/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↔77␈↓ 
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␈↓"β␈↓ α∧␈↓␈↓ αdFollowing␈α∪is␈α∪the␈α∪well-known␈α∪introduction␈α∪to␈α∀the␈α∪second
␈↓ α∧␈↓movement␈αof␈αDvorak's␈α
␈↓↓New␈αWorld␈αSymphony␈↓.␈α The␈α
notation␈αhere
␈↓ α∧␈↓differs enharmonically from the original.
␈↓"β
␈↓"β␈↓ α∧␈↓Example and Figure 71
␈↓"β␈↓ α∧␈↓␈↓ β↑␈↓¬⊂⊗⊃L[%-.05,%-4.52]:71X.PLT[HHA,LCS]⊂⊗⊃␈↓





















␈↓"β␈↓ α∧␈↓␈↓ αdEven␈α∞though␈α∞the␈α∞movement␈α∞proper␈α∞is␈α∞in␈α∞␈↓&D␈↓)αβ␈↓βF␈↓,␈α∞the␈α∞key␈α∂at␈α∞the
␈↓ α∧␈↓beginning,␈α∂as␈α⊂listed␈α∂on␈α⊂the␈α∂highest␈α⊂level,␈α∂is␈α⊂␈↓&E␈↓)αβ.␈α∂ This␈α⊂represents␈α∂a
␈↓ α∧␈↓continuation␈αof␈αthe␈α
␈↓&e␈↓)αβ␈αof␈αthe␈α
first␈αmovement.␈α The␈α
tritone␈αrelation
␈↓ α∧␈↓between␈αtwo␈αmajor␈αchords␈α(E␈αand␈αB␈↓βF␈↓)␈αis␈αusually␈αheard␈αas␈αV-␈↓βF␈↓II␈αor
␈↓ α∧␈↓vice␈α∀versa,␈α∃the␈α∀former␈α∀being␈α∃used␈α∀in␈α∀this␈α∃case␈α∀because␈α∃of␈α∀the
␈↓ α∧␈↓positions␈α∨of␈α∨the␈α∨two␈α≡chords,␈α∨V␈↓βH␈↓-␈↓βF␈↓II␈↓β6␈↓,␈α∨and␈α∨because␈α∨of␈α≡the
␈↓ α∧␈↓subsequent␈α∩harmonic␈α∪developments.␈α∩ By␈α∩the␈α∪time␈α∩we␈α∪reach␈α∩the
␈↓ α∧␈↓third␈α⊃measure␈α∩we␈α⊃are␈α∩sure␈α⊃that␈α⊃the␈α∩E␈α⊃chord␈α∩was␈α⊃working␈α∩as␈α⊃a
␈↓ α∧␈↓dominant to ␈↓&A␈↓)αβ.
␈↓"β␈↓ α∧␈↓␈↓ ε↔78␈↓ 
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␈↓"β␈↓ α∧␈↓Example 72a
␈↓"β␈↓ α∧␈↓␈↓ βb␈↓¬⊂⊗⊃L[%0,%-1.22]:72XA.PLT[HHA,LCS]⊂⊗⊃␈↓






␈↓"β␈↓ α∧␈↓␈↓ αdHowever,␈α
the␈α
D␈↓βF␈↓␈α
chord␈α
which␈α
broke␈α
the␈α
continuity␈α∞is␈α
most
␈↓ α∧␈↓simply␈αheard␈αas␈αdominant␈αto␈α␈↓&A␈↓)αβ's␈αsixth␈αdegree,␈α␈↓&f␈↓)αβ␈↓βS␈↓.␈α It␈αmust␈αbe␈αnoted
␈↓ α∧␈↓that␈α≠the␈α≤absence␈α≠of␈α≤emphasis␈α≠in␈α≠the␈α≤first␈α≠two␈α≤bars␈α≠makes
␈↓ α∧␈↓immediate␈αrecognition␈αof␈αthe␈αfunctions␈αof␈αall␈αbut␈αthe␈αfirst␈αtonic␈α␈↓&E␈↓)αβ
␈↓ α∧␈↓very␈α∂difficult.␈α∞ Until␈α∂more␈α∂is␈α∞heard␈α∂any␈α∞chord␈α∂may␈α∂be␈α∞dominant,
␈↓ α∧␈↓subdominant,␈α⊂or␈α⊂tonic,␈α⊂etc.␈α⊂ When␈α∂the␈α⊂phrase␈α⊂is␈α⊂complete␈α⊂--␈α∂and
␈↓ α∧␈↓thus␈α∂has␈α∂developed␈α∂points␈α⊂of␈α∂emphasis␈α∂--␈α∂these␈α⊂distantly␈α∂related
␈↓ α∧␈↓chords␈α
are␈α
retrospectively␈αassigned␈α
functions␈α
in␈αterms␈α
of␈α
the␈αend
␈↓ α∧␈↓results.␈α∃ The␈α⊗f␈↓βS␈↓␈α∃chord␈α⊗serves␈α∃as␈α∃VI␈α⊗to␈α∃␈↓&A␈↓)αβ␈α⊗(Example␈α∃72a);␈α⊗␈↓&f␈↓)αβ␈↓βS␈↓␈α∃is
␈↓ α∧␈↓tonicized␈α∂by␈α∂the␈α∂progression␈α∂from␈α∞the␈α∂fourth␈α∂to␈α∂the␈α∂sixth␈α∞chord
␈↓ α∧␈↓(Example␈α72c);␈α
and␈αthe␈α
f␈↓βS␈↓␈αchord␈α
is␈αIV␈↓βFF3␈↓␈α
(g␈↓βF␈↓)␈αto␈α
␈↓&D␈↓)αβ␈↓βF␈↓␈α(Example␈α
72b).
␈↓ α∧␈↓␈↓&A␈↓)αβ␈α⊂has␈α⊂been␈α⊂tonicized␈α⊂by␈α⊂the␈α⊂first␈α⊂three␈α⊂chords,␈α⊂but␈α⊂the␈α⊂A␈α⊂chord
␈↓ α∧␈↓also serves as ␈↓βFF␈↓VI (B␈↓βFF␈↓) to ␈↓&D␈↓)αβ␈↓βF␈↓ (Example 72b).
␈↓"β
␈↓"β␈↓ α∧␈↓Example 72b
␈↓"β␈↓ α∧␈↓            
␈↓"β
␈↓"β
␈↓"β
␈↓"β
␈↓"β
␈↓"β
␈↓"β
␈↓"β␈↓ α∧␈↓Example 72c
␈↓"β␈↓ α∧␈↓␈↓ βd␈↓¬⊂⊗⊃L[%0,%-1.25]:72XB.PLT[HHA,LCS]⊂⊗⊃␈↓
␈↓ α∧␈↓␈↓ ε↔79␈↓ 
T


