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.FILL INDENT 12
	All that is left in this regard is to point out that ↓_d_↓ grows
out of the basic tonic ↓_F_↓ of the exposition and then ↓_g_↓ grows out of
the control tonic ↓_d_↓.

.BEGIN VERBATIM

Figure 89b
.END
.CENTER
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.SKIP 6
.FILL INDENT 12

	The temporary tonics found in the first eighteen bars of the
movement appear in a straightforward manner.  Measure 19 works as
the dominant of the F chord which precedes it and also as subdominant
to the g chord of measure 21, which in turn is II of the coming tonic ↓_F_↓.
(The simplest pivots will be omitted.)
.BEGIN VERBATIM

Figure 90 
.END
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.skip 6
.FILL INDENT 12

	In the ↓_F_↓ section of the exposition things are a little more
complex.  The chromaticism of the first four bars (23-26) is all
non-functional as far as ↓_F_↓ is concerned.  Likewise, measures 31-33
are clear.
.BEGIN VERBATIM

Figure 91a
.END
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