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	Here the first level gives us ↓_F_↓: I.  In cases where the
second level becomes quite subtle, it is often advisable to bypass it
and return later from the third level.  The third level offers no more
problems than did the Bach example.  Here the progression is:
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Figure 29a
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	Although this passage certainly does not sound "weak", all
the direct progressions in the first four bars are by 2nds and 3rds.  If
we apply the concept of substitute functions to the 3rd relations,
the situation becomes more clear.  Thus III may serve for I and VI
may serve for IV.  The II%4A%1 is non-functional, since its upper
two notes resolve stepwise to the final VI.  This may be indicated:
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Figure 29b
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	However, the descending figure of two notes in the soprano in
each of the last four bars draws one's attention to the last note
%2and%1 chord in each bar.  The first beat in each of these bars may be
considered a kind of harmonized appoggiatura, even though the bass does
not always move in a stepwise manner.  Now:
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Figure 29c
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becomes our second level.  The three levels together form:
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Figure 29d
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	In the foregoing discussion, the word "levels" is used in
full realization that its use in this connection could become confused with
its use in the overlapping and somewhat similar realm of pure harmonic
functions.  Decisions concerning the broader structural levels
heard in a piece will generally be much less specific than those
concerning the levels of harmonic function.  In the former
category, the totality of a piece must be dealt with; in the latter,
one must deal primarily with an abstraction of the relations between
the vertical occurrences of a piece -- i.e., harmony.  It is
believed that the development of consistent terminology for the discussion
of harmonic functions must supercede the total analysis of
music.  In the following chapters, "levels" will be
used with regard to harmonic functions.
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Exercises for Chapter II
 
I.	Write out the following passages.  Show each tritone
	relationship and indicate the half or whole steps on 
	either side of the tritone.  From this, ascertain the 
	various temporary tonics involved.  Follow the form 
	used in Example 8 on page 12.
 
	From the Mozart Sonatas:
 
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.ONCE NO FILL INDENT 0 
	1.  Sonata in B%4F%1, K.189f(281), first movement, bar 48 to
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			first note of bar 54 (both hands).
 
	2.  Sonata in a, K.300d(310), last movement, bars 52-59
		(right hand only).
 
	3.  Phantasie (nr.4) in c, K.475, six bars, starting
		from 12 before Andantino (both hands).
 
	4.  Sonata in C, K.545, first movement, bars 29-42 
		(right hand only).
 
II.	Analyze the following diatonic passages.  Show all 
	substitute functions and "passing" or "contrapuntal" 
	chords.
 
	From the 371 Chorales of Bach:
 
	1.  Chorale 1, first 10 bars
	2.  Chorale 5, first 6 bars
	3.  Chorale 14, first 6 bars
	4.  Chorale 125, first 4 bars
	5.  Chorale 209, last 5 bars
 
	From the Mozart Sonatas:
 
	6.  Sonata in G, K.189h(283), first movement, bars 1-10
	7.  Sonata in G, K.189h(283), second movement, bars 1-4
	8.  Sonata in C, K.545, third movement, last 10 bars
	9.  Sonata in D, K.284c(311), second movement, bars 1-11
.end