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.COMMENT ("txt"[1]&"↑[%3"&"txt"[2]&"]&↓["&"txt"[3]&"]%*");
.  ⊃
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.CENTER		
CHAPTER II
.SKIP 2
.CENTER			
DIATONIC FUNCTIONS
.SKIP 1
.INDENT 6
.FILL
.ADJUST
.SELECT 1
.BEGIN VERBATIM

Scales and Tonality
.END
	A particular tonality is defined by a few essential interval
relations in any succession of tones.  Paradoxically, in the music
here to be dealt with, the tonal center itself is not a note
that need figure in any of the essential intervals.  In fact, an
unheard note on the tonal center may achieve its role through a
kind of musical default, wherein all other possibilities are
ruled out.  First of all it must be realized that in tonal music
the minor mode has no separate existence, but represents merely
a fairly consistently applied group of alterations -- flattings --
of certain parts of the major mode.  These alterable parts of the
major scale are the 7th, 6th, 3rd, and even the 2nd (most often
as the root of the "Neapolitan" chord or as a non-chord auxiliary).
.begin verbatim

Example 1
.end
%6⊂⊗⊃L[α%0.00,α%-1.00]:XXX1.PLT[HHA,LCS]⊂⊗⊃%1
.SKIP 5
	The remaining notes, the 5th, 4th and 1st, can never be
altered, as functional tones,$$See page 47 regarding the exception
of the Augmented Sixth Chord.$ without causing at least a tendency
to shift tonal centers.  (It should be noted that chromatically
%2raising%1 any note of the %2major%1 scale causes some tendency to shift tonality.
See following chapters.)  However, the presence of a potential 1st,
4th and 5th may still be tonally inconclusive without
the appearance of the leading tone -- major 7th of the scale.
In minor keys especially, the lowered 7th may often be
heard, but -- in the broadest sense -- almost always as a
descending auxiliary tone.
.begin verbatim

Example 2
.end
%6⊂⊗⊃L[α%0.00,α%-1.90]:XXX2.PLT[HHA,LCS]⊂⊗⊃%1
.skip  10
	When the %4F%*7th degree appears as a chord tone and is not, in
some sense, passing downward toward the 5th, the tonal center
tends to shift.
.begin verbatim

Example 3
.end
%6⊂⊗⊃L[α%0.00,α%-2.00]:XXX2.PLT[HHA,LCS]⊂⊗⊃%1
.skip 10
.NEXT PAGE
	Continuing this approach, we find that the %2tritone%1 (augmented
4th or diminished 5th) may be thought of as the tonality-defining
interval, since its presence between the 4th and 7th is
unique in relation to all the other intervals found between the
degrees of a %2major%1 scale.
.begin verbatim


Example 4
.end
.skip 10
	However, one more note must be involved so that we may be
made aware of the particular role of each part of the tritone.
Since, in a %2major key%1, one or the other of the parts of a tritone
must be the unalterable 4th of the scale, the whole step above it
%2must%1 be the equally unalterable 5th.
.begin verbatim


Example 5
.end
.skip 7
.NEXT PAGE
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.skip 14
 
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