To the Editor/Professor Guck replies

To mention only one, Schenker writes, regarding his example 71, from the Menuett of Mozart's G-minor String Quintet K. 516, that "it is the scale-degree progression bII-3IV that is responsible for the diminished fourth in the second violin (ab^sub 1^-e^sub 1^)"; it is true that the named scale-degree progression does not itself necessitate a diminished-fourth leap, but the reader is quite reasonably expected to have in memory a vivid aural image of a previously established thematic descending fourth that has here, thanks precisely to the phrygian II, become inflected from perfect to diminished.