. DEVICE XGP    
.spacing 20*5 mills;
.EVERY HEADING(,{PAGE},)
.AREA TEXT LINES 4 TO 40
.FONT 1 "MBIG[HHA,LCS]"
.font 2 "BMETI[HHA,LCS]"
.font 4 "BMUS[HHA,LCS]"
.font 6 "MBIG[HHA,LCS]"
.FONT 7 "BMORE[HHA,LCS]"
.FONT 8 "BII4[HHA,LCS]"
.!XGPLFTMAR←400
.PORTION MAIN;
.PLACE TEXT;
.PAGE FRAME 138 WIDE 106 HIGH;
.COMPACT
.COUNT PAGE FROM 1 TO 999;
.<< THICKEN UNDERLINE >>
.AT "↓_" ⊂ SNEAK(BEWARE("'177'1'46"))⊃;
.AT "_↓" ⊂ SNEAK(BEWARE("'177'1'51'4'4"))⊃;
.<< Put in a footnote. >>
.
.COUNT FOOTNOTE INLINE FROM 1 TO 999 IN PAGE PRINTING ⊂"*****"[1 TO FOOTNOTE]⊃
.<<	(IF THISDEVICE = "XGP" THEN "%51%*" ELSE "[1]");>>
.
.FOOTSEP ← "__________";
.AT "$$" ENTRY "$"
.	⊂
.	NEXT FOOTNOTE;
.	FOOTNOTE!;
.	SEND FOOT
.		⊂
.		BEGIN "NEXT FOOTNOTE"
.		SELECT 1;
.		SINGLE SPACE
.		SPACING 0 MILLS
.		INDENT 0,0,0;
.		(FOOTNOTE! & " ");
ENTRY
.		END "NEXT FOOTNOTE";
.		⊃;
.	⊃;
.
.TURN ON "%↓_↑↓[&]","α"
.at "!!" txt ";"	⊂
.("↑[%3"&"txt"[1]&"]&↓["&"txt"[2]&"]%*");
.COMMENT ("txt"[1]&"↑[%3"&"txt"[2]&"]&↓["&"txt"[3]&"]%*");
.  ⊃
.PAGE←134
.NEXT PAGE
.FILL INDENT 12
	Notice the pattern of the uppermost line of temporary tonics
in the analysis up until bar 24.
.BEGIN VERBATIM

Figure 102
.END
.CENTER
%6⊂⊗⊃L[α%0.00,α%-1.24](17,22):N102F.PLT[c10,LCS]⊂⊗⊃%1
.SKIP 2

.FILL INDENT 12
	In the next phrase, E persists until 31, where the dominant of
↓_D_↓ is heard.  Bars 32-36 are highly chromatic in the accompanying
parts, but the melodic line is the same as that found at 17-21.
The key points of the harmony show this passage to be only a slightly
varied form of the earlier material.
.BEGIN VERBATIM

Figure 103
.END
.CENTER
%6⊂⊗⊃L[α%0.06,α%-2.90](17,22):N103F.PLT[c10,LCS]⊂⊗⊃%1
.SKIP 6

.FILL INDENT 12
	On the lowest level, ↓_d_↓ regains its role as VI of ↓_F_↓, since
the next progression is most simply ↓_F_↓: F6-V (bars 36-38).  This
echo-like passage is repeated a step higher (↓_g_↓: F6-V).  Then a
variant of it tonicizes the next step, ↓_a_↓, by juxtaposing the F6
of ↓_a_↓ with the dominant of ↓_E_↓ (40-42).  A diminished substitute for
the dominant of ↓_E_↓ takes on a new root in bar 43 and thus becomes the
dominant of ↓_c%4S%1_↓.  But the phrase ends, as we have come to expect,
deceptively on VI of ↓_c%4S%1_↓ -- which, of course, is an A major chord.