. 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 6 "BASL35"
.!XGPLFTMAR←283
.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"
.at "!!" txt ";"	⊂
.("↑[%3"&"txt"[1]&"]&↓["&"txt"[2]&"]%*");
.COMMENT ("txt"[1]&"↑[%3"&"txt"[2]&"]&↓["&"txt"[3]&"]%*");
.  ⊃
.PAGE←23
.NEXT PAGE
Example 28.  Bach, Partita #5, Praeambulum
.CENTER
%6⊂⊗⊃L[α%0.00,α%-2.75]:XXX28.PLT[C1,LCS]⊂⊗⊃%1
.skip 13
.FILL INDENT 6
	Undoubtedly the internal structure of this passage may be
heard on many different levels.  The number of levels may vary but,
generally, the use of three in an analysis will suffice to give a clear
picture of the way in which a piece can be heard.  The primary level of this
sort of analysis will indicate the key of the particular area of the
piece under consideration.  The secondary level will show the
larger harmonic motions within the area, and the tertiary level will give
virtually all the harmonic details.  The middle level will offer the
greatest problems, since it is listening at this level (i.e., not
concentrating on every detail and, at the same time, maintaining
a harmonic awareness of more than just the end points) that the most
variety occurs.  In returning to the example from the Partita we see that
the first level may be considered for now as ↓_C_↓: I.  Because of the clear
stepwise descent of the bass from first beat to first beat of each bar,
which is concluded only on the low D, we can say that the movement on
the second level is simply VI-II (or alternatively, because of the
patterns of the upper part, the passage may be heard in two-bar groups
 -- VI-I, IV-VI, II).  The third level offers -- without
going into the details of minute chord inversions -- the analysis given
under the example.  Putting the three levels together we have:
.NEXT PAGE
.begin verbatim
Figure 28
.end
.CENTER
%6⊂⊗⊃L[α%0.00,α%-1.20]:FIG28.PLT[C1,LCS]⊂⊗⊃%1
.skip 6
 
.BEGIN VERBATIM
	1.  The key is established (although the I chord 
		occupies no prominent position).
	2.  The main movement within the key is from 
		VI to II (or the alternative given above).
	3.  The details of harmonic elaboration are given.
.end
.CENTER		        
_______________
.FILL INDENT 6
.skip 1
 
	For a somewhat more complicated example we turn to a passage from
Schubert's %2Piano Sonata in B%4F%1 (fourth movement, measure 86).
.begin verbatim
 
Example 29
.CENTER
%6⊂⊗⊃L[α%0.00,α%-3.60]:XXX29.PLT[C1,LCS]⊂⊗⊃%1
.end