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.FILL
attributable to a low percentage of simple tonic (or even dominant)
functions within rapidly changing temporary tonic areas.
.FILL INDENT 6

	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.
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.CENTER
%6⊂⊗⊃L[α%0.03,α%-5.85]:74FE.PLT[HHA,LCS]⊂⊗⊃%1

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.FILL INDENT 6
	In this chapter many new elements have been added to the
analytical diagram.  One must always be on guard against overloading
the analysis with non-essential detail.  When new, and possibly
confusing indications are added to the basic diagram, great care
should be taken that the music under consideration really warrants
their use.  Especially for the performer, the potential danger of
too much attention to detail in analysis is probably greater than
the danger of over-simplification.
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Exercises for Chapter VI
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	Analyze the following works.  Although a great deal of
chromaticism is involved in these excerpts, not all of them
contain alternating progressions.
.BEGIN VERBATIM

.end
.ONCE NO FILL INDENT 0 
	1.  Chopin, Mazurka #1, in f%4S%1, Op.6, #1, first 16 bars.
.BEGIN VERBATIM

	2.  Chopin, Mazurka  #6, in a,  Op.7,  #2, first 32 bars.

	3.  Chopin, Mazurka #11, in e,  Op.17, #2, first 24 bars.

	4.  Chopin, Mazurka #49, in f,  Op.68, #4, all.

	5.  Chopin, Prelude in e,  Op.28, #4, all.

.end
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	6.  Chopin, Prelude in f%4S%1, Op.28, #8, all.
.begin verbatim

	7.  Chopin, Prelude in f,  Op.28, #18, all.
.END