%-8.40]:N85XD.PLT[HHA,LCS]⊂⊗⊃␈↓
␈↓ α∧␈↓␈↓ ε112␈↓ 
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␈↓"β␈↓ α∧␈↓␈↓ βC␈↓¬⊂⊗⊃L[%0.12,%-8.40]:N85XE.PLT[HHA,LCS]⊂⊗⊃␈↓
␈↓ α∧␈↓␈↓ ε113␈↓ 
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␈↓"β␈↓ α∧␈↓stayed␈α→in␈α→the␈α~original␈α→tonic.)␈α→Melodically,␈α→the␈α~main␈α→opening
␈↓ α∧␈↓motive␈αis␈αheard␈αall␈αthe␈αway␈αinto␈αthe␈αphrase␈αwhich␈αends␈αat␈αbar␈α33.
␈↓ α∧␈↓At␈α_the␈α↔same␈α_point␈α_begins␈α↔the␈α_"closing"␈α↔material␈α_--␈α_the␈α↔first
␈↓ α∧␈↓completely␈α⊂new,␈α∂extensive␈α⊂melodic␈α∂material␈α⊂since␈α⊂the␈α∂beginning
␈↓ α∧␈↓of␈α⊃the␈α⊃Andante.␈α⊃ Thus␈α⊃a␈α⊃diagram␈α⊃which␈α⊃shows␈α⊃these␈α⊃two␈α⊂facets
␈↓ α∧␈↓would appear:
␈↓"β
␈↓"β␈↓ α∧␈↓Figure 86a
␈↓"β␈↓ α∧␈↓␈↓ βD␈↓¬⊂⊗⊃L[%0.02,%-1.28]:N86FA.PLT[HHA,LCS]⊂⊗⊃␈↓







␈↓"β␈↓ α∧␈↓␈↓ αdIt␈α∪is␈α∀generally␈α∪felt␈α∪that␈α∀the␈α∪tonal␈α∪divisions,␈α∀especially␈α∪in
␈↓ α∧␈↓Classic␈α∀music,␈α∪are␈α∀decisive.␈α∪ The␈α∀melodic␈α∪element␈α∀will␈α∀often␈α∪be
␈↓ α∧␈↓touched␈α⊗upon,␈α∃since␈α⊗it␈α∃frequently␈α⊗will␈α∃help␈α⊗to␈α⊗determine␈α∃the
␈↓ α∧␈↓significance␈α⊃of␈α⊃some␈α⊃harmonic␈α⊃factors,␈α⊃even␈α⊃though␈α⊃the␈α⊂general
␈↓ α∧␈↓melodic␈αorganization␈α
may␈αsometimes␈α
be␈αat␈α
variance␈αwith␈αthe␈α
tonal
␈↓ α∧␈↓scheme.

␈↓"β␈↓ α∧␈↓␈↓ αdNotice␈αthat␈αthe␈α"A"␈αsection␈αof␈αthe␈αexposition␈αdoes␈αnot␈α␈↓↓end␈↓␈αin
␈↓ α∧␈↓␈↓&B␈↓βF␈↓)αβ␈↓, thus:
␈↓"β
␈↓"β␈↓ α∧␈↓Figure 86b
␈↓"β␈↓ α∧␈↓␈↓ βE␈↓¬⊂⊗⊃L[%0.02,%-1.35]:N86FB.PLT[HHA,LCS]⊂⊗⊃␈↓
␈↓ α∧␈↓␈↓ ε114␈↓ 
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␈↓"β␈↓ α∧␈↓␈↓ αdHowever, in the recapitulation the changes give:
␈↓"β
␈↓"β␈↓ α∧␈↓Figure 86c
␈↓"β␈↓ α∧␈↓␈↓ β@␈↓¬⊂⊗⊃L[%-0.04,%-1.35]:N86FC.PLT[HHA,LCS]⊂⊗⊃␈↓







␈↓"β␈↓ α∧␈↓␈↓ αdThis␈α⊂movement's␈α⊂development␈α⊂section,␈α⊂as␈α⊂often␈α⊂is␈α⊂the␈α∂case,
␈↓ α∧␈↓seems␈α~to␈α~be␈α≠made␈α~up␈α~of␈α~a␈α≠series␈α~of␈α~sequences.␈α≠ This␈α~prime
␈↓ α∧␈↓organizational␈α⊂feature␈α∂will␈α⊂give␈α⊂us␈α∂a␈α⊂key␈α∂to␈α⊂the␈α⊂rather␈α∂complex
␈↓ α∧␈↓harmonic␈αrelationships␈αto␈αbe␈α
found␈αhere.*␈αThe␈αfirst␈αeight␈α
measures
␈↓ α∧␈↓form␈αa␈αgroup␈αwhich␈αmay␈αbe␈αdivided␈αin␈αhalf,␈αeach␈αhalf␈αhaving␈αtwo
␈↓ α∧␈↓2-bar units.  The movement here is:
␈↓"β
␈↓"β␈↓ α∧␈↓Figure 87a
␈↓"β␈↓ α∧␈↓␈↓ β?␈↓¬⊂⊗⊃L[%0.02,%-0.70]:N87FA.PLT[HHA,LCS]⊂⊗⊃␈↓




