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00300	.FILL INDENT 12
00400		Because of the slight changes in the presentation of the motive
00500	in bars 65-69, we now find somewhat different harmonic details.  The
00600	harmony of bar 65 is first heard as ↓_c_↓: I, the disjunctly approached A%4F%1
00700	at the end changing the function to VI%47%1.  Continuing on this basis,
00800	bar 66 will give ↓_c_↓: II acting at same time as ↓_f_↓: %4N%1VI, which then becomes
00900	↓_f_↓: IV%47%1 at the end of the bar.  (Note that a B%4F%17 chord rarely can be
01000	truly functional in ↓_c_↓.)  Bar 67 then has ↓_f_↓: %4N%1VII to V%47%1, which works
01100	equally well as ↓_g_↓: %4N%1VI to IV%47%1. This leads 
01200	to ↓_g_↓: %4S%1VII%47%1 in bar 68 and
01300	then I at the beginning of bar 69.
01400	.BEGIN VERBATIM
01500	
01600	Figure 93g
01700	.END
01800	.CENTER
01900	%6⊂⊗⊃L[α%0.04,α%-2.04](17,22):N93FG.PLT[C9,LCS]⊂⊗⊃%1
02000	.SKIP 4
02100	.FILL INDENT 12
02200		However, it hardly seems necessary to show these changes of
02300	%4N%1VI to IV%47%1, etc. in bars 66-68, the root of each seventh chord being
02400	delayed until the last eighth note.  But if the same reasoning is
02500	applied to the slightly different structures of bars 65 and 69, what
02600	is first heard clearly as a minor I chord then is "completed" 
02700	as IV%47%1 of a major key.
02800	Thus a momentary tonic of ↓_E%4F%1_↓ is implied, overlapping with the ↓_c_↓
02900	of bar 65 and the ↓_f_↓ of bars 66-67.
03000	.BEGIN VERBATIM
03100	
03200	Figure 93h
03300	.END
03400	.CENTER
03500	%6⊂⊗⊃L[α%0.04,α%-5.70](17,22):N93FH.PLT[C9,LCS]⊂⊗⊃%1
03600	. << SIZE .9 >>
03700	. << SIZE .9 >>