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	The previous diagram indicates the tonics of arrival.  These will not
necessarily be related %2directly%1 to one another in the final
analysis. Obviously, the large form of this piece does not depend
strongly on the contrast of %2basic%1 tonalities.  The preponderance
of ↓_a_↓-↓_A_↓, at least as the controlling tonality of the main goals,
is clear. However, the harmony wanders rather far afield between
the various end points, so it would be premature to consider that
these points are %2directly%1 related.  Let us now concern ourselves
with the harmonic details and the tonic definitions on the 
smallest scale.

	The opening eleven bars consist of a free sequence in three
parts, each ending with a 7th chord -- E7, G7, B7.  There is no
reason to suspect anything other than dominant function for any
of these chords, so we may express them as %7a%1, %7C%1, %7E%1, thus defining
as tonics the parts of the a minor triad.  This, and the deceptive
cadence at 17, establishes ↓_a_↓, perhaps indirectly, but nonetheless
firmly.
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Figure 97

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	In dealing with the other harmonies in the section, we must
give primary consideration to the melodic device of the appoggiatura.
The most obvious appoggiaturas occur on each of the above-mentioned
7th chords.  The roles of all the other notes tend to become clear
when we realize that most of the melodic chord tones are preceded
by appoggiaturas, some of which last many times longer than the
note of resolution.  At the beginning, every other note in the main
melodic parts is an appoggiatura.  The opening bars might be
condensed thus: