00100				$C$H$A$P$T$E$R $V
00110	
00200	
00325	                /E/X/T/E/N/D/E/D /T/O/N/I/C/I/Z/A/T/I/O/N
00350	
00400	
00500	
00600	/ADDED /LEVELS OF /TONIC /FUNCTION
00700	
00800		/ALMOST BY DEFINITION, MUSIC OF THE TONAL ERA DEPENDS
00900	ON THE LISTENER'S STRONG MEMORY OF A BASIC TONIC.  /THE BASIC TONIC IS A
01000	COHESIVE FORCE WHICH SETS LIMITS AND ACTS AS A REFERENCE POINT FOR ALL
01100	TYPES OF HARMONIC MOVEMENT.  /EVEN MODULATION WITHIN A MOVEMENT NEVER
01200	REALLY DESTROYS THIS REFERENCE POINT; IT MERELY SETS UP A FOREMOST
01300	SUBSIDIARY POINT.  /WHEN TONICIZTION BECOMES GREATLY EXTENDED, THE SAME
01400	EFFECT IS PRODUCED ON A SOMEWHAT SMALLER SCALE.  /THE DIFFERENCE BETWEEN
01500	EXTENDED TONICIZATION AND MODULATION LIES IN THE ROLE THE PARTICULAR
01600	PASSAGE IS PLAYING IN RELATION TO THE WHOLE.  /THERE IS MUCH MUSIC WHEREIN
01700	THESE TWO CONCEPTS TEND TO OVERLAP, BUT IN THE MAIN, COMPOSERS OF
01800	THE MUSIC HERE UNDER CONSIDERATION HAVE BEEN SO INTENT UPON FORMAL
01900	CLARITY THAT THE DEPENDENT CHARACTER OF TONICIZATION, EVEN WHEN
02000	EXTENDED, IS MAINTAINED.
02100	
02200		/THIS IMPORTANT FACET OF TONAL MUSIC MAY BE REPRESENTED BY
02300	ADDED LEVELS OF TONICIZATION IN THE MIDDLE AREA OF THE ANALYTICAL
02400	DIAGRAM.  /THESE ADDED LEVELS OCCUR WHEN, WITHIN A TEMPORARY TONIC
02500	AREA, AGAIN A NEW TONIC IS APPROACHED.  /A SIMPLE EXAMPLE OF THIS
02600	FOLLOWS.  /THE BASIC KEY OF /C IS UNDERSTOOD TO BE WELL ESTABLISHED
02700	BOTH BEFORE AND AFTER THE EXAMPLE.
02800	
02900	/EXAMPLE 52
03000	
03100	
03200	
03300	
03400	
03500	
03600	
03700	
03800	/FIGURE 52A
03900	
04000	
04100	
04200	
04300		/THE /D AREA AT (XX) APPEARS IN DIRECT RELATIONSHIP ONLY WITH
04400	THE /G (OR TONICIZED /V) AREA.  /EVEN THOUGH EVERY NUMERAL THAT
04500	APPEARS IN THE MIDDLE AREA OF AN ANALYSIS IS UNDERSTOOD TO BE A TONIC
04600	(I.E., WORKING AS A "/I"), A NEW /I IS PLACED UNDER THE FIRST 
04700	PRESENTATION OF /V AS A TONIC IN ORDER THAT THE INTERVAL OF THE SUBSEQUENT
04800	MOVEMENT TO /D (I.E., THE DOMINANT RELATION TO /G), IS READILY APPARENT.
04900	/SIMILARLY, ANOTHER /I APPEARS WHEN THE PROGRESSION RETURNS
05000	TO /G AS THE TONIC.  /IN THE PREVIOUS EXAMPLE IT WILL BE NOTED THAT THE
05100	TONICIZED /D WAS SPECIFICALLY MAJOR.  /THIS NEW /I CONTAINS
05200	/F# -- NOT A FUNCTIONAL PROBABILITY IN TERMS OF THE ORIGINAL /C, BUT
05300	COMPLETELY COMPATIBLE WITH THE /G SCALE.
05400	
05500		/THIS MAY BE MADE EVEN MORE CLEAR IF WE SET UP WHAT WILL BE
05600	CALLED TONIC GUIDE TONES.  /THESE REPRESENT, IN MUSICAL NOTATION,
05700	THE ELEMENTS THAT APPEAR IN THE MIDDLE AREA OF THE ANALYSIS.
05800	
05900	/FIGURE 52B
06000	
06100	
06200	
06300	
06400	  /TONIC /GUIDE /TONES
06500	
06600	
06700	
06800	
06900		/THE TONICS WHICH ARE MOST CLOSELY RELATED (SEE TABLE ON PAGE XX)
07000	ARE CONNECTED BY HORIZANTAL BARS.  /THE SMALL NOTES MAY BE ADDED TO SHOW
07100	THE MODE OF EACH TONIC.  /WHEN DEALING WITH VERY COMPLEX PROGRESSIONS, 
07200	IT MAY OFTEN PROVE QUITE HELPFUL TO SKETCH OUT THE TONIC GUIDE
07300	TONES PREVIOUS TO MAKING ANY FINAL DECISIONS CONCERNING THE PARTICULAR
07400	RELATIONSHIPS OF THE TEMPORARY TONICS.
07500	
07600		/IF SOME OF THE NOTES OF /EXAMPLE 52 ARE ALTERED SO THAT WE
07700	ARRIVE AT D MINOR, INSTEAD OF MAJOR, ITS ROLE AS THE TONICIZED /V OF
07800	/G IS GREATLY WEAKENED.  /VOICE LEADING IS IMPORTANT IN ESTABLISHING
07900	THE D AREA.  /THE /B AND /C#, 6TH AND 7TH SCALE DEGREES, APPEAR IN 
08000	ASCENDING LINES, THE /BB AND /CN IN DESCENDING LINES.
08100	
08200	/EXAMPLE 53
08300	
08400	
08500	
08600	
08700	
08800	
08900	
09000		/NOW, SINCE THE /I CHORD OF D DOES NOT DISTURB THE MATERIAL
09100	OF THE ORIGINAL SCALE, IT IS HEARD IN DIRECT RELATION TO /C.
09200	
09300	/FIGURE 53
09400	
09500	
09600	
09700	
09800	
09900	
10000	
10100	
10200	
10300		/VERY OFTEN THERE WILL BE NO CLEARCUT PROCEDURE THAT MAY BE
10400	FOLLOWED WHEN ANALYZING SITUATIONS SIMILAR TO THE NEXT EXAMPLE.  /AT
10500	(*), THE CHANGE OF MODE ON THE /G ROOT MAKES VARYING INTERPRETATIONS
10600	OF THE FUNCTION OF THE D TONIC POSSIBLE.
10700	
10800	/EXAMPLE 54
10900	
11000	
11100	
11200	
11300	
11400	
11500	
11600	/FIGURE 54A
11700	
11800	
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 INTERVALIC 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