Atzenbrugg transformations, part 3

This continues the account of mediant (and related transformational) moves in the six Atzenbrugg Tänze, which were divided between D145 and D365 in publication.

In n4, a pedal-point tonic finally yields to the leading tone, as the fifth of the mediant, which then receives the cadence -- one of the most direct possible auditory instantiations of the Leittonwechsel. The P move immediately following is masked a bit by the V7 voicing of the second chord.

The fifth dance (also in D365) is the only one of the group without any mediant or parallel play. I have noted below, however, the emphasis on ^6 in the motive and, in the second strain, the sudden lift upward to ^8 -- both moves strongly reminiscent of D779n13 (and, I would like to suppose, another companion in improvisation).

The final dance once again offers a direct R move between the first two phrases -- after that, it's all strictly fifth-roots.