Recomposition. Following the canonic imitation of the folk melody a perfect fourth higher, my speculative recomposition transposes the previous block from G minor to C minor (with a Picardy third at the end of the passage). The large-scale underlying tonal motion is from D minor, to G minor, to C minor (ascending by perfect fourth). These large-scale fourths compose-out the frequent melodic fourths of the musical surface, including the first melodic interval of the piece.