Tonal|NNP Structure|NNP and|CC Form|NN in|IN Bartók|NNP ’|NN s|VBZ Concerto|NNP for|IN Orchestra|NNP (|( I|NN )|) Drew|NNP F.|NN Nobile|NNP University|NNP of|IN Washington|NNP Before|IN beginning|VBG an|DT analysis|NN of|IN any|DT piece|NN by|IN Béla|NNP Bartók|NNP ,|, one|PRP must|MD first|RB decide|VB to|TO what|WP degree|NN tonal|JJ analysis|NN will|MD be|VB used|VBN .|. 
Bartók|NNP ’|NN s|VBZ music|NN ,|, although|IN it|PRP is|VBZ often|RB difficult|JJ to|TO call|VB completely|RB tonal|JJ ,|, never|RB entirely|RB sheds|NNS itself|PRP of|IN tonal|JJ elements|NNS and|CC structure|NN .|. 
This|DT remains|VBZ true|JJ even|RB with|IN one|CD of|IN his|PRP$ last|JJ compositions|NNS ,|, the|DT Concerto|NNP for|IN Orchestra|NNP ,|, written|VBN two|CD years|NNS before|IN his|PRP$ death|NN in|IN 1943|CD .|. 
The|DT discussion|NN that|WDT follows|VBZ analyzes|NNS the|DT first|JJ movement|NN of|IN the|DT Concerto|NNP ,|, focusing|VBG on|IN the|DT tonal|JJ structures|NNS at|IN play|NN throughout|IN the|DT movement|NN .|. 
The|DT analysis|NN will|MD treat|VB the|DT movement|NN tonally|RB ,|, investigating|VBG the|DT progression|NN of|IN local|JJ “|NN tonics|NNS ”|NN and|CC its|PRP$ relationship|NN to|TO the|DT overall|JJ form|NN .|. 
We|PRP will|MD also|RB examine|VB to|TO what|WP degree|NN a|DT “|NN tonal|JJ ”|NN reading|NN of|IN this|DT movement|NN is|VBZ limited|VBN in|IN its|PRP$ analytical|JJ potential|NN in|IN an|DT attempt|NN to|TO pinpoint|VB exactly|RB where|WRB Bartók|NNP strays|NNS from|IN common-practice|JJ compositional|JJ techniques|NNS .|. 

Harmonic|NNP Structure|NNP and|CC Form|NNP Bartók|NNP describes|VBZ the|DT form|NN of|IN the|DT first|JJ movement|NN as|IN “|NN more|JJR or|CC less|RBR regular|JJ sonata|NN form|NN .|. ”|NN 

Bartók|NNP ,|, 431|CD .|. While|IN that|DT does|VBZ not|RB seem|VB to|TO be|VB a|DT meaningful|JJ assertion|NN ,|, it|PRP is|VBZ perfectly|RB accurate|JJ :|: the|DT movement|NN is|VBZ in|IN sonata|NN form|NN ,|, but|CC there|EX is|VBZ an|DT introduction|NN that|WDT does|VBZ not|RB relate|VB thematically|RB to|TO any|DT other|JJ parts|NNS of|IN the|DT movement|NN (|( not|RB unheard|JJ of|IN in|IN Mozart|NNP sonatas|NNS )|) ,|, and|CC the|DT recapitulation|NN presents|VBZ the|DT two|CD themes|NNS of|IN the|DT exposition|NN in|IN reverse|NN order|NN .|. 
The|DT “|NN backwards|JJ ”|NN recapitulation|NN is|VBZ a|DT technique|NN that|IN Bartók|NNP employs|VBZ frequently|RB because|IN of|IN the|DT formal|JJ symmetry|NN it|PRP creates|VBZ .|. 

For|IN example|NN ,|, the|DT fifth|JJ string|NN quartet|NN .|. 
Also|RB see|VB Bartók|NNP ’|NN s|VBZ comments|NNS on|IN that|DT (|( Bartók|NNP ,|, 414|CD )|) .|. 

Example|NN 1|CD shows|VBZ a|DT diagram|NN of|IN the|DT form|NN of|IN the|DT movement|NN ;|: the|DT symmetry|NN is|VBZ apparent|JJ within|IN the|DT seven|CD sections|NNS following|VBG the|DT introduction|NN .|. 
As|IN the|DT example|NN shows|NNS ,|, the|DT development|NN section|NN is|VBZ divided|VBN into|IN three|CD subsections|NNS ;|: the|DT first|JJ and|CC third|JJ subsections|NNS draw|VBP their|PRP$ thematic|JJ material|NN from|IN the|DT first|JJ theme|NN group|NN ,|, and|CC the|DT second|JJ subsection|NN involves|VBZ new|JJ material|NN not|RB drawn|VBN from|IN the|DT exposition|NN .|. 
Hence|RB ,|, on|IN either|DT side|NN of|IN the|DT middle|JJ section|NN of|IN the|DT development|NN we|PRP have|VBP the|DT alternation|NN FTG-STG-FTG|NNP which|WDT makes|VBZ the|DT overall|JJ form|NN ,|, with|IN the|DT exception|NN of|IN the|DT Introduction|NNP ,|, symmetric|JJ .|. 

Paul|NNP Wilson|NNP also|RB discusses|NNS the|DT inherent|JJ symmetry|NN of|IN the|DT movement|NN ,|, although|IN his|PRP$ interpretation|NN is|VBZ somewhat|RB different|JJ .|. 
See|VB Wilson|NNP ,|, 168|CD -|: 170|CD .|. 

||NN ||NN Intro|NNP ||NN FTG|NNP ||NN STG|NNP ||NN Dev|NNP I|PRP (|( FTG|NNP )|) ||NN Dev|NNP II|NNP (|( new|JJ )|) ||NN Dev|NNP III|NNP (|( FTG|NNP )|) ||NN STG|NNP ||NN FTG|NNP ||NN ||NN The|DT abbreviations|NNS FTG|NNP and|CC STG|NNP stand|VBP for|IN First|CD Theme|NNP Group|NNP and|CC Second|NNP Theme|NNP Group|NNP ,|, respectively|RB .|. 

example|NN 1|CD :|: formal|JJ structure|NN of|IN the|DT first|JJ movement|NN Sonata|NNP form—or|NN ,|, “|NN more-or-less|JJ ”|NN sonata|NN form—carries|NNS harmonic|JJ as|IN well|RB as|IN formal|JJ connotations|NNS .|. 
While|IN “|NN tonality|NN ”|NN in|IN this|DT piece|NN (|( and|CC in|IN Bartók|NNP ’|NN s|VBZ music|NN in|IN general|JJ )|) is|VBZ quite|RB different|JJ from|IN its|PRP$ classical|JJ interpretation|NN ,|, we|PRP find|VBP that|IN the|DT harmonic|JJ structure|NN is|VBZ at|IN least|JJS analogous|JJ to|TO the|DT standard|JJ sonata-form|JJ structure|NN .|. 
To|TO begin|VB with|IN ,|, the|DT movement|NN is|VBZ in|IN F.|NN 
When|WRB we|PRP say|VBP “|NN in|IN F|NN ,|, ”|NN we|PRP do|VBP not|RB imply|VB F|NN major|JJ (|( or|CC minor|JJ ,|, for|IN that|DT matter|NN )|) —|NN the|DT major|JJ /|NN minor|JJ tonal|JJ system|NN in|IN general|JJ does|VBZ not|RB apply|VB to|TO this|DT piece—but|NN rather|RB that|IN the|DT pitch-class|JJ F|NN is|VBZ the|DT tonal|JJ center|NN of|IN the|DT movement|NN ,|, and|CC acts|NNS analogously|RB to|TO the|DT tonic|NN in|IN a|DT Mozartian|NNP sonata|NN movement|NN .|. 
Using|VBG this|DT interpretation|NN ,|, we|PRP can|MD map|VB out|RP the|DT local|JJ tonics|NNS (|( tonal|JJ centers|NNS )|) used|VBN throughout|IN the|DT movement|NN ,|, as|IN shown|VBN in|IN Example|NN 2|CD .|. 

