00100				CHAPTER V
00200	 
00300	 
00400	                EXTENDED TONICIZATION
00500	 
00600	 
00700	 
00800	Added Levels of Tonic Function
00900	 
01000		Almost by definition, music of the tonal era depends
01100	on the listener's strong memory of a basic tonic.  The basic tonic is a
01200	cohesive force which sets limits and acts as a reference point for all
01300	types of harmonic movement.  Even modulation within a movement never
01400	really destroys this reference point; it merely sets up a foremost
01500	subsidiary point.  When tonicization becomes greatly extended, the same
01600	effect is produced on a somewhat smaller scale.  The difference between
01700	extended tonicization and modulation lies in the role the particular
01800	passage is playing in relation to the whole.  There is much music wherein
01900	these two concepts tend to overlap, but in the main, composers of
02000	the music here under consideration have been so intent upon formal
02100	clarity that the dependent character of tonicization, even when
02200	extended, is maintained.
02300	 
02400		This important facet of tonal music may be represented by
02500	added levels of tonicization in the middle area of the analytical
02600	diagram.  These added levels occur when, within a temporary tonic
02700	area, again a new tonic is approached.  A simple example of this
02800	follows.  The basic key of C is understood to be well established
02900	both before and after the example.
03000	 
03100	Example 52
03200	 
03300	 
03400	 
03500	 
03600	 
03700	 
03800	 
03900	 
04000	Figure 52a
04100	 
04200	 
04300	 
04400	 
04500		The D area at (xx) appears in direct relationship only with
04600	the G (or tonicized V) area.  Even though every numeral that
04700	appears in the middle area of an analysis is understood to be a tonic
04800	(i.e., working as a "I"), a new I is placed under the first
04900	presentation of V as a tonic in order that the interval of the subsequent
05000	movement to D (i.e., the dominant relation to G), is readily apparent.
05100	Similarly, another I appears when the progression returns
05200	to G as the tonic.  In the previous example it will be noted that the
05300	tonicized D was specifically major.  This new I contains
05400	F# -- not a functional probability in terms of the original C, but
05500	completely compatible with the G scale.
05600	 
05700		This may be made even more clear if we set up what will be
05800	called tonic guide tones.  These represent, in musical notation,
05900	the elements that appear in the middle area of the analysis.
06000	 
06100	Figure 52b
06200	 
06300	 
06400	 
06500	 
06600	  Tonic Guide Tones
06700	 
06800	 
06900	 
07000	 
07100		The tonics which are most closely related (see table on page xx)
07200	are connected by horizontal bars.  The small notes may be added to show
07300	the mode of each tonic.  When dealing with very complex progressions,
07400	it may often prove quite helpful to sketch out the tonic guide
07500	tones previous to making any final decisions concerning the particular
07600	relationships of the temporary tonics.
07700	 
07800		If some of the notes of Example 52 are altered so that we
07900	arrive at d minor, instead of major, its role as the tonicized V of
08000	G is greatly weakened.  Voice leading is important in establishing
08100	the d area.  The B and C#, 6th and 7th scale degrees, appear in
08200	ascending lines, the Bb and Cn in descending lines.
08300	 
08400	Example 53
08500	 
08600	 
08700	 
08800	 
08900	 
09000	 
09100	 
09200		Now, since the I chord of d does not disturb the material
09300	of the original scale, it is heard in direct relation to C.
09400	 
09500	Figure 53
09600	 
09700	 
09800	 
09900	 
10000	 
10100	 
10200	 
10300	 
10400	 
10500		Very often there will be no clearcut procedure that may be
10600	followed when analyzing situations similar to the next example.  At
10700	(*), the change of mode on the G root makes varying interpretations
10800	of the function of the d tonic possible.
10900	 
11000	Example 54
11100	 
11200	 
11300	 
11400	 
11500	 
11600	 
11700	 
11800	Figure 54a
11900	 
12000	 
12100	 
12200	 
12300	 
12400	Figure 54b
12500	 
12600	 
12700	 
12800	 
12900	 
13000	 
13100	 
13200	 
13300	 
13400		* When a tonic changes mode for more than the duration
13500		of an occasional chord, the change may appear superimposed
13600		on the continuous line running from the original occurrence
13700		of the tonic.
13800	 
13900	Figure 54c
14000	 
14100	 
14200	 
14300	 
14400	 
14500	 
14600	 
14700	 
14800	 
14900		* Here the g tonic is shown as subsidiary to d.  This
15000		interpretation might be preferred if the duration of the
15100		g tonic area were quite short in relation to the following
15200		d area (see Example 57).
15300	 
15400		Notice that the above examples were, for the purposes of
15500	illustration, presented without varied rhythm.  As always, in more
15600	complex situations, the relations between harmony, melody, and
15700	rhythm will combine to offer a basis for a more specific analytical
15800	interpretation.  However, it must be emphasized that the main
15900	profit to the serious musician is found in the process of wrestling
16000	with such problematical decisions.  The final decision need not be
16100	considered the only right one, but rather as the most clarifying of
16200	the actual effect of the music on the individual.
16300	 
16400		An extreme example of added levels of tonicization (and it is
16500	often heard) is the progression through the "circle of fifths".
16600	 
16700	Example 55
16800	 
16900	 
17000	 
17100	 
17200	 
17300	 
17400	 
17500	 
17600	 
17700	 
17800	 
17900	 
18000	 
18100	 
18200	Figure 55
18300	 
18400	 
18500	 
18600	 
18700	 
18800	 
18900	 
19000						* When many levels of
19100						tonics appear, the letter
19200						names of the various keys
19300						should be added to avoid
19400						confusion.
19500	 
19600	 
19700	 
19800	Example 56
19900	 
20000	 
20100	 
20200	 
20300	 
20400	 
20500	 
20600	 
20700	 
20800	Figure 56
20900	 
21000	 
21100	 
21200	 
21300	 
21400	 
21500	 
21600	 
21700	 
21800	 
21900	 
22000		These diagrams may appear somewhat unwieldy, but they have
22100	the advantage of giving clear pictures, in intervallic terms, of the
22200	relationships involved.
22300	 
22400		Occasionally a very rapid movement through part of the circle
22500	of fifths, or the successive use of 7th chords, will cause certain
22600	elements of a progression to stand in relief.
22700	 
22800	Example 57
22900	
23000	
23100	
23200	
23300	
23400	
23500	
23600	
23700	Figure 57
23800	
23900	
24000	
24100	
24200	
24300	
24400	
24500