Recomposition. In my recomposition of Block 3, the premonition of the folk tune was adjusted to the accompaniment—its G-centered statement felt as though it were a step too low, not in harmonious synchrony with the D-centered accompaniment. In Block 4, however, the full folk tune is heard both in the bass and, in diminution, in the treble. Now it is the accompaniment that feels out of synch, and my hypothetical recomposition adjusts it to G-minor, with some of the implicit, normal tonal harmonization restored. I am thus imagining an implicit modulation from D-minor to G-minor over the course of the first four blocks.