COMMENT ⊗   VALID 00003 PAGES
C REC  PAGE   DESCRIPTION
C00001 00001
C00002 00002	. DEVICE XGP    
C00004 00003	.PAGE←52
C00010 ENDMK
C⊗;
. DEVICE XGP    
.spacing 10*5 mills;
.EVERY HEADING(,{PAGE},)
.AREA TEXT LINES 4 TO 40
.FONT 1 "METL"
.font 2 "METLI"
.font 3 "METS"
.font 4 "MUS[HHA,LCS]"
.font 5 "MUZ[HHA,LCS]"
.FONT 6 "BASL35"
.!XGPLFTMAR←283
.PORTION MAIN;
.PLACE TEXT;
.COMPACT
.<< Put in a footnote. >>
.
.COUNT FOOTNOTE INLINE FROM 1 TO 999 IN PAGE PRINTING ⊂"*****"[1 TO FOOTNOTE]⊃
.<<	(IF THISDEVICE = "XGP" THEN "%51%*" ELSE "[1]");>>
.
.FOOTSEP ← "__________";
.AT "$$" ENTRY "$"
.	⊂
.	NEXT FOOTNOTE;
.	FOOTNOTE!;
.	SEND FOOT
.		⊂
.		BEGIN "NEXT FOOTNOTE"
.		SELECT 1;
.		SINGLE SPACE
.		SPACING 0 MILLS
.		INDENT 0,0,0;
.		(FOOTNOTE! & " ");
ENTRY
.		END "NEXT FOOTNOTE";
.		⊃;
.	⊃;
.
.TURN ON "%↓_↑↓[&]","α"
.PAGE←52
.NEXT PAGE
.begin verbatim

Example 57.  Chopin, Prelude, Op.28, #23
.end
.CENTER
%6⊂⊗⊃L[α%0.00,α%-1.92](17,22):N57X.PLT[C4,LCS]⊂⊗⊃%1
.skip 11
	And then there is the standard "Blues" progression:
.begin verbatim

Example 58
.end
.CENTER
%6⊂⊗⊃L[α%-0.08,α%-1.85](17,22):N58X.PLT[C4,LCS]⊂⊗⊃%1
.skip 9
.FILL INDENT 6
 
	Many variants of the main A6 chords may be found in later
tonal music.  But once they are recognized for what they are, they should
cause no difficulties in an analysis.  Similarly, there are many
chromatic variants of the dominant, subdominant (the A6 is one!), and
other functions, except for the I function.$$But remember that 
there is always the %2potential%1 of a change of
function when any chromaticism is introduced.$  Various notes may be
%2added%1 to tonic function, and the root may even be omitted, but if
the root or 5th are altered, the tonic function becomes dubious.

 
	Chromaticism has always caused composers trouble with
notation.  The augmented sixth and diminished seventh chords in
particular have raised problems, because of the ambiguity of
the situations in which they are often found.  Composers cannot be
totally consistent in notating such chords when enharmonic
equivalence is involved.  It will always be necessary to determine
the function or functions of chromatic chords by studying their
surroundings rather than by taking their notation at face value.
 
.CENTER		        
_______________