/LMAR=0/XLINE=10/FONT#0=METL/FONT#1=METLI/FONT#2=METS/FONT#3=MUS[HHA,LCS]/FONT#4=MUZ[HHA,LCS]/FONT#5=BASL35
␈↓ α∧␈↓␈↓ ε↔72␈↓ 
T


␈↓"β␈↓ α∧␈↓␈↓ αdSince␈αthe␈αsuccessive␈αfunctions␈αin␈αsuch␈αmusic␈αsometimes␈αbear
␈↓ α∧␈↓only␈α_a␈α_secondary␈α_relation␈α_to␈α_each␈α_other,␈α_very␈α_skillful␈α↔voice
␈↓ α∧␈↓leading,␈α∂as␈α∞in␈α∂the␈α∞Chopin␈α∂example,␈α∞is␈α∂necessary␈α∞in␈α∂order␈α∂that␈α∞the
␈↓ α∧␈↓progression␈α⊂remains␈α⊂clear.␈α⊃ From␈α⊂one␈α⊂point␈α⊃of␈α⊂view,␈α⊂there␈α⊃is␈α⊂no
␈↓ α∧␈↓doubt␈α⊃at␈α⊃all␈α⊂that␈α⊃this␈α⊃passage␈α⊃can␈α⊂be␈α⊃interpreted␈α⊃as␈α⊃a␈α⊂chromatic
␈↓ α∧␈↓"working out" of the A chord.
␈↓"β
␈↓"β␈↓ α∧␈↓Example 66b.  (Reduction of Example 66a.  The doubling of the
␈↓"β␈↓ α∧␈↓                highest part at the octave below is omitted.)
␈↓"β␈↓ α∧␈↓␈↓ βi␈↓¬⊂⊗⊃L[%0,%-2.0]:66XB.PLT[HHA,LCS]⊂⊗⊃␈↓












␈↓"β␈↓ α∧␈↓␈↓ αdHowever,␈αthe␈α
particular␈αform␈α
the␈αchromaticism␈α
takes␈αin␈α
this
␈↓ α∧␈↓Mazurka␈α∀also␈α∀gives␈α∀the␈α∀unmistakable␈α∀impression␈α∀of␈α∀a␈α∃series␈α∀of
␈↓ α∧␈↓varied harmonic functions.

␈↓"β␈↓ α∧␈↓␈↓ αdFor␈αmore␈αexamples␈αof␈αchords␈αwhich␈αhave␈αboth␈αcontrapuntal
␈↓ α∧␈↓and␈α≠harmonic␈α≠significance␈α~we␈α≠will␈α≠turn␈α~to␈α≠the␈α≠opening␈α~of
␈↓ α∧␈↓Schubert's ␈↓↓Quintet in C␈↓, Op.163.