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.SKIP 2
.CENTER		
CHAPTER V
.SKIP 2
.CENTER			
EXTENDED TONICIZATION
.SKIP 1
.INDENT 6
.FILL
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.BEGIN VERBATIM

Added Levels of Tonic Function
.END
 
	Almost by definition, music of the tonal era depends
on the listener's strong memory of a basic tonic.  The basic tonic is a
cohesive force which sets limits and acts as a reference point for all
types of harmonic movement.  Even %2modulation%1 within a movement never
really destroys this reference point; it merely sets up a foremost
subsidiary point.  When %2tonicization%1 becomes greatly extended, the same
effect is produced on a somewhat smaller scale.  The difference between
extended tonicization and modulation lies in the role the particular
passage is playing in relation to the whole.  There is much music wherein
these two concepts tend to overlap, but in the main, composers of
the music here under consideration have been so intent upon formal
clarity that the dependent character of tonicization, even when
extended, is maintained.

 
	This important facet of tonal music may be represented by
%2added levels of tonicization%1 in the middle area of the analytical
diagram.  These added levels occur when, %2within%1 a %2temporary%1 tonic
area, again a new tonic is approached.  A simple example of this
follows.  The basic key of ↓_C_↓ is understood to be well established
both before and after the example.
 
.begin verbatim

Example 56
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.begin verbatim

Figure 56a
.end
.skip 6
 
 
	The ↓_D_↓ area at (xx) appears in direct relationship only with
the ↓_G_↓ (or tonicized V) area.  Even though every numeral that
appears in the middle area of an analysis is %2understood%1 to be a tonic
(i.e., working as a "I"), a new I is placed under the first
presentation of V as a tonic in order that the interval of the subsequent
movement to ↓_D_↓ (i.e., the dominant relation to ↓_G_↓), is readily apparent.
Similarly, another I appears when the progression returns
to ↓_G_↓ as the tonic.  In the previous example it will be noted that the
tonicized ↓_D_↓ was specifically major.  This new I contains
F%4S%1 -- not a functional probability in terms of the original ↓_C_↓, but
completely compatible with the ↓_G_↓ scale.

 
	This may be made even more clear if we set up what will be
called %2tonic guide tones%1.  These represent, in musical notation,
the elements that appear in the middle area of the analysis.
 
.begin verbatim

Figure 56b

 
   Tonic Guide Tones


 
 
 
 
 
.end
.next page
	The tonics which are most closely related (see table on page 46)
are connected by horizontal bars.  The small notes may be added to show
the mode of each tonic.  When dealing with very complex progressions,
it may often prove quite helpful to sketch out the tonic guide
tones previous to making any final decisions concerning the particular
relationships of the temporary tonics.
 

	If some of the notes of Example 56 are altered so that we
arrive at ↓_d_↓ minor, instead of major, its role as the tonicized V of
↓_G_↓ is greatly weakened.  Voice leading is important in establishing
the ↓_d_↓ area.  The B and C%4S%1, 6th and 7th scale degrees, appear in
ascending lines, the B%4F%1 and C%4N%1 in descending lines.
 
.begin verbatim

Example 57
.end
.skip 8
 
 
	Now, since the I chord of ↓_d_↓ does not disturb the material
of the original scale, it is heard in direct relation to ↓_C_↓.
 
.begin verbatim

Figure 57


   Tonic Guide Tones
.end
.next page
 
	Very often there will be no clearcut procedure that may be
followed when analyzing situations similar to the next example.  At
(*), the change of mode on the G root makes varying interpretations
of the function of the ↓_d_↓ tonic possible.
 
