COMMENT ⊗   VALID 00003 PAGES
C REC  PAGE   DESCRIPTION
C00001 00001
C00002 00002	. DEVICE XGP    
C00004 00003	.PAGE←91
C00009 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"
.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"
.ADJUST
.SELECT 1
 
.PAGE←91
.NEXT PAGE
.FILL 
extension of the
final A chord, so that it becomes the dominant function of ↓_D_↓.  But
then ↓_D_↓'s vi (↓_b_↓) may be immediately heard in direct relation to the
basic tonic, ↓_A_↓.  We must not forget, however, that when music is 
repeated literally, the functions of the opening measures, the second
time through, take on a dual aspect.  At once we realize we are taking
a fresh start (or continuing once again from earlier material) and, at
the same time, we are continuing on from the final part of the section.
Only briefly do repeats influence our comprehension of the functional
details.  But the influence on the background elements can be more
far-reaching.  It is enough that the diagram above shows only the
%2differences%1 caused by the repeat.
.FILL INDENT 6

	The movement to the ↓_D_↓ of the Trio constitutes a modulation of
a different sort.  This Trio$$Because of space considerations
the music for some of the longer examples under discussion will not appear
in the text.  However, it is essential that the scores here dealt with
be at hand for reference when the analytical diagrams are studied.$
is actually a separate, self-contained
piece.  This is usually the case in this type of work, even when a
passage of retransition to the Menuetto might be added at the end of
the Trio.  Within this Mozart Trio it is best to consider that there
are no real modulations.  The main reason for taking this position
is that even though the dominant (↓_A_↓) becomes a strong control tonic,
the passage using this key presents no important independent material
but merely repeats two cadential formulas.

.begin verbatim
 
Figure 79.  Mozart, Sonata in A, K.300i(331), 2nd movement Trio
 
.end
.CENTER
%6⊂⊗⊃L[α%0.03,α%-1.45]:N79FA.PLT[HHA,LCS]⊂⊗⊃%1