␈↓"β␈↓ α∧␈↓␈↓ αdFollowing␈αthis␈αis␈αa␈α4-bar␈αgroup␈α(2+2)␈αwith␈αan␈αadded␈αbar␈α(or
␈↓ α∧␈↓it could be called two 3-bar groups, elided in the middle).
␈↓"β
␈↓"β␈↓ α∧␈↓Figure 87b
␈↓"β␈↓ α∧␈↓␈↓ β?␈↓¬⊂⊗⊃L[%-0.04,%-1.00]:N87FB.PLT[HHA,LCS]⊂⊗⊃␈↓






␈↓"β␈↓ α∧␈↓__________
␈↓"β␈↓ α∧␈↓*␈αIt␈αis␈αalmost␈αinevitable␈αthat␈αwhen␈αharmonic␈αrelationships␈αbecome
␈↓"␈↓ α∧␈↓complex,␈α⊃the␈α∩␈↓↓primary␈↓␈α⊃basis␈α∩of␈α⊃organization␈α∩tends␈α⊃to␈α∩shift␈α⊃from
␈↓"␈↓ α∧␈↓tonal functions to motivic usages.
␈↓ α∧␈↓␈↓ ε115␈↓ 
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␈↓"β␈↓ α∧␈↓␈↓ αdThe␈α"next␈α"section␈α!(bars␈α"60-72)␈α"presents␈α"a␈α!masterful
␈↓ α∧␈↓combination␈α⊂of␈α⊂the␈α⊂melodic␈α⊂material␈α∂first␈α⊂heard␈α⊂in␈α⊂bars␈α⊂5-7␈α∂and
␈↓ α∧␈↓the␈α
harmonic␈αprogression␈α
of␈α
bars␈α19-21.␈α
 The␈α
complications␈αof␈α
this
␈↓ α∧␈↓section␈α↔are␈α↔increased␈α⊗by␈α↔the␈α↔fact␈α⊗that␈α↔the␈α↔melodic␈α↔and␈α⊗tonal
␈↓ α∧␈↓groupings do not coincide.
␈↓"β
␈↓"β␈↓ α∧␈↓Figure 87c
␈↓"β␈↓ α∧␈↓␈↓ β@␈↓¬⊂⊗⊃L[%0.05,%-2.00]:N87FC.PLT[HHA,LCS]⊂⊗⊃␈↓










␈↓"β␈↓ α∧␈↓␈↓ αdAlready␈α⊂we␈α⊂have␈α⊂been␈α∂forced␈α⊂to␈α⊂consider␈α⊂the␈α∂development
␈↓ α∧␈↓section␈α∩in␈α∪much␈α∩greater␈α∪detail␈α∩than␈α∩the␈α∪rest␈α∩of␈α∪the␈α∩movement.
␈↓ α∧␈↓There␈α∂are␈α∞many␈α∂complex␈α∞relationships␈α∂in␈α∞the␈α∂exposition,␈α∂but␈α∞the
␈↓ α∧␈↓overall␈α
harmonic␈α
direction␈α∞is␈α
much␈α
more␈α
clear␈α∞there␈α
than␈α
it␈α∞is␈α
in
␈↓ α∧␈↓the␈α
development.␈α
 The␈αidea␈α
is␈α
to␈αstudy␈α
the␈α
music␈αin␈α
as␈α
large␈αunits
␈↓ α∧␈↓as␈α⊂are␈α⊂practical␈α⊃at␈α⊂each␈α⊂step.␈α⊂ Now␈α⊃the␈α⊂tonal␈α⊂areas␈α⊂of␈α⊃the␈α⊂whole
␈↓ α∧␈↓piece appear roughly as follows:
␈↓"β
␈↓"β␈↓ α∧␈↓Figure 88a
␈↓"β␈↓ α∧␈↓␈↓ βD␈↓¬⊂⊗⊃L[%0.02,%-1.05]:N88FA.PLT[HHA,LCS]⊂⊗⊃␈↓





