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.FILL INDENT 12

	Measures 27 and 28 contain a diminished chord which could be
a substitute for any of a number of dominants; so final decision
on the temporary tonic at that point must wait until the surrounding
details are studied.  However, the most immediate impression is that
this chord is a dominant substitute for either ↓_g_↓ (ii) or ↓_B%4F_↓%1 (IV).
The next chord, e%4FA%1, does little to clarify the situation, especially
since it in turn is followed by a new diminished chord.  Considering
the bass line, it might be said that this %4A%1 is a "passing chord".
.BEGIN VERBATIM

Example 91 
.END
.CENTER
%6⊂⊗⊃L[α%0.04,α%-2.22](17,22):N91X.PLT[C9,LCS]⊂⊗⊃%1
.SKIP 4
.FILL INDENT 12

	Even though the linear element is so strong, it seems to be
avoiding the issue to pass over such a dramatic turn so lightly.
Looking ahead a little, it may be noticed that the last diminished
chord (measure 30), while being a dominant function to the preceding
↓_e%4F%1_↓, proves to be working as substitute for the dominant to ↓_C_↓, leading
eventually to a C7th chord (tonic substitute) in bar 32.  Now we have:
.BEGIN VERBATIM

Figure 91b
.END
.CENTER
%6⊂⊗⊃L[α%0.04,α%-2.50](17,22):N91FB.PLT[C9,LCS]⊂⊗⊃%1
.SKIP 5
.FILL INDENT 12

	Returning to the e%4FA%1 chord, its simplest designation is that
of a dominant substitute in ↓_e%4F%1_↓.  This key is rather remote from ↓_F_↓ but
not quite so "far" from ↓_g_↓ or ↓_B%4F_↓%1 (which are possible tonics for measure
28).  If the first of these, ↓_g_↓, is chosen, then we have: