/LMAR=0/XLINE=10/FONT#0=METL/FONT#1=METLI/FONT#2=METS/FONT#3=MUS[HHA,LCS]/FONT#4=BASL35
␈↓ α≤␈↓␈↓ ε/68␈↓ 
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␈↓"β␈↓ α≤␈↓The␈α∞form␈α∞of␈α∞this␈α∞work␈α∞is␈α∞defined␈α∞mainly␈α∞by␈α∞a␈α∞group␈α∞of␈α
cadential
␈↓ α≤␈↓formulas.␈α⊗ The␈α⊗strength␈α⊗of␈α⊗the␈α⊗points␈α⊗of␈α⊗definition␈α⊗is␈α∃greatly
␈↓ α≤␈↓enhanced␈α∪by␈α∪the␈α∪fact␈α∪that␈α∪each␈α∪cadence␈α∪offers␈α∪us␈α∪a␈α∀new␈α∪tonal
␈↓ α≤␈↓center.␈α∃ However,␈α∀due␈α∃to␈α∃the␈α∀exclusive␈α∃use␈α∃of␈α∀a␈α∃single␈α∃set␈α∀of
␈↓ α≤␈↓motives␈α
and␈α
the␈α
brevity␈α
of␈α
the␈α
piece,␈α
modulation␈α
(as␈α
it␈α
is␈αknown
␈↓ α≤␈↓in␈α∀the␈α∃main␈α∀body␈α∃of␈α∀tonal␈α∃music)␈α∀does␈α∃not␈α∀occur.␈α∃ The␈α∀larger
␈↓ α≤␈↓harmonic␈α
movement␈α
of␈α
this␈α
piece␈α∞is␈α
certainly␈α
heard␈α
as␈α
a␈α∞series␈α
of
␈↓ α≤␈↓tonics,␈αwhose␈αrelations␈αto␈αthe␈αmain,␈αbeginning␈αtonic␈αare␈αat␈αleast␈αas
␈↓ α≤␈↓strong␈α∪as␈α∪their␈α∪relations␈α∪to␈α∪one␈α∪another.␈α∪ Thus,␈α∪even␈α∪though␈α∪␈↓&a␈↓)αβ
␈↓ α≤␈↓appears␈αfirst␈αas␈αiii␈αof␈α
␈↓&F␈↓)αβ,␈αit␈αis␈αfinally␈αestablished␈α
as␈αan␈αequal␈αof␈α␈↓&F␈↓)αβ␈α
(in
␈↓ α≤␈↓relation␈α∞to␈α∞␈↓&d␈↓)αβ)␈α∞by␈α∞the␈α∞occurrence␈α∞of␈α∞the␈α∞well-prepared␈α∞cadence␈α
at
␈↓ α≤␈↓bar␈α
38.␈α
 Please␈α
note,␈α
however,␈αthat␈α
␈↓&a␈↓)αβ's␈α
role␈α
as␈α
something␈αmore␈α
than
␈↓ α≤␈↓a␈α
transient␈α
tonic␈α
of␈α∞the␈α
␈↓&F␈↓)αβ␈α
scale␈α
is␈α∞not␈α
too␈α
definite␈α
until␈α∞the␈α
point
␈↓ α≤␈↓of␈α∪cadence.␈α∪ To␈α∪emphasize␈α∪these␈α∪varying␈α∪levels␈α∪of␈α∪relationships
␈↓ α≤␈↓among␈α
the␈α
tonics,␈α
we␈α
must␈α
start␈α
at␈α
the␈α
beginning␈α
of␈α
our␈α
diagram
␈↓ α≤␈↓with␈α
␈↓↓two␈↓␈α
levels␈α
in␈α
the␈α
middle␈α
ground,␈α
so␈α
that␈α
when␈α∞a␈α
temporary
␈↓ α≤␈↓tonic␈α
is␈α
somehow␈α∞given␈α
greater␈α
status␈α∞and␈α
becomes␈α
what␈α∞may␈α
be
␈↓ α≤␈↓called␈α∀a␈α∀␈↓↓control␈α∪tonic␈↓,␈α∀this␈α∀change␈α∪will␈α∀appear␈α∀in␈α∀a␈α∪consistent
␈↓ α≤␈↓form.␈α∪ In␈α∪the␈α∪above␈α∪analysis␈α∪note␈α∪that␈α∪on␈α∪the␈α∪highest␈α∀level␈α∪of
␈↓ α≤␈↓tonicization␈αthe␈αprogress␈αfrom␈αi␈αto␈αIII␈αto␈αv␈αcoincides␈αexactly␈αwith
␈↓ α≤␈↓the␈α
full␈αcadences.␈α
 However,␈α
␈↓&F␈↓)αβ␈αand␈α
␈↓&a␈↓)αβ␈α
are␈αfirst␈α
tonicized␈αwell␈α
before
␈↓ α≤␈↓the␈αcadences␈α(this␈αshows␈αon␈αthe␈αsecond␈αlevel␈αof␈αtonicization).␈α The
␈↓ α≤␈↓numerals of the control tonics will be underlined.

