00100		/IT WILL BE SEEN THAT ANY DEGREE OF EITHER A MAJOR OR MINOR
00200	SCALE MAY BE TONICIZED.  /USUALLY THE NEW TONICS WILL BE MAJOR OR 
00300	MINOR, DEPENDING ON THE NORMAL FORMS OF THE VARIOUS TRIADS IN THE
00400	ORIGINAL TONIC.  /WHEN THE ORIGINAL KEY IS MAJOR, /I/I, /I/I/I AND /V/I
00500	WILL MOST OFTEN BE TONICIZED AS MINOR KEYS, WHILE /I/V AND /V WILL
00600	BE MAJOR.  /V/I/I WILL RARELY BE TONICIZED, SINCE IT PRESENTS A
00700	DIMINISHED CHORD IN THE HOME KEY.  (/THE CHORD BUILT ON THE
00800	LEADING TONE OF /C MAJOR IS /B, /D, /FN.)  /ON THE OTHER
00900	HAND, /V/I/I FREQUENTLY APPEARS AS A TONIC GOAL WHEN THE FIRST KEY
01000	IS MINOR.  (/THE CHORD BUILT ON THE SEVENTH TONE OF THE C MINOR
01100	SCALE IS /BB, /D, /F.)  /WITH A MINOR SCALE WE HAVE /I/I/I, /V/I,
01200	AND /V/I/I FORMING MAJOR TONICS, AND /I/V AND /V MINOR TONICS.  /SINCE THE
01300	CHORD ON THE SECOND DEGREE OF THE MINOR SCALE IS NORMALLY DIMINISHED,
01400	/I/I NOW BECOMES RARE AS A TONIC, WHEREAS THE MAJOR TONIC ON B/I/I,
01500	THE /PHRYGIAN SECOND, IS OFTEN USED.  (/SEE /BEETHOVEN, /SONATA #23 IN F,
01600	/OP.57, OPENING BARS; /SONATA #29 IN /BB, /OP.106, THIRD MOVEMENT.)