␈↓"β␈↓ α∧␈↓␈↓ αdIt␈α
should␈α
be␈α
clear␈α
by␈α
this␈α
point␈α
that␈α
modulations␈α∞have␈α
been
␈↓ α∧␈↓achieved␈α∞at␈α
bars␈α∞23␈α∞and␈α
73.␈α∞ There␈α∞is␈α
insufficient␈α∞stability␈α∞in␈α
the
␈↓ α∧␈↓development␈α⊃section␈α⊃to␈α⊃consider␈α∩the␈α⊃presence␈α⊃of␈α⊃any␈α∩new␈α⊃basic
␈↓ α∧␈↓tonic.␈α↔ A␈α↔sketch␈α↔of␈α↔the␈α↔␈↓↓largest␈α↔functional␈α_relationships␈↓␈α↔then
␈↓ α∧␈↓shows:
␈↓ α∧␈↓␈↓ ε116␈↓ 
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␈↓"β
␈↓"β␈↓ α∧␈↓Figure 88b
␈↓"β␈↓ α∧␈↓␈↓ βA␈↓¬⊂⊗⊃L[%0.02,%-0.80]:N88FB.PLT[HHA,LCS]⊂⊗⊃␈↓





␈↓"β␈↓ α∧␈↓␈↓ αdNow,␈αto␈αcontinue␈αto␈αfollow␈αour␈αprocedures␈αin␈αreverse␈αorder,
␈↓ α∧␈↓we␈αwill␈αstudy␈αthe␈αmusic␈αfor␈αcontrol␈αtonics.␈α In␈αthe␈αexposition␈αand
␈↓ α∧␈↓recapitulation␈αthere␈αseems␈αno␈αreason␈αto␈αshow␈αcontrol␈αtonics,␈αsince
␈↓ α∧␈↓the␈α⊂basic␈α⊂tonics␈α⊂always␈α∂serve␈α⊂that␈α⊂purpose.␈α⊂ In␈α⊂the␈α∂development
␈↓ α∧␈↓section,␈α∞␈↓&F␈↓)αβ␈α
may␈α∞be␈α
the␈α∞point␈α
of␈α∞departure␈α
but␈α∞it␈α
certainly␈α∞is␈α∞not␈α
a
␈↓ α∧␈↓consistent␈α∪basis␈α∪for␈α∪the␈α∪harmonic␈α∪movements.␈α∪ By␈α∀referring␈α∪to
␈↓ α∧␈↓Figures␈α↔87a␈α↔and␈α↔87b,␈α↔we␈α_see␈α↔that␈α↔␈↓&d␈↓)αβ␈α↔seems␈α↔to␈α_"bracket"␈α↔this
␈↓ α∧␈↓section's␈α≤first␈α≤thirteen␈α≤bars.␈α≤ Then␈α≤in␈α≤the␈α≤last␈α≤part␈α≤of␈α≤the
␈↓ α∧␈↓development␈α_(Figure␈α↔87c)␈α_␈↓&g␈↓)αβ␈α↔seems␈α_most␈α↔prevalent.␈α_ Thus␈α↔we
␈↓ α∧␈↓might␈α_reduce␈α→all␈α_the␈α_other␈α→tonalities␈α_of␈α_the␈α→development␈α_to
␈↓ α∧␈↓functions within these two control tonics.
␈↓"β
␈↓"β␈↓ α∧␈↓Figure 89a.  Main Tonic Guide Tones in development section 
␈↓"β␈↓ α∧␈↓                                        (some details omitted).
␈↓"β
␈↓"β
␈↓"β
␈↓"β
␈↓"β
␈↓"β
␈↓"β
␈↓"β
␈↓"β
␈↓"β
␈↓"β
␈↓"β␈↓ α∧␈↓                   The substitute for ␈↓&d␈↓)αβ: I (an F octave) is heard
␈↓"β␈↓ α∧␈↓                   as the pickup to bar 60.  A new control tonic
␈↓"β␈↓ α∧␈↓                   appears immediately because of the abrupt
␈↓"β␈↓ α∧␈↓                   use of new material.
␈↓"β␈↓ α∧␈↓␈↓ βI␈↓¬⊂⊗⊃L[%0.02,%1.05]:N89FA.PLT[HHA,LCS]⊂⊗⊃␈↓
␈↓ α∧␈↓␈↓ ε117␈↓ 
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␈↓"β␈↓ α∧␈↓␈↓ αdAll␈α
that␈α
is␈αleft␈α
in␈α
this␈αregard␈α
is␈α
to␈α
point␈αout␈α
that␈α
␈↓&d␈↓)αβ␈αgrows␈α
out
␈↓ α∧␈↓of␈αthe␈αbasic␈αtonic␈α␈↓&F␈↓)αβ␈αof␈αthe␈αexposition␈αand␈αthen␈α␈↓&g␈↓)αβ␈αgrows␈αout␈αof␈αthe
␈↓ α∧␈↓control tonic ␈↓&d␈↓)αβ.
␈↓"β
␈↓"β␈↓ α∧␈↓Figure 89b
␈↓"β␈↓ α∧␈↓␈↓ βF␈↓¬⊂⊗⊃L[%0.02,%-1.35]:N89FB.PLT[HHA,LCS]⊂⊗⊃␈↓







