COMMENT ⊗   VALID 00003 PAGES
C REC  PAGE   DESCRIPTION
C00001 00001
C00002 00002	. DEVICE XGP    
C00004 00003	.PAGE←94
C00019 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;
.COUNT PAGE FROM 1 TO 999;
.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←94
.NEXT PAGE
.CENTER
%6⊂⊗⊃L[α%0.05,α%-3.61]:N80FB.PLT[HHA,LCS]⊂⊗⊃%1
.SKIP 16
.FILL INDENT 6
	There is a cadence on a new tonic of ↓_E_↓ at bar 25.  ↓_E_↓ is shown 
here as a control tonic rather than a modulation because of the 
relative brevity of its use after the cadence (six bars out of the
first thirty of the piece), and because its repetitious character
gives it the sound of an extended cadence formula.  The new tonic at
bar 47 (↓_f%4S%1_↓) is completely independent and so is shown as a modulation,
despite its brevity.

	Treatment of the following music in ↓_D_↓ is open to varying
opinion.  It has been listed as a new control tonic on ↓_D_↓ (VI in ↓_f%4S%1_↓)
for two reasons:  first, the music present at bar 53 has already
been heard as continuation, and then transition material (see bar 17);
second, no clear reference is made back to the original basic tonic
with material that was in that key (↓_A_↓), or with new material, until
bar 70.  The first control tonic at bar 53 is shown as %4I%1
rather than simply ↓_VI_↓, so that the latter one at bar 61, %4V%1, may
appear on the same horizontal line.  This way the lower two levels of
the middle ground at bars 53-64 are the exact parallel of 17-28.  It
is especially important that the diagram makes clear the similarities
of such parallel passages.
 
	If the movement to ↓_D_↓ is taken as a modulation, the diagram
appears simpler, but then perhaps some of the subtlety of this work's
large harmonic structure is missed.

.BEGIN VERBATIM

Figure 80b (upper levels only)
.END
.CENTER
%6⊂⊗⊃L[α%0.05,α%-0.97]:N80FC.PLT[HHA,LCS]⊂⊗⊃%1
.SKIP 2



	The analysis given in Figure 80a is preferred.
.CENTER		        
_______________
.FILL INDENT 6

	In both the first and last movements of Mozart's %2Sonata in
F%1, K.300k(332), we find what is commonly called a transition section
linking the two main parts of the exposition.  In each case the
material of the transition follows a full close in ↓_F_↓, is new, and
starts out clearly in ↓_d_↓.  However, ↓_d_↓ proves to be only a step on the
way to ↓_C_↓.  Such transitions should be analyzed under the basic tonic
of departure, the new basic tonic appearing only when a clear goal
is reached.

.begin verbatim

Figure 81a.  Mozart, Sonata in F, K.300k(332) 
				     first movement.
.end
.CENTER
%6⊂⊗⊃L[α%0.05,α%-2.20]:N81FA.PLT[HHA,LCS]⊂⊗⊃%1
.NEXT PAGE
		

.begin verbatim
Figure 81b.  Third movement.

.end
.CENTER
%6⊂⊗⊃L[α%0.05,α%-2.25]:N81FB.PLT[HHA,LCS]⊂⊗⊃%1
.skip  9

.fill indent 6
	The second pivot involving tonics might have appeared as early
as bar 40, thus bringing out the role of ↓_d_↓ as ii of ↓_C_↓.  However, ↓_C_↓ as
a control tonic should not appear before bar 41, where a varied form
of the material of bar 36 is presented (see Figure 81b).

.begin verbatim

Figure 81c

.end
.skip 6
.fill indent 6
	In both movements above, the material of the transitions was 
of moderate duration and had no especial thematic connection with
what followed.  Notice that ↓_C_↓ in its first tonic appearance in the
first movement was %2minor%1, but when it became the basic tonic, it then
was %2major%1. In the third movement this process is reversed. However,
since the music changes to major not long after, the minor indication
might show only in the middle ground.  For example:

.skip 5


.CENTER		        
_______________
.FILL INDENT 6

	In the first movement of the %2Sonata in C%1, K.189d(279), the
first basic tonic area closes with a half-cadence.  The following
new material, while not in the dominant key, does lead quickly and
without break to the dominant.  Other decisive factors here are that
the last two quarter-notes (D's) of bar 16 (which belong to the new
material) are heard as a continuation of the G chord which closed the
first section, and that the beginning of the phrase that contains the 
reappearance of the G chord, now as I (bar 20), is elided with the
end of the previous phrase.

