/LMAR=0/XLINE=10/FONT#0=METL/FONT#1=METLI/FONT#2=METS/FONT#3=MUS[HHA,LCS]/FONT#4=MUZ[HHA,LCS]/FONT#5=BASL35
␈↓ α≠␈↓␈↓ ε.52␈↓ 
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␈↓"β␈↓ α≠␈↓␈↓ α{ Of␈αthe␈αtwo␈α
following␈αpossible␈αanalyses,␈α
the␈αsecond␈αis␈α
better.
␈↓ α≠␈↓In␈α⊂the␈α⊂first,␈α⊂we␈α⊂assume␈α⊂that␈α⊂since␈α⊂the␈α⊂F␈α⊂is␈α⊂omitted␈α⊂at␈α⊂(*),␈α⊃an␈α⊂E,
␈↓ α≠␈↓though␈α
not␈α
present,␈α
might␈α
be␈α
implied.␈α
 (Even␈α
so,␈α
this␈α
would␈α
give
␈↓ α≠␈↓the␈α⊗sound␈α⊗of␈α⊗the␈α⊗subdominant's␈α⊗F6.)␈α⊗In␈α⊗the␈α⊗second,␈α⊗we␈α∃more
␈↓ α≠␈↓reasonably␈αassume␈αthat␈αthe␈αF␈αpersists␈αin␈αthe␈αmemory␈αand␈α
that␈αthe
␈↓ α≠␈↓context␈α∂does␈α∂not␈α∂lead␈α∂us␈α∂to␈α∂interpret␈α∂the␈α∂chord␈α∂B␈↓βF␈↓-D-F-G␈↓βS␈↓␈α⊂as␈α∂an
␈↓ α≠␈↓inversion of ␈↓&A␈↓)αβ: VII␈↓βG␈↓.
␈↓"β
␈↓"β␈↓ α≠␈↓Figure 56
␈↓"β␈↓ α≠␈↓␈↓ βg␈↓¬⊂⊗⊃L[%0.03,%-1.20]:N56F.PLT[HHA,LCS]⊂⊗⊃␈↓






␈↓"β␈↓ α≠␈↓␈↓ α{ It␈α_should␈α_be␈α→pointed␈α_out␈α_again␈α→that␈α_no␈α_chord␈α→may␈α_be
␈↓ α≠␈↓evaluated␈α∩until␈α⊃all␈α∩its␈α⊃parts␈α∩have␈α⊃been␈α∩heard.␈α⊃ However,␈α∩no␈α⊃set
␈↓ α≠␈↓rules␈α∪can␈α∪be␈α∩given␈α∪for␈α∪this;␈α∩as␈α∪usual,␈α∪the␈α∩context␈α∪must␈α∪be␈α∩the
␈↓ α≠␈↓determining␈α∂factor.␈α∂ In␈α⊂the␈α∂Schubert␈α∂␈↓↓Sonata␈↓,␈α⊂the␈α∂B␈↓βF␈↓␈α∂chord␈α⊂fills␈α∂a
␈↓ α≠␈↓measure␈α∞and␈α∞a␈α
quarter␈α∞before␈α∞the␈α∞appearance␈α
of␈α∞the␈α∞G␈↓βS␈↓.␈α∞ Thus␈α
the
␈↓ α≠␈↓relatively␈α⊂simple␈α⊃progression␈α⊂of␈α⊃I␈α⊂to␈α⊃␈↓βF␈↓II␈α⊂has␈α⊃time␈α⊂to␈α⊃be␈α⊂accepted
␈↓ α≠␈↓before␈α∂the␈α⊂function␈α∂is␈α∂altered␈α⊂by␈α∂the␈α∂addition␈α⊂of␈α∂a␈α⊂fourth␈α∂pitch.
␈↓ α≠␈↓Such␈αparticulars␈αare␈αcertainly␈αopen␈αto␈αvarying␈αinterpretations.␈α In
␈↓ α≠␈↓both␈α∃of␈α∃these␈α∃Schubert␈α∃pieces,␈α∃such␈α∃ambiguous␈α∃procedures␈α∃are
␈↓ α≠␈↓possible␈α
because␈α
of␈α
the␈α
extremely␈α
firm␈α
establishment␈α
of␈α
the␈α
main
␈↓ α≠␈↓tonic in the preceding passages.