example|NN 2|CD :|: harmonic|JJ structure|NN of|IN the|DT first|JJ movement|NN In|IN this|DT example|NN ,|, the|DT barlines|NNS divide|VBP the|DT formal|JJ sections|NNS of|IN the|DT piece|NN (|( Introduction–|NNP Exposition–|NNP Development­–|NNP Recapitulation|NNP )|) —|NN so|IN we|PRP can|MD immediately|RB see|VB that|IN the|DT tonic|NN F|NN is|VBZ not|RB established|VBN until|IN the|DT exposition|NN begins|VBZ .|. 
Beginning|VBG with|IN the|DT exposition|NN ,|, the|DT large-scale|JJ progression|NN of|IN tonal|JJ centers|NNS is|VBZ a|DT whole-tone|JJ descent|NN from|IN F|NN to|TO F|NN ,|, represented|VBN by|IN the|DT stemmed|VBN notes|NNS in|IN Example|NN 2|CD ,|, while|IN the|DT Introduction|NNP ascends|NNS from|IN C|NNP ♯|NN to|TO F|NN through|IN D|NNP ♯|NN (|( shown|VBN as|IN D|NNP ♭|NN and|CC E|NNP ♭|NN in|IN the|DT graph|NN )|) in|IN a|DT quasi-bass|JJ Anstieg|NNP .|. 
The|DT middle|JJ pitch|NN of|IN the|DT descent|NN ,|, B|NNP ,|, acts|VBZ as|IN the|DT “|NN dominant|JJ ”|NN to|TO F|NN ,|, based|VBN on|IN its|PRP$ symmetrical|JJ division|NN of|IN the|DT whole-tone|JJ scale|NN and|CC the|DT fact|NN that|IN the|DT second|JJ theme|NN appears|VBZ in|IN B|NNP in|IN the|DT exposition|NN .|. 
Bartók|NNP has|VBZ often|RB applied|VBN a|DT tonic-dominant|JJ relationship|NN to|TO a|DT pitch-class|JJ and|CC its|PRP$ tritone|NN partner|NN ,|, and|CC even|RB admits|VBZ to|TO using|VBG that|IN as|IN a|DT compositional|JJ framework|NN in|IN his|PRP$ fifth|JJ string|NN quartet|NN .|. 

See|VB Bartók|NNP ,|, 414|CD -|: 415|CD .|. 
In|IN this|DT particular|JJ movement|NN ,|, Bartók|NNP feigns|NNS moving|VBG to|TO the|DT tonal|JJ dominant|JJ ,|, C|NNP ,|, for|IN the|DT second|JJ theme|NN before|IN reinterpreting|VBG C|NNP as|IN a|DT chromatic|JJ passing|NN tone|NN between|IN D|NNP ♭|NN and|CC B—|NNP this|DT and|CC other|JJ subtleties|NNS shown|VBN in|IN Example|NN 2|CD will|MD be|VB explained|VBN in|IN detail|NN in|IN later|JJ sections|NNS .|. 

Paul|NNP Wilson|NNP gives|VBZ a|DT detailed|VBN account|NN of|IN the|DT foreground|NN activity|NN throughout|IN this|DT movement|NN in|IN his|PRP$ analysis|NN ;|: we|PRP do|VBP not|RB seek|VB to|TO duplicate|VB or|CC substitute|VB for|IN his|PRP$ findings|NNS .|. 
Our|PRP$ analysis|NN will|MD focus|VB instead|RB on|IN relating|VBG the|DT foreground|NN activity|NN to|TO the|DT overarching|VBG background|NN structure|NN .|. 
The|DT graph|NN in|IN Example|NN 2|CD will|MD serve|VB as|IN a|DT point|NN of|IN departure|NN for|IN the|DT subsequent|JJ analysis|NN ;|: while|IN we|PRP will|MD periodically|RB refer|VB back|RB to|TO some|DT of|IN its|PRP$ specific|JJ elements|NNS ,|, it|PRP should|MD be|VB understood|VBN that|IN even|RB when|WRB not|RB explicitly|RB referenced|JJ ,|, this|DT graph|NN serves|VBZ as|IN the|DT explanatory|JJ goal|NN of|IN this|DT paper|NN .|. 

The|DT Introduction|NNP As|IN Paul|NNP Wilson|NNP points|NNS out|IN ,|, the|DT title|NN “|NN Introduzione|NNP ”|NN given|VBN to|TO the|DT movement|NN as|IN a|DT whole|JJ seems|VBZ to|TO apply|VB only|RB to|TO the|DT first|JJ 75|CD measures|NNS .|. 

Wilson|NNP ,|, 172|CD .|. The|DT Introduction|NNP does|VBZ not|RB relate|VB thematically|RB to|TO any|DT of|IN the|DT main|JJ sections|NNS of|IN the|DT movement—in|NN fact|NN ,|, it|PRP is|VBZ the|DT third|JJ movement|NN that|WDT draws|VBZ its|PRP$ thematic|JJ material|NN from|IN this|DT section—but|NN the|DT harmonic|JJ and|CC motivic|JJ principles|NNS at|IN play|NN here|RB foreshadow|NN some|DT important|JJ elements|NNS of|IN the|DT entire|JJ piece|NN .|. 
To|TO begin|VB with|IN ,|, the|DT opening|VBG motive|NN in|IN the|DT celli|NN and|CC basses|NNS ,|, shown|VBN in|IN Example|NN 3|CD ,|, outlines|VBZ a|DT pentatonic|JJ set|VBN and|CC strongly|RB presents|VBZ C|NNP ♯|NN as|IN the|DT tonal|JJ center|NN .|. 
The|DT pentatonic|JJ set|VBN here|RB is|VBZ exclusively|RB a|DT pitch-class|JJ set|VBN ,|, and|CC its|PRP$ incarnations|NNS throughout|IN the|DT movement|NN are|VBP devoid|JJ of|IN any|DT connotations|NNS associated|VBN with|IN the|DT pentatonic|JJ scale|NN .|. 
Indeed|RB ,|, this|DT set|JJ can|MD be|VB seen|VBN more|JJR as|IN a|DT by-product|JJ of|IN stacked|VBN perfect|JJ fourths|NNS than|IN a|DT generative|JJ element|NN itself|PRP .|. 
The|DT perfect|JJ fourth|JJ in|IN fact|NN generates|VBZ much|JJ of|IN the|DT motivic|JJ and|CC harmonic|JJ material|NN of|IN the|DT entire|JJ movement|NN ,|, and|CC its|PRP$ importance|NN is|VBZ immediately|RB evident|JJ in|IN the|DT Introduction|NNP with|IN the|DT opening|VBG bass|NN motive|NN .|. 
Furthermore|RB ,|, the|DT following|VBG two|CD instances|NNS of|IN this|DT opening|VBG motive|NN ,|, shown|VBN in|IN Examples|NNS 4|CD and|CC 5|CD ,|, remove|VB any|DT doubt|NN as|IN to|TO the|DT motivic|JJ importance|NN of|IN the|DT perfect|JJ fourth|JJ ,|, and|CC in|IN turn|NN diminish|VB the|DT importance|NN of|IN the|DT pentatonic|JJ set|VBN .|. 

example|NN 3|CD :|: measures|NNS 1|CD -|: 6|CD (|( celli|NN and|CC basses|NNS )|) example|NN 4|CD :|: measures|NNS 12|CD -|: 16|CD (|( celli|NN and|CC basses|NNS )|) example|NN 5|CD :|: measures|NNS 22|CD -|: 29|CD (|( celli|NN ,|, basses|NNS and|CC violas|NNS )|) Example|NN 4|CD transitions|NNS from|IN C|NNP ♯|NN to|TO F|NN ♯|NN ,|, and|CC adds|VBZ pitch-class|JJ E|NNP to|TO the|DT pentatonic|JJ set|NN of|IN Example|NN 3|CD ,|, creating|VBG a|DT six-note|JJ set|NN of|IN stacked|VBN fourths|NNS .|. 
Example|NN 5|CD shows|VBZ the|DT true|JJ dominance|NN of|IN the|DT perfect|JJ fourth|JJ ;|: the|DT set|VBN created|VBN is|VBZ a|DT ten-note|JJ set|VBN derived|VBN by|IN stacking|VBG fourths|NNS .|. 

