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00300	.FILL INDENT 6
00400		The difficulty in analyzing this last half of the development
00500	section stems mainly from the ambiguity of function in the long string
00600	of ascending seventh chords.  Even though a satisfactory analysis of the
00700	tonal bases can be worked out here, it is obvious that our comprehension
00800	of such passages depends greatly on the much less problematical element
00900	of motivic continuity.  It will be seen later how the functional 
01000	ambiguity of late 19th-century music led to a situation wherein the
01100	motivic or, more broadly speaking, contextual element took over the
01200	primary organizational role from tonal harmony.
01300	
01400		The recapitulation of this Mozart movement offers no new
01500	complications.  The few new tonics can easily be identified.
01600	
01700		It will be noticed that most of the work on the role of the
01800	piece's more complex chromaticism has been assumed during the
01900	preceding discussion.  This can hardly be otherwise, even when
02000	approaching a work from the largest view first.  The more complicated
02100	the details are, the more difficult it usually becomes to form an
02200	immediate view of the larger tonal movements.  The same will often
02300	prove true concerning the other of the first three analytical 
02400	procedures outlined in Chapter VIII.  What questions that may be
02500	left in this area will probably be covered in the discussion which
02600	follows the complete analysis of the movement.
02700	.BEGIN VERBATIM
02800	
02900	Figure 94.  Mozart, Sonata in F, K.533, 
03000				second movement (Andante).
03100	.END
03200	.CENTER
03300	%6⊂⊗⊃L[α%0.02,α%-1.55]:N94FA.PLT[C9,LCS]⊂⊗⊃%1
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03500	.CENTER
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03800	.CENTER
03900	%6⊂⊗⊃L[α%0.02,α%-6.50]:N94FF.PLT[C9,LCS]⊂⊗⊃%1
04000	.SKIP 30
04100	.FILL INDENT 6
04200		Space does not permit discussion of all the problematical
04300	details, but a few things should be pointed out.  Many more chords
04400	of weak structural nature might be enclosed by parentheses (see bar 1),
04500	but to do this aspect full justice a complete rhythmical analysis
04600	would be necessary.  The linear element, especially in the bass, is
04700	another factor which has been largely neglected but which certainly
04800	contributes to the relative value of the function of the chords.  (Note
04900	the bass ascent from bar 3; F-G-A-B%4F%1-C-D-E%4F%1-F, etc.)  
05000	
05100		At bars 24 and 25 there is no question of a %4A%1 chord, since 
05200	the bass is melodic.  At bar 29 its melodic role is much weaker.  From 
05300	bar 33 to bar 38 we have a prolonged ↓_F_↓ cadence with "contrapuntal" 
05400	decorating functions.  The functions listed on the third beats of
05500	bars 37 and 38 are formed by the implications of the lines.  Notice
05600	especially the details of the line in bar 37; it is almost the same 
05700	in bars 50 and 52.  In these latter cases, however, some ambiguity
05800	results, since it is a little difficult to specify all the chord
05900	tones.  The thrice repeated cambiata figure first gives the impression
06000	of defining chord tones at intervals of the fourth.  However, the primary
06100	note of the last cambiata in each case is itself an emphasized 
06200	appoggiatura to the next to last note of the bar.  Thus these two
06300	measures present the F7 chord unless they are viewed as inverted
06400	positions of the dominant ninth chord.
06500	
06600		Naturally, if the repeat of the second section is considered,
06700	there would be a small change on the highest line of the middle
06800	ground.  The ↓_d_↓ control tonic at bar 47 might read ↓_iii_↓ (of the basic
06900	tonic ↓_B%4F%1_↓) the second time through.  Everything below that line would
07000	remain the same.
07100	
07200		Many more harmonic relationships lie in the piece than are
07300	expressed in our large diagram, but this process of creating an
07400	analysis may be adapted to whatever scale of detail might be desired.
07500	It is hoped that this process will instill the individual with a 
07600	heightened awareness of the music, thereby clearing the way for the
07700	comprehension of the work's full intellectual and emotional potential.
07800	.CENTER		        
07900	_______________
08000	.NEXT PAGE
08100	.begin verbatim
08200	
08300	
08400	Exercises for Chapter IX
08500	
08600	  Analyze the following movements from the Sonatas of Mozart:
08700	
08800	.end
08900	.nofill indent 0
09000	  1.  Sonata in B%4F%1, K.189f(281), last movement (Rondo).
09100	
09200	  2.  Sonata in a, K.300d(310), first movement.
09300	
09400	  3.  Sonata in F, K.300k(332), last movement.
09500	
09600	  4.  Sonata in c, K.457, second movement.
09700	
09800	  5.  Sonata in D, K.576, first movement.