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␈↓ β⊂␈↓␈↓ 699␈↓ ∀0


␈↓"β
␈↓"β␈↓ β⊂␈↓Figure 82b
␈↓"β
␈↓"β␈↓ β⊂␈↓␈↓ ε2␈↓¬⊂⊗⊃L[%0.0,%-1.80]:N82FB.PLT[C7,LCS]⊂⊗⊃␈↓









␈↓"β␈↓ β⊂␈↓␈↓ πq_______________

␈↓"β␈↓ β⊂␈↓␈↓ ∧PA␈α_great␈α_extension␈α_of␈α→the␈α_situation␈α_just␈α_discussed␈α_is␈α→found␈α_in
␈↓ β⊂␈↓Schubert's␈α;␈↓↓Quintet␈α;in␈α;C␈↓,␈α;Op.163,␈α;first␈α;movement.␈α; The␈α;full
␈↓ β⊂␈↓exposition␈α⊗clearly␈α⊗ends␈α⊗in␈α⊗␈↓&G␈↓)∧∧␈α∃(followed␈α⊗by␈α⊗a␈α⊗single␈α⊗transitional␈α∃7th
␈↓ β⊂␈↓chord),␈α⊗but␈α↔the␈α⊗first␈α⊗key␈α↔heard␈α⊗in␈α⊗the␈α↔exposition's␈α⊗second␈α↔group␈α⊗is
␈↓ β⊂␈↓␈↓&E␈↓βF␈↓)∧∧␈↓.␈α_ The␈α_second␈α_group␈α_is␈α↔preceded␈α_by␈α_an␈α_eleven-bar␈α_passage␈α_over␈α↔a
␈↓ β⊂␈↓G␈α∃pedal␈α∀note.␈α∃ Because␈α∀of␈α∃the␈α∀absence␈α∃of␈α∀any␈α∃simple␈α∃V-I␈α∀progression
␈↓ β⊂␈↓in␈α,␈↓&G␈↓)∧∧␈α+in␈α,these␈α+eleven␈α,bars,␈α+G␈α,manages␈α+to␈α,maintain␈α+its␈α,role␈α+as
␈↓ β⊂␈↓dominant␈α⊗to␈α⊗the␈α∃basic␈α⊗tonic␈α⊗of␈α∃␈↓&C␈↓)∧∧.␈α⊗ It␈α⊗would␈α∃be␈α⊗quite␈α⊗normal␈α⊗for␈α∃the
␈↓ β⊂␈↓music␈α∃to␈α∃continue␈α∃at␈α∃this␈α∃point␈α∃with␈α∃␈↓&G␈↓)∧∧␈α∃being␈α∃heard␈α⊗immediately␈α∃in
␈↓ β⊂␈↓both␈α∨the␈α≡roles␈α∨of␈α∨control␈α≡tonic␈α∨and␈α≡basic␈α∨tonic.␈α∨ However,␈α≡when
␈↓ β⊂␈↓the␈α⊗second␈α⊗'cello␈α⊗descends␈α⊗chromatically␈α⊗from␈α⊗G␈α⊗at␈α⊗bar␈α⊗59,␈α⊗we␈α⊗may
␈↓ β⊂␈↓well␈α!expect␈α!the␈α!goal␈α to␈α!be␈α!a␈α!C␈α chord␈α!rather␈α!than␈α!the␈α!Eb␈α chord,
␈↓ β⊂␈↓since␈α≠the␈α≠last␈α~heard␈α≠G␈α≠chord␈α≠still␈α~had␈α≠a␈α≠dominant␈α≠quality␈α~relative
␈↓ β⊂␈↓to␈α⊗the␈α⊗control␈α∃tonic␈α⊗␈↓&C␈↓)∧∧.␈α⊗ (␈↓&G␈↓)∧∧␈α∃had␈α⊗been␈α⊗tonicized,␈α∃but␈α⊗only␈α⊗as␈α⊗the␈α∃fifth
␈↓ β⊂␈↓degree␈α∃of␈α⊗␈↓&C␈↓)∧∧.␈α∃ Even␈α∃the␈α⊗eleven-bar␈α∃prolongation␈α∃of␈α⊗␈↓&G␈↓)∧∧␈α∃fails␈α∃to␈α⊗give␈α∃it
␈↓ β⊂␈↓the status of a control tonic.)

␈↓"β␈↓ β⊂␈↓␈↓ ∧POnce␈α∀␈↓&E␈↓βF␈↓)∧∧␈↓␈α∃is␈α∀reached,␈α∀the␈α∃total␈α∀texture␈α∀leaves␈α∃no␈α∀doubt␈α∃that␈α∀we
␈↓ β⊂␈↓are␈α in␈α an␈α entirely␈α!new␈α realm.␈α  The␈α next␈α tonal␈α!movements␈α again
␈↓ β⊂␈↓raise␈α~a␈α~question␈α~regarding␈α~the␈α≠location␈α~of␈α~the␈α~control␈α~tonic.␈α≠ ␈↓&C␈↓)∧∧,␈α~as
␈↓ β⊂␈↓the␈α!tonic␈α!VI␈α!of␈α!␈↓&E␈↓βF␈↓)∧∧␈↓,␈α!is␈α!touched␈α upon␈α!at␈α!bar␈α!71,␈α!and␈α!once␈α!more␈α ␈↓&G␈↓)∧∧
␈↓ β⊂␈↓sounds␈α%as␈α$a␈α%tonic␈α%at␈α$bar␈α%79␈α$--␈α%but␈α%still␈α$mainly␈α%as␈α%a␈α$secondary
␈↓ β⊂␈↓␈↓ !100␈↓ ∀0


