perm filename P135[C10,LCS] blob
sn#463996 filedate 1979-07-27 generic text, type C, neo UTF8
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.FILL INDENT 6
Notice the pattern of the uppermost line of temporary tonics
in the analysis up until bar 24.
.BEGIN VERBATIM
Figure 102
.END
.CENTER
%6⊂⊗⊃L[α%0.00,α%-0.62]:A.PLT[c10,LCS]⊂⊗⊃%1
.SKIP 2
.FILL INDENT 6
In the next phrase, E persists until 31, where the dominant of
↓_D_↓ is heard. Bars 32-36 are highly chromatic in the accompanying
parts, but the melodic line is the same as that found at 17-21.
The key points of the harmony show this passage to be only a slightly
varied form of the earlier material.
.BEGIN VERBATIM
Figure 103
.END
.CENTER
%6⊂⊗⊃L[α%0.03,α%-1.45]:B.PLT[c10,LCS]⊂⊗⊃%1
.SKIP 6
.FILL INDENT 6
On the lowest level, ↓_d_↓ regains its role as VI of ↓_F_↓, since
the next progression is most simply ↓_F_↓: F6-V (bars 36-38). This
echo-like passage is repeated a step higher (↓_g_↓: F6-V). Then a
variant of it tonicizes the next step, ↓_a_↓, by juxtaposing the F6
of ↓_a_↓ with the dominant of ↓_E_↓ (40-42). A diminished substitute for
the dominant of ↓_E_↓ takes on a new root in bar 43 and thus becomes the
dominant of ↓_c%4S%1_↓. But the phrase ends, as we have come to expect,
deceptively on VI of ↓_c%4S%1_↓ -- which, of course, is an A major chord.