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.FILL INDENT 12
	The next section (bars 60-72) presents a masterful combination
of the melodic material first heard in bars 5-7 and the harmonic
progression of bars 19-21.  The complications of this section are
increased by the fact that the melodic and tonal groupings do not
coincide.
.BEGIN VERBATIM

Figure 87c
.END
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.FILL INDENT 12
	Already we have been forced to consider the development
section in much greater detail than the rest of the movement.  There
are many complex relationships in the exposition, but the overall
harmonic direction is much more clear there than it is in the
development.  The idea is to study the music in as large units as are
practical at each step.  Now the tonal areas of the whole piece
appear roughly as follows:
.BEGIN VERBATIM

Figure 88a
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.FILL INDENT 12

	It should be clear by this point that modulations have been
achieved at bars 23 and 73.  There is insufficient stability in the
development section to consider the presence of any new basic tonic.
A sketch of the %2largest functional relationships%1 then shows: