This article mediates between two views of the sonata-form development section: one based on key and cadence plan (Koch), another based on harmonic progression (Schenker). Three sonata movements by C. P. E. Bach, all of which agree with Koch's discussion, are revealed through Schenkerian analysis to use a variety of harmonic and voice-leading structures that one would not suspect from either Koch's or Schenker's work alone. These tonal structures reflect the individual style and character of each movement, often in ingenious ways.
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