/LMAR=0/XLINE=20/FONT#0=MBIG[HHA,LCS]/FONT#1=BMETI[HHA,LCS]/FONT#3=BMUS[HHA,LCS]/FONT#5=MBIG[HHA,LCS]
␈↓ β⊂␈↓␈↓ !126␈↓ ∀0


␈↓"β␈↓ β⊂␈↓␈↓ ε<␈↓¬⊃L[%0.02,%-6.50]:N94FF.PLT[C9,LCS]⊂⊗⊃␈↓































␈↓"β␈↓ β⊂␈↓␈↓ ∧PSpace␈α(does␈α'not␈α(permit␈α'discussion␈α(of␈α'all␈α(the␈α'problematical
␈↓ β⊂␈↓details,␈α∀but␈α∀a␈α∀few␈α∀things␈α∀should␈α∀be␈α∀pointed␈α∀out.␈α∀ Many␈α∀more␈α∀chords
␈↓ β⊂␈↓of␈α≤weak␈α≠structural␈α≤nature␈α≠might␈α≤be␈α≠enclosed␈α≤by␈α≤parentheses␈α≠(see
␈↓ β⊂␈↓bar␈α"1),␈α"but␈α"to␈α"do␈α!this␈α"aspect␈α"full␈α"justice␈α"a␈α"complete␈α!rhythmical
␈↓ β⊂␈↓␈↓ !127␈↓ ∀0


␈↓"β␈↓ β⊂␈↓analysis␈α↔would␈α↔be␈α↔necessary.␈α↔ The␈α↔linear␈α↔element,␈α↔especially␈α↔in␈α⊗the
␈↓ β⊂␈↓bass,␈α-is␈α-another␈α-factor␈α-which␈α-has␈α-been␈α-largely␈α.neglected␈α-but
␈↓ β⊂␈↓which␈α→certainly␈α→contributes␈α_to␈α→the␈α→relative␈α_value␈α→of␈α→the␈α_function
␈↓ β⊂␈↓of␈α≡the␈α≡chords.␈α≡ (Note␈α∨the␈α≡bass␈α≡ascent␈α≡from␈α≡bar␈α∨3;␈α≡F-G-A-B␈↓βF␈↓-C-D-
␈↓ β⊂␈↓E␈↓βF␈↓-F, etc.)

␈↓"β␈↓ β⊂␈↓␈↓ ∧PAt␈α∃bars␈α∃24␈α∃and␈α∃25␈α∃there␈α∃is␈α∃no␈α∃question␈α∃of␈α∃a␈α∃␈↓βA␈↓␈α∃chord,␈α∃since␈α∃the
␈↓ β⊂␈↓bass␈α→is␈α_melodic.␈α→ At␈α_bar␈α→29␈α_its␈α→melodic␈α_role␈α→is␈α_much␈α→weaker.␈α_ From
␈↓ β⊂␈↓bar␈α=33␈α<to␈α=bar␈α<38␈α=we␈α<have␈α=a␈α<prolonged␈α=␈↓&F␈↓)∧∧␈α=cadence␈α<with
␈↓ β⊂␈↓"contrapuntal"␈α≥decorating␈α≥functions.␈α≥ The␈α≥functions␈α≥listed␈α≥on␈α≤the
␈↓ β⊂␈↓third␈α∀beats␈α∀of␈α∀bars␈α∀37␈α∀and␈α∃38␈α∀are␈α∀formed␈α∀by␈α∀the␈α∀implications␈α∃of␈α∀the
␈↓ β⊂␈↓lines.␈α' Notice␈α'especially␈α'the␈α'details␈α(of␈α'the␈α'line␈α'in␈α'bar␈α'37;␈α(it␈α'is
␈↓ β⊂␈↓almost␈α↔the␈α↔same␈α⊗in␈α↔bars␈α↔50␈α⊗and␈α↔52.␈α↔ In␈α⊗these␈α↔latter␈α↔cases,␈α⊗however,
␈↓ β⊂␈↓some␈α≥ambiguity␈α≥results,␈α≥since␈α≥it␈α≥is␈α≥a␈α≥little␈α≥difficult␈α≥to␈α≥specify␈α≤all
␈↓ β⊂␈↓the␈α∨chord␈α∨tones.␈α∨ The␈α∨thrice␈α∨repeated␈α∨cambiata␈α∨figure␈α∨first␈α≡gives
␈↓ β⊂␈↓the␈α→impression␈α→of␈α→defining␈α→chord␈α_tones␈α→at␈α→intervals␈α→of␈α→the␈α_fourth.
␈↓ β⊂␈↓However,␈α"the␈α"primary␈α"note␈α"of␈α"the␈α"last␈α"cambiata␈α"in␈α"each␈α"case␈α"is
␈↓ β⊂␈↓itself␈α≥an␈α≤emphasized␈α≥appoggiatura␈α≤to␈α≥the␈α≤next␈α≥to␈α≤last␈α≥note␈α≥of␈α≤the
␈↓ β⊂␈↓bar.␈α∨ Thus␈α∨these␈α∨two␈α∨measures␈α≡present␈α∨the␈α∨F7␈α∨chord␈α∨unless␈α≡they
␈↓ β⊂␈↓are viewed as inverted positions of the dominant ninth chord.

