As can be seen from the score, this part of music can be divided into two parts as a whole:1-1and 12- 19. If we regard the progress of the first four bars I-II-V-I as an emphasis on the main chord and the initial presentation of a chord, we can find that the music in the bar 12- 19 is actually the music in the bar1-kloc-0/above it in terms of scale and functional sequence logic. Moreover, within each segment, it can be divided into four structural units: C-C-C-B, B-A-D-G, G-F-F-E and E-D-G-C, and the groups are connected by a common bass. Looking at the two external sound lines in the score again, we can find that this passage shows a general downward trend from beginning to end. Although there are some small changes in the direction, such as "neighborhood in notes", which plays the role of "structural extension" represented by the letter N, it does not change the downward movement of the scale as a whole. The progression of scales marked with the thickest symbols in the picture is a reflection of this movement trend. The whole paragraph shows the whole harmony sequence of I-II-V-I, which is completely consistent with the main chord presentation of the first four bars of the work. Therefore, we can completely regard the passage from 1 to 19 as an unfolding form of the music marching logic in the first four bars, that is, the "huge D (genus) -T (main) marching" mentioned above, which is presented to us at the last level of the work (that is, the "background" mentioned by Schenk), that is, as a work.