Recomposition. The same folk tune from Blocks 3 and 4 comprises the whole substance of Block 5, now greatly expanded with internal repetitions and harmonized with parallel streams of triads. My speculative recomposition removes the melodic repetitions to reveal a brief, simple melody and harmonizes it in a normative G minor, thus highlighting (by contrast) Stravinsky’s vast expansion of a simple core and his unusual, non-functional harmonization in G Dorian. The implied tonal underpinning of Blocks 4 and 5 is virtually the same.