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00100	.FILL INDENT 6
00200		From the broadest point of view, all the altered notes in 
00300	bars 4-8 and 17-20 may be taken as non-functional elaborations of the
00400	dominant.  (The same is true for bars 21-24, but with a different
00500	tonic.)  In bars 2 and 3 the bass is melodic, so there need be no
00600	question of a %4A%1 chord.
00700	.begin verbatim
00800	
00900	Figure 77a
01000	.END
01100	.CENTER
01200	%6⊂⊗⊃L[α%0.0,α%-1.00]:N77FA.PLT[HHA,LCS]⊂⊗⊃%1
01300	.SKIP 4
01400	.FILL INDENT 6
01500	
01600		As the variation continues, we are faced with progressions
01700	which do not respond so well to this approach.  The chords of each
01800	dotted half-note seem to acquire much more separate significance.
01900	With this in mind, we might make an alternative (but not necessarily
02000	"better") analysis of the above discussed measures.  Let us consider
02100	that A%4F%1=G%4S%1 in bar 4 and that the G%4N%1 of bars 4, 5, and 7 (and 17, 18,
02200	and 19) is an intermittent pedal point within the d minor chord.  Now
02300	the elaborations are shown as functional under ii (↓_d_↓), concluding
02400	in each case with a C half-cadence.
02500	.BEGIN VERBATIM
02600	
02700	Figure 77a
02800	.END
02900	.CENTER
03000	%6⊂⊗⊃L[α%0.0,α%-1.60]:N77FB.PLT[HHA,LCS]⊂⊗⊃%1
03100	.SKIP 7
03200	.FILL INDENT 6
03300	
03400		For the sake of simplicity, the first diagram (Figure 77a)
03500	will be used in the complete analysis.