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04000	
     

00100	.FILL INDENT 6
00200		The motive heard in bars 17-20 is continued in bars 21-24 as
00300	an elaboration of a diminished 7th chord.  There is little basis for
00400	settling on any one tonic, although ↓_d_↓ or ↓_f_↓ would seem to be indicated
00500	by the notation.  For the final analysis, ↓_f_↓ will be chosen because
00600	the tonics involved in the last part of the variation all stand in
00700	simple relation to that tonic.
00800	
00900		All the subtleties of the alternating progressions at bars
01000	9-13 and 25-28 would be difficult to express.  In the first phrase
01100	the approach to ↓_d_↓ as a temporary tonic seems clear;  and that this
01200	↓_d_↓ should become major and the dominant to ↓_G_↓ is quite conventional.
01300	The unexpected appearance of the C chord at bars 11 and 12 has the
01400	effect of prematurely wrenching away the tonic role of d.  Because
01500	of the alien surroundings, this C chord is most immediately heard
01600	as a sudden return to the I which might have been expected after
01700	the clear V of bar 8.  Then the C chord works as a quite normal
01800	pivot to a full cadence on V (↓_G_↓), which may be listed briefly as
01900	a new control tonic at bar 15.
02000	.BEGIN VERBATIM
02100	
02200	Figure 77c
02300	.END
02400	.CENTER
02500	%6⊂⊗⊃L[α%0.03,α%-3.25]:N77FC.PLT[HHA,LCS]⊂⊗⊃%1
02600