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00300	.fill INDENT 12
00400		The previous diagram indicates the tonics of arrival.  These will not
00500	necessarily be related %2directly%1 to one another in the final
00600	analysis. Obviously, the large form of this piece does not depend
00700	strongly on the contrast of %2basic%1 tonalities.  The preponderance
00800	of ↓_a_↓-↓_A_↓, at least as the controlling tonality of the main goals,
00900	is clear. However, the harmony wanders rather far afield between
01000	the various end points, so it would be premature to consider that
01100	these points are %2directly%1 related.  Let us now concern ourselves
01200	with the harmonic details and the tonic definitions on the 
01300	smallest scale.
01400	
01500		The opening eleven bars consist of a free sequence in three
01600	parts, each ending with a 7th chord -- E7, G7, B7.  There is no
01700	reason to suspect anything other than dominant function for any
01800	of these chords, so we may express them as %7a%1, %7C%1, %7E%1, thus defining
01900	as tonics the parts of the a-minor triad.  This, and the deceptive
02000	cadence at 17, establishes ↓_a_↓, perhaps indirectly, but nonetheless
02100	firmly.
02200	.begin verbatim
02300	
02400	Figure 97
02500	
02600	.end
02700	.CENTER
02800	%6⊂⊗⊃L[α%0.05,α%-1.60](17,22):N97F.PLT[C10,LCS]⊂⊗⊃%1
02900	.skip 4
03000	.fill INDENT 12
03100	
03200		In dealing with the other harmonies in the section, we must
03300	give primary consideration to the melodic device of the appoggiatura.
03400	The most obvious appoggiaturas occur on each of the above-mentioned
03500	7th chords.  The roles of all the other notes tend to become clear
03600	when we realize that most of the melodic chord tones are preceded
03700	by appoggiaturas, some of which last many times longer than the
03800	note of resolution.  At the beginning, every other note in the main
03900	melodic parts is an appoggiatura.  The opening bars might be
04000	condensed thus: