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Argument. A tetrad (a-fg-e-d) augmenting upward intermittently (c, triads of £), another superposed (e'-c'-b—a : with other mediants) first rises with it (C1 ; 6, 6', i) and then reacts (D1; X) and upon the tetrad be­neath contracting upward (C2, e, £) rises correspondingly, permitting it to regain its figure (C2, 9—k ; ab-g-f-de).
A fantasia-like sequence of contrasted motives repeated after the rehearsal of one segment, B, with an.interlude, D, and shaped and finally shifted upward a semitone in the process.
The shaping and shifting may be followed with the aid of the dia­gram of their inferred basis. The field may be described as a doubly divided fourth, a-g-fg-e, extended to a major sixth, b-d, by tones, b-a and e-d, above and below, the lower developing into the major third, e-d-c, the upper capped by the major third, d'e'-b, and eventually developing into the fifth, e'-a, and minor sixth, f'-a.
The movements in A1, a and /3, are chiefly confined to the sixth, b-d, the final three notes breaking abruptly into its swaying movement (to our ears with very much the air of " Nicht diese Tone ! ") and intro­ducing the lively motives of B, y and S, observing the same limits. C1 is divided into two sections, an interlude, rj, rehearsing the three lower notes, fg-e-d, of -the initial sixth, b-d, following two themes, e (slow double time) and £ (quick triple time), and introducing three others, 6 in the crowning major sixth, f'-a, 6' in the fifth e'-a prolonged
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