Recomposition. As in Block 2, my speculative, normalizing recomposition restores a melody to its “proper” pitch level: Stravinsky’s melody is transposed at T₂ to make it fit in a conventional way with the prevailing D-centered harmony, and placed above the harmony. The Dorian tetrachords of Stravinsky’s melodies (E-D-C♯-B and C-B♭-A-G) are normalized as the Phrygian tetrachord (D-C-B♭-A) within a conventional D minor. The rhythm is made square by placing it within a ${}_4^2$ meter, where its inherent pattern of up- and down-beats fits easily.