# Analysis result

The candidate is a clear tonic double return: the pickup gesture and first theme come back note-for-note in D major over the original tonic bass, prepared by an extended dominant passage, and the continuation tracks the opening rotation before cadencing in the home key.

## Run metadata

- Analyst model: claude-fable-5 (Anthropic), running in an agent harness.
- Sampling settings: not observable.
- Tools and external data: available in the harness but not used; analysis relied solely on the embedded dossier. No internet access, external files, or prior annotations were consulted.

## Machine-readable result

```json
{
  "schema_version": "2.1.0",
  "analyst_model": "claude-fable-5",
  "case_id": "CASE-Q2R9",
  "cues": {
    "tonal_stability": {
      "score": 4,
      "evidence_ids": ["E017", "E018", "E019", "E026", "E027"],
      "reason": "Observed: bass arpeggiates D-F#-A under the returning theme (E017), duplicating the opening tonic support (E002); later measures cadence onto D (E026-E027). Inference: home tonic D is structurally stable at and after the candidate."
    },
    "thematic_correspondence": {
      "score": 4,
      "evidence_ids": ["E016", "E017", "E018", "E019", "E020", "E021"],
      "reason": "Observed: candidate pickup A5 with grace note, then G-F# (E016 beat 4) and E017-E021 match E001-E007 pitch-for-pitch in both voices. Inference: literal, extended restatement of the opening theme, not a fragment."
    },
    "preparation_strength": {
      "score": 4,
      "evidence_ids": ["E010", "E011", "E012", "E014", "E015", "E016"],
      "reason": "Observed: sustained A-major/A7 chords with B-flat and F-natural inflections across W2 (E010-E015), then bass tacet with a solo chromatic ascent to the pickup (E016). Inference: dominant-pedal retransition plus rhetorical lead-in."
    },
    "proportional_location": {
      "score": 3,
      "evidence_ids": ["E016"],
      "reason": "Observed: candidate onset at 120 of 408 quarter notes of the second part (about 29%). Inference: compatible with a recapitulatory division after a short development, though somewhat early; no exposition length given for comparison."
    },
    "rhetorical_emphasis": {
      "score": 3,
      "evidence_ids": ["E015", "E016", "E017"],
      "reason": "Observed: texture thins to an unaccompanied melodic link with a full-measure bass rest (E016) after the retransition descent (E015); accompaniment re-enters as at the opening (E017). No dynamics anywhere. Inference: caesura-fill arrival marking."
    },
    "rotational_continuation": {
      "score": 4,
      "evidence_ids": ["E022", "E023", "E024", "E025", "E026", "E027"],
      "reason": "Observed: E022-E024 duplicate opening continuation E007-E009; E025-E027 then cadence in D with the theme restated an octave lower over D-F#-A bass. Inference: behaves as recapitulation with tonal closure, not ongoing development."
    }
  },
  "status_distribution": {
    "not_recapitulation": 0.03,
    "off_tonic_recapitulation": 0.01,
    "tonic_double_return": 0.96
  },
  "suspected_recognition": {"level": "style", "confidence": 0.5},
  "case_note": "Literal double return: the opening theme returns in the home key of D major over its original tonic bass, prepared by a dominant pedal with modal mixture and a solo lead-in, and the continuation reproduces the opening rotation before cadencing in the tonic."
}
```

## Limitations

Missing dossier evidence: no dynamics, tempo, or expression directions appear anywhere despite claimed complete coverage, so rhetorical emphasis rests on texture and register alone; measure numbers are window-relative, and the exposition's length and secondary-theme material are not supplied, limiting the proportional and full-rotation checks. Analytical uncertainty: the 29% second-part location is plausible but not decisive on its own, and continuation is observed for only six measures. The idiom felt broadly familiar as a Classical-era keyboard style; per instructions this familiarity was excluded from scoring and reported only via `suspected_recognition`.
