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.FILL INDENT 12
	The harmony of bars 60-62 is quite similar, but now moving from
↓_d_↓ and employing three-note substitutes for the seventh chords.
.BEGIN VERBATIM

Figure 93c
.END
.CENTER
%6⊂⊗⊃L[α%0.04,α%-4.72](17,22):N93FC.PLT[c9,LCS]⊂⊗⊃%1
.skip 10  
.FILL INDENT 12

	Taking only the primary chords of the next bars, we find the
same progression, now in ↓_c_↓:
.BEGIN VERBATIM

Figure 93d
.END
.CENTER
%6⊂⊗⊃L[α%0.04,α%-4.18](17,22):N93FD.PLT[c9,LCS]⊂⊗⊃%1
.skip 9   
.FILL INDENT 12

	Next, the progression is expanded to three seventh chords in
a row.  Following the previous analyses, we can only assume that
this represents an overlapping of an implied tonicization of ↓_f_↓ and
a real one of ↓_g_↓.