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00300	.FILL INDENT 12
00400		The difficulty in analyzing this last half of the development
00500	section stems mainly from the ambiguity of function in the long string
00600	of ascending seventh chords.  Even though a satisfactory analysis of the
00700	tonal bases can be worked out here, it is obvious that our comprehension
00800	of such passages depends greatly on the much less problematical element
00900	of motivic continuity.  It will be seen later how the functional 
01000	ambiguity of late 19th-century music led to a situation wherein the
01100	motivic or, more broadly speaking, contextual element took over the
01200	primary organizational role from tonal harmony.
01300	
01400		The recapitulation of this Mozart movement offers no new
01500	complications.  The few new tonics can easily be identified.
01600	
01700		It will be noticed that most of the work on the role of the
01800	piece's more complex chromaticism has been assumed during the
01900	preceding discussion.  This can hardly be otherwise, even when
02000	approaching a work from the largest view first.  The more complicated
02100	the details are, the more difficult it usually becomes to form an
02200	immediate view of the larger tonal movements.  The same will often
02300	prove true concerning the other of the first three analytical 
02400	procedures outlined in Chapter VIII.  What questions that may be
02500	left in this area will probably be covered in the discussion which
02600	follows the complete analysis of the movement.
02700	.BEGIN VERBATIM
02800	
02900	Figure 94.  Mozart, Sonata in F, K.533, 
03000				second movement (Andante).
03100	.END
03200	.CENTER
03300	%6⊂⊗⊃L[α%0.04,α%-3.10](17,22):N94FA.PLT[C9,LCS]⊂⊗⊃%1