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%6⊂⊗⊃L[α%0.10,α%-7.22](17,22):N80FB.PLT[C7,LCS]⊂⊗⊃%1
.SKIP 16
.FILL INDENT 12
	There is a cadence on a new tonic of ↓_E_↓ at bar 25.  ↓_E_↓ is shown 
here as a control tonic rather than a modulation because of the 
relative brevity of its use after the cadence (six bars out of the
first thirty of the piece), and because its repetitious character
gives it the sound of an extended cadence formula.  The new tonic at
bar 47 (↓_f%4S%1_↓) is completely independent and so is shown as a modulation,
despite its brevity.

	Treatment of the following music in ↓_D_↓ is open to varying
opinion.  It has been listed as a new control tonic on ↓_D_↓ (VI in ↓_f%4S%1_↓)
for two reasons:  first, the music present at bar 53 has already
been heard as continuation, and then transition material (see bar 17);
second, no clear reference is made back to the original basic tonic
with material that was in that key (↓_A_↓), or with new material, until
bar 70.  The first control tonic at bar 53 is shown as %4I%1
rather than simply ↓_VI_↓, so that the latter one at bar 61, %4V%1, may
appear on the same horizontal line.  This way the lower two levels of
the middle ground at bars 53-64 are the exact parallel of 17-28.  It
is especially important that the diagram makes clear the similarities
of such parallel passages.
 
	If the movement to ↓_D_↓ is taken as a modulation, the diagram
appears simpler, but then perhaps some of the subtlety of this work's
large harmonic structure is missed.

.BEGIN VERBATIM

Figure 80b (upper levels only)
.END
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	The analysis given in Figure 80a is preferred.
.CENTER		        
_______________
.FILL INDENT 12

	In both the first and last movements of Mozart's %2Sonata in
F%1, K.300k(332), we find what is commonly called a transition section
linking the two main parts of the exposition.  In each case the
material of the transition follows a full close in ↓_F_↓, is new, and
starts out clearly in ↓_d_↓.  However, ↓_d_↓ proves to be only a step on the
way to ↓_C_↓.  Such transitions should be analyzed under the basic tonic
of departure, the new basic tonic appearing only when a clear goal
is reached.

.begin verbatim

Figure 81a.  Mozart, Sonata in F, K.300k(332) 
				     first movement.
.end
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