␈↓"β␈↓ α∧␈↓␈↓ αdThe␈αtemporary␈αtonics␈αfound␈αin␈αthe␈αfirst␈αeighteen␈αbars␈αof␈αthe
␈↓ α∧␈↓movement␈α~appear␈α→in␈α~a␈α→straightforward␈α~manner.␈α~ Measure␈α→19
␈↓ α∧␈↓works␈α
as␈α
the␈α
dominant␈α
of␈α
the␈αF␈α
chord␈α
which␈α
precedes␈α
it␈α
and␈αalso
␈↓ α∧␈↓as␈α
subdominant␈α
to␈α
the␈α
g␈α
chord␈αof␈α
measure␈α
21,␈α
which␈α
in␈α
turn␈α
is␈αII
␈↓ α∧␈↓of the coming tonic ␈↓&F␈↓)αβ.  (The simplest pivots will be omitted.)
␈↓"β
␈↓"β␈↓ α∧␈↓Figure 90 
␈↓"β␈↓ α∧␈↓␈↓ βT␈↓¬⊂⊗⊃L[%0.02,%-1.10]:N90F.PLT[HHA,LCS]⊂⊗⊃␈↓







␈↓"β␈↓ α∧␈↓␈↓ αdIn␈α⊂the␈α⊂␈↓&F␈↓)αβ␈α⊃section␈α⊂of␈α⊂the␈α⊂exposition␈α⊃things␈α⊂are␈α⊂a␈α⊃little␈α⊂more
␈↓ α∧␈↓complex.␈α⊂ The␈α⊂chromaticism␈α⊂of␈α⊂the␈α∂first␈α⊂four␈α⊂bars␈α⊂(23-26)␈α⊂is␈α∂all
␈↓ α∧␈↓non-functional␈α
as␈αfar␈α
as␈α
␈↓&F␈↓)αβ␈αis␈α
concerned.␈α
 Likewise,␈αmeasures␈α
31-33
␈↓ α∧␈↓are clear.
␈↓"β
␈↓"β␈↓ α∧␈↓Figure 91a
␈↓"β␈↓ α∧␈↓␈↓ βD␈↓¬⊂⊗⊃L[%0.02,%-0.83]:N91FA.PLT[HHA,LCS]⊂⊗⊃␈↓
␈↓ α∧␈↓␈↓ ε118␈↓ 
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␈↓"β␈↓ α∧␈↓␈↓ αdMeasure␈α
27␈α
and␈α
28␈α
contain␈α
a␈α
diminished␈α
chord␈α
which␈αcould
␈↓ α∧␈↓be␈αa␈αsubstitute␈αfor␈α
any␈αof␈αa␈αnumber␈α
of␈αdominants;␈αso␈αfinal␈α
decision
␈↓ α∧␈↓on␈α~the␈α~temporary␈α≠tonic␈α~at␈α~that␈α≠point␈α~must␈α~wait␈α≠until␈α~the
␈↓ α∧␈↓surrounding␈α∪details␈α∪are␈α∪studied.␈α∪ However,␈α∪the␈α∪most␈α∩immediate
␈↓ α∧␈↓impression␈αis␈αthat␈αthis␈αchord␈αis␈αa␈αdominant␈αsubstitute␈αfor␈αeither␈α␈↓&g␈↓)αβ
␈↓ α∧␈↓(ii)␈α∪or␈α∪␈↓&B␈↓βF␈↓)αβ␈↓␈α∪(IV).␈α∪ The␈α∪next␈α∪chord,␈α∪e␈↓βFA␈↓,␈α∪does␈α∪little␈α∪to␈α∀clarify␈α∪the
␈↓ α∧␈↓situation,␈α~especially␈α→since␈α~it␈α~in␈α→turn␈α~is␈α→followed␈α~by␈α~a␈α→new
␈↓ α∧␈↓diminished␈αchord.␈α Considering␈α
the␈αbass␈αline,␈α
it␈αmight␈αbe␈α
said␈αthat
␈↓ α∧␈↓this ␈↓βA␈↓ is a "passing chord".
␈↓"β
␈↓"β␈↓ α∧␈↓Example 91 
␈↓"β␈↓ α∧␈↓␈↓ βY␈↓¬⊂⊗⊃L[%0.02,%-1.11]:N91X.PLT[HHA,LCS]⊂⊗⊃␈↓





