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.FILL INDENT 6
	The second phrase including alternating progressions is more
difficult.  At measure 25 the b%4FA%1 eventually assumes three important
functions.  One of these, II of A%4F%1, does not become apparent until
bar 27, however.  The E%4F7%1 chord of measures 27 and 28 might have been 
listed only as the G6 function of ↓_g_↓, since there are no other chords
following which bear direct relationship to it.  The earlier b%4FA%1
chord does form, however, a conventional preparation for the function
of E%4F%1 as the dominant of ↓_A%4F%1_↓.  Thus, these two functions of the E%4F7%1
chord can be shown in alternation with the G6 of ↓_b%4F%1_↓.

.BEGIN VERBATIM

Figure 74d

.END
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%6⊂⊗⊃L[α%0.03,α%-3.5]:74FD.PLT[HHA,LCS]⊂⊗⊃%1
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.FILL INDENT 6

	It may be noticed that after the first few bars in this
Beethoven variation, very few %2simple%1 tonic functions (i.e., not
substitutes for tonics) are heard.  Only the tonics at bars 15-16
and at the end are decisive.  In the last 12 bars, even most of the
dominant functions are presented by substitutes.  It will be found
that most of the harmonic vagueness of later tonal music is 
attributable to a low percentage of %2simple%1 tonic (or even dominant)
functions within rapidly changing temporary tonic areas.

	Despite the complications, our analysis will show the
simplicity of the largest harmonic design in this variation.  All the
alternating progressions, substitute functions, and what have you,
serve only as very special elaboration of the various temporary tonics,
which in turn contribute to the definition of the control tonics
↓_I_↓ ↓_V_↓ ↓_I_↓ ↓_iv_↓ ↓_I_↓.

.BEGIN VERBATIM

Figure 74e.  The complete variation.

.END