Example 15.

a. The derivation begins with the “chord of nature,” numbered as level 0. A voice-leading transformation in the upper voice leads to level 1, the Ursatz.
After adding a secondary upper voice, a voice-leading transformation leads to level 2




b. At level 2 in the derivation there is a new arpeggiation in the upper voice (G–Eflat–C) before a new inner voice is added in counterpoint
and combined with the upper voice through unfolding to create a new upper voice at level 3




c. In the upper voice, the initial tonic third D–Bflat is inverted by a transfer of D, making way for an expansion of the D–Bflat tonal space.
A new inner voice emerges at this level in counterpoint with the bass




d. At level 4 the bass combines via unfolding with an inner voice




e. The addition of diminutions brings level 4 to the musical surface, making this the foreground level. This example shows just the most significant of these diminutions.
(Note: this is the same level as 15(d) because they are related by diminution, not transformation)