COMMENT ⊗   VALID 00003 PAGES
C REC  PAGE   DESCRIPTION
C00001 00001
C00002 00002	. DEVICE XGP    
C00004 00003	.PAGE←83
C00007 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]"
.!XGPLFTMAR←400
.PORTION MAIN;
.PLACE TEXT;
.PAGE FRAME 138 WIDE 106 HIGH;
.COMPACT
.<< 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←83
.NEXT PAGE	
.FILL INDENT 12
	The motive heard in bars 17-20 is continued in bars 21-24 as
an elaboration of a diminished 7th chord.  There is little basis for
settling on any one tonic, although ↓_d_↓ or ↓_f_↓ would seem to be indicated
by the notation.  For the final analysis, ↓_f_↓ will be chosen because
the tonics involved in the last part of the variation all stand in
simple relation to that tonic.

	All the subtleties of the alternating progressions at bars
9-13 and 25-28 would be difficult to express.  In the first phrase
the approach to ↓_d_↓ as a temporary tonic seems clear;  and that this
↓_d_↓ should become major and the dominant to ↓_G_↓ is quite conventional.
The unexpected appearance of the C chord at bars 11 and 12 has the
effect of prematurely wrenching away the tonic role of d.  Because
of the alien surroundings, this C chord is most immediately heard
as a sudden return to the I which might have been expected after
the clear V of bar 8.  Then the C chord works as a quite normal
pivot to a full cadence on V (↓_G_↓), which may be listed briefly as
a new control tonic at bar 15.
.BEGIN VERBATIM

Figure 77c
.END
.CENTER
%6⊂⊗⊃L[α%0.06,α%-6.50](17,22):N77FC.PLT[C6,LCS]⊂⊗⊃%1
.<< SIZE .95 (*2) >>