␈↓"β␈↓ α∧␈↓␈↓ αdThe␈α∞later␈α∞appearances␈α∞of␈α∞this␈α∞material␈α∞in␈α∞the␈α∂movement␈α∞are
␈↓ α∧␈↓somewhat simpler because they both begin and end in ␈↓&D␈↓)αβ␈↓βF␈↓.
␈↓"β
␈↓"β␈↓ α∧␈↓Example and Figure 73
␈↓"β␈↓ α∧␈↓␈↓ βl␈↓¬⊂⊗⊃L[%0,%-2.90]:73X.PLT[HHA,LCS]⊂⊗⊃␈↓













␈↓"β␈↓ α∧␈↓␈↓ αdIn␈αthe␈αtwentieth␈αof␈αBeethoven's␈α␈↓↓Diabelli␈αVariations␈↓,␈αOp.120,
␈↓ α∧␈↓the␈α
listener␈α
is␈α
frequently␈α
kept␈α
in␈α
doubt␈α
as␈α
to␈α
whether␈α
or␈α
not␈α
the
␈↓ α∧␈↓chromaticism␈α∪is␈α∪functional.␈α∪ The␈α∩slow,␈α∪regular␈α∪rhythm␈α∪and␈α∩the
␈↓ α∧␈↓constant␈α⊗use␈α∃of␈α⊗free␈α⊗imitation␈α∃makes␈α⊗it␈α∃difficult␈α⊗to␈α⊗specify␈α∃a
␈↓ α∧␈↓functional␈α∂or␈α∂non-functional␈α∂role␈α⊂for␈α∂every␈α∂note.␈α∂ Notes␈α⊂such␈α∂as
␈↓ α∧␈↓the␈α⊃C␈↓βS␈↓␈α⊂of␈α⊃bar␈α⊂4,␈α⊃which␈α⊂had␈α⊃virtually␈α⊂no␈α⊃functional␈α⊂significance
␈↓ α∧␈↓earlier␈α∩in␈α∩the␈α∩work␈α∩(see␈α∩Variation␈α∩I,␈α∩bars␈α∩4␈α∩and␈α∩6),␈α∩now␈α⊃share
␈↓ α∧␈↓equal␈α∞status,␈α∞timewise,␈α∞with␈α∂some␈α∞of␈α∞the␈α∞most␈α∂clearly␈α∞functional
␈↓ α∧␈↓notes.␈α Another␈αfactor␈α
which␈αcreates␈αdoubt␈α
is␈αthe␈αoccasional␈αuse␈α
of
␈↓ α∧␈↓notes␈α
in␈α
the␈α
upper␈α
voices␈α
which␈α
may␈α
have␈α
double␈α∞significance␈α
as
␈↓ α∧␈↓both␈α⊂dissonant␈α⊂pedal␈α⊂points␈α⊂and␈α⊂true␈α⊂chord␈α⊂tones␈α⊂(see␈α⊂bars␈α⊂5,␈α∂7,
␈↓ α∧␈↓etc.).␈α∪ The␈α∪voice␈α∪leading␈α∪is␈α∪extremely␈α∪carefully␈α∪worked␈α∪out␈α∪--
␈↓ α∧␈↓every␈α
chromatic␈α
change␈α
has␈α
its␈α
logical␈α
linear␈α
result.␈α
 However,␈α
the
␈↓ α∧␈↓harmonic␈α∩implications␈α∩of␈α∩the␈α∪combinations␈α∩of␈α∩the␈α∩lines␈α∪may␈α∩be
␈↓ α∧␈↓experienced␈α∀on␈α∀their␈α∀own␈α∃plane.␈α∀ Of␈α∀course,␈α∀it␈α∀must␈α∃never␈α∀be
␈↓ α∧␈↓forgotten␈α⊃that␈α⊃particular␈α∩harmonic␈α⊃functions␈α⊃never␈α⊃have␈α∩a␈α⊃real
␈↓ α∧␈↓existence␈α∂apart␈α∂from␈α∂the␈α⊂total␈α∂music␈α∂which␈α∂produces␈α⊂them.␈α∂ The
␈↓ α∧␈↓alternating␈α⊃functions␈α∩in␈α⊃this␈α∩variation␈α⊃certainly␈α∩grow␈α⊃out␈α∩of␈α⊃a
␈↓ α∧␈↓mode of thought that considers all musical factors simultaneously.