00100	. DEVICE XGP    
00200	.spacing 10*5 mills;
00300	.EVERY HEADING(,{PAGE},)
00400	.AREA TEXT LINES 4 TO 40
00500	.FONT 1 "METL"
00600	.font 2 "METLI"
00700	.font 3 "METS"
00800	.font 4 "MUS[HHA,LCS]"
00900	.FONT 6 "BASL35"
01000	.PORTION MAIN;
01100	.PLACE TEXT;
01200	.COMPACT
01300	.PAGE←28
01400	.NEXT PAGE
01500	.<< Put in a footnote. >>
01600	.
01700	.COUNT FOOTNOTE INLINE FROM 1 TO 999 IN PAGE PRINTING ⊂"*****"[1 TO FOOTNOTE]⊃
01800	.<<	(IF THISDEVICE = "XGP" THEN "%51%*" ELSE "[1]");>>
01900	.
02000	.FOOTSEP ← "__________";
02100	.AT "$$" ENTRY "$"
02200	.	⊂
02300	.	NEXT FOOTNOTE;
02400	.	FOOTNOTE!;
02500	.	SEND FOOT
02600	.		⊂
02700	.		BEGIN "NEXT FOOTNOTE"
02800	.		SELECT 1;
02900	.		SINGLE SPACE
03000	.		SPACING 0 MILLS
03100	.		INDENT 0,0,0;
03200	.		(FOOTNOTE! & " ");
03300	ENTRY
03400	.		END "NEXT FOOTNOTE";
03500	.		⊃;
03600	.	⊃;
03700	.
03800	.TURN ON "%↓_↑↓[&]","α"
03900	.at "!!" txt ";"	⊂
04000	.("↑[%3"&"txt"[1]&"]&↓["&"txt"[2]&"]%*");
04100	.COMMENT ("txt"[1]&"↑[%3"&"txt"[2]&"]&↓["&"txt"[3]&"]%*");
04200	.  ⊃
     

00100	.PAGE←37
00200	.NEXT PAGE      
00300	.FILL INDENT 6
00400		In the following example, the ideas of tonicization and mere
00500	non-functional alteration of primary function tend to merge.
00600	.begin verbatim
00700	 
00800	Example 42
00900	.end 
01000	.CENTER
01100	%6⊂⊗⊃L[α%0.00,α%-1.48]:X42.PLT[C3,LCS]⊂⊗⊃%1
01200	.skip 6
01300	 
01400	.FILL INDENT 6
01500	 
01600		The B%4F%1 and F%4S%1 may be called either chromatic passing tones
01700	or tones which change the functions of the chords in question.  In the
01800	First instance our analysis would give:
01900	.begin verbatim
02000	
02100	Figure 42a
02200	.end
02300	.CENTER
02400	%6⊂⊗⊃L[α%0.00,α%-1.17]:F42A.PLT[C3,LCS]⊂⊗⊃%1
02500	.skip 4
02600	 
02700	.FILL INDENT 6
02800	 
02900		The second point of view gives:
03000	.begin verbatim
03100	 
03200	Figure 42b
03300	.end
03400	.CENTER
03500	%6⊂⊗⊃L[α%0.00,α%-1.08]:F42B.PLT[C3,LCS]⊂⊗⊃%1
03600	.skip 4
03700	 
03800	.FILL INDENT 6
03900	 
04000		Neither of these results is completely satisfactory.  A mixture
04100	of the two might be given, because the 4th of a scale seems  a weaker
04200	tonic-determining factor than the leading tone, and the last
04300	chord of a phrase usually takes on more importance than the middle chords.
04400	Thus:
04500	 
04600	.begin verbatim
04700	 
04800	Figure 42c
04900	.end
05000	.CENTER
05100	%6⊂⊗⊃L[α%0.00,α%-1.13]:F42C.PLT[C3,LCS]⊂⊗⊃%1
05200	.skip 5
05300	.FILL INDENT 6
05400	 
05500		One should not be overly concerned with such details unless
05600	the music indicates that the composer was intent on directing the
05700	listener's attention to them.  In most cases the actual duration of
05800	an alteration and its position in the phrase might be good bases
05900	for decisions.  For example, if the proper scale degree were involved,
06000	an altered note which was twice as long as its preceding unaltered
06100	form in the same chord would tend to change the chord's function.
06200	 
06300	.CENTER		        
06400	_______________
06500	.FILL
06600	.begin verbatim
06700	
06800	 
06900	Exercises for Chapter III
07000	 
07100		Analyze the following works in the manner demonstrated
07200		by Fgures 38-41.
07300	 
07400		From the 371 Chorales of Bach:
07500		1.  Chorale 18
07600		2.  Chorale 29
07700		3.  Chorale 131
07800		4.  Chorale 188
07900	 
08000		5.  Bach, Two-Part Invention #1, in C, First 9 bars
08100							and First note of bar 10.
08200		6.  Bach, Two-Part Invention #10, in G, complete work.
08300	.end
08400	.ONCE NO FILL INDENT 0 
08500		7.  Bach, Two-Part Invention #14, in B%4F%1, First 5 bars
08600	.begin verbatim
08700							and last 8 bars.
08800		8.  Chopin, Prelude in G, Op.28 #3, complete work.
08900	.end