If|IN we|PRP begin|VBP from|IN the|DT final|JJ D|NNP ♯|NN and|CC ascend|NN the|DT circle|NN of|IN fourths|NNS until|IN we|PRP reach|VBP C|NNP we|PRP obtain|VBP the|DT entire|JJ set|VBN presented|VBN in|IN this|DT example|NN .|. 

Each|DT note|NN is|VBZ either|CC approached|VBN or|CC left|VBN (|( or|CC both|DT )|) by|IN a|DT fourth|JJ ,|, and|CC the|DT structural|JJ motion|NN is|VBZ from|IN F|NN ♯|NN to|TO D|NNP ♯|NN .|. 
The|DT overall|JJ motion|NN in|IN the|DT first|JJ 29|CD measures|NNS is|VBZ C|NNP ♯|NN to|TO D|NNP ♯|NN ,|, through|IN F|NN ♯|NN ;|: these|DT are|VBP represented|VBN enharmonically|RB in|IN Example|NN 2|CD as|IN D|NNP ♭|NN ,|, E|NNP ♭|NN and|CC G|NNP ♭|NN .|. 
As|IN previously|RB mentioned|VBN ,|, this|DT motion|NN constitutes|VBZ the|DT initial|JJ ascent|NN to|TO what|WP will|MD eventually|RB be|VB a|DT whole-tone|JJ descent|NN from|IN F|NN to|TO F.|NN 
So|IN the|DT prevailing|VBG structural|JJ motion|NN of|IN the|DT movement|NN as|IN a|DT whole|NN is|VBZ a|DT descending|VBG whole|JJ step|NN and|CC the|DT prevailing|VBG melodic|JJ motion|NN is|VBZ a|DT (|( usually|RB ascending|VBG )|) perfect|JJ fourth|JJ .|. 
We|PRP can|MD connect|VB the|DT two|CD by|IN noting|VBG that|IN the|DT descending|VBG whole|JJ step|NN consists|VBZ of|IN two|CD ascending|VBG fourths|NNS ;|: indeed|RB ,|, the|DT structural|JJ whole-tone|JJ descent|NN is|VBZ often|RB “|NN filled|VBN in|IN ”|NN with|IN the|DT intervening|VBG fourth|JJ .|. 
This|DT motion|NN is|VBZ exemplified|VBN in|IN Example|NN 2|CD in|IN the|DT second|JJ theme|NN group|NN (|( mm|NN .|. 
155|CD -|: 233|CD )|) ,|, and|CC as|IN we|PRP will|MD see|VB ,|, it|PRP occurs|VBZ in|IN other|JJ places|NNS ,|, though|IN not|RB relevant|JJ enough|RB to|TO the|DT background|NN structure|NN to|TO be|VB represented|VBN in|IN Example|NN 2|CD .|. 

Each|DT time|NN the|DT motion|NN in|IN Examples|NNS 3|CD through|IN 5|CD breaks|NNS from|IN chains|NNS of|IN fourths|NNS ,|, the|DT same|JJ sequence|NN of|IN intervals|NNS occurs|VBZ :|: two|CD descending|VBG perfect|JJ fourths|NNS separated|VBN by|IN an|DT ascending|VBG major|JJ second|JJ (|( -|: 5|CD ,|, +|NN 2|CD ,|, -|: 5|CD )|) ;|: each|DT instance|NN of|IN this|DT intervallic|JJ cell|NN is|VBZ bracketed|JJ in|IN the|DT examples|NNS .|. 
This|DT sequence|NN of|IN intervals|NNS is|VBZ the|DT inversion|NN of|IN those|DT found|VBN in|IN the|DT second|JJ head|NN motive|NN of|IN the|DT first|JJ theme|NN of|IN the|DT exposition|NN ,|, shown|VBN in|IN measures|NNS 2|CD -|: 3|CD of|IN Example|NN 8|CD .|. 
So|RB although|IN there|EX is|VBZ no|DT thematic|JJ relation|NN between|IN the|DT Introduction|NNP and|CC the|DT main|JJ sections|NNS of|IN the|DT movement|NN ,|, within|IN the|DT first|JJ 29|CD measures|NNS we|PRP can|MD already|RB see|VB structural|JJ ,|, harmonic|JJ and|CC motivic|JJ elements|NNS that|WDT apply|VBP to|TO the|DT movement|NN as|IN a|DT whole|NN .|. 

The|DT section|NN from|IN measures|NNS 35|CD -|: 50|CD is|VBZ centered|VBN on|IN E|NNP ;|: upon|IN the|DT return|NN of|IN D|NNP ♯|NN ,|, enharmonically|RB respelled|JJ as|IN E|NNP ♭|NN ,|, in|IN measure|NN 58|CD ,|, we|PRP see|VBP that|IN E|NNP acts|NNS as|IN its|PRP$ upper-neighbor|JJ .|. 
This|DT relationship|NN is|VBZ somewhat|RB obscured|VBD by|IN measures|NNS 51|CD -|: 57|CD however|RB ;|: while|IN there|EX is|VBZ no|DT clear|JJ tonal|JJ center|NN for|IN this|DT section|NN ,|, G|NNP appears|VBZ in|IN the|DT outer|JJ voices|NNS in|IN measure|NN 51|CD ,|, although|IN the|DT harmonic|JJ material|NN is|VBZ reminiscent|NN of|IN C|NNP minor|NN .|. 
The|DT concluding|VBG motive|NN of|IN this|DT section|NN in|IN the|DT violins|NNS (|( the|DT bracketed|JJ sections|NNS of|IN Example|NN 6|CD )|) ,|, as|RB well|RB as|IN the|DT bass|NN motive|NN of|IN measure|NN 58|CD ff|NN .|. 
(|( Example|NN 7|CD )|) ,|, are|VBP related|VBN to|TO the|DT first|JJ head|NN motive|NN of|IN the|DT first|JJ theme|NN ,|, which|WDT is|VBZ shown|VBN in|IN the|DT first|JJ measure|NN of|IN Example|NN 8|CD .|. 
All|DT three|CD of|IN these|DT motives|NNS span|VBP a|DT tritone|NN ,|, which|WDT as|IN mentioned|VBN is|VBZ the|DT “|NN dominant|JJ ”|NN relationship|NN in|IN this|DT movement|NN .|. 
Paul|NNP Wilson|NNP describes|VBZ the|DT transition|NN from|IN the|DT Introduction|NNP to|TO the|DT Exposition|NNP as|IN “|NN quite|RB abrupt|JJ and|CC seemingly|RB unmotivated|JJ ,|, ”|NN 

Wilson|NNP ,|, 173|CD .|. 
but|CC it|PRP is|VBZ in|IN fact|NN this|DT motivic|JJ relationship|NN that|IN ties|NNS them|PRP together|RB and|CC creates|VBZ a|DT rather|RB smooth|JJ transition|NN .|. 