␈↓"β␈↓ α∧␈↓␈↓ αdEven␈α∞though␈α∞the␈α∞linear␈α∞element␈α
is␈α∞so␈α∞strong,␈α∞it␈α∞seems␈α∞to␈α
be
␈↓ α∧␈↓avoiding␈α⊂the␈α∂issue␈α⊂to␈α⊂pass␈α∂over␈α⊂such␈α⊂a␈α∂dramatic␈α⊂turn␈α⊂so␈α∂lightly.
␈↓ α∧␈↓Looking␈α∞ahead␈α
a␈α∞little,␈α
it␈α∞may␈α
be␈α∞noticed␈α
that␈α∞the␈α∞last␈α
diminished
␈↓ α∧␈↓chord␈α⊗(measure␈α⊗30),␈α⊗while␈α⊗being␈α⊗a␈α⊗dominant␈α⊗function␈α⊗to␈α∃the
␈↓ α∧␈↓preceding␈α␈↓&e␈↓βF␈↓␈↓)αβ,␈αproves␈αto␈αbe␈αworking␈αas␈αsubstitute␈αfor␈αthe␈αdominant
␈↓ α∧␈↓to␈α
␈↓&C␈↓)αβ,␈α
leading␈α
eventually␈α
to␈α
a␈α
C7th␈α
chord␈α
(tonic␈α
substitute)␈α
in␈α
bar
␈↓ α∧␈↓32.  Now we have:
␈↓"β
␈↓"β␈↓ α∧␈↓Figure 91b
␈↓"β␈↓ α∧␈↓␈↓ βI␈↓¬⊂⊗⊃L[%0.02,%-1.25]:N91FB.PLT[HHA,LCS]⊂⊗⊃␈↓






␈↓"β␈↓ α∧␈↓␈↓ αdReturning␈α∞to␈α∂the␈α∞e␈↓βFA␈↓␈α∞chord,␈α∂its␈α∞simplest␈α∞designation␈α∂is␈α∞that
␈↓ α∧␈↓of␈α∞a␈α
dominant␈α∞substitute␈α
in␈α∞␈↓&e␈↓βF␈↓␈↓)αβ.␈α∞ This␈α
key␈α∞is␈α
rather␈α∞remote␈α∞from␈α
␈↓&F␈↓)αβ
␈↓ α∧␈↓but␈αnot␈α
quite␈αso␈α
"far"␈αfrom␈α
␈↓&g␈↓)αβ␈αor␈α
␈↓&B␈↓βF␈↓)αβ␈↓␈α(which␈α
are␈αpossible␈α
tonics␈αfor
␈↓ α∧␈↓measure 28).  If the first of these, ␈↓&g␈↓)αβ, is chosen, then we have:
␈↓"β␈↓ α∧␈↓␈↓ ε119␈↓ 
T


␈↓"β␈↓ α∧␈↓Figure 91c
␈↓"β␈↓ α∧␈↓␈↓ βE␈↓¬⊂⊗⊃L[%0.02,%-2.38]:N91FC.PLT[HHA,LCS]⊂⊗⊃␈↓











␈↓"β␈↓ α∧␈↓␈↓ αdIt␈α∩is␈α∩perhaps␈α∩more␈α∩convincing␈α∪if␈α∩␈↓&B␈↓βF␈↓␈↓)αβ␈α∩is␈α∩taken␈α∩as␈α∪the␈α∩tonic
␈↓ α∧␈↓realm␈α
of␈α
the␈αdiminished␈α
chord␈α
of␈α
bars␈α27-28.␈α
 Then␈α
the␈α
e␈↓βFA␈↓␈αchord
␈↓ α∧␈↓has␈α
a␈α
broader␈α
role.␈α
 In␈α
the␈α
largest␈α
sense,␈α
it␈α
might␈α
be␈α
considered␈αas
␈↓ α∧␈↓an␈α
appoggiatura␈α(IV␈↓βA␈↓␈α
with␈α
delayed␈αresolution)␈α
to␈αthe␈α
B␈↓βF␈↓␈α
chord␈αof
␈↓ α∧␈↓bar␈α31.␈α However,␈αthis␈αe␈↓βF␈↓␈αchord␈αstill␈αstands␈αin␈αthe␈αrelation␈αof␈αI␈↓βA␈↓␈αto
␈↓ α∧␈↓VII␈↓βE␈↓␈α∪with␈α∪the␈α∪following␈α∪chord.␈α∪ With␈α∪these␈α∪things␈α∪in␈α∀mind,␈α∪it
␈↓ α∧␈↓would␈α↔be␈α↔well␈α↔here␈α↔to␈α↔fill␈α↔out␈α↔the␈α↔bottom␈α↔level␈α↔of␈α↔detailed
␈↓ α∧␈↓functions in our analysis of this section.
␈↓"β
␈↓"β␈↓ α∧␈↓Figure 92 
␈↓"β␈↓ α∧␈↓␈↓ βL␈↓¬⊂⊗⊃L[%0.02,%-3.26]:N92F.PLT[HHA,LCS]⊂⊗⊃␈↓
␈↓ α∧␈↓␈↓ ε120␈↓ 
T