␈↓"β␈↓ α≤␈↓The␈αuse␈αof␈αstrong␈αcadences␈αis␈αnot␈αthe␈αonly␈αmethod␈αwhich␈αcan␈αgive
␈↓ α≤␈↓a␈α
temporary␈αtonic␈α
the␈α
status␈αof␈α
a␈αcontrol␈α
tonic.␈α
 Another␈αfavorite
␈↓ α≤␈↓method␈α∂is␈α∂the␈α∂clear␈α∂presentation,␈α∂in␈α∂some␈α∂new␈α∂tonic,␈α∂of␈α∂material
␈↓ α≤␈↓(either␈α∩old␈α∩or␈α∩new)␈α∩of␈α∩relatively␈α∩great␈α∩importance;␈α∩e.g.,␈α∩in␈α⊃the
␈↓ α≤␈↓Bach␈αInvention,␈αthe␈αreturn␈α
to␈αthe␈αoriginal␈α␈↓&d␈↓)αβ␈α
as␈αthe␈αcontrol␈αtonic␈α
is
␈↓ α≤␈↓defined␈α∂by␈α∂the␈α∂return␈α∂of␈α∂the␈α∂opening␈α∂statement␈α∂(bar␈α∂44),␈α∞rather
␈↓ α≤␈↓than␈αby␈αa␈α
full␈αcadence.␈α The␈αpresentation␈α
should␈αbe␈αlong␈αenough␈α
so
␈↓ α≤␈↓that␈α∃the␈α∃new␈α∃tonic␈α⊗may␈α∃be␈α∃heard␈α∃as␈α∃independent␈α⊗beyond␈α∃the
␈↓ α≤␈↓extent␈αof␈αsimple␈αtonicization.␈α The␈αfunctions␈αunder␈αa␈αcontrol␈α
tonic
␈↓ α≤␈↓established␈αin␈αthis␈αmanner␈αneed␈αnot␈αinclude␈αa␈αstrong␈αcadence.␈α The
␈↓ α≤␈↓music␈αmight␈αthen␈αprogress␈αsmoothly␈αto␈αyet␈αanother␈αcontrol␈αtonic.
␈↓ α≤␈↓If␈α~the␈α~important␈α≠factors␈α~of␈α~the␈α≠music␈α~seem␈α~to␈α≠warrant␈α~its
␈↓ α≤␈↓␈↓ ε/69␈↓ 
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␈↓"β␈↓ α≤␈↓independence,␈α∞a␈α∞new␈α∞control␈α∞tonic␈α∞might␈α∞even␈α∞appear␈α∞as␈α∂a␈α∞lower
␈↓ α≤␈↓level␈αof␈α
tonicization,␈αbelow␈αan␈α
old␈αcontrol␈α
tonic␈α(see␈αnext␈α
chapter,
␈↓ α≤␈↓Schubert example).

