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.CENTER
%6⊂⊗⊃L[α%0.03,α%-5.35]:N79FB.PLT[HHA,LCS]⊂⊗⊃%1
.SKIP 24
.FILL INDENT 6
	In the foregoing diagram note that ↓_A_↓ is first shown as the
control tonic at the point at which the various factors of the music
reach ↓_A_↓ as a %2goal%1.  What follows is an extension; ↓_e_↓ appears as the
control tonic over its dominant chord because the "head" of the opening
material is there restated.  ↓_C_↓ appears as the control tonic immediately
upon presentation of the new material in that key.

	The ↓_e_↓ control tonic at measure 17 becomes ii of ↓_D_↓ rather than
remaining as v of ↓_A_↓, because ↓_A_↓ never is heard as anything more than the
the elaborated dominant of ↓_D_↓.  The repeat becomes important here too.
After once having heard the A7 chord at measure 16 proceed to the ↓_D_↓
chord when the first section of the Trio is repeated, the subsequent
movement to the B7 chord sounds like a sudden digression to the ii (↓_e_↓)
area.  This situation is only slightly different from that found at the
first double bar in the Menuetto.  There, the independence of the
material in the dominant key, and especially the absence of a 7th chord
just before the repeat, are the factors which put this music on the 
other side of the admittedly academic dividing line.

.CENTER		        
_______________

.FILL INDENT 6
	The next movement to be considered, the %2Rondeau en Polonaise%1
from Mozart's %2Sonata in D%1, K.205b(284), contains a simple modulation
and some firmly established control tonics.  In the following analysis
some sections are condensed to save space.
.BEGIN VERBATIM

Figure 80a.  Mozart, Sonata in D, K.205b(284), 
                                     Rondeau en Polonaise

.END

.NEXT PAGE
.FILL INDENT 6
	There is a cadence on a new tonic of ↓_E_↓ at bar 25.  ↓_E_↓ is shown 
here as a control tonic rather than a modulation because of the 
relative brevity of its use after the cadence (six bars out of the
first thirty of the piece), and because its repetitious character
gives it the sound of an extended cadence formula.  The new tonic at
bar 47 (↓_f%4S%1_↓) is completely independent and so is shown as a modulation,
despite its brevity.

	Treatment of the following music in ↓_D_↓ is open to varying
opinion.  It has been listed as a new control tonic on ↓_D_↓ (VI in ↓_f%4S%1_↓)
for two reasons:  first, the music present at bar 53 has already
been heard as continuation, and then transition material (see bar 17);
second, no clear reference is made back to the original basic tonic
with material that was in that key (↓_A_↓), or with new material, until
bar 70.  The first control tonic at bar 53 is shown as %4I%1
rather than simply ↓_VI_↓, so that the latter one at bar 61, %4V%1, may
appear on the same horizontal line.  This way the lower two levels of
the middle ground at bars 53-64 are the exact parallel of 17-28.  It
is especially important that the diagram makes clear the similarities
of such parallel passages.

	If the movement to ↓_D_↓ is taken as a modulation, the diagram
appears simpler, but then perhaps some of the subtlety of this work's
large harmonic structure is missed.