perm filename VP79[C6,LCS]1 blob
sn#458358 filedate 1979-07-15 generic text, type T, neo UTF8
00100 . DEVICE XGP
00200 .spacing 20*5 mills;
00300 .EVERY HEADING(,{PAGE},)
00400 .AREA TEXT LINES 4 TO 40
00500 .FONT 1 "MBIG[HHA,LCS]"
00600 .font 2 "BMETI[HHA,LCS]"
00700 .font 4 "BMUS[HHA,LCS]"
00800 .font 6 "MBIG[HHA,LCS]"
00900 .!XGPLFTMAR←400
01000 .PORTION MAIN;
01100 .PLACE TEXT;
01200 .PAGE FRAME 138 WIDE 106 HIGH;
01300 .COMPACT
01400 .<< THICKEN UNDERLINE >>
01500 .AT "↓_" ⊂ SNEAK(BEWARE("'177'1'46"))⊃;
01600 .AT "_↓" ⊂ SNEAK(BEWARE("'177'1'51'4'4"))⊃;
01700 .<< Put in a footnote. >>
01800 .
01900 .COUNT FOOTNOTE INLINE FROM 1 TO 999 IN PAGE PRINTING ⊂"*****"[1 TO FOOTNOTE]⊃
02000 .<< (IF THISDEVICE = "XGP" THEN "%51%*" ELSE "[1]");>>
02100 .
02200 .FOOTSEP ← "__________";
02300 .AT "$$" ENTRY "$"
02400 . ⊂
02500 . NEXT FOOTNOTE;
02600 . FOOTNOTE!;
02700 . SEND FOOT
02800 . ⊂
02900 . BEGIN "NEXT FOOTNOTE"
03000 . SELECT 1;
03100 . SINGLE SPACE
03200 . SPACING 0 MILLS
03300 . INDENT 0,0,0;
03400 . (FOOTNOTE! & " ");
03500 ENTRY
03600 . END "NEXT FOOTNOTE";
03700 . ⊃;
03800 . ⊃;
03900 .
04000 .TURN ON "%↓_↑↓[&]","α"
04100 .at "!!" txt ";" ⊂
04200 .("↑[%3"&"txt"[1]&"]&↓["&"txt"[2]&"]%*");
04300 .COMMENT ("txt"[1]&"↑[%3"&"txt"[2]&"]&↓["&"txt"[3]&"]%*");
04400 . ⊃
00100 .PAGE←78
00200 .NEXT PAGE
00300 .FILL INDENT 12
00400 Following is the well-known introduction to the second movement
00500 of Dvorak's %2New World Symphony%1. The notation here differs
00600 enharmonically from the original.
00700 .BEGIN VERBATIM
00800
00900 Example and Figure 74
01000 .END
01100 .CENTER
01200 %6⊂⊗⊃L[α%-.10,α%-9.04](17,22):N74X.PLT[C6,LCS]⊂⊗⊃%1
01300 .skip 18
01400
01500
01600 .fill INDENT 12
01700 Even though the movement proper is in ↓_D_↓%4F%1, the key at the
01800 beginning, as listed on the highest level, is ↓_E_↓. This represents a
01900 continuation of the ↓_e_↓ of the first movement. The tritone relation
02000 between two major chords (E and B%4F%1) is usually heard as V-%4F%1II or
02100 vice versa, the former being used in this case because of the positions
02200 of the two chords, V%4H%1-%4F%1II%46%1, and because of the subsequent harmonic
02300 developments. By the time we reach the third measure we are sure that
02400 the E chord was working as a dominant to ↓_A_↓.