01700	/IN ACTUAL PRACTICE, ESPECIALLY IN THE MUSIC OF THE 19TH CENTURY, THE
01800	MAJOR AND MINOR ELEMENTS ARE FREELY INTERCHANGEABLE.
01900	
02000		/FROM THIS POINT ON, THE DISTINCTION BETWEEN MAJOR AND
02100	MINOR TONICS IN THE UPPER TWO LEVELS OF AN ANALYSIS WILL BE INDICATED
02200	BY THE USE OF UPPER AND LOWER CASE /ROMAN NUMERALS RESPECTIVELY.  /THE
02300	FUNCTIONS WITHIN THE TONICS (THE LOWEST LEVEL OF AN ANALYSIS) WILL 
02400	CONTINUE TO BE SHOWN BY UPPER CASE NUMERALS.  /NON-FUNCTIONAL ALTERATIONS,
02500	SUCH AS THE "TIERCE DE /PICARDIE" (/I#3 IN THE MINOR), MAY BE SHOWN IN
02600	THE USUAL FASHION.
02700	
02800		/HOWEVER, WHEN A TEMPORARY TONIC APPEARS AS MAJOR AFTER THE
02900	PRECEDING MUSIC LEADS ONE TO EXPECT A MINOR TONIC, CERTAIN PROBLEMS
03000	ARE SOMETIMES RAISED.  /OFTEN SUCH CHORDS ARE EXPERIENCED AS DOMINANT
03100	FUNCTIONS TO CHORDS MORE CLOSELY RELATED TO THE SCALE OF THE 
03200	ORIGINAL KEY, AS IN IN BAR 8 FOLLOWING (SEE ALSO /CHAPTER /V).
03300	
03400	/EXAMPLE 44.  /SCHUBERT, /MEERES /STILLE, /OP.3, #2
03500	
03600	
03700	
03800	
03900	
04000	/FIGURE 44
04100	
04200	
04300	
04400	
04500	
04600		/FOLLOWING IS A COMPLETE TABLE OF INDICATIONS FOR THE POSSIBLE
04700	TEMPORARY TONICS THAT MIGHT BE FOUND IN DIRECT RELATION TO A BASIC
04800	TONIC OF /C MAJOR.  /ADD THE APPROPRIATE ACCIDENTALS WHEN DEALING
04900	WITH OTHER BASIC TONICS.
05000	
05100	/FIGURE 45
05200	
05300	
05400	
05500	
05600	
05700	
05800	
05900	
06000	
06100		/GROUP 1 LISTS THE TONIC CHORDS AVAILABLE FROM THE RESOURCES
06200	OF THE UNALTERED /C SCALE.  /THE SECOND GROUP INCLUDES TONIC CHORDS
06300	THAT ARE AVAILABLE AS THE RESULT OF FLATTING ANY OF THE ORIGINAL
06400	SCALE DEGREES EXCEPT THE 1ST, 4TH AND 5TH; HENCE, C MINOR.  (/THE
06500	BVII, BB, AS A TONIC IS RARE, BUT SEE THE OPENING OF /MOZART'S
06600	/QUARTET IN /C, /K.465.)  /GROUP 3 IS SET APART BECAUSE IT INCLUDES THE
06700	LESS COMMON TEMPORARY TONICS, ALL OF WHICH INVOLVE EITHER FLATTING OR
06800	SHARPING OF THE 1ST, 4TH OR 5TH OF THE ORIGINAL SCALE IN ORDER TO
06900	PRODUCE THE NEW TONIC CHORD.  /THESE CHORDS, EVEN WHEN SURELY APPROACHED
07000	AS TONICS, OFTEN PROVE TO BE WORKING AS DOMINANT OR SUBDOMINANT FROM THE
07100	LARGEST POINT OF VIEW. **********(ADD EXAMPLES)***********
07150				(BEETHOVEN, BAGATELLE IN F)
07200	
07300		/IT WILL BE NOTED THAT THERE IS NO TEMPORARY TONIC LISTED
07400	ABOVE THAT HAS AS ITS ROOT A SHARPING OF ANY PART OF THE ORIGINAL
07500	TONIC MAJOR SCALE OR A FLATTING OF THE 1ST, 4TH OR 5TH DEGREES.
07600	/IT IS VERY DIFFICULT TO MAKE A CASE FOR THE EXISTENCE OF SUCH A
07700	DIRECT RELATIONSHIP OF TONICS.  (/SEE /CHAPTER /V/I, /ALTERNATING
07800	/PROGRESSION.)