␈↓"β␈↓ α∧␈↓␈↓ αdThere␈α≡are␈α≡just␈α≡a␈α≡few␈α≡more␈α≡temporary␈α≡tonics␈α≡in␈α≡the
␈↓ α∧␈↓exposition -- at bar 39, ␈↓&A␈↓βF␈↓␈↓)αβ (␈↓βF␈↓III), at bar 44, ␈↓&d␈↓)αβ (vi), and ␈↓&C␈↓)αβ (V).

␈↓"β␈↓ α∧␈↓␈↓ αdWe␈αalready␈α
have␈αthe␈αmain␈α
temporary␈αtonics␈αand␈α
the␈αcontrol
␈↓ α∧␈↓tonics␈α
in␈α
the␈α
development␈α
section.␈α
 Now␈α
the␈α
details␈α
of␈α
the␈αmiddle
␈↓ α∧␈↓ground␈αwill␈αbe␈αadded␈αto␈αthe␈αmaterial␈αpresented␈αin␈αFigures␈α89a␈αand
␈↓ α∧␈↓89b.␈α
 The␈αincomplete␈α
chord␈α
at␈αbar␈α
47␈αacts␈α
as␈α
a␈αpivot␈α
between␈α␈↓&F␈↓)αβ␈α
and
␈↓ α∧␈↓␈↓&d␈↓)αβ.
␈↓"β
␈↓"β␈↓ α∧␈↓Figure 93a.  First half of development section.
␈↓"β␈↓ α∧␈↓␈↓ βD␈↓¬⊂⊗⊃L[%0.02,%-1.35]:N93FA.PLT[HHA,LCS]⊂⊗⊃␈↓







␈↓"β␈↓ α∧␈↓␈↓ αdNotice␈αin␈αparticular,␈αat␈αbars␈α55-57␈αand␈α57-59,␈αthe␈αrepetition
␈↓ α∧␈↓of i - iv - v as a progression of tonics.

␈↓"β␈↓ α∧␈↓␈↓ αdThe␈α≤last␈α≥part␈α≤of␈α≥this␈α≤development␈α≥section␈α≤is␈α≥of␈α≤such
␈↓ α∧␈↓complexity␈α∞that␈α∞the␈α∞details␈α∞of␈α∞the␈α∞middle␈α∞ground␈α∞cannot␈α∂well␈α∞be
␈↓ α∧␈↓isolated␈α⊗from␈α∃the␈α⊗somewhat␈α∃ambiguous␈α⊗foreground.␈α⊗ As␈α∃stated
␈↓ α∧␈↓earlier,␈αthis␈αpassage␈αis␈αbased␈αon␈αthe␈αharmonic␈αprogression␈αfound␈α
in
␈↓ α∧␈↓bars␈α19-21␈αof␈αthe␈αexposition.␈α In␈αthat␈αearlier␈αpresentation␈αthere␈αis
␈↓ α∧␈↓no␈α
problem␈α
of␈αanalysis␈α
when␈α
it␈αis␈α
noted␈α
that␈αE␈↓βN␈↓␈α
is␈α
a␈αconventional
␈↓ α∧␈↓raised sixth degree of the ascending ␈↓&g␈↓)αβ scale.
␈↓"β
␈↓"β␈↓ α∧␈↓Figure 93b
␈↓"β␈↓ α∧␈↓␈↓ β@␈↓¬⊂⊗⊃L[%0.02,%-2.05]:N93FB.PLT[HHA,LCS]⊂⊗⊃␈↓
␈↓ α∧␈↓␈↓ ε121␈↓ 
T


