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.BEGIN VERBATIM

Figure 88b
.END
.CENTER
%6⊂⊗⊃L[α%0.04,α%-1.60](17,22):N88FB.PLT[C9,LCS]⊂⊗⊃%1
.SKIP 4
.FILL INDENT 12


	Now, to continue to follow our procedures in reverse order,
we will study the music for control tonics.  In the exposition and
recapitulation there seems no reason to show control tonics, since
the basic tonics always serve that purpose.  In the development
section, ↓_F_↓ may be the point of departure but it certainly is not
a consistent basis for the harmonic movements.  By referring to 
Figures 87a and 87b, we see that ↓_d_↓ seems to "bracket" this section's
first thirteen bars.  Then in the last part of the development
(Figure 87c) ↓_g_↓ seems most prevalent.  Thus we might reduce all the
other tonalities of the development to functions within these two
control tonics.
.BEGIN VERBATIM

Figure 89a.  Main Tonic Guide Tones in development section 
					(some details omitted).











.END
.nofill indent 0
	           * The substitute for ↓_d_↓: I (an F octave) is heard
	           as the pickup to bar 60.  A new control tonic
	           appears immediately because of the abrupt
	           use of new material.
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