COMMENT ⊗   VALID 00003 PAGES
C REC  PAGE   DESCRIPTION
C00001 00001
C00002 00002	. DEVICE XGP    
C00004 00003	.PAGE←135
C00019 ENDMK
C⊗;
. 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←135
.NEXT PAGE
.BEGIN VERBATIM
Figure 104

.END
.CENTER
%6⊂⊗⊃L[α%0.00,α%-7.80](17,22):N104F.PLT[c10,LCS]⊂⊗⊃%1
.SKIP 15


.FILL INDENT 12 
	This is a remarkable passage in that it does not contain a
single tonic or tonic substitute function on the bottom level until
the very end, and yet the relationships of the middle level tonics
are finally clear.  Its unusual effectiveness is greatly enhanced
by the fact that when the A major chord, which was set up as the
expected ultimate goal by the sequential nature of the passage,
finally appears, it must be -- from the narrowest point of view --
part of a deceptive cadence.  That this A chord seems to have a tonic function,
despite the downward-moving D%4S%1 appoggiatura, is further made clear
by the following recurrence of the material of bars 25-30 -- material
which there had likewise followed an ↓_A_↓: I function.

	This next section, measures 45 to 62, being an expansion  of
an earlier phrase, has some new temporary tonics added to the already
familiar ones.  Once again ↓_E_↓ is the tonic for six bars, up to measure
50.  The movement toward ↓_D_↓ in bar 51 leads on to free
sequences, (52-56), which arrive on a B7 -- E7 -- C%4S%17 - D progression
in 57-58.  These last might be expressed:
.CENTER
%6⊂⊗⊃L[α%0.00,α%-1.12](17,22):N104X.PLT[c10,LCS]⊂⊗⊃%1
.SKIP 2
.FILL INDENT 12 
	In order to indicate the manifold tonic relationships of the 
preceding sequencing passage, the various details must be considered.
All the chromaticism of the main melodic line in bars 52-54 is 
non-functional if the line is considered as in ↓_A_↓.  However, from 55 to
58 the line begins with elements of the ↓_E_↓ scale and then returns to
the ↓_A_↓ scale:  (↓_A_↓ --- ↓_E_↓ --- ↓_A_↓).  But the first three bars of the
main line, bars 51-53, also may be considered in the ↓_D_↓ scale.  Thus, 
(↓_D_↓ --- ↓_E_↓ --- ↓_A_↓).  When we decide which of the chromatic elements
of the other voices are functional and which are non-functional, this
last view will be reinforced.

.begin verbatim

Example 105
.end
.CENTER
%6⊂⊗⊃L[α%0.00,α%-6.50](17,22):N105X.PLT[c10,LCS]⊂⊗⊃%1