COMMENT ⊗   VALID 00003 PAGES
C REC  PAGE   DESCRIPTION
C00001 00001
C00002 00002	. DEVICE XGP    
C00004 00003	heard.  At the end of a piece devoted to almost nothing more than
C00009 ENDMK
C⊗;
. 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"
.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←50
.NEXT PAGE
heard.  At the end of a piece devoted to almost nothing more than
figuration on I and V, this E%4F%1 comes as a welcome bit of
fantasy.
.begin verbatim

Example 54.  Chopin, Prelude, Op.28, #23
.end
.skip 7 
.next page
	And then there is the standard "Blues" progression:
 
.begin verbatim

Figure 55
.end
.skip 7
 
 
	Many variants of the main A6 chords may be found in later
tonal music.  But once they are recognized for what they are, they should
cause no difficulties in an analysis.  Similarly, there are many
chromatic variants of the dominant, subdominant (the A6 is one!), and
other functions, except for the I function.$$But remember that 
there is always the %2potential%1 of a change of
function when any chromaticism is introduced.$  Various notes may be
%2added%1 to tonic function, and the root may even be omitted, but if
the root or 5th are altered, the tonic function becomes dubious.

 
	Chromaticism has always caused composers trouble with
notation.  The augmented sixth and diminished seventh chords in
particular have raised problems, because of the ambiguity of
the situations in which they are often found.  Composers cannot be
totally consistent in notating such chords when enharmonic
equivalence is involved.  It will always be necessary to determine
the function or functions of chromatic chords by studying their
surroundings rather than by taking their notation at face value.
 
.CENTER		        
_______________
.FILL
.next page
.begin verbatim

Exercises for Chapter IV

.end
	Analyze the following works.  Show the distinctions between
major and minor tonics through the use of upper and lower case
numerals on the two highest levels of the analyses.
.begin verbatim

 
From the 371 Chorales of Bach:*

	1.  Chorale  11, up to the 3/4.
	2.  Chorale  37, all.
	3.  Chorale  47
	4.  Chorale  94
	5.  Chorale  223
 

From the Sonatas of Mozart:
 
	6.  Sonata in D, K.205b (284), last movement, Variation VII.
 
	7.  Sonata in a, K.300d (310), first movement, 24 bars
		starting at recapitulation.  (In cases where there are
		many suspensions and appoggiaturas it is usually best
		to write out a chordal reduction of the passage before
		working out the analysis.)
 
	8.  Sonata in C, K.300h (330), second movement, first 20 bars.
 

From the Preludes, Op.28, of Chopin:
 
        9.  Prelude  1, in C
       10.  Prelude  6, in b
       11.  Prelude 20, in c

_____________
* Note that all bass lines in the Bach Chorales are probably
intended to be doubled at the octave below.  Hence, even if the
notation of the bass part crosses above the tenor part, the bass 
part remains the true bass.
.end
.NEXT PAGE