␈↓"β␈↓ α≤␈↓Much␈α∪music␈α∩can␈α∪best␈α∩be␈α∪analyzed␈α∩in␈α∪terms␈α∩of␈α∪series␈α∪of␈α∩control
␈↓ α≤␈↓tonics,␈α⊃the␈α∩term␈α⊃"modulation"␈α∩being␈α⊃reserved␈α⊃for␈α∩a␈α⊃shift␈α∩of␈α⊃the
␈↓ α≤␈↓basic␈αtonic.␈α No␈αset␈αrule␈αcan␈α
be␈αgiven␈αas␈αto␈αwhen␈αit␈αis␈α
advisable␈αto
␈↓ α≤␈↓use␈αan␈α
extra,␈αhigher␈αlevel␈α
of␈αindications␈αin␈α
the␈αmiddle␈αarea␈α
of␈αthe
␈↓ α≤␈↓analytical␈αdiagram.␈α Any␈αvariant␈α
of␈αthe␈αbasic␈αdiagram␈αis␈α
acceptable
␈↓ α≤␈↓just␈α∂so␈α⊂long␈α∂as␈α∂it␈α⊂contributes␈α∂to␈α∂the␈α⊂understanding␈α∂of␈α⊂the␈α∂music
␈↓ α≤␈↓under consideration.

␈↓"β␈↓ α≤␈↓␈↓ ∧L_______________


␈↓"β␈↓ α≤␈↓It␈α⊃is␈α⊂very␈α⊃evident␈α⊂that␈α⊃as␈α⊂the␈α⊃complexity␈α⊂of␈α⊃harmony␈α⊂increases
␈↓ α≤␈↓there␈α∃is␈α∀usually␈α∃a␈α∀corresponding␈α∃increase␈α∀in␈α∃the␈α∃ambiguity␈α∀of
␈↓ α≤␈↓individual␈α∂harmonic␈α∂functions␈α∞as␈α∂they␈α∂relate␈α∞to␈α∂the␈α∂whole.␈α∞ This
␈↓ α≤␈↓is,␈α
of␈α
course,␈α
the␈α
reason␈α
for␈α
the␈α
particular␈α
effect␈α
of␈α
late␈α
"Romantic"
␈↓ α≤␈↓and␈α"Impressionistic"␈α
harmony,␈αand␈α
also␈αthe␈α
source␈αof␈αthe␈α
ultimate
␈↓ α≤␈↓breakdown␈α∞of␈α
functional␈α∞tonality␈α
as␈α∞a␈α
meaningful␈α∞system.␈α
 When
␈↓ α≤␈↓every␈α↔harmonic␈α↔function␈α↔becomes␈α↔ambiguous,␈α↔then␈α⊗something
␈↓ α≤␈↓other␈α
than␈αa␈α
tonal␈αcenter␈α
(as␈α
defined␈αby␈α
harmonic␈αfunctions)␈α
must
␈↓ α≤␈↓take␈α∪over␈α∪as␈α∪the␈α∪prime␈α∪cohesive␈α∪force␈α∪(see␈α∪last␈α∪chapter).␈α∪ It␈α∩is
␈↓ α≤␈↓significant␈α⊃that␈α∩in␈α⊃music␈α∩of␈α⊃the␈α⊃Classical␈α∩era␈α⊃the␈α∩more␈α⊃complex
␈↓ α≤␈↓harmonic␈α
progressions␈α∞are␈α
most␈α∞often␈α
relegated␈α∞to␈α
developmental
␈↓ α≤␈↓passages␈α⊃--␈α⊂passages␈α⊃that␈α⊂depend␈α⊃greatly␈α⊂on␈α⊃motivic␈α⊂continuity.