example|NN 6|CD :|: measures|NNS 56|CD -|: 58|CD (|( violin|NN 1|CD )|) example|NN 7|CD :|: measure|NN 58|CD (|( violas|NNS ,|, celli|NN ,|, basses|NNS )|) ;|: repeated|VBN through|IN measure|NN 75|CD The|DT Exposition|NNP Although|IN the|DT motivic|JJ relationship|NN between|IN the|DT Introduction|NNP and|CC the|DT first|JJ theme|NN of|IN the|DT exposition|NN smooth|VB the|DT transition|NN ,|, nearly|RB every|DT other|JJ element|NN changes|NNS when|WRB the|DT first|JJ theme|NN appears|NNS .|. 
The|DT drastic|JJ tempo|NN and|CC meter|NN changes|NNS as|RB well|RB as|IN the|DT first|JJ appearances|NNS of|IN staccato|NN articulations|NNS make|VBP it|PRP clear|JJ to|TO the|DT listener|NN that|IN the|DT introduction|NN is|VBZ over|IN .|. 
As|IN mentioned|VBN ,|, the|DT first|JJ theme|NN ,|, the|DT beginning|NN of|IN which|WDT is|VBZ reproduced|VBD in|IN Example|NN 8|CD ,|, contains|VBZ two|CD head|NN motives|NNS :|: the|DT first|JJ is|VBZ the|DT tritone-spanning|JJ ascent|NN that|WDT appears|VBZ in|IN the|DT first|JJ measure|NN ,|, and|CC the|DT second|NN is|VBZ an|DT iteration|NN of|IN the|DT interval|NN cell|NN (|( +|NN 5|CD ,|, -|: 2|CD ,|, +|NN 5|CD )|) that|WDT appears|VBZ in|IN the|DT second|NN through|IN third|JJ measures|NNS .|. 
While|IN the|DT presence|NN of|IN the|DT perfect|JJ fourths|NNS that|WDT was|VBD so|RB prevalent|JJ in|IN the|DT Introduction|NNP is|VBZ clear|JJ in|IN the|DT latter|NN ,|, the|DT former|JJ does|VBZ not|RB employ|VB the|DT perfect|JJ fourth|JJ in|IN its|PRP$ formation|NN .|. 
Rather|RB ,|, this|DT motive|NN is|VBZ a|DT small-scale|JJ representation|NN of|IN the|DT tonic-dominant|JJ relationship|NN of|IN tritone|NN partners|NNS ,|, specifically|RB F|NN and|CC B|NNP ,|, that|WDT is|VBZ the|DT basis|NN for|IN the|DT harmonic|JJ structure|NN of|IN this|DT movement|NN .|. 

example|NN 8|CD :|: measures|NNS 76|CD -|: 80|CD (|( violins|NNS )|) Rhythmically|NNP ,|, we|PRP have|VBP a|DT dissonance|NN between|IN the|DT melody|NN ,|, which|WDT follows|VBZ the|DT written|VBN meter|NN ,|, and|CC the|DT accompanying|VBG chords|NNS in|IN the|DT bassoons|NNS ,|, horns|NNS and|CC lower|JJR strings|NNS .|. 
Example|NN 9|CD reproduces|NNS the|DT chords|NNS ,|, and|CC Example|NN 10|CD rewrites|NNS them|PRP in|IN a|DT meter|NN that|WDT is|VBZ more|RBR consistent|JJ with|IN their|PRP$ rhythmic|JJ pattern|NN .|. 
As|IN Example|NN 10|CD shows|NNS ,|, the|DT chords|NNS are|VBP more-or-less|JJ in|IN duple|NN meter|NN (|( 4/8|CD and|CC 2/8|CD )|) with|IN one|CD “|NN hiccup|NN ”|NN occurring|VBG in|IN the|DT 5/8|CD measure|NN .|. 
This|DT is|VBZ in|IN strict|JJ metric|JJ dissonance|NN with|IN the|DT triple|JJ meter|NN of|IN the|DT melody|NN (|( with|IN its|PRP$ own|JJ “|NN hiccups|NNS ”|NN occurring|VBG in|IN the|DT written|VBN 2/8|CD measures|NNS )|) .|. 
As|IN we|PRP will|MD later|RB see|VB ,|, this|DT dissonance|NN disappears|VBZ when|WRB this|DT theme|NN returns|NNS in|IN the|DT recapitulation|NN .|. 

example|NN 9|CD :|: measures|NNS 77|CD -|: 91|CD (|( bassoons|NNS ,|, horns|NNS ,|, lower|JJR strings|NNS ;|: reduced|VBN )|) example|NN 10|CD :|: measures|NNS 77|CD -|: 91|CD rebarred|JJ to|TO reflect|VB rhythmic|JJ pattern|NN We|PRP have|VBP already|RB mentioned|VBN that|IN the|DT first|JJ theme|NN group|NN is|VBZ in|IN F—|NNP this|DT is|VBZ made|VBN clear|JJ from|IN the|DT onset|NN ,|, both|DT in|IN the|DT melodic|JJ line|NN and|CC by|IN the|DT F|NN minor|JJ triad|NN that|WDT occurs|VBZ on|IN the|DT downbeat|NN of|IN measure|NN 77|CD .|. 
While|IN the|DT material|NN occasionally|RB departs|NNS from|IN this|DT F|NN in|IN measures|NNS 76|CD -|: 94|CD ,|, these|DT departures|NNS are|VBP all|DT subordinate|NN to|TO the|DT prolonged|JJ F.|NN 
E|NNP ♭|NN is|VBZ the|DT tonal|JJ center|NN for|IN measures|NNS 95|CD -|: 134|CD ,|, although|IN it|PRP does|VBZ not|RB appear|VB as|IN a|DT strong|JJ bass|NN note|NN until|IN measure|NN 131|CD .|. 
Measures|NNS 95|CD -|: 130|CD contain|VB a|DT mostly|RB chromatic|JJ descent|NN from|IN C|NNP to|TO E|NNP ♭|NN ,|, where|WRB E|NNP ♭|NN is|VBZ anticipated|VBN throughout|IN as|IN a|DT goal|NN tone|NN for|IN the|DT bass|NN .|. 
Example|NN 11|CD illustrates|VBZ this|DT structure|NN .|. 
Immediately|RB following|VBG the|DT arrival|NN of|IN E|NNP ♭|NN in|IN the|DT bass|NN ,|, C|NNP ♯|NN (|( D|NNP ♭|NN )|) is|VBZ established|VBN as|IN the|DT tonal|JJ center|NN for|IN the|DT final|JJ transition|NN to|TO the|DT second|JJ theme|NN .|. 
The|DT trombone|NN motive|NN in|IN measures|NNS 134|CD -|: 141|CD ,|, shown|VBN in|IN Example|NN 12|CD ,|, is|VBZ the|DT subject|NN of|IN the|DT fugato|NN section|NN in|IN part|NN 3|CD of|IN the|DT development|NN ,|, although|IN its|PRP$ importance|NN is|VBZ downplayed|VBD here|RB .|. 
Note|VB that|IN the|DT initial|JJ G|NNP ♯|NN is|VBZ a|DT pickup|NN to|TO the|DT section|NN in|IN C|NNP ♯|NN ,|, which|WDT fills|VBZ in|IN the|DT whole-tone|JJ descent|NN from|IN E|NNP ♭|NN to|TO C|NNP ♯|NN with|IN the|DT intervening|VBG fourth|JJ .|. 
This|DT motive|NN also|RB contains|VBZ the|DT intervallic|JJ cell|NN of|IN the|DT second|JJ head|NN motive|NN of|IN the|DT first|JJ theme|NN in|IN the|DT form|NN of|IN G|NNP ♯|NN -|: C|NNP ♯|NN -|: B-E|NNP (|( with|IN the|DT addition|NN of|IN some|DT passing|VBG tones|NNS )|) ,|, in|IN addition|NN to|TO consisting|VBG largely|RB of|IN motion|NN by|IN perfect|JJ fourths|NNS .|. 

example|NN 11|CD :|: bass|NN structure|NN of|IN the|DT first|JJ theme|NN group|NN ,|, measures|NNS 76|CD -|: 155|CD example|NN 12|CD :|: measures|NNS 134|CD -|: 141|CD (|( trombone|NN )|) Wilson|NNP claims|VBZ that|IN C|NNP and|CC E|NNP ♭|NN are|VBP “|NN local|JJ dominants|NNS ”|NN to|TO F|NN in|IN this|DT first|JJ section|NN of|IN the|DT exposition|NN .|. 