07900	
08000	                    ------------------------
08100	
08200	/AUGMENTED /SIXTH /CHORDS
08300	
08400		/IT IS NOW CLEAR THAT CHROMATIC ALTERATION IN A CHORD VERY OFTEN
08500	CHANGES ITS FUNCTION.  /THIS WILL MOST OFTEN BE TRUE WHEN THE
08600	ALTERATION INVOLVES THE 1ST, 4TH, 5TH OR 7TH DEGREE OF THE SCALE,
08700	OR WHEN IT OCCURS WITHIN A PHRASE RATHER THAN AT ITS END.  /AS STATED
08800	BEFORE, EVERY JUDGMENT MUST BE BASED ON THE WHOLE OF ANY PARTICULAR
08900	CONTEXT UNDER CONSIDERATION.
09000	
09100		/THE ALTERATIONS THAT GO INTO MAKING CHORDS OF THE AUGMENTED
09200	SIXTH (/A6) GIVE US A SPECIAL CASE.  /SUCH CHORDS EVOLVED AS SEPARATE
09300	ENTITIES FROM THE PRACTICE OF "FREEZING" THE CHROMATIC PASSING TONE
09400	BETWEEN THE 4TH AND 5TH OF THE SCALE.  /WHEN THESE CHORDS ARE USED IN
09500	THEIR CONVENTIONAL MANNER AND WITHIN A SINGLE TONALITY, THEY GIVE
09600	US AN EXCEPTION TO THE RULE THAT THE 4TH OF A SCALE, AS A CHORD TONE,
09700	MAY NOT BE ALTERED WITHOUT CAUSING A SHIFT OF TONICS.  /THE
09800	TRADITIONAL NAMES FOR THE THREE MOST COMMON AUGMENTED SIXTH CHORDS
09900	ARE AS FOLLOWS:
10000	
10100	/EXAMPLE 46
10200	
10300	
10400	
10500	
10600	
10700		/STRICTLY SPEAKING, THEY SHOULD BE INDICATED THUS:  /IT.6=/I/V#6-B1,
10800	/G6=/I/V#6-5-B1, /F6=/I/I#6-4-3-B1 (ALL IN /C MAJOR).  /IT WILL GENERALLY
10900	SUFFICE TO REFER TO THEM ALL IN THE ABBREVIATED MANNER, /A6.  /WHEN
11000	THEY ACTUALLY ARE USED AS AUGMENTED SIXTH CHORDS, THEY ALMOST ALWAYS HAVE
11100	PRIMARILY CONTRAPUNTAL SIGNIFICANCE, THE OUTER VOICES EXPANDING BY
11200	HALF STEP MOVEMENT.
11300	
11400	
11500	/EXAMPLE 47
11600	
11700	
11800	
11900	
12000		/HOWEVER, SINCE THEY ARE SO OFTEN USED AS A MEANS OF TONICIZING
12100	NEW AREAS (SEE /EXAMPLE 30), IT IS USUALLY ADVISABLE TO MAKE THEIR
12200	PRESENCE CLEAR IN AN ANALYSIS.  /THE AUGMENTED SIXTH INTERVAL CREATES A
12300	SITUATION WHEREIN THE DOMINANT TENDS TO BE TONICIZED (/EXAMPLE 47, /F#
12400	LEADS TO /G) AND AT THE SAME TIME A TONIC ROLE FOR THE DOMINANT
12500	IS WEAKENED BY THE EFFECT OF PRESENTING ITS 2ND AS FLATTED (/AB TO /G).
12600	/THE ACTUAL RESULT IS THAT ADDED STRENGTH IS GIVEN TO THE DOMINANT ROLE
12700	OF THE FINAL "RESOLUTION" OF THE /A6 CHORD, SINCE THE FLATTED NOTE IS 
12800	MOST EASILY TAKEN AS THE B6 OF THE ORIGINAL TONIC.  /THUS, AUGMENTED
12900	SIXTH CHORDS WILL BE SAID TO FUNCTION AS PART OF A TONIC A MAJOR 3RD
13000	ABOVE THE LOWER MEMBER OF THE AUGMENTED SIXTH INTERVAL (SEE /EXAMPLE 47).
13100	
13200		/BECAUSE THE /G6 CHORD PRESENTS THE IDENTICAL ACOUSTICAL
13300	SITUATION AS AN ORDINARY DOMINANT 7TH CHORD (I.E., MAJOR 3RD,
13400	MINOR 3RD, MINOR 3RD), ITS ENHARMONIC FORM WILL OFTEN BE USED AS A
13500	MEANS TO MOVE RAPIDLY TO A RELATIVELY DISTANT TONIC.
13600	
13700	/EXAMPLE 48
13800	
13900	
14000	
14100	
14200	
14300	
14400	
14500	/FIGUERE 48
14510	
14520	
14530	
