/LMAR=0/XLINE=20/FONT#0=MBIG[HHA,LCS]/FONT#1=BMETI[HHA,LCS]/FONT#3=BMUS[HHA,LCS]/FONT#5=MBIG[HHA,LCS]
␈↓ β⊂␈↓␈↓ 652␈↓ ∀0


␈↓"β␈↓ β⊂␈↓␈↓ ∧POf␈α_the␈α↔two␈α_following␈α↔possible␈α_analyses,␈α↔the␈α_second␈α_is␈α↔better.
␈↓ β⊂␈↓In␈α the␈α first,␈α we␈α assume␈α that␈α!since␈α the␈α F␈α is␈α omitted␈α at␈α (*),␈α!an␈α E,
␈↓ β⊂␈↓though␈α~not␈α~present,␈α~might␈α~be␈α~implied.␈α~ (Even␈α~so,␈α~this␈α~would␈α~give
␈↓ β⊂␈↓the␈α,sound␈α,of␈α,the␈α,subdominant's␈α+F6.)␈α,In␈α,the␈α,second,␈α,we␈α+more
␈↓ β⊂␈↓reasonably␈α_assume␈α_that␈α_the␈α_F␈α→persists␈α_in␈α_the␈α_memory␈α_and␈α→that␈α_the
␈↓ β⊂␈↓context␈α≡does␈α≡not␈α≡lead␈α≡us␈α∨to␈α≡interpret␈α≡the␈α≡chord␈α≡B␈↓βF␈↓-D-F-G␈↓βS␈↓␈α∨as␈α≡an
␈↓ β⊂␈↓inversion of ␈↓&A␈↓)αβ): VII␈↓βG␈↓.
␈↓"β
␈↓"β␈↓ β⊂␈↓Figure 56
␈↓"β␈↓ β⊂␈↓␈↓ ¬7␈↓¬⊂⊗⊃L[%0.06,%-2.40](17,22):N56F.PLT[C4,LCS]⊂⊗⊃␈↓






␈↓"β␈↓ β⊂␈↓␈↓ ∧P It␈α1should␈α0be␈α1pointed␈α1out␈α0again␈α1that␈α0no␈α1chord␈α1may␈α0be
␈↓ β⊂␈↓evaluated␈α#until␈α#all␈α#its␈α#parts␈α#have␈α#been␈α#heard.␈α# However,␈α#no␈α#set
␈↓ β⊂␈↓rules␈α%can␈α&be␈α%given␈α%for␈α&this;␈α%as␈α%usual,␈α&the␈α%context␈α%must␈α&be␈α%the
␈↓ β⊂␈↓determining␈α∨factor.␈α≡ In␈α∨the␈α∨Schubert␈α≡␈↓↓Sonata␈↓,␈α∨the␈α≡B␈↓βF␈↓␈α∨chord␈α∨fills␈α≡a
␈↓ β⊂␈↓measure␈α≠and␈α≤a␈α≠quarter␈α≤before␈α≠the␈α≤appearance␈α≠of␈α≤the␈α≠G␈↓βS␈↓.␈α≤ Thus␈α≠the
␈↓ β⊂␈↓relatively␈α!simple␈α!progression␈α!of␈α!I␈α!to␈α!␈↓βF␈↓II␈α!has␈α!time␈α!to␈α!be␈α accepted
␈↓ β⊂␈↓before␈α∨the␈α∨function␈α≡is␈α∨altered␈α∨by␈α∨the␈α≡addition␈α∨of␈α∨a␈α∨fourth␈α≡pitch.
␈↓ β⊂␈↓Such␈α⊗particulars␈α⊗are␈α↔certainly␈α⊗open␈α⊗to␈α⊗varying␈α↔interpretations.␈α⊗ In
␈↓ β⊂␈↓both␈α*of␈α*these␈α*Schubert␈α*pieces,␈α*such␈α*ambiguous␈α*procedures␈α*are
␈↓ β⊂␈↓possible␈α~because␈α~of␈α~the␈α~extremely␈α~firm␈α~establishment␈α~of␈α~the␈α~main
␈↓ β⊂␈↓tonic in the preceding passages.

␈↓"β␈↓ β⊂␈↓␈↓ ∧P A␈α∃case␈α∀with␈α∃some␈α∃similarity␈α∀is␈α∃presented␈α∀in␈α∃the␈α∃␈↓↓Prelude␈α∀#23
␈↓ β⊂␈↓↓in␈α&F␈↓␈α%of␈α&Chopin,␈α%where␈α&an␈α%E␈↓βF␈↓␈α&is␈α%found␈α&in␈α%the␈α&final␈α%arpeggiated
␈↓ β⊂␈↓chord.␈α⊗ This␈α⊗E␈↓βF␈↓␈α⊗is␈α⊗usually␈α↔heard␈α⊗merely␈α⊗as␈α⊗an␈α⊗intensification␈α↔of␈α⊗the
␈↓ β⊂␈↓already␈α*present␈α)7th␈α*partial␈α)of␈α*the␈α)bass␈α*note's␈α*overtone␈α)series.
␈↓ β⊂␈↓However,␈α9it␈α9is␈α9undeniable␈α9that␈α9some␈α9tendency␈α9toward␈α9the
␈↓ β⊂␈↓subdominant,␈α∃a␈α⊗tonal␈α∃area␈α∃which␈α⊗is␈α∃almost␈α∃completely␈α⊗neglected␈α∃in
␈↓ β⊂␈↓the␈α+piece,␈α+is␈α+heard.␈α+ At␈α,the␈α+end␈α+of␈α+a␈α+piece␈α+devoted␈α,to␈α+almost
␈↓ β⊂␈↓nothing␈α)more␈α*than␈α)figuration␈α)on␈α*I␈α)and␈α)V,␈α*this␈α)E␈↓βF␈↓␈α)comes␈α*as␈α)a
␈↓ β⊂␈↓welcome bit of fantasy.