Wilson|NNP ,|, 174|CD .|. While|IN the|DT strong|JJ V-I|NNP motion|NN from|IN measures|NNS 90|CD -|: 91|CD does|VBZ carry|VB a|DT tonal|JJ implication|NN of|IN dominant-tonic|JJ ,|, such|JJ cadential|NN bass|NN motion|NN does|VBZ not|RB imply|VB anything|NN about|IN structural|JJ function|NN in|IN this|DT context|NN .|. 
E|NN ♭|NN ,|, furthermore|RB ,|, is|VBZ not|RB convincingly|RB established|VBN as|IN a|DT dominant-functioning|JJ tone|NN at|IN all|DT .|. 
The|DT passage|NN from|IN measures|NNS 85|CD -|: 89|CD is|VBZ centered|VBN on|IN E|NNP ♭|NN (|( and|CC the|DT pentatonic|JJ set|VBN from|IN the|DT opening|NN of|IN the|DT exposition|NN is|VBZ transposed|JJ down|RP a|DT whole|JJ step|NN )|) ,|, but|CC its|PRP$ mere|JJ presence|NN as|IN local|JJ tonic|NN does|VBZ not|RB signify|VB any|DT sort|NN of|IN dominant|JJ function|NN .|. 
Rather|RB ,|, we|PRP can|MD consider|VB this|DT occurrence|NN of|IN E|NNP ♭|NN as|IN a|DT middleground-level|JJ whole-tone|JJ descent|NN that|IN foreshadows|NNS the|DT structural|JJ descent|NN to|TO E|NNP ♭|NN at|IN measure|NN 131|CD that|WDT is|VBZ represented|VBN in|IN Example|NN 2|CD .|. 
In|IN measures|NNS 91|CD -|: 95|CD ,|, the|DT bass|NN descends|VBZ F-E|NNP ♭|NN -|: D|NNP ♭|NN -|: C|NNP ,|, which|WDT might|MD seem|VB to|TO support|VB C|NNP ’|NN s|VBZ functioning|VBG as|IN structural|JJ dominant|JJ .|. 
However|RB ,|, as|RB previously|RB mentioned|VBN ,|, C|NNP acts|NNS as|IN a|DT “|NN fake|JJ ”|NN dominant|JJ that|IN in|IN measures|NNS 149|CD -|: 155|CD actually|RB functions|NNS as|IN an|DT upper|JJ neighbor|NN to|TO B|NNP ,|, the|DT “|NN true|JJ ”|NN dominant|JJ .|. 
The|DT descent|NN in|IN measures|NNS 91|CD -|: 95|CD in|IN fact|NN participates|VBZ in|IN the|DT farce|NN by|IN projecting|VBG a|DT descent|NN ending|VBG on|IN C|NNP ,|, which|WDT makes|VBZ the|DT eventual|JJ reinterpretation|NN of|IN C|NNP and|CC descent|NN to|TO B|NNP stronger|JJR .|. 
This|DT creates|VBZ both|DT a|DT smooth|JJ transition|NN to|TO the|DT second|JJ theme|NN and|CC a|DT strong|JJ sense|NN that|IN a|DT new|JJ section|NN is|VBZ beginning|VBG ,|, a|DT combination|NN that|WDT is|VBZ generally|RB rather|RB difficult|JJ to|TO forge|VB .|. 

The|DT second|JJ theme|NN is|VBZ tranquil|NN and|CC harmonically|RB simple|NN ,|, which|WDT is|VBZ in|IN stark|JJ contrast|NN to|TO the|DT first|JJ theme|NN .|. 
B|NNP dominates|VBZ as|IN tonal|JJ center|NN from|IN measures|NNS 155|CD -|: 191|CD with|IN little|JJ or|CC no|DT harmonic|JJ motion|NN away|RB from|IN it|PRP .|. 
Measures|NNS 192|CD -|: 197|CD are|VBP in|IN E|NNP ♭|NN ,|, with|IN the|DT bass|NN notes|NNS in|IN the|DT harp|VB ,|, and|CC measures|NNS 198|CD -|: 209|CD are|VBP in|IN D|NNP ♭|NN .|. 
A|DT ♭|NN intervenes|NNS between|IN E|NNP ♭|NN and|CC D|NNP ♭|NN in|IN measure|NN 195|CD —|NN another|DT instance|NN of|IN the|DT whole-tone|JJ being|NN “|NN filled|VBN in|IN ”|NN by|IN a|DT fourth|JJ .|. 
The|DT return|NN to|TO B|NNP in|IN measure|NN 210|CD is|VBZ also|RB filled-in|JJ in|IN this|DT way|NN by|IN F|NN ♯|NN in|IN measures|NNS 208|CD -|: 209|CD .|. 
Hence|RB ,|, measures|NNS 155|CD -|: 210|CD constitute|VBP the|DT bass|NN progression|NN B-E|NNP ♭|NN -|: D|NNP ♭|NN -|: B|NNP ;|: the|DT same|JJ stepwise|NN descent|NN (|( E|NNP ♭|NN -|: D|NNP ♭|NN )|) occurred|VBD in|IN the|DT first|JJ theme|NN group|NN while|IN F|NN rather|RB than|IN B|NNP was|VBD being|VBG prolonged|JJ .|. 
Paul|NNP Wilson|NNP points|NNS out|RP that|IN “|NN [|NN i|NNP ]|NN n|NN substituting|VBG for|IN F|NN within|IN an|DT analogous|JJ structure|NN ,|, B|NNP receives|VBZ confirmation|NN at|IN this|DT point|NN as|IN the|DT crucial|JJ interior|JJ center|NN of|IN the|DT movement|NN .|. ”|NN 

Wilson|NNP ,|, 179|CD .|. In|IN our|PRP$ terminology|NN ,|, this|DT is|VBZ the|DT point|NN at|IN which|WDT B|NNP is|VBZ unequivocally|RB established|VBN as|IN the|DT structural|JJ dominant|JJ .|. 

The|DT Development|NNP As|IN mentioned|VBN ,|, the|DT development|NN is|VBZ divided|VBN into|IN three|CD subsections|NNS .|. 
In|IN Example|NN 2|CD ,|, the|DT entire|JJ development|NN section|NN is|VBZ represented|VBN by|IN exactly|RB three|CD pitches|NNS ,|, and|CC indeed|RB each|DT subsection|NN is|VBZ associated|VBN with|IN one|CD of|IN these|DT three|CD pitches|NNS as|IN its|PRP$ tonal|JJ center—none|NN of|IN these|DT pitches|NNS is|VBZ involved|VBN in|IN the|DT structural|JJ whole-tone|JJ descent|NN .|. 
As|IN Paul|NNP Wilson|NNP states|NNS ,|, the|DT development|NN “|NN is|VBZ ,|, for|IN Bartók|NNP ’|NN s|VBZ music|NN ,|, developmental|NN in|IN a|DT relatively|RB conventional|JJ way|NN ”|NN ;|: the|DT themes|NNS from|IN the|DT exposition|NN are|VBP expanded|VBN and|CC modified|VBN ,|, and|CC tonalities|NNS other|JJ than|IN those|DT expected|VBN arise|VB .|. 

Wilson|NNP ,|, 180|CD .|. The|DT only|RB slight|JJ abnormality|NN ,|, though|IN it|PRP is|VBZ certainly|RB not|RB unheard|JJ of|IN even|RB in|IN classical-period|JJ sonata|NN movements|NNS ,|, is|VBZ the|DT emergence|NN of|IN a|DT new|JJ theme|NN in|IN the|DT second|JJ section|NN of|IN the|DT development|NN .|. 
Although|IN Wilson|NNP claims|VBZ that|IN this|DT theme|NN is|VBZ based|VBN on|IN “|NN a|DT transformation|NN in|IN rhythm|NN and|CC contour|NN of|IN the|DT second|JJ head-motive|JJ of|IN [|NN the|DT first-theme|JJ ]|NN ,|, ”|NN 

Wilson|NNP ,|, 182|CD .|. 
there|EX is|VBZ no|DT intervallic|JJ relationship|NN between|IN the|DT two|CD motives|NNS ,|, and|CC it|PRP is|VBZ not|RB clear|JJ what|WP elements|NNS of|IN a|DT motive|NN remain|VB when|WRB rhythm|NN ,|, contour|NN and|CC interval|NN content|NN are|VBP changed|VBN .|. 
Furthermore|RB ,|, this|DT section|NN ,|, being|VBG the|DT middle|JJ section|NN of|IN the|DT movement|NN ,|, upholds|VBZ the|DT formal|JJ symmetry|NN if|IN interpreted|VBN as|IN its|PRP$ own|JJ theme|NN .|. 

