Recomposition. Stravinsky’s music often feels as though it is written in opposition to an implicit, syntactically normal tonal prototype, which the actual music seems to distort in various ways. It can be revealing of Stravinsky’s compositional choices to attempt to recapture the implicit underlying norm against which he may be thought to compose, in this case, simple arpeggiations of a D-minor triad. In this speculative, analytical recomposition, the rhythm is square (each leap from A to D leads from an upbeat to a downbeat) and the structural fifth, D-A, is filled by F as the third of a minor triad rather than E and G, as part of (0257).