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CHAPTER V
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EXTENDED TONICIZATION
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.BEGIN VERBATIM

Added Levels of Tonic Function
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	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.
 
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Example 59
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Figure 59a
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	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.
 
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Figure 59b

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