The|DT first|JJ section|NN of|IN the|DT development|NN ,|, measures|NNS 231|CD -|: 271|CD ,|, begins|VBZ with|IN a|DT big|JJ D-|NNP minor|JJ chord|NN which|WDT immediately|RB establishes|VBZ D|NNP as|IN the|DT tonal|JJ center|NN for|IN the|DT section|NN .|. 
Although|IN it|PRP moves|VBZ to|TO E|NNP ♭|NN minor|JJ in|IN measure|NN 239|CD ,|, it|PRP returns|VBZ to|TO D|NNP minor|JJ in|IN measure|NN 248|CD ,|, which|WDT suggests|VBZ that|IN E|NNP ♭|NN is|VBZ an|DT upper|JJ neighbor|NN prolonging|VBG D.|NN 
The|DT passage|NN beginning|VBG at|IN measure|NN 248|CD ,|, shown|VBN in|IN Example|NN 13|CD ,|, can|MD be|VB considered|VBN to|TO be|VB the|DT “|NN theme|NN ”|NN of|IN this|DT section|NN ,|, and|CC is|VBZ a|DT development|NN of|IN the|DT second|JJ head|NN motive|NN of|IN the|DT first|JJ theme|NN .|. 
This|DT motive|NN undergoes|NNS inversion|NN and|CC extension|NN throughout|IN the|DT section|NN .|. 
While|IN Wilson|NNP rightly|RB identifies|VBZ the|DT resultant|JJ set|NN of|IN measures|NNS 261|CD -|: 264|CD as|IN 6|CD -|: Z50|NN (|( [|NN 014679|CD ]|NN )|) ,|, identifying|VBG it|PRP as|IN such|JJ does|VBZ not|RB offer|VB much|JJ analytical|JJ insight|NN until|IN we|PRP point|VBP out|IN that|IN this|DT is|VBZ a|DT simple|JJ extension|NN of|IN the|DT intervallic|JJ sequence|NN (|( +|NN 5|CD ,|, -|: 2|CD ,|, +|NN 5|CD )|) from|IN the|DT original|JJ motive|NN .|. 

example|NN 13|CD :|: measures|NNS 248|CD -|: 264|CD (|( violins|NNS )|) The|DT second|JJ section|NN of|IN the|DT development|NN is|VBZ in|IN C|NNP ♯|NN (|( which|WDT is|VBZ sometimes|RB spelled|VBN D|NNP ♭|NN )|) .|. 
This|DT section|NN is|VBZ reproduced|VBD as|IN Example|NN 14|CD .|. 
This|DT section|NN returns|NNS to|TO the|DT calm|JJ simplicity|NN (|( and|CC tempo|NN )|) of|IN the|DT second|JJ section|NN ,|, though|IN apart|RB from|IN affect|NN there|EX are|VBP no|DT references|NNS to|TO that|DT section|NN .|. 
Although|IN the|DT C|NNP ♯|NN major|JJ chord|NN in|IN measure|NN 293|CD ,|, preceded|VBN by|IN A|DT ♭|NN major|JJ (|( V|NNP )|) in|IN measure|NN 285|CD ,|, suggests|VBZ C|NNP ♯|NN as|IN tonal|JJ center|NN ,|, the|DT tonality|NN is|VBZ not|RB strongly|RB established|VBN until|IN measure|NN 303|CD .|. 
The|DT arrival|NN at|IN C|NNP ♯|NN was|VBD foreshadowed|VBN by|IN the|DT first|JJ two|CD measures|NNS of|IN the|DT development|NN (|( Example|NN 15|CD )|) ,|, which|WDT are|VBP almost|RB a|DT direct|JJ transposition|NN of|IN the|DT two|CD head|NN motives|NNS of|IN the|DT first|JJ theme|NN to|TO C|NNP ♯|NN .|. 

Because|IN of|IN its|PRP$ emphasis|NN here|RB in|IN the|DT development|NN section|NN and|CC its|PRP$ position|NN as|IN leading|VBG to|TO B|NNP in|IN the|DT second|JJ theme|NN group|NN ,|, we|PRP could|MD conceive|VB of|IN C|NNP #|# as|IN a|DT sub-dominant|JJ in|IN this|DT movement|NN .|. 
As|RB tempting|JJ as|IN this|DT interpretation|NN may|MD be|VB ,|, this|DT observation|NN is|VBZ relegated|VBN to|TO the|DT notes|NNS section|NN because|IN it|PRP constitutes|VBZ a|DT horrible|JJ abuse|NN of|IN terminology—there|NN is|VBZ only|RB so|RB far|RB that|IN such|JJ tonal|JJ analogies|NNS can|MD go|VB before|IN they|PRP begin|VBP to|TO hide|VB any|DT true|JJ analytical|JJ insight|NN behind|IN misused|VBD terms|NNS .|. 

example|NN 15|CD :|: measures|NNS 231|CD -|: 232|CD (|( violins|NNS and|CC trumpets|VBZ )|) example|NN 14|CD :|: measures|NNS 272|CD -|: 313|CD (|( reduction|NN )|) :|: development|NN ,|, part|NN 2|CD The|DT third|JJ section|NN of|IN the|DT development|NN takes|VBZ the|DT trombone|NN motive|NN from|IN the|DT transition|NN between|IN the|DT first|JJ and|CC second|JJ sections|NNS of|IN the|DT exposition|NN shown|VBN in|IN Example|NN 12|CD ,|, transposed|JJ to|TO begin|VB on|IN F|NN ,|, and|CC turns|VBZ it|PRP into|IN a|DT fugato|NN sequence|NN ,|, reproduced|VBD in|IN Example|NN 17|CD .|. 
The|DT tonal|JJ center|NN B|NNP ♭|NN is|VBZ established|VBN immediately|RB in|IN measures|NNS 316|CD -|: 318|CD by|IN the|DT strong|JJ V-I|NNP chord|NN progression|NN (|( Example|NN 16|CD )|) .|. 
As|IN previously|RB mentioned|VBN ,|, the|DT fugato|NN motive|NN incorporates|VBZ the|DT motion|NN by|IN perfect|JJ fourths|NNS found|VBD in|IN the|DT Introduction|NNP as|RB well|RB as|IN the|DT intervallic|JJ cell|NN found|VBD in|IN the|DT second|JJ head|NN motive|NN of|IN the|DT first|JJ theme|NN .|. 
The|DT resultant|JJ set|VBN is|VBZ the|DT pentatonic|JJ set|VBN F-B|NNP ♭|NN -|: E|NNP ♭|NN -|: A|DT ♭|NN -|: D|NNP ♭|NN ;|: the|DT entire|JJ passage|NN shown|VBN in|IN Example|NN 17|CD remains|VBZ within|IN this|DT set|JJ .|. 
The|DT second|JJ and|CC fourth|JJ entrances|NNS of|IN the|DT fugato|NN subject|JJ are|VBP transposed|JJ up|RP a|DT perfect|JJ fifth|NN ,|, but|CC the|DT first|JJ note|NN is|VBZ B|NNP ♭|NN rather|RB than|IN C|NNP ,|, which|WDT allows|VBZ Bartók|NNP to|TO remain|VB in|IN this|DT pentatonic|JJ set|VBN (|( and|CC also|RB to|TO reinforce|VB B|NNP ♭|NN as|IN tonal|JJ center|NN )|) .|. 

