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.FILL INDENT 12
	There are just a few more temporary tonics in the exposition
-- at bar 39, ↓_A%4F%1_↓ (%4F%1III), at bar 44, ↓_d_↓ (vi), and ↓_C_↓ (V).

	We already have the main temporary tonics and the control 
tonics in the development section.  Now the details of the middle
ground will be added to the material presented in Figures 89a and
89b.  The incomplete chord at bar 47 acts as a pivot between ↓_F_↓ and ↓_d_↓.

.BEGIN VERBATIM

Figure 93a.  First half of development section.
.END
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.FILL INDENT 12


	Notice in particular, at bars 55-57 and 57-59, the repetition
of i - iv - v as a progression of tonics.

	The last part of this development section is of such complexity
that the details of the middle ground cannot well be isolated from
the somewhat ambiguous foreground.  As stated earlier, this passage is
based on the harmonic progression found in bars 19-21 of the exposition.
In that earlier presentation there is no problem of analysis when it
is noted that E%4N%1 is a conventional raised sixth degree of the ascending 
↓_g_↓ scale.
.BEGIN VERBATIM

Figure 93b
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