.begin verbatim

Example 58
.end
.skip 6
.begin verbatim

Figure 58a

   Tonic Guide Tones

.end
.skip 5
.begin verbatim

Figure 58b

   Tonic Guide Tones

.end
.skip 5
.begin verbatim

	* When a tonic changes mode for more than the duration of
	an occasional chord, the change may appear superimposed on
	the continuous line running from the original occurrence
	of the tonic.
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.next page
.begin verbatim
Figure 58c

   Tonic Guide Tones


.end
.skip 5
 
 
 
.ONCE NO FILL INDENT 0 
	* Here the ↓_g_↓ tonic is shown as subsidiary to ↓_d_↓.  This
.ONCE NO FILL INDENT 0 
	interpretation might be preferred if the duration of 
.ONCE NO FILL INDENT 0 
	the ↓_g_↓ tonic area were quite short in relation to the 
.ONCE NO FILL INDENT 0 
        following ↓_d_↓ area (see Example zzz).
.FILL indent 6
 

	Notice that the above examples were, for the purposes of
illustration, presented without varied rhythm.  As always, in more
complex situations, the relations between harmony, melody, and
rhythm will combine to offer a basis for a more specific analytical
interpretation.  However, it must be emphasized that the main
profit to the serious musician is found in the process of wrestling
with such problematical decisions.  The final decision need not be
considered the %2only%1 right one, but rather as the most clarifying of
the actual effect of the music on the individual.

 
	An extreme example of added levels of tonicization (and it is
often heard) is the progression through the "circle of fifths".
.begin verbatim

Example 59
.end
.skip 7
.next page
.begin verbatim
Figure 59






                                                                        * When many levels
                                                                        of tonics appear, the
                                                                        letter names of the
                                                                        various keys should
                                                                        be added to avoid
                                                                        confusion.

 
 
 
.end
.begin verbatim
 
Example 60
.end
.skip 7   
.begin verbatim
 
Figure 60
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.NEXT PAGE
	These diagrams may appear somewhat unwieldy, but they have
the advantage of giving clear pictures, in intervallic terms, of the
relationships involved.
 

	Occasionally a very rapid movement through part of the circle
of fifths, or the successive use of 7th chords, will cause certain
elements of a progression to stand in relief.
.BEGIN VERBATIM

Example 61
.END
.SKIP 7
.BEGIN VERBATIM

Figure 61
.END
.SKIP 11

	In the above diagram, the abrupt skip down to a third
level of tonics (which resolves to a I on the second level)
accurately parallels the effect of the example.  Notice the problems 
created by the use of a string of diminished chords over a basically
chromatic line.  Such situations may be analyzed as
substitutes for the "circle of fifths" progression, but generally it
is best to consider all but the first and last chords of the string
as parallel-moving passing chords (see Bach, %2Partita #1 in B%4F%1, Gigue;
Mozart, %2Fantasy in C%1, K.394).  However, in 19th-century music,
details of voice leading (especially the melodic skips) often tend
to give functional importance to the inner chords of strings of
diminished chords (see Chopin, %2Etude in E%1, Op.10,#3, measure 38,
etc.; Liszt, %2Transcendental Etude #6, "Mazeppa"%1, beginning).


	Most often the return to the main tonic will not be made by 
the same route as was the departure.  When this happens, a pivotal
tonic may appear in the middle area of the analysis (see below at
the sign *).
.begin verbatim

Example 62
.end
.skip 8
.begin verbatim

Figure 62
.end
.next page

.begin verbatim
Example 63. Mozart, Sonata in D, K.576, 2nd movement.
.end
.next page

	The exact location of the pivotal tonic will usually depend on
the association of the particular means of presenting a given harmonic
function with earlier presentation of the same function.  In other words,
the return to the chord of departure, even with the same function on the
lowest level, can be inconclusive until we also return to the same
melodic and rhythmic presentation of that function.  In Example 63 the f#
chord at (*) has a tonic function, but f%4S%1 as a tonic of the middle area
is still subsidiary to another tonic (↓_D_↓) until the return of the 
original material.
.begin verbatim

Figure 63
.end
.next page

	The middle area of the first analysis is preferred at (+),
because the tonic chord of f%4S%1 is completely consistent with the scale
of ↓_D_↓, and there are no other factors that might deter one from
hearing the passage as a stepwise progression of tonics (I, ii, iii).
If, for any reason, it seems undesirable to show a pivot in cases where
two or more levels of tonics are involved, the wavy vertical line ( )
might be used to show the lack of continuity along any given level
(see Figure 68).  However, it rarely happens that a logical connection
between tonics cannot be made.

.begin verbatim

Control Tonics
.end
	An extension of the previous line of thought will serve well
when considering the following analysis of music typical of the work
of Bach.