␈↓"β␈↓ α∧␈↓␈↓ αdThe␈α→harmony␈α→of␈α→bars␈α→60-62␈α→is␈α→quite␈α→similar,␈α→but␈α→now
␈↓ α∧␈↓moving␈α⊗from␈α⊗␈↓&d␈↓)αβ␈α⊗and␈α⊗employing␈α⊗three-note␈α⊗substitutes␈α⊗for␈α∃the
␈↓ α∧␈↓seventh chords.
␈↓"β
␈↓"β␈↓ α∧␈↓Figure 93c
␈↓"β␈↓ α∧␈↓␈↓ β@␈↓¬⊂⊗⊃L[%0.02,%-2.40]:N93FC.PLT[HHA,LCS]⊂⊗⊃␈↓











␈↓"β␈↓ α∧␈↓␈↓ αdTaking␈α⊂only␈α∂the␈α⊂primary␈α∂chords␈α⊂of␈α∂the␈α⊂next␈α∂bars,␈α⊂we␈α∂find
␈↓ α∧␈↓the same progression, now in ␈↓&c␈↓)αβ:
␈↓"β
␈↓"β␈↓ α∧␈↓Figure 93d
␈↓"β␈↓ α∧␈↓␈↓ βD␈↓¬⊂⊗⊃L[%0.02,%-2.15]:N93FD.PLT[HHA,LCS]⊂⊗⊃␈↓










␈↓"β␈↓ α∧␈↓␈↓ αdNext,␈α
the␈α
progression␈α
is␈α
expanded␈α
to␈α
three␈α
seventh␈α
chords␈α
in
␈↓ α∧␈↓a␈αrow.␈α Following␈αthe␈αprevious␈αanalyses,␈αwe␈αcan␈αonly␈αassume␈αthat
␈↓ α∧␈↓this␈α
represents␈α
an␈α
overlapping␈α
of␈α
an␈α
implied␈α
tonicization␈α
of␈α
␈↓&f␈↓)αβ␈α
and␈α
a
␈↓ α∧␈↓real one of ␈↓&g␈↓)αβ.
␈↓ α∧␈↓␈↓ ε122␈↓ 
T


␈↓"β␈↓ α∧␈↓Figure 93e
␈↓"β␈↓ α∧␈↓␈↓ βA␈↓¬⊂⊗⊃L[%0.02,%-2.20]:N93FE.PLT[HHA,LCS]⊂⊗⊃␈↓










␈↓"β␈↓ α∧␈↓␈↓ αdThere␈α⊃is␈α⊃no␈α⊂doubt␈α⊃that␈α⊃the␈α⊂material␈α⊃thus␈α⊃far␈α⊃presented␈α⊂on
␈↓ α∧␈↓this␈α
passage␈α
gives␈α
a␈α
fair␈αpicture␈α
of␈α
the␈α
essential␈α
movement␈α
of␈αthe
␈↓ α∧␈↓harmony␈α~and␈α~would␈α~make␈α~a␈α~relatively␈α~uncluttered␈α→analysis.
␈↓ α∧␈↓Unfortunately,␈α_this␈α↔degree␈α_of␈α_simplicity␈α↔is␈α_achieved␈α_only␈α↔by
␈↓ α∧␈↓omitting␈α
mention␈α
of␈α
the␈α
subtle␈α
changes␈α
which␈α
occur␈α
at␈α
the␈α
ends␈α
of
␈↓ α∧␈↓many␈α⊃of␈α∩the␈α⊃measures.␈α∩ When␈α⊃these␈α⊃are␈α∩taken␈α⊃into␈α∩account,␈α⊃we
␈↓ α∧␈↓find␈α
several␈α
pivot␈α
chords␈αand␈α
justification␈α
for␈α
showing␈αsome␈α
more
␈↓ α∧␈↓brief tonicizations.

␈↓"β␈↓ α∧␈↓␈↓ αdFirst,␈α⊂in␈α⊂bars␈α⊂63␈α⊂and␈α⊂64,␈α⊃it␈α⊂might␈α⊂be␈α⊂said␈α⊂that␈α⊂the␈α⊃root␈α⊂of
␈↓ α∧␈↓each␈αbeginning␈αharmony␈αis␈αtonicized␈αby␈αthe␈αprevious␈αeighth␈αnote.
␈↓ α∧␈↓Below the analysis, the earlier simple view is presented.
␈↓"β
␈↓"β␈↓ α∧␈↓Figure 93f
␈↓"β␈↓ α∧␈↓␈↓ βC␈↓¬⊂⊗⊃L[%0.02,%-2.75]:N93FF.PLT[HHA,LCS]⊂⊗⊃␈↓
␈↓ α∧␈↓␈↓ ε123␈↓ 
T


