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C00002 00002		For more examples of chords which have both contrapuntal and
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	For more examples of chords which have both contrapuntal and
harmonic significance we will turn to the opening of Schubert's
Quintet in C, Op.163.

.begin verbatim

Example and Figure 67.  Schubert, String Quintet in C, Op.163
		(Reduction of measures 1-26.)

.end
.skip 16

	Complete diminished 7th chords (at [4] and [13]) are often
used non-functionally, as multiple neighboring notes.  Taking this
point of view, Figure 67a treats most of the altered chords as
purely contrapuntal.  Thus the harmonic movement remains quite
simple and without any new tonicization until the end of the excerpt.
This is very likely the way the music is heard (and intended to be heard).


	As we come to know the piece rather well, especially as
regards the violoncellos' repetition of the opening theme at bar 33
(see Example 68), we may feel that the various altered chords in the
first part also carry a potential of having functional implications.
Any given listener may not always hear this example in the same, even
if he has memorized it.  While the main purpose of our analyses is to
show how the harmony of a piece is most simply heard, we should also
try to provide for other, less simple possibilities that may be
inherent in the music.


	Figure 67b shows the implications of the various altered chords.
The diminished chord at bar 13 is shown as @@d##: Vs of V (A%4F%1=G%4S%1) simply
because of its being in a position analogous to that of the first 
diminished chord, bar 4.  Bar 13 has, of course, at the same time the 
role of Vs of @@C##.  This is demonstrated by the indications below the
second analysis.  Thereby the symmetry of the first and second
phrases is clearly shown.  At (*) three functions are given for the
d minor harmony.  They represent 1) its relation to the previous
function, 2) its present function, as defined by a new statement of
the main motive, and 3) its relation to the following function. Such
triple indications should be used sparingly, since they could easily
obscure the most important elements of a progression.

	Perhaps Schubert wished to prove that these altered chords
could have harmonic functions, since his %2varied%1 restatement of the
opening gives the following progression.

.begin verbatim

Example and Figure 68.  Schubert, Quintet in C, Op.163 
				(Reduction of bars 33-46)
.end
.skip 8

	Now, the first diminished chord is certainly working as a
tonicizing agent to @@G##.  The three chords found in measures 40 to 44
give the effect of a deceptive progression in @@a##, the final chord
of the group being also subdominant in terms of what follows.  Note
that no pivotal tonic is used when the control tonic returns to @@I##.
It is felt that the time spent under the control tonic of @@ii## (@@d##) is
of such relatively brief duration that @@C## could scarcely be heard as
a tonicized VII.  However, some other piece with a different
%2presentation%1 of a similar progression might be analyzed rather
differently.


	In the %2March to the Scaffold%1 from Berlioz' %2Fantastic Symphony%1
occurs a passage that has puzzled many musicians.  Its dramatic effect
is highly dynamic and specific, but its musical justification has been
difficult.  The problem arises from the alternation of the tonic g
minor harmony and the D%4F%1 chord.  It might seem that the closest link
between these tritone-related minor and major chords would be found at
the fourth above the tonic, or @@c## minor.  Thus the relationship could
be shown:

.begin verbatim

Figure 69
.end
.skip 6



	However, the composer does not seem to take this view of the
relationship (nor does he treat D%4F%1 in this manner when it appears a
few moments earlier).  The alternation of chords continues until D%4F%1
is almost heard as a new and functionally unrelated tonic.  But, as the 
drive of the passage subsides, it progresses to E%4F7%1 and thence to a
tutti chord, at which time the previous happenings may be reassessed.
The analysis following the example represents the %2result%1 of this
reassessment.  There is inadequate basis for choice until the end
of the passage.

.begin verbatim

Example and Figure 70.  Berlioz, Fantastic Symphony 
			(Reduced from the fourth movement)
.end
.skip 16



	Below the main body of the analysis is shown the separate
movement of each of the two alternating progressions.  The one in @@g## is 
quite simple; in fact, the whole g chord acts as a pedal until the
augmented sixth chord leads to the dominant.  The progression begun
by the D%4F%1 chord is listed under an @@A%4F%1## tonic because, in view of the
ultimate hearing of the E%4F7%1 (enharmonic), @@A%4F%1## is the most direct
connecting link, even though its I chord is not used, to @@g##.  The
functions listed in parentheses might be interpreted as chromatic
elaboration of the D%4F%1 chord (see Example 67).  Thus the overall
progress from the D%4F%1 chord is likewise simple -- @@A%4F%1##: IV...V,
wherein the V serves doubly as the G6 of @@g##.  Notice that in all this
the possibility of treating the D%4F%1 chord as a %4F%1V or %4S%1IV relationship
in @@g## is avoided.  A true direct relation of the tritone between two
tonics tends to destroy both of them.******see Schumann, Carnaval*****
Such a relationship would merely constitute a juxtaposition of keys
whose tonic chords were incompatible except as they both served as
subsidiaries to a third tonic (see page zzz).