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.begin verbatim
Example and Figure 70.  Schubert, String Quintet in C, Op.163
		(Reduction of measures 1-26.)
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%6⊂⊗⊃L[α%-.07,α%-3.66](17,22):N70X.PLT[C6,LCS]⊂⊗⊃%1
. << SIZE .95 >>
.SKIP 15

.FILL INDENT 6 

	Complete diminished 7th chords (at bars 4 and 13) are often
used non-functionally, as multiple neighboring notes.  Taking this
point of view, Figure 70a treats most of the altered chords as
purely contrapuntal.  Thus the harmonic movement remains quite
simple and without any new tonicization until the end of the excerpt.
This is very likely the way the music is heard (and intended to be heard).


	As we come to know the piece rather well, especially as
regards the violoncellos' repetition of the opening theme at bar 33
(see Example 71), we may feel that the various altered chords in the
first part also carry a potential of having functional implications.
Any given listener may not always hear this example in the same way, even
if he has memorized it.  While the main purpose of our analyses is to
show how the harmony of a piece is most simply heard, we should also
try to provide for other, less simple possibilities that may be
inherent in the music.