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This very extended binary movement can be seen as sonata form without a development section, the development having been consigned to the various transition passages. An example is the transition from bar 21 - 39, based on the motif from bar 1, set against a "counter - motif" in crotchets in the left hand. Here the octatonic scale is used as a means of extending II# harmony, in the progression II# / V7 / I, the V7 being the arpeggio at bar 38, followed by the I at bar 40, where a march -like second subject enters.
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