.begin verbatim

Figure 82a.  Mozart, Sonata in C, K.189d(279)  
				     first movement.
.end
.skip 8
.fill indent 6
	In the recapitulation this area should be analyzed a little
differently, because a control tonic of ↓_G_↓ is established just before the
new material appears.  The ↓_C_↓ recurs as the control tonic immediately
upon presentation of the material of the second key area (at *).
.NEXT PAGE
.begin verbatim

Figure 82b

.end
.skip 9

.CENTER		        
_______________
.FILL INDENT 6

	A great extension of the situation just discussed is found in
Schubert's %2Quintet in C%1, Op.163, first movement.  The full exposition
clearly ends in ↓_G_↓ (followed by a single transitional 7th chord), but
the first key heard in the exposition's second group is ↓_E%4F_↓%1.  The second
group is preceded by an eleven-bar passage over a G pedal note.
Because of the absence of any simple V-I progression in ↓_G_↓ in these 
eleven bars, G manages to maintain its role as dominant to the basic
tonic of ↓_C_↓.  It would be quite normal for the music to continue at 
this point with ↓_G_↓ being heard immediately in both the roles of control
tonic and basic tonic.  However, when the second 'cello descends
chromatically from G at bar 59, we may well expect the goal to be a
C chord rather than the Eb chord, since the last heard G chord still
had a dominant quality relative to the control tonic ↓_C_↓.  (↓_G_↓ had
been tonicized, but only as the fifth degree of ↓_C_↓.  Even the eleven-bar
prolongation of ↓_G_↓ fails to give it the status of a control tonic.)

         Once ↓_E%4F_↓%1 is reached, the total texture leaves no doubt that
we are in an entirely new realm.  The next tonal movements again
raise a question regarding the location of the control tonic.  ↓_C_↓, as
the tonic VI of ↓_E%4F_↓%1, is touched upon at bar 71, and once more ↓_G_↓ sounds
as a tonic at bar 79 -- but still mainly as a secondary element.  The
whole process is repeated and then finally, at bar 100, ↓_G_↓ assumes a
primary tonic role.  Nevertheless, the whole second section of the
exposition may be analyzed under a single basic tonic, because the
unified character of the thematic material gives the ↓_G_↓ goal of all the
harmonic movement of the section strong predominance.  The upper levels
of a condensed analysis of this music follow.

.BEGIN VERBATIM

Figure 83.  Schubert, String Quintet in C, Op.163 
				      first movement.

.END
.SKIP 12

.FILL INDENT 6

	The important thing in an analysis is to show indications
which parallel the actual progress of the music, not only on the
small, or point-to-point level, but also on the structurally higher
section-to-section level.  In the diagram above, when ↓_E%4F_↓%1 first appears
it is directly related to ↓_C_↓ as %4F%1III.  The new thematic material,
however, gives ↓_E%4F_↓%1 a stronger role as the %4F%1VI relation to ↓_G_↓.  It is
true that there is no way of knowing this on first hearing.  The
large structure of a work is fully grasped only upon reflection after
the music is ended.  This in no way undermines the affective quality
of harmonic "surprises" during subsequent hearings, whether they be
found in the functional details or in the movements of the tonics.
On the contrary, the %2affect%1 of the music can only begin to be fully
appreciated when the relationship of all the parts to the whole is
sensed -- even if only intuitively.

	Continuing with the above analysis, at bar 71 C appears as 
VI of ↓_E%4F_↓%1.  There is no direct connection between the role of this
tonic ↓_C_↓ and the tonic of the movement's opening.  The full cadence on 
↓_G_↓ establishes a control tonic on the dominant of ↓_C_↓ (bar 79).  After the
entire progression is repeated, the control tonic on ↓_G_↓ continues and
thus becomes a factor on the same level as ↓_E%4F_↓%1.  When this happens, a
pivotal movement puts G's tonic function on the uppermost
level of the middle ground.

.CENTER		        
_______________
 
.BEGIN VERBATIM

Exercises for Chapter VII
.END
.FILL INDENT 6

	Analyze the following.  Some of the listed works need not
be thought of as involving true modulation.

.BEGIN VERBATIM

From the Sonatas of Mozart:

  1. Sonata in C, K.189d(279), second movement, to the double bar.
  2. Sonata in F, K.189e(280), finale (Presto), to the double bar.
  3. Sonata in Eb, K.189g(282), Menuetto I, all.
  4. Sonata in Eb, K.189g(282), Menuetto II, all.
  5. Sonata in a, K.300d(310), first movement, to the double bar.
  6. Sonata in Bb, K315c(333), finale (Allegretto), first 36 bars.
  7. Sonata in D, K.576, first movement up to the double bar.


From the Mazurkas of Chopin:

  8. Mazurka No.2 in e, Op.17,#2, all.
  9. Mazurka No.14 in g, Op.24,#1, all.
 10. Mazurka No.22 in g#, Op.33,#1, all.
 11. Mazurka No.27 in e, Op.41,#2, all.
 12. Mazurka No.34 in C, Op.56,#2, all.
.end