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.begin verbatim
Figure 112c
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%6⊂⊗⊃L[α%0.00,α%-5.60](17,22):112FC.PLT[c11,LCS]⊂⊗⊃%1
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	The ambiguity of many of the progressions in this excerpt
makes possible the derivation of many other dubious functions.  It
should be clear that the primary basis of organization in this
passage is hardly any longer functional harmony.  In the first five bars
the %2pattern of third relations%1 seems ascendent.  The particular
temporary tonics and their relationship to any basic tonic are
important only in that they continually lead %2away%1 from the
possibility of a simple functional return to the point of departure.
In bars 6 to 15 the %2interval of the third%1 is handled in a
broader fashion.  The bass at first descends by thirds, the fourth
leap being reserved for the phrase ending.  The highest part spans
the third A%4F%1-C twice, the C persisting as a pedal point from
bar 8 through to its tonic role at the end.  However, the fact that
chords such as those of the excerpt %2usually%1 do have functional
significance (and Musorgsky's audience certainly assumed this
intuitively) contributes greatly to the effect of the passage.

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	In %2Parsifal%1, Wagner has extended the technique of functional
ambiguity which we have studied in connection with %2Tristan und Isolde%1.
In our coming example from the opening of the Third Act of %2Parsifal%1,
we are placed in almost continual doubt as to the specific role of each
note.  It is the rule rather than the exception that notes may be heard
as both chord and non-chord tones at once.  Especially noticeable are
the long suspensions whose relative consonance often forms
independent chords with distant functions.  The very slow tempo leaves us
lingering on these "non-chord" chords, so that it is quite possible to
lose entirely the sense of harmonic direction.  And when we come to
know the music well enough to maintain our harmonic orientation, we
realize that the specific functions are hardly important and that
ultimately our sense of direction is preserved rather by our
understanding of the particular means of handling the functional 
ambiguity.

	The first of the analyses given below (Figure 113a) is based on the
slowest possible harmonic rhythm that may be heard in this music.
The functions given are those of the chords at the various points of
resolution.  It is only by studying the whole example carefully that
we can feel sure about just where the points of resolution really 
fall.  We are reasonably safe in assuming that all of Wagner's
functional chords will be based on thirds.  In addition, we must
realize that our diatonic-based system of notation is outmoded for
music like this and that enharmonic equivalence must always be taken
into consideration.  Proceeding with these things in mind, we see that,
from the broad point of view, the essential harmony changes no more
quickly than the time of a half-note -- and sometimes even more slowly
than that.  In the second measure, the leap in the bass makes both
parts of the tritone stand out as chord notes, the preceding G%4F%1(=F%4S%1)
being an upward-resolving suspension.  The soprano's E-F-B%4F%1 work
the same way, the pattern of half-note harmony with quarter-note
overall movement thereby being well established.

	  In two spots, the
traditions regarding leaps away from non-chord tones are stretched
somewhat.  At bars 5 and 8 the diminished octave skip in the bass
almost leads one to hear both notes of the interval as chord tones.
Then the chord formed by the suspensions above the low half-notes
would seem to have functional significance (see second analysis, 
Figure 113b).  However, when the upper three notes resolve, it becomes
clear that, in the largest sense, the diminished octave was merely
a displaced chromatic scale movement and that the substitution of a
sharp on the first note in each case (E%4F%1=D%4S%1, F=E%4S%1) would
make this clear -- to the eye at least.  These spots are further 
complicated because they represent a change in the manner of dealing
with this pattern of a long note moving to a short note on the next
degree, followed by a leap.  But when studying the music in terms
of most of the detail (Figure 113b), it is seen that several 
interpretations of this pattern are possible.