␈↓"β␈↓ β⊂␈↓␈↓ ∧PNaturally,␈α≥if␈α≥the␈α≤repeat␈α≥of␈α≥the␈α≤second␈α≥section␈α≥is␈α≤considered,
␈↓ β⊂␈↓there␈α≥would␈α≥be␈α≥a␈α≥small␈α≥change␈α≥on␈α≥the␈α≥highest␈α≥line␈α≥of␈α≥the␈α≥middle
␈↓ β⊂␈↓ground.␈α→ The␈α→␈↓&d␈↓)∧∧␈α→control␈α_tonic␈α→at␈α→bar␈α→47␈α_might␈α→read␈α→␈↓&iii␈↓)∧∧␈α→(of␈α→the␈α_basic
␈↓ β⊂␈↓tonic␈α ␈↓&B␈↓βF␈↓␈↓)∧∧)␈α the␈α second␈α∨time␈α through.␈α  Everything␈α below␈α that␈α∨line
␈↓ β⊂␈↓would remain the same.

␈↓"β␈↓ β⊂␈↓␈↓ ∧PMany␈α≤more␈α≠harmonic␈α≤relationships␈α≠lie␈α≤in␈α≠the␈α≤piece␈α≤than␈α≠are
␈↓ β⊂␈↓expressed␈α#in␈α#our␈α#large␈α#diagram,␈α"but␈α#this␈α#process␈α#of␈α#creating␈α"an
␈↓ β⊂␈↓analysis␈α(may␈α(be␈α(adapted␈α(to␈α(whatever␈α(scale␈α(of␈α(detail␈α(might␈α(be
␈↓ β⊂␈↓desired.␈α! It␈α!is␈α!hoped␈α!that␈α!this␈α!process␈α!will␈α!instill␈α!the␈α!individual
␈↓ β⊂␈↓with␈α≡a␈α∨heightened␈α≡awareness␈α∨of␈α≡the␈α∨music,␈α≡thereby␈α∨clearing␈α≡the
␈↓ β⊂␈↓way␈α$for␈α$the␈α$comprehension␈α%of␈α$the␈α$work's␈α$full␈α%intellectual␈α$and
␈↓ β⊂␈↓emotional potential.
␈↓"β␈↓ β⊂␈↓␈↓ πq_______________
␈↓ β⊂␈↓␈↓ !128␈↓ ∀0


␈↓"β
␈↓"β
␈↓"β␈↓ β⊂␈↓Exercises for Chapter IX
␈↓"β
␈↓"β␈↓ β⊂␈↓  Analyze the following movements from the Sonatas of Mozart:
␈↓"β
␈↓"β␈↓ β⊂␈↓  1.  Sonata in B␈↓βF␈↓, K.189f(281), last movement (Rondo).

␈↓"β␈↓ β⊂␈↓  2.  Sonata in a, K.300d(310), first movement.

␈↓"β␈↓ β⊂␈↓  3.  Sonata in F, K.300k(332), last movement.

␈↓"β␈↓ β⊂␈↓  4.  Sonata in c, K.457, second movement.

␈↓"β␈↓ β⊂␈↓  5.  Sonata in D, K.576, first movement.