14540	
14600		/EVEN WITHOUT RECOURSE TO ENHARMONIC CHANGE, THE /F6 CHORD MAY WORK
14700	AS THE /V7-B5 STRUCTURE OF THE ORIGINAL KEY'S DOMINANT
14800	(SEE /EXAMPLE 46.)  /ONE NOTABLE USE OF THE /V7-B5 OCCURS AT
14900	THE END OF /SCHUBERT'S /QUINTET IN /C, /OP.163.
15000	
15100	/EXAMPLE 49
15200	
15300	
15400	
15500	
15600	
15700	
15800		/IN THIS PARTICULAR CASE IT MIGHT BE INFERRED (PERHAPS
15900	FANCIFULLY) THAT THIS CHORD IS USED TO POINT IN THE SUBDOMINANT
16000	DIRECTION, A TRADITION OF LONG STANDING FOR ENDINGS.  /THUS:
16100	
16200	
16300					MIGHT IMPLY
16400	
16500	
16600	
16700	
16800	
16900		/FOR A STRONGER EXAMPLE, THIS TIME EMPLOYING THE /G6, WE TURN TO
17000	/SCHUBERT'S POSTHUMOUS /SONATA IN /A.  /HERE, THERE IS LITTLE POSSIBILITY
17100	OF CONFUSION WITH AN ALTERED /V, SINCE THERE IS NO ROOT OF /V PRESENT.
17200	
17300	/EXAMPLE 50.  /SCHUBERT, /SONATA IN /A
17400	
17500	
17600	
17700	
17800	
17900	
18000	
18100		/OF THE TWO FOLLOWING POSSIBLE ANALYSES, THE SECOND IS BEST.
18200	/IN THE FIRST, WE ASSUME THAT SINCE THE /F IS OMITTED AT (*), AN
18300	/E, THOUGH NOT PRESENT, MIGHT BE IMPLIED.  (/EVEN SO, THIS WOULD GIVE THE
18400	SOUND OF THE SUBDOMINANT'S /F6.)  /IN THE SECOND, WE MORE
18500	REASONABLY ASSUME THAT THE /F PERSISTS IN THE MEMORY AND THAT THE CONTEXT
18600	DOES NOT LEAD US TO INTERPRET THE CHORD /BB-/D-/F-/G# AS AN INVERSION
18700	OF /A: /V/I/I7-B3.
18800	
18900	/FIGURE 50
19000	
19100	
19200	
19300	
19400	
19500	
19600	
19700		/IT SHOLD BE POINTED OUT AGAIN THAT NO CHORD MAY BE EVALUATED
19800	UNTIL ALL ITS PARTS HAVE BEEN HEARD.  /HOWEVER, NO SET RULES CAN BE
19900	GIVEN FOR THIS; AS USUAL, THE CONTEXT MUST BE THE DETERMINING FACTOR.
20000	/IN THE /SCHUBERT /SONATA, THE /BB CHORD FILLS A MEASURE AND A QUARTER
20100	BEFORE THE APPEARANCE OF THE /G#.  /THUS THE RELATIVELY SIMPLE PROGRESSION
20200	OF /I TO B/I/I HAS TIME TO BE ACCEPTED BEFORE THE FUNCTION IS ALTERED BY
20300	THE ADDITION OF A FOURTH PITCH.  /SUCH PARTICULARS ARE CERTAINLY OPEN TO
20400	VARYING INTERPRETATIONS.  /IN BOTH OF THESE /SCHUBERT PIECES, SUCH AMBIGUOUS
20500	PROCEDURES ARE POSSIBLE BECAUSE OF THE EXTREMELY FIRM ESTABLISHMENT OF
20600	THE MAIN TONIC IN THE PRECEDING PASSAGES.
20700	
20800		/A CASE WITH SOME SIMILARITY IS PRESENTED IN THE /PRELUDE #23
20900	IN /F OF /CHOPIN, WHERE AN /EB IS FOUND IN THE FINAL ARPEGGIATED
21000	CHORD.  /THIS /EB IS USUALLY HEARD MERELY AS AN INTENSIFICATION OF
21100	THE ALREADY PRESENT 7TH PARTIAL OF THE BASS NOTE'S OVERTONE SERIES.
21200	/HOWEVER, IT IS UNDENIABLE THAT SOME TENDENCY TOWARD THE SUBDOMINANT,
21300	A TONAL AREA WHICH IS ALMOST COMPLETELY NEGLECTED IN THE PIECE, IS
21400	HEARD.  /AT THE END OF A PIECE DEVOTED TO ALMOST NOTHING MORE THAN
21500	FIGURATION ON /I AND /V, THIS /EB COMES AS A WELCOME BIT OF
21600	FANTASY.
21700	************************** ADD EXAMPLE??