␈↓"β␈↓ α∧␈↓␈↓ αdBecause␈α∀of␈α∀the␈α∀slight␈α∃changes␈α∀in␈α∀the␈α∀presentation␈α∃of␈α∀the
␈↓ α∧␈↓motive␈αin␈αbars␈α65-69,␈αwe␈αnow␈αfind␈αsomewhat␈αdifferent␈αharmonic
␈↓ α∧␈↓details.␈α The␈αharmony␈αof␈α
bar␈α65␈αis␈αfirst␈α
heard␈αas␈α␈↓&c␈↓)αβ:␈αI,␈αthe␈α
disjunctly
␈↓ α∧␈↓approached␈α A␈↓βF␈↓␈α∨at␈α the␈α∨end␈α changing␈α∨the␈α function␈α to␈α∨VI␈↓β7␈↓.
␈↓ α∧␈↓Continuing␈αon␈αthis␈αbasis,␈αbar␈α66␈αwill␈αgive␈α␈↓&c␈↓)αβ:␈αII␈αacting␈αat␈αsame␈αtime
␈↓ α∧␈↓as␈α∞␈↓&f␈↓)αβ:␈α∞␈↓βN␈↓VI,␈α
which␈α∞then␈α∞becomes␈α∞␈↓&f␈↓)αβ:␈α
IV␈↓β7␈↓␈α∞at␈α∞the␈α
end␈α∞of␈α∞the␈α∞bar.␈α
 (Note
␈↓ α∧␈↓that␈αa␈αB␈↓βF␈↓7␈αchord␈αrarely␈αcan␈αbe␈αtruly␈αfunctional␈αin␈α␈↓&c␈↓)αβ.)␈αBar␈α67␈αthen
␈↓ α∧␈↓has␈α
␈↓&f␈↓)αβ:␈α
␈↓βN␈↓VII␈α
to␈α
V␈↓β7␈↓,␈α
which␈α
works␈α
equally␈α
well␈α
as␈α
␈↓&g␈↓)αβ:␈α
␈↓βN␈↓VI␈α
to␈α
IV␈↓β7␈↓.␈α
This
␈↓ α∧␈↓leads to ␈↓&g␈↓)αβ: ␈↓βS␈↓VII␈↓β7␈↓ in bar 68 and then I at the beginning of bar 69.
␈↓"β
␈↓"β␈↓ α∧␈↓Figure 93g
␈↓"β␈↓ α∧␈↓␈↓ βB␈↓¬⊂⊗⊃L[%0.02,%-1.02]:N93FG.PLT[HHA,LCS]⊂⊗⊃␈↓





␈↓"β␈↓ α∧␈↓␈↓ αdHowever,␈α∞it␈α∞hardly␈α∂seems␈α∞necessary␈α∞to␈α∞show␈α∂these␈α∞changes
␈↓ α∧␈↓of␈α∂␈↓βN␈↓VI␈α∞to␈α∂IV␈↓β7␈↓,␈α∞etc.␈α∂in␈α∞bars␈α∂66-68,␈α∞the␈α∂root␈α∞of␈α∂each␈α∂seventh␈α∞chord
␈↓ α∧␈↓being␈α
delayed␈α
until␈α
the␈α
last␈α
eighth␈α
note.␈α
 But␈α
if␈α
the␈α
same␈α
reasoning
␈↓ α∧␈↓is␈α∂applied␈α∂to␈α∂the␈α∂slightly␈α∞different␈α∂structures␈α∂of␈α∂bars␈α∂65␈α∂and␈α∞69,
␈↓ α∧␈↓what␈α
is␈αfirst␈α
heard␈αclearly␈α
as␈α
a␈αminor␈α
I␈αchord␈α
then␈α
is␈α"completed"
␈↓ α∧␈↓as␈α∞IV␈↓β7␈↓␈α∞of␈α∂a␈α∞major␈α∞key.␈α∂ Thus␈α∞a␈α∞momentary␈α∂tonic␈α∞of␈α∞␈↓&E␈↓βF␈↓␈↓)αβ␈α∂is␈α∞implied,
␈↓ α∧␈↓overlapping with the ␈↓&c␈↓)αβ of bar 65 and the ␈↓&f␈↓)αβ of bars 66-67.
␈↓"β
␈↓"β␈↓ α∧␈↓Figure 93h
␈↓"β␈↓ α∧␈↓␈↓ β?␈↓¬⊂⊗⊃L[%0.02,%-2.87]:N93FH.PLT[HHA,LCS]⊂⊗⊃␈↓