example|NN 16|CD :|: measures|NNS 316|CD -|: 318|CD :|: establishment|NN of|IN b|SYM ♭|NN The|DT second|JJ instance|NN of|IN the|DT fugato|NN section|NN ,|, not|RB reproduced|VBD in|IN its|PRP$ entirety|NN but|CC based|VBN on|IN the|DT subject|NN in|IN Example|NN 18|CD ,|, is|VBZ an|DT exact|JJ pitch|NN inversion|NN transposed|JJ to|TO begin|VB on|IN C.|NN 
The|DT inversion|NN blends|NNS seamlessly|RB back|RB into|IN the|DT original|JJ subject|NN in|IN measure|NN 363|CD .|. 
The|DT following|VBG section|NN (|( measures|NNS 363|CD -|: 389|CD )|) especially|RB brings|VBZ out|RP the|DT quartal|NN harmonies|NNS within|IN the|DT pentatonic|JJ set|VBN ,|, so|RB much|JJ so|IN that|IN B|NNP ♭|NN is|VBZ obscured|VBD as|IN tonal|JJ center|NN which|WDT allows|VBZ A|DT ♭|NN to|TO emerge|VB as|IN the|DT goal|NN tone|NN of|IN this|DT section—only|RB to|TO be|VB immediately|RB reinterpreted|JJ as|IN a|DT leading|VBG tone|NN to|TO the|DT A|DT that|WDT begins|VBZ the|DT recapitulation|NN .|. 
Both|DT B|NNP ♭|NN and|CC A|DT ♭|NN are|VBP chromatic|JJ neighbors|NNS to|TO A|DT ,|, which|WDT intensifies|NNS the|DT arrival|NN on|IN A|DT ,|, and|CC brings|VBZ out|RP the|DT fact|NN that|IN the|DT appearance|NN of|IN A|DT continues|VBZ the|DT large-scale|JJ whole-tone|JJ descent|NN that|WDT has|VBZ been|VBN left|VBN stranded|VBN on|IN B|NNP for|IN the|DT entire|JJ development|NN section|NN .|. 

example|NN 17|CD :|: measures|NNS 316|CD -|: 340|CD (|( brass|NN )|) :|: fugato|NN section|NN example|NN 18|CD :|: measures|NNS 342|CD -|: 349|CD (|( horns|NNS )|) :|: inverted|JJ fugato|NN subject|VB The|DT Recapitulation|NNP The|DT recapitulation|NN ,|, as|IN we|PRP have|VBP seen|VBN ,|, presents|VBZ the|DT themes|NNS in|IN reverse|NN order|NN .|. 
The|DT second|JJ theme|NN is|VBZ initially|RB presented|VBN in|IN A|DT ,|, as|IN part|NN of|IN the|DT whole-tone|JJ descent|NN ,|, and|CC proceeds|NNS directly|RB to|TO G|NNP ,|, where|WRB it|PRP is|VBZ restated|VBN slightly|RB modified|VBN .|. 
It|PRP is|VBZ worth|JJ pointing|VBG out|RP that|IN the|DT arrival|NN on|IN G|NNP at|IN measure|NN 425|CD is|VBZ led|VBN into|IN by|IN D|NNP ,|, which|WDT constitutes|VBZ another|DT “|NN filling|VBG in|IN ”|NN of|IN the|DT whole-step|JJ by|IN the|DT intervening|VBG fourth|JJ .|. 
The|DT A|DT ♯|NN in|IN measure|NN 438|CD might|MD initially|RB seem|VB to|TO be|VB a|DT new|JJ tonal|JJ area|NN ,|, but|CC it|PRP leads|VBZ to|TO D|NNP in|IN measure|NN 444|CD ,|, which|WDT constitutes|VBZ a|DT V|NNP chord|NN still|RB applied|VBD to|TO G.|NN 
Rather|RB than|IN resolve|VB this|DT D|NNP back|RB to|TO G|NNP ,|, however|RB ,|, Bartók|NNP shifts|NNS briefly|NN to|TO F|NN ♯|NN in|IN measure|NN 456|CD and|CC leads|VBZ to|TO E|NNP in|IN measure|NN 467|CD .|. 
E|NNP and|CC F|NN ♯|NN are|VBP both|DT active|JJ throughout|IN the|DT entire|JJ transition|NN from|IN second|JJ theme|NN back|RB to|TO first|JJ theme|NN (|( measures|NNS 456|CD -|: 487|CD )|) which|WDT brings|VBZ out|RP their|PRP$ functions|NNS as|IN upper|JJ and|CC lower|JJR chromatic|JJ neighbors|NNS to|TO F|NN ,|, which|WDT returns|VBZ triumphantly|RB in|IN measure|NN 488|CD with|IN the|DT much-anticipated|JJ recapitulation|NN of|IN the|DT first|JJ theme|NN .|. 

The|DT return|NN of|IN the|DT first|JJ theme|NN is|VBZ certainly|RB immediately|RB recognized|VBN as|IN such|JJ ;|: however|RB ,|, there|EX are|VBP some|DT important|JJ differences|NNS .|. 
Firstly|NNP ,|, its|PRP$ initial|JJ appearance|NN in|IN the|DT exposition|NN had|VBD a|DT minor|JJ flare|VBP to|TO it|PRP ;|: the|DT first|JJ chord|NN in|IN Example|NN 9|CD is|VBZ an|DT F-|NNP minor|JJ triad|NN ,|, and|CC the|DT first|JJ four|CD notes|NNS of|IN Example|NN 8|CD ascend|NN the|DT F-|NNP minor|JJ scale|NN .|. 
In|IN the|DT recapitulation|NN of|IN this|DT theme|NN ,|, shown|VBN in|IN Example|NN 19|CD ,|, the|DT first|JJ chord|NN is|VBZ an|DT F-|NNP major|JJ chord|NN ,|, and|CC the|DT A|DT ♭|NN is|VBZ replaced|VBN by|IN A|DT ♮|NN in|IN the|DT melody|NN .|. 
In|IN fact|NN ,|, the|DT chord|NN progression|NN of|IN the|DT first|JJ four|CD measures|NNS of|IN Example|NN 19|CD can|MD be|VB thought|VBN of|IN tonally|RB as|IN I-|NNP vi-|NN V|NNP in|IN F|NN major—while|NN we|PRP are|VBP reluctant|JJ to|TO say|VB that|IN this|DT passage|NN is|VBZ in|IN major|JJ (|( the|DT conspicuous|JJ A|DT ♭|NN in|IN measure|NN 490|CD easily|RB brings|VBZ doubt|NN to|TO this|DT interpretation|NN )|) ,|, we|PRP can|MD certainly|RB say|VB that|IN the|DT minor|JJ flare|VBP of|IN the|DT beginning|NN has|VBZ been|VBN replaced|VBN by|IN a|DT major|JJ flare|VBP here|RB in|IN the|DT recapitulation|NN .|. 

In|IN addition|NN to|TO the|DT “|NN mode|NN ”|NN -|: shift|NN ,|, we|PRP notice|VBP that|IN the|DT metric|JJ dissonance|NN shown|VBN in|IN Examples|NNS 9|CD and|CC 10|CD no|RB longer|RB appears|VBZ (|( notice|NN how|WRB regular|JJ the|DT rhythm|NN of|IN the|DT accompanying|VBG figure|NN is|VBZ in|IN Example|NN 19|CD )|) and|CC also|RB that|IN the|DT written|VBN meter|NN no|RB longer|RB changes|NNS .|. 
In|IN other|JJ words|NNS ,|, the|DT piece|NN ,|, in|IN becoming|VBG more|RBR regular|JJ ,|, is|VBZ beginning|VBG to|TO drive|VB towards|IN the|DT finish—because|NN of|IN the|DT formal|JJ structure|NN ,|, the|DT recapitulation|NN of|IN the|DT first|JJ theme|NN also|RB serves|VBZ as|IN the|DT closing|NN section|NN of|IN the|DT movement|NN .|. 
Indeed|RB ,|, this|DT section|NN has|VBZ the|DT feel|NN of|IN a|DT Coda|NNP to|TO it—it|NN is|VBZ much|RB shorter|JJR than|IN any|DT other|JJ major|JJ section|NN or|CC subsection|NN ,|, and|CC the|DT tonic|NN harmony|NN is|VBZ active|JJ throughout|IN .|. 
There|EX are|VBP also|RB no|DT phrase|NN divisions—the|NN music|NN simply|RB drives|VBZ forward|RB with|IN no|DT pause|NN until|IN measure|NN 514|CD ,|, where|WRB the|DT fugato|NN motive|NN appears|VBZ in|IN the|DT brass|NN over|IN an|DT obvious|JJ V-I|NNP cadence|NN ,|, signaling|VBG the|DT end|NN of|IN the|DT movement|NN which|WDT occurs|VBZ as|IN the|DT motive|NN completes|VBZ .|. 

