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03900	.TURN ON "%↓_↑↓[&]","α"
     

00100	.fill indent 6
00200		Following is the well-known introduction to the second movement
00300	of Dvorak's %2New World Symphony%1.  The notation here differs
00400	enharmonically from the original.
00500	.BEGIN VERBATIM
00600	
00700	Example and Figure 74
00800	.END
00900	.CENTER
01000	%6⊂⊗⊃L[α%-.05,α%-4.52]:N74X.PLT[HHA,LCS]⊂⊗⊃%1
01100	.skip 18
01200	
01300	
01400	.fill indent 6
01500		Even though the movement proper is in ↓_D_↓%4F%1, the key at the 
01600	beginning, as listed on the highest level, is ↓_E_↓.  This represents a
01700	continuation of the ↓_e_↓ of the first movement.  The tritone relation 
01800	between two major chords (E and B%4F%1) is usually heard as V-%4F%1II or
01900	vice versa, the former being used in this case because of the positions
02000	of the two chords,  V%4H%1-%4F%1II%46%1, and because of the subsequent harmonic
02100	developments.  By the time we reach the third measure we are sure that
02200	the E chord was working as a dominant to ↓_A_↓.
02300	
02400	.BEGIN VERBATIM
02500	
02600	Example 75a
02700	.END
02800	.CENTER
02900	%6⊂⊗⊃L[α%0,α%-1.22]:N75XA.PLT[HHA,LCS]⊂⊗⊃%1
03000	.skip 4
03100	
03200	.fill indent 6
03300	
03400	
03500	
03600		However, the D%4F%1 chord which broke the continuity is most simply
03700	heard as dominant to ↓_A_↓'s sixth degree, ↓_f_↓%4S%1.  It must be noted that the 
03800	absence of emphasis in the first two bars makes immediate recognition of
03900	the functions of all but the first tonic ↓_E_↓ very difficult.  Until more
04000	is heard any chord may be dominant, subdominant, or tonic, etc.  When
04100	the phrase is complete -- and thus has developed points of emphasis -- these
04200	distantly related chords are retrospectively assigned functions in terms
04300	of the end results.  The f%4S%1 chord serves as VI to ↓_A_↓ (Example 75a);
04400	↓_f_↓%4S%1 is tonicized by the progression from the fourth to the sixth chord
04500	(Example 75c); and the f%4S%1 chord is IV%4FF3%1 (g%4F%1) to ↓_D_↓%4F%1 (Example 75b).
04600	↓_A_↓ has been tonicized by the first three chords, but the A chord also 
04700	serves as %4FF%1VI (B%4FF%1) to ↓_D_↓%4F%1 (Example 75b).
04800	
04900	.BEGIN VERBATIM
05000	
05100	Example 75b
05200	            
05300	
05400	
05500	
05600	
05700	
05800	
05900	
06000	Example 75c
06100	.end
06200	.CENTER
06300	%6⊂⊗⊃L[α%0,α%-1.25]:N75XB.PLT[HHA,LCS]⊂⊗⊃%1
06400	.skip 6
06500	.NEXT PAGE
06600	.fill indent 6
06700	
06800		The later appearances of this material in the movement are
06900	somewhat simpler because they both begin and end in ↓_D_↓%4F%1.
07000	
07100	.begin verbatim
07200	
07300	Example and Figure 76
07400	.end
07500	.CENTER
07600	%6⊂⊗⊃L[α%0,α%-2.86]:N76X.PLT[HHA,LCS]⊂⊗⊃%1
07700	.skip 11
07800	
07900	.fill indent 6
08000		In the twentieth of Beethoven's %2Diabelli Variations%1, Op.120,
08100	the listener is frequently kept in doubt as to whether or not the
08200	chromaticism is functional.  The slow, regular rhythm and the constant
08300	use of free imitation makes it difficult to specify a functional or
08400	non-functional role for every note.  Notes such as the C%4S%1 of bar 4,
08500	which had virtually no functional significance earlier in the work
08600	(see Variation I, bars 4 and 6), now share equal status, timewise,
08700	with some of the most clearly functional notes.  Another factor which
08800	creates doubt is the occasional use of notes in the upper voices
08900	which may have double significance as both dissonant pedal points and
09000	true chord tones (see bars 5, 7, etc.).  The voice leading is
09100	extremely carefully worked out -- every chromatic change has its
09200	logical linear result.  However, the harmonic implications of the
09300	combinations of the lines may be experienced on their own plane.  Of
09400	course, it must never be forgotten that particular harmonic functions
09500	never have a real existence apart from the total music which produces
09600	them.  The alternating functions in this variation certainly grow
09700	out of a mode of thought that considers all musical factors
09800	simultaneously.
09900