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.fill INDENT 12

	The later appearances of this material in the movement are
somewhat simpler because they both begin and end in ↓_D_↓%4F%1.

.begin verbatim

Example and Figure 76
.end
.CENTER
%6⊂⊗⊃L[α%0,α%-5.72](17,22):N76X.PLT[C6,LCS]⊂⊗⊃%1
.skip 11

.fill INDENT 12
	In the twentieth of Beethoven's %2Diabelli Variations%1, Op.120,
the listener is frequently kept in doubt as to whether or not the
chromaticism is functional.  The slow, regular rhythm and the constant
use of free imitation makes it difficult to specify a functional or
non-functional role for every note.  Notes such as the C%4S%1 of bar 4,
which had virtually no functional significance earlier in the work
(see Variation I, bars 4 and 6), now share equal status, timewise,
with some of the most clearly functional notes.  Another factor which
creates doubt is the occasional use of notes in the upper voices
which may have double significance as both dissonant pedal points and
true chord tones (see bars 5, 7, etc.).  The voice leading is
extremely carefully worked out -- every chromatic change has its
logical linear result.  However, the harmonic implications of the
combinations of the lines may be experienced on their own plane.  Of
course, it must never be forgotten that particular harmonic functions
never have a real existence apart from the total music which produces
them.  The alternating functions in this variation certainly grow
out of a mode of thought that considers all musical factors
simultaneously.