21800	
21900		/AND THEN THERE IS THE STANDARD "/BLUES" PROGRESSION:
22000	
22100	/EXAMPLE 51
22200	
22300	
22400	
22500	
22600	/FIGURE 51
22700	
22800	
22900	
23000	
23100		/MANY VARIANTS OF THE MAIN /A6 CHORDS MAY BE FOUND IN LATER
23200	TONAL MUSIC.  /BUT ONCE THEY RECOGNIZED FOR WHAT THEY ARE, THEY SHOULD
23300	CAUSE NO DIFFICULTIES IN AN ANALYSIS.  /SIMILARLY, THERE ARE MANY
23400	CHROMATIC VARIANTS OF THE DOMINANT, SUBDOMINANT (THE /A6! IS ONE), AND
23500	OTHER FUNCTIONS, EXCEPT FOR THE /I FUNCTION.
23600	/BUT REMEMBER THAT THERE IS ALWAYS THE POTENTIAL OF A CHANGE OF
23700	FUNCTION WHEN ANY CHROMATICISM IS INTRODUCED.  /VARIOUS NOTES MAY BE 
23800	ADDED TO TONIC FUNCTION, AND THE ROOT MAY EVEN BE OMITTED, BUT IF
23900	THE ROOT OR 5TH ARE ALTERED, THE TONIC FUNCTION BECOMES DUBIOUS.
24000	
24100		/CHROMATICISM HAS ALWAYS CAUSED COMPOSERS TROUBLE WITH
24200	NOTATION.  /THE AUGMENTED SIXTH AND DIMINISHED SEVENTH CHORDS IN 
24300	PARTICULAR HAVE RAISED PROBLEMS, BECAUSE OF THE AMBIGUITY OF
24400	THE SITUATIONS IN WHICH THEY ARE OFTEN FOUND.  /COMPOSERS CANNOT BE
24500	TOTALLY CONSISTENT IN NOTATING SUCH CHORDS WHEN ENHARMONIC
24600	EQUIVALENCE IS INVOLVED.  /IT WILL ALWAYS BE NECESSARY TO DETERMINE
24700	THE FUNCTION OR FUNCTIONS OF CHROMATIC CHORDS BY STUDYING THEIR
24800	SURROUNDINGS RATHER THAN BY TAKING THEIR NOTATION AT FACE VALUE.
24900	
25000	
25100	
25200	
25300	
25400	
25500	
25600	/EXERCISES FOR /CHAPTER /I/V
25700	
25800		/ANALYZE THE FOLLOWING WORKS.  /SHOW THE DISTINCTIONS BETWEEN
25900	MAJOR AND MINOR TONICS THROUGH THE USE OF UPPER AND LOWER CASE
26000	NUMERALS ON THE TWO HIGHEST LEVELS OF THE ANALYSES.
26100	
26200	/FROM THE 371 /CHORALES OF /BACH:*
26300	
26400	****/NOTE THAT ALL BASS LINES IN THE /BACH /CHORALES ARE PROBABLY
26500	INTENDED TO BE DOUBLED AT THE OCTAVE BELOW.  /HENCE, EVEN IF THE
26550	NOTATION OF THE BASS PART
26600	CROSSES ABOVE THE TENOR PART, THE BASS PART REMAINS THE TRUE BASS.****
26700		1.  /CHORALE 11, UP TO THE 3/4
26800		2.	"    37
26900		3.   	"    47
27000		4.	"    94
27100		5.	"    223
27200	
27300	/FROM THE /SONATAS OF /MOZART:
27400	
27500		6.  /SONATA IN /D, /K.205B (284), LAST MOVEMENT, /VARIATION /V/I/I
27550	
27600		7.  /SONATA IN A, /K.300D (310), FIRST MOVEMENT, 24 BARS
27700			STARTING AT RECAPITULATION.  (/IN CASES WHERE THERE ARE
27800			MANY SUSPENSIONS AND APPOGGIATURAS IT IS USUALLY BEST
27900			TO WRITE OUT A CHORDAL REDUCTION OF THE PASSAGE BEFORE
28000			WORKING OUT THE ANALYSIS.)
28100	
28200		8.  /SONATA IN /C, /K.300H (330), SECOND MOVEMENT, FIRST 20 BARS
28300	
28400	/FROM THE /PRELUDES, /OP. 28, OF /CHOPIN:
28500	
28600		9.  /PRELUDE 1, IN /C
28700	      10.  /PRELUDE 6, IN B
28800	      11.  /PRELUDE 20, IN C