example|NN 19|CD :|: measures|NNS 488|CD -|: 494|CD :|: the|DT first|JJ theme|NN in|IN the|DT recapitulation|NN There|EX is|VBZ no|DT fine|NN line|NN between|IN music|NN that|WDT is|VBZ “|NN tonal|JJ ”|NN and|CC music|NN that|WDT is|VBZ “|NN atonal|JJ .|. ”|NN 
Bartók|NNP is|VBZ one|CD of|IN the|DT many|JJ early-twentieth|JJ century|NN composers|NNS whose|WP$ music|NN fits|VBZ entirely|RB in|IN the|DT gray|JJ area|NN between|IN tonality|NN and|CC atonality|NN .|. 
While|IN we|PRP know|VBP from|IN his|PRP$ writings|NNS that|IN he|PRP often|RB composed|VBN with|IN a|DT tonal|JJ centers|NNS and|CC relationships|NNS in|IN mind|NN ,|, and|CC that|IN he|PRP regularly|RB applied|VBD tonal|JJ structures|NNS and|CC forms|NNS to|TO his|PRP$ compositions|NNS ,|, by|IN merely|RB glancing|VBG at|IN any|DT one|CD of|IN his|PRP$ pieces|NNS we|PRP can|MD see|VB that|DT tonality|NN as|IN it|PRP is|VBZ understood|VBN in|IN the|DT common|JJ practice|NN period|NN is|VBZ not|RB at|IN work|NN .|. 
Thanks|NNS largely|RB to|TO the|DT work|NN of|IN tonal|JJ theorists|NNS such|JJ as|IN Heinrich|NNP Schenker|NNP and|CC others|NNS ,|, we|PRP have|VBP a|DT detailed|VBN system|NN for|IN analyzing|VBG tonal|JJ music—their|NN system|NN ,|, however|RB ,|, is|VBZ virtually|RB useless|JJ in|IN analyzing|VBG music|NN that|WDT falls|VBZ entirely|RB on|IN the|DT atonal|JJ side|NN of|IN the|DT spectrum|NN .|. 
But|CC if|IN we|PRP apply|VBP it|PRP to|TO music|NN such|JJ as|IN Bartók|NNP ’|NN s|VBZ that|WDT is|VBZ in|IN the|DT middle|JJ area|NN ,|, we|PRP can|MD come|VB up|RB with|IN some|DT enlightening|VBG and|CC perhaps|RB unexpected|JJ results|NNS .|. 
To|TO do|VB so|RB was|VBD the|DT goal|NN of|IN this|DT analysis|NN of|IN the|DT first|JJ movement|NN of|IN the|DT Concerto|NNP for|IN Orchestra|NNP .|. 
By|IN applying|VBG our|PRP$ tonal|JJ system|NN to|TO music|NN that|WDT slips|VBZ outside|IN of|IN the|DT tonal|JJ realm|NN ,|, we|PRP not|RB only|RB find|VB the|DT elements|NNS of|IN tonality|NN that|WDT do|VBP remain|VB ,|, but|CC we|PRP also|RB pinpoint|VB exactly|RB when|WRB and|CC how|WRB this|DT music|NN breaks|NNS from|IN previous|JJ conventions|NNS .|. 
It|PRP is|VBZ not|RB disputed|VBN that|IN Bartók|NNP ’|NN s|VBZ music|NN has|VBZ great|JJ expressive|JJ power—perhaps|NNS now|RB we|PRP can|MD understand|VB why|WRB .|. 

References|NNP Antokoletz|NNP ,|, Elliot|NNP .|. The|DT Music|NNP of|IN Béla|NNP Bartók|NNP :|: A|DT Study|NNP of|IN Tonality|NNP and|CC Progression|NNP in|IN Twentieth-|NNP Century|NNP Music|NNP .|. Berkeley|NNP :|: University|NNP of|IN California|NNP Press|NNP ,|, 1992|CD .|. 
Bartók|NNP ,|, Béla|NNP .|. Essays|NNP .|. Selected|JJ and|CC Edited|NNP by|IN Benjamin|NNP Suchoff|NNP .|. New|NNP York|NNP :|: St.|NN Martin|NNP ’|NN s|VBZ Press|NNP ,|, 1976|CD .|. 
Bernard|NNP ,|, Jonathan|NNP W.|NN “|NN Space|NNP and|CC Symmetry|NNP in|IN Bartók|NNP .|. ”|NN Journal|NNP of|IN Music|NNP Theory|NNP 30|CD (|( 1986|CD )|) :|: 185|CD -|: 201|CD .|. 
_|NN _|NN _|NN _|NN _|NN _|NN _|NN _|NN .|. “|NN Zones|NNS of|IN Impingement|NNP :|: Two|CD Movements|NNP from|IN Bartók|NNP ’|NN s|VBZ Music|NNP for|IN Strings|NNP ,|, Percussion|NNP ,|, and|CC Celesta|NNP .|. ”|NN Music|NNP Theory|NNP Spectrum|NNP 25|CD (|( 2003|CD )|) :|: 3|CD -|: 34|CD .|. 
Berry|NNP ,|, Wallace|NNP .|. “|NN Symmetrical|NNP Interval|NNP sets|NNS and|CC Derivative|NNP Pitch|NNP Materials|NNPS in|IN Bartók|NNP ’|NN s|VBZ String|NNP Quartet|NN No.|NN 3|CD .|. ”|NN Perspectives|NNP of|IN New|NNP Music|NNP 18|CD (|( 1979/80|CD )|) :|: 287|CD -|: 379|CD .|. 
Cohn|NNP ,|, Richard|NNP .|. “|NN Inversional|NNP Symmetry|NNP and|CC Transpositional|NNP Combination|NNP in|IN Bartók|NNP .|. ”|NN Music|NNP Theory|NNP Spectrum|NNP 10|CD (|( 1988|CD )|) :|: 19|CD -|: 42|CD .|. 
_|NN _|NN _|NN _|NN _|NN _|NN _|NN _|NN .|. “|NN Bartók|NNP ’|NN s|VBZ Octatonic|NNP Strategies|NNS :|: A|DT Motivic|NNP Approach|NNP .|. ”|NN Journal|NNP of|IN the|DT American|NNP Musicological|NNP Society|NNP 44|CD (|( 1991|CD )|) :|: 262|CD -|: 300|CD .|. 
Morrison|NNP ,|, Charles|NNP D.|NN “|NN Prolongation|NNP in|IN the|DT Final|NNP Movement|NNP of|IN Bartók|NNP ’|NN s|VBZ String|NNP Quartet|NN No.|NN 4|CD .|. ”|NN Music|NNP Theory|NNP Spectrum|NNP 13|CD (|( 1991|CD )|) :|: 179|CD -|: 196|CD .|. 
Travis|NNP ,|, Roy|NNP .|. “|NN Tonal|NNP Coherence|NNP in|IN the|DT First|CD Movement|NNP of|IN Bartók|NNP ’|NN s|VBZ Fourth|JJ String|NNP Quartet|NN .|. ”|NN The|DT Music|NNP Forum|NNP 2|CD (|( 1970|CD )|) :|: 298|CD -|: 371|CD .|. 
Wilson|NNP ,|, Paul|NNP .|. The|DT Music|NNP of|IN Béla|NNP Bartók|NNP .|. New|NNP Haven|NNP :|: Yale|NNP University|NNP Press|NNP ,|, 1992|CD .|. 