␈↓ α≤␈↓In␈α∂such␈α⊂instances,␈α∂it␈α∂is␈α⊂common␈α∂to␈α∂hear␈α⊂a␈α∂series␈α∂of␈α⊂tonics␈α∂which
␈↓ α≤␈↓seem␈α→to␈α_relate␈α→only␈α_to␈α→their␈α_immediate␈α→surroundings.␈α→ (It␈α_is
␈↓ α≤␈↓possible␈α
for␈α
even␈α
the␈α
original␈α
tonic␈α
of␈α
a␈α
developmental␈α
section␈αto
␈↓ α≤␈↓reappear␈α⊃for␈α∩a␈α⊃considerable␈α∩time␈α⊃without␈α∩its␈α⊃having␈α∩any␈α⊃direct
␈↓ α≤␈↓functional␈α
relationship␈α
with␈αits␈α
earlier␈α
presentation.)␈αThe␈α
analysis
␈↓ α≤␈↓of␈α↔an␈α↔extended␈α_developmental␈α↔passage␈α↔will␈α_show␈α↔continually
␈↓ α≤␈↓added␈α⊃levels␈α⊃in␈α∩the␈α⊃middle␈α⊃ground,␈α⊃the␈α∩return␈α⊃to␈α⊃a␈α∩single␈α⊃level
␈↓ α≤␈↓being␈αconditioned␈αby␈α
the␈αreappearance␈αof␈αfamiliar,␈α
stable␈αmaterial
␈↓ α≤␈↓in␈α∃its␈α⊗proper␈α∃key.␈α⊗ This␈α∃traditionally␈α∃happens␈α⊗at␈α∃the␈α⊗point␈α∃of
␈↓ α≤␈↓␈↓ ε/70␈↓ 
l


␈↓"β␈↓ α≤␈↓recapitulation in the sonata form.*
␈↓"β␈↓ α≤␈↓␈↓ ∧L_______________
␈↓"β
␈↓"β
␈↓"β␈↓ α≤␈↓Exercises for Chapter V
␈↓"β
␈↓"β
␈↓"β␈↓ α≤␈↓Analyze the following works:
␈↓"β
␈↓"β␈↓ α≤␈↓From the 371 Chorales of Bach:
␈↓"β
␈↓"β␈↓ α≤␈↓        1.  Chorale 21
␈↓"β␈↓ α≤␈↓        2.  Chorale 92
␈↓"β␈↓ α≤␈↓        3.  Chorale 200
␈↓"β␈↓ α≤␈↓        4.  Chorale 231
␈↓"β␈↓ α≤␈↓        5.  Chorale 279
␈↓"β
␈↓"β␈↓ α≤␈↓From the Two-Part Inventions of Bach:
␈↓"β
␈↓"β␈↓ α≤␈↓        6.  Invention 11, in g
␈↓"β␈↓ α≤␈↓        7.  Invention 12, in A
␈↓"β␈↓ α≤␈↓        8.  Invention 13, in a
␈↓"β
␈↓"β␈↓ α≤␈↓From the Well-Tempered Clavier, First Book, Bach:
␈↓"β
␈↓"β␈↓ α≤␈↓        9.  Fugue I, in C
␈↓"β␈↓ α≤␈↓       10.  Fugue X, in e
␈↓"β
␈↓"β␈↓ α≤␈↓From the Preludes, Op.28, of Chopin:
␈↓"β
␈↓"β␈↓ α≤␈↓       11.  Prelude  5, in D
␈↓"β␈↓ α≤␈↓       12.  Prelude 22, in g



␈↓"β␈↓ α≤␈↓__________
␈↓"β␈↓ α≤␈↓ Among␈α
the␈α
numerous␈α
exceptions␈αto␈α
the␈α
above␈α
statements␈α
are␈αthe
␈↓"␈↓ α≤␈↓first␈α"movement␈α#recapitulations␈α"of␈α#Mozart's␈α"␈↓↓Sonatas␈α#in␈α"D␈↓,
␈↓"␈↓ α≤␈↓K.284c(311)␈α∨and␈α∨␈↓↓in␈α∨C␈↓,␈α∨K.545.␈α≡ In␈α∨the␈α∨first␈α∨of␈α∨these,␈α≡the
␈↓"␈↓ α≤␈↓recapitulation␈α⊃begins␈α⊃with␈α⊃the␈α⊃material␈α⊃of␈α⊃the␈α⊃second␈α⊃key␈α⊃area,
␈↓"␈↓ α≤␈↓but␈α∪now␈α∪heard␈α∪in␈α∪␈↓&D␈↓)αβ␈α∪instead␈α∩of␈α∪␈↓&A␈↓)αβ.␈α∪ The␈α∪recapitulation␈α∪of␈α∪the␈α∩␈↓&C␈↓)αβ
␈↓"␈↓ α≤␈↓sonata␈α%offers␈α$the␈α%original␈α%opening␈α$material,␈α%but␈α%in␈α$the
␈↓"␈↓ α≤␈↓subdominant, ␈↓&F␈↓)αβ.