␈↓"β␈↓ β⊂␈↓element.␈α  The␈α!whole␈α process␈α!is␈α repeated␈α and␈α!then␈α finally,␈α!at␈α bar
␈↓ β⊂␈↓100,␈α(␈↓&G␈↓)∧∧␈α'assumes␈α(a␈α'primary␈α(tonic␈α'role.␈α( Nevertheless,␈α(the␈α'whole
␈↓ β⊂␈↓second␈α≡section␈α≡of␈α≡the␈α≡exposition␈α≡may␈α≡be␈α≡analyzed␈α≡under␈α≡a␈α≡single
␈↓ β⊂␈↓basic␈α↔tonic,␈α↔because␈α↔the␈α↔unified␈α↔character␈α↔of␈α↔the␈α_thematic␈α↔material
␈↓ β⊂␈↓gives␈α&the␈α&␈↓&G␈↓)∧∧␈α&goal␈α&of␈α%all␈α&the␈α&harmonic␈α&movement␈α&of␈α&the␈α%section
␈↓ β⊂␈↓strong␈α_predominance.␈α_ The␈α_upper␈α_levels␈α_of␈α_a␈α_condensed␈α_analysis␈α_of
␈↓ β⊂␈↓this music follow.
␈↓"β
␈↓"β␈↓ β⊂␈↓Figure 83.  Schubert, String Quintet in C, Op.163 
␈↓"β␈↓ β⊂␈↓                                      first movement.
␈↓"β
␈↓"β␈↓ β⊂␈↓␈↓ ¬L␈↓¬⊂⊗⊃L[%0.0,%-4.84](17,22):N83F.PLT[C7,LCS]⊂⊗⊃␈↓













␈↓"β␈↓ β⊂␈↓␈↓ ∧PThe␈α"important␈α!thing␈α"in␈α!an␈α"analysis␈α!is␈α"to␈α"show␈α!indications
␈↓ β⊂␈↓which␈α≥parallel␈α≥the␈α≥actual␈α≥progress␈α≥of␈α≥the␈α≥music,␈α≥not␈α≥only␈α≥on␈α≤the
␈↓ β⊂␈↓small,␈α_or␈α_point-to-point␈α_level,␈α↔but␈α_also␈α_on␈α_the␈α_structurally␈α↔higher
␈↓ β⊂␈↓section-to-section␈α*level.␈α) In␈α*the␈α)diagram␈α*above,␈α)when␈α*␈↓&E␈↓βF␈↓)∧∧␈↓␈α)first
␈↓ β⊂␈↓appears␈α-it␈α-is␈α,directly␈α-related␈α-to␈α-␈↓&C␈↓)∧∧␈α,as␈α-␈↓βF␈↓III.␈α- The␈α-new␈α,thematic
␈↓ β⊂␈↓material,␈α≠however,␈α≠gives␈α~␈↓&E␈↓βF␈↓)∧∧␈↓␈α≠a␈α≠stronger␈α≠role␈α~as␈α≠the␈α≠␈↓βF␈↓VI␈α≠relation␈α~to
␈↓ β⊂␈↓␈↓&G␈↓)∧∧.␈α* It␈α*is␈α+true␈α*that␈α*there␈α+is␈α*no␈α*way␈α+of␈α*knowing␈α*this␈α+on␈α*first
␈↓ β⊂␈↓hearing.␈α⊗ The␈α⊗large␈α⊗structure␈α⊗of␈α∃a␈α⊗work␈α⊗is␈α⊗fully␈α⊗grasped␈α⊗only␈α∃upon
␈↓ β⊂␈↓reflection␈α∨after␈α∨the␈α∨music␈α is␈α∨ended.␈α∨ This␈α∨in␈α∨no␈α way␈α∨undermines
␈↓ β⊂␈↓the␈α affective␈α quality␈α of␈α harmonic␈α "surprises"␈α during␈α subsequent
␈↓ β⊂␈↓hearings,␈α whether␈α∨they␈α be␈α found␈α∨in␈α the␈α∨functional␈α details␈α or␈α∨in
␈↓ β⊂␈↓the␈α≤movements␈α≤of␈α≤the␈α≤tonics.␈α≤ On␈α≤the␈α≤contrary,␈α≤the␈α≤␈↓↓affect␈↓␈α≤of␈α≤the
␈↓ β⊂␈↓␈↓ !101␈↓ ∀0


␈↓"β␈↓ β⊂␈↓music␈α?␈ααcan␈α?␈ααonly␈α?␈ααbegin␈α?␈ααto␈α?␈ααbe␈α?␈ααfully␈α?␈ααappreciated␈α?␈ααwhen␈α?␈α↓the
␈↓ β⊂␈↓relationship␈α↔of␈α⊗all␈α↔the␈α↔parts␈α⊗to␈α↔the␈α⊗whole␈α↔is␈α↔sensed␈α⊗--␈α↔even␈α↔if␈α⊗only
␈↓ β⊂␈↓intuitively.