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.begin verbatim
Example 98

.end
.CENTER
.skip 4
.begin verbatim

Figure 98

.end
.CENTER
%6⊂⊗⊃L[α%0.10,α%-0.80](17,22):N98X.PLT[C10,LCS]⊂⊗⊃%1
. << SIZE .9 >>
.skip 1
.fill INDENT 12
	A similar process occurs in measures 4-7, but here the second
note (G%4S%1) should read A%4F%1 in order that it be an appoggiatura to G%4N%1.
However, the G%4S%1 and the preceding B are heard as an incomplete
continuation of the E7 chord.  Looking backward, the G%4S%1 is a chord note;
looking forward, it is a non-chord note.  Carrying this point of view
even further, it will be noted that if the A%4F%1 of bar 6 is considered as
G%4S%1, then the first sound of that bar may be heard as the incomplete
extension to the 9th of the E7th chord.  Thus the highest note, B,
also has a double role as both a chord and non-chord note.  One possible
way of showing this sort of thing follows:
.begin verbatim

Figure 99

.end
.CENTER
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. << SIZE .85>>
.skip 2
.fill INDENT 12

	The third phrase of the introduction works a little differently,
since its goal (the B7 chord) is a major third higher than the preceding
goal.  (The first two goals, E7 and G7, were separated by a minor third.)
The second note of the phrase, B, is now a simple chord note which is
followed by two chromatic passing notes.  The shift to the next tonic
is delayed until the end of bar 10.  The sound at the beginning of bar 10
is quite acceptable as ↓_C_↓: %8I%1 (G%4S%1=A%4F%1).  In terms of what follows,
however, both the D and D%4S%1 are non-chord tones leading upward to E, and
the F is a long appoggiatura going downward to E.  The resultant chord
notes then are C-E-G%4S%1-E, or %4N%1VI%4S5%1 of the ↓_E_↓ tonic.  Such action becomes
commonplace in this piece.  When the passage of bars 10-11 is echoed,
it is analyzed only in its latter role.
.begin verbatim

Figure 100

.end
.CENTER
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. << SIZE .85>>
.skip 2
.fill INDENT 12


	The next section, now with a continuous melodic line, offers
new problems.  Now all the tonicizations come more rapidly.  The
progress of the music from 17 to 19 seems to be toward ↓_G_↓ as the 
dominant of ↓_C_↓, and then on to ↓_d_↓ as vi of ↓_F_↓ at 21.  Then the dominant
of ↓_d_↓ ascends to the dominant of ↓_e_↓ at 23, which in turn becomes major
and the dominant of ↓_A_↓.
.BEGIN VERBATIM

Figure 101

.end
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