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stayed in the original
tonic.)  Melodically, the main opening motive is heard all the way into
the phrase which ends at bar 33.  At the same point begins the "closing"
material -- the first completely new, extensive melodic material since
the beginning of the Andante.  Thus a diagram which shows these two
facets would appear:

.BEGIN VERBATIM

Figure 86a
.END
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%6⊂⊗⊃L[α%0.04,α%-2.56](17,22):N86FA.PLT[c9,LCS]⊂⊗⊃%1
.SKIP 5

.FILL INDENT 12

	It is generally felt that the tonal divisions, especially in
Classic music, are decisive.  The melodic element will often be touched
upon, since it frequently will help to determine the significance of
some harmonic factors, even though the general melodic organization may
sometimes be at variance with the tonal scheme.

	Notice that the "A" section of the exposition does not %2end%1 in
↓_B%4F_↓%1, thus:

.BEGIN VERBATIM

Figure 86b
.END
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.FILL INDENT 12

	However, in the recapitulation the changes give:

.BEGIN VERBATIM

Figure 86c
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.FILL INDENT 12

	This movement's development section, as often is the case,
seems to be made up of a series of sequences.  This prime organizational
feature will give us a key to the rather complex harmonic relationships
to be found here.$$It is almost inevitable that when harmonic
relationships become complex, the %2primary%1 basis of organization tends to
shift from tonal functions to motivic usages.$
The first eight measures form a group which may be
divided in half, each half having two 2-bar units.  The movement here is:

.BEGIN VERBATIM

Figure 87a
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.FILL INDENT 12

	Following this is a 4-bar group (2+2) with an added bar (or
it could be called two 3-bar groups, elided in the middle).

.BEGIN VERBATIM

Figure 87b
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