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.indent 6 fill  
	The staccato scale lines (bars 1-3, 4-5) fit in well with the
pseudo-modal procedures established from the beginning of the opera.
However, there are no direct functional relationships among the chords
which accompany these scales.  Unless one considers the lowering of
the leading tone as non-functional chromaticism (and there is no
particular reason for doing so here), there are no pivot chords.  Thus,
because of the whole step motion down from the root, each of these major
chords after the first one is most easily heard as dominant in function.
Note the tritone relations between the third of each chord and its
following weak-beat quarter-note.  But since the harmony does not return
to the point from whence it came, the resulting third relations lose
significance as elements which can contribute to any particular basic
tonic.

	The sequential nature of the passage makes its "form" easy to
grasp in %2spite%1 of the constant moving on to new places which tends
to negate the functional relationships.  In the following analysis of the 
first five bars, a basic tonic on the highest level seems superfluous
and so is omitted.  Control tonics are listed at the end points of the
phrase units, since they stand out in special relief.  At bar 4 we 
return to a ↓_I_↓ in the middle ground because we begin again from
an already heard chord.
.begin verbatim

Figure 112a
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	At bar 6 it might be ventured that the "dream" begins to
become a "reality" for Gregory.  Here the functions are much clearer.
But as Gregory's narration reaches the description of the mocking of
the crowd, "reality" once more disintegrates -- into a chord structure
with a whole-tone potential.  The chord for bars 10 and 11 may be taken
as C-E-G%4S%1, with D and F%4S%1 as appoggiaturas.  One function this
chord can have is Vs of the a minor chord which comes in bar 14.
This notion gets some support from the fact that there are no bass
notes between the low E in bar 12 and the A-E fifth of bar 14.  The
functional connection between the augmented chord and the previous
music is quite weak.  With the enharmonic alteration of all flatted
notes in bar 9 we have chords which, with a charitable outlook, could
be considered as tonicizing the dominant of ↓_a_↓.
.begin verbatim

Figure 112b
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	On the other hand, it is more reasonable to take the F%4F%1 of
bar 9 as a chromatic passing note in an area which has strong
orientation toward ↓_b_↓%4F%1.  Then if we reverse our position on bar 10
and take E-G%4S%1 as neighboring notes to D-F%4S%1, the chord for 
that bar may be read enharmonically A%4F%1-C-E%4FF%1-G%4F%1, or the
altered dominant of ↓_D_↓%4F%1.  This is useful, since ↓_D_↓%4F%1 is
the control tonic which appeared at the end of Figure 112a.  The
elements of the possible ↓_a_↓ control tonic appear directly below
the analysis of the ↓_D_↓%4F%1 functions.  ↓_C_↓ becomes a new
and independent control tonic at the end of the excerpt.
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.begin verbatim

Figure 112c
.end