␈↓"β␈↓ α≠␈↓␈↓ α{ A␈α
case␈α
with␈αsome␈α
similarity␈α
is␈αpresented␈α
in␈α
the␈α␈↓↓Prelude␈α
#23
␈↓ α≠␈↓↓in␈α∪F␈↓␈α∪of␈α∪Chopin,␈α∩where␈α∪an␈α∪E␈↓βF␈↓␈α∪is␈α∩found␈α∪in␈α∪the␈α∪final␈α∩arpeggiated
␈↓ α≠␈↓chord.␈α This␈αE␈↓βF␈↓␈αis␈αusually␈αheard␈αmerely␈αas␈αan␈αintensification␈αof␈αthe
␈↓ α≠␈↓already␈α∃present␈α∃7th␈α∃partial␈α∀of␈α∃the␈α∃bass␈α∃note's␈α∃overtone␈α∀series.
␈↓ α≠␈↓However,␈α≥it␈α≤is␈α≥undeniable␈α≤that␈α≥some␈α≤tendency␈α≥toward␈α≤the
␈↓ α≠␈↓subdominant,␈αa␈αtonal␈α
area␈αwhich␈αis␈α
almost␈αcompletely␈αneglected␈α
in
␈↓ α≠␈↓the␈α⊗piece,␈α∃is␈α⊗heard.␈α∃ At␈α⊗the␈α⊗end␈α∃of␈α⊗a␈α∃piece␈α⊗devoted␈α⊗to␈α∃almost
␈↓ α≠␈↓nothing␈α∃more␈α∃than␈α∀figuration␈α∃on␈α∃I␈α∀and␈α∃V,␈α∃this␈α∀E␈↓βF␈↓␈α∃comes␈α∃as␈α∀a
␈↓ α≠␈↓welcome bit of fantasy.
␈↓ α≠␈↓␈↓ ε.53␈↓ 
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␈↓"β
␈↓"β␈↓ α≠␈↓Example 57.  Chopin, Prelude, Op.28, #23
␈↓"β␈↓ α≠␈↓␈↓ βd␈↓¬⊂⊗⊃L[%0.00,%-1.87]:N57X.PLT[HHA,LCS]⊂⊗⊃␈↓










␈↓"β␈↓ α≠␈↓␈↓ αt        And then there is the standard "Blues" progression:
␈↓"β
␈↓"β␈↓ α≠␈↓Example 58
␈↓"β␈↓ α≠␈↓␈↓ β`␈↓¬⊂⊗⊃L[%-0.08,%-1.80]:N58X.PLT[HHA,LCS]⊂⊗⊃␈↓









␈↓"β␈↓ α≠␈↓␈↓ α{ Many␈αvariants␈αof␈αthe␈αmain␈αA6␈αchords␈αmay␈αbe␈αfound␈αin␈αlater
␈↓ α≠␈↓tonal␈α
music.␈α
 But␈α
once␈α
they␈α
are␈α
recognized␈α
for␈α
what␈α
they␈αare,␈α
they
␈↓ α≠␈↓should␈α⊃cause␈α⊃no␈α⊃difficulties␈α∩in␈α⊃an␈α⊃analysis.␈α⊃ Similarly,␈α∩there␈α⊃are
␈↓ α≠␈↓many␈αchromatic␈αvariants␈αof␈α
the␈αdominant,␈αsubdominant␈α(the␈αA6␈α
is
␈↓ α≠␈↓one!),␈α∪and␈α∪other␈α∪functions,␈α∀except␈α∪for␈α∪the␈α∪I␈α∀function.*␈α∪Various
␈↓ α≠␈↓notes␈α∞may␈α∞be␈α∞␈↓↓added␈↓␈α∞to␈α∂tonic␈α∞function,␈α∞and␈α∞the␈α∞root␈α∞may␈α∂even␈α∞be
␈↓ α≠␈↓omitted,␈α∪but␈α∪if␈α∪the␈α∪root␈α∩or␈α∪5th␈α∪are␈α∪altered,␈α∪the␈α∪tonic␈α∩function
␈↓ α≠␈↓becomes dubious.

␈↓"β␈↓ α≠␈↓__________
␈↓"β␈↓ α≠␈↓*␈α
But␈α
remember␈α
that␈α
there␈α
is␈α
always␈α
the␈α
␈↓↓potential␈↓␈α
of␈α
a␈α
change␈αof
␈↓"␈↓ α≠␈↓function when any chromaticism is introduced.
␈↓ α≠␈↓␈↓ ε.54␈↓ 
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␈↓"β␈↓ α≠␈↓␈↓ α{ Chromaticism␈α∀has␈α∀always␈α∪caused␈α∀composers␈α∀trouble␈α∪with
␈↓ α≠␈↓notation.␈α
 The␈αaugmented␈α
sixth␈αand␈α
diminished␈αseventh␈α
chords␈αin
␈↓ α≠␈↓particular␈α∞have␈α∂raised␈α∞problems,␈α∞because␈α∂of␈α∞the␈α∞ambiguity␈α∂of␈α∞the
␈↓ α≠␈↓situations␈α⊂in␈α⊂which␈α⊂they␈α⊂are␈α⊂often␈α⊂found.␈α⊂ Composers␈α⊃cannot␈α⊂be
␈↓ α≠␈↓totally␈α_consistent␈α_in␈α→notating␈α_such␈α_chords␈α→when␈α_enharmonic
␈↓ α≠␈↓equivalence␈αis␈αinvolved.␈α It␈αwill␈αalways␈αbe␈αnecessary␈αto␈α
determine
␈↓ α≠␈↓the␈α∞function␈α∞or␈α∞functions␈α∞of␈α∞chromatic␈α∞chords␈α∞by␈α∞studying␈α∞their
␈↓ α≠␈↓surroundings rather than by taking their notation at face value.
␈↓"β␈↓ α≠␈↓␈↓ ∧K_______________