00100	. DEVICE XGP    
00200	.spacing 10*5 mills;
00300	.EVERY HEADING(,{PAGE},)
00400	.AREA TEXT LINES 4 TO 40
00500	.FONT 1 "METL"
00600	.font 2 "METLI"
00700	.font 3 "METS"
00800	.font 4 "MUS[HHA,LCS]"
00900	.font 5 "MUZ[HHA,LCS]"
01000	.FONT 6 "BASL35"
01100	.PORTION MAIN;
01200	.PLACE TEXT;
01300	.COMPACT
01400	.PAGE←84
01500	.NEXT PAGE
01600	.<< Put in a footnote. >>
01700	.
01800	.COUNT FOOTNOTE INLINE FROM 1 TO 999 IN PAGE PRINTING ⊂"*****"[1 TO FOOTNOTE]⊃
01900	.<<	(IF THISDEVICE = "XGP" THEN "%51%*" ELSE "[1]");>>
02000	.
02100	.FOOTSEP ← "__________";
02200	.AT "$$" ENTRY "$"
02300	.	⊂
02400	.	NEXT FOOTNOTE;
02500	.	FOOTNOTE!;
02600	.	SEND FOOT
02700	.		⊂
02800	.		BEGIN "NEXT FOOTNOTE"
02900	.		SELECT 1;
03000	.		SINGLE SPACE
03100	.		SPACING 0 MILLS
03200	.		INDENT 0,0,0;
03300	.		(FOOTNOTE! & " ");
03400	ENTRY
03500	.		END "NEXT FOOTNOTE";
03600	.		⊃;
03700	.	⊃;
03800	.
03900	.TURN ON "%↓_↑↓[&]","α"
04000	
     

00100	.FILL INDENT 6
00200		The second phrase including alternating progressions is more
00300	difficult.  At measure 25 the b%4FA%1 eventually assumes three important
00400	functions.  One of these, II of A%4F%1, does not become apparent until
00500	bar 27, however.  The E%4F7%1 chord of measures 27 and 28 might have been 
00600	listed only as the G6 function of ↓_g_↓, since there are no other chords
00700	following which bear direct relationship to it.  The earlier b%4FA%1
00800	chord does form, however, a conventional preparation for the function
00900	of E%4F%1 as the dominant of ↓_A%4F%1_↓.  Thus, these two functions of the E%4F7%1
01000	chord can be shown in alternation with the G6 of ↓_b%4F%1_↓.
01100	
01200	.BEGIN VERBATIM
01300	
01400	Figure 77d
01500	
01600	.END
01700	.CENTER
01800	%6⊂⊗⊃L[α%0.03,α%-3.5]:N77FD.PLT[HHA,LCS]⊂⊗⊃%1
01900	.SKIP 15
02000	.FILL INDENT 6
02100	
02200		It may be noticed that after the first few bars in this
02300	Beethoven variation, very few %2simple%1 tonic functions (i.e., not
02400	substitutes for tonics) are heard.  Only the tonics at bars 15-16
02500	and at the end are decisive.  In the last 12 bars, even most of the
02600	dominant functions are presented by substitutes.  It will be found
02700	that most of the harmonic vagueness of later tonal music is 
02800	attributable to a low percentage of %2simple%1 tonic (or even dominant)
02900	functions within rapidly changing temporary tonic areas.
03000	
03100		Despite the complications, our analysis will show the
03200	simplicity of the largest harmonic design in this variation.  All the
03300	alternating progressions, substitute functions, and what have you,
03400	serve only as very special elaboration of the various temporary tonics,
03500	which in turn contribute to the definition of the control tonics
03600	↓_I_↓ ↓_V_↓ ↓_I_↓ ↓_iv_↓ ↓_I_↓.
03700	
03800	.BEGIN VERBATIM
03900	
04000	Figure 77e.  The complete variation.
04100	
04200	.END
04300	
04400	
04500