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␈↓ α∧␈↓␈↓ ε↔73␈↓ 
T


␈↓"β␈↓ α∧␈↓with␈α
the␈α
diagrams␈α
outlining␈αTonic␈α
Guide␈α
Tones.␈α
 Tonic␈αGuide␈α
Tones
␈↓ α∧␈↓will␈α∂be␈α∂used␈α∂solely␈α∂as␈α∂a␈α∂means␈α∂of␈α∂clarifying␈α⊂relationships␈α∂among
␈↓ α∧␈↓the ␈↓↓tonics␈↓ involved in any progression.  (See page 57.)
␈↓"β
␈↓"β␈↓ α∧␈↓Figure 69
␈↓"β
␈↓"β␈↓ α∧␈↓Chordal Reduction
␈↓"β␈↓ α∧␈↓␈↓ β←␈↓¬⊂⊗⊃L[%-.15,%-3.5]:N69F.PLT[HHA,LCS]⊂⊗⊃␈↓

















␈↓"β␈↓ α∧␈↓␈↓ αdHere␈α⊂the␈α∂control␈α⊂tonic␈α⊂of␈α∂III␈α⊂(␈↓&A␈↓)αβ)␈α∂has␈α⊂been␈α⊂established.␈α∂ The
␈↓ α∧␈↓section␈α∃in␈α∃␈↓&A␈↓)αβ␈α∃is␈α∃far␈α∃too␈α∀brief␈α∃to␈α∃warrant␈α∃the␈α∃use␈α∃of␈α∃the␈α∀term
␈↓ α∧␈↓"modulation".␈α
 In␈α
measure␈α17␈α
the␈α
G␈α
and␈αthe␈α
clearly␈α
implied␈αC␈↓βS␈↓␈α
form
␈↓ α∧␈↓a␈αtritone␈αwhich␈αis␈αmost␈α
readily␈αheard␈αas␈αdominant␈αto␈α␈↓&D␈↓)αβ.␈α
 However,
␈↓ α∧␈↓measure␈α∀18␈α∀first␈α∀offers␈α∀us␈α∀a␈α∀7th␈α∀chord␈α∀on␈α∀B␈α∀--␈α∀this␈α∀heard␈α∪as
␈↓ α∧␈↓dominant␈αto␈α␈↓&E␈↓)αβ.␈α Then␈α
follows␈αa␈αd␈αminor␈α
chord,␈αthe␈αlogical␈αresult␈α
of
␈↓ α∧␈↓measure␈α17.␈α In␈αmeasure␈α19␈αis␈αheard␈αan␈αE7th␈αchord␈α(over␈αa␈αtonic␈αA
␈↓ α∧␈↓pedal)␈α⊂which␈α⊂is␈α⊂a␈α⊂substitute␈α⊂for␈α⊂the␈α⊂simple␈α⊂tonic␈α⊂expected␈α∂after
␈↓ α∧␈↓the␈α↔B7th␈α↔chord.␈α↔ At␈α↔measure␈α↔21␈α↔things␈α↔become␈α↔a␈α↔little␈α↔more
␈↓ α∧␈↓complex.␈α≡ The␈α∨last␈α≡chord␈α≡contains␈α∨an␈α≡A␈↓βS␈↓,␈α≡which␈α∨could␈α≡be
␈↓ α∧␈↓interpreted␈α≠merely␈α≠as␈α≠a␈α≠chromatic␈α≠passing␈α≠note,␈α≤but␈α≠which
␈↓ α∧␈↓certainly␈α∃does␈α∃tend␈α∃to␈α∃tonicize␈α∃the␈α∃following␈α∃B␈α∃(as␈α⊗the␈α∃sixth
␈↓ α∧␈↓␈↓ ε↔74␈↓ 
T


␈↓"β␈↓ α∧␈↓degree,␈α
normally␈α
a␈α
minor␈α
tonic,␈αof␈α
␈↓&D␈↓)αβ),␈α
which␈α
then␈α
functions␈α
as␈αit
␈↓ α∧␈↓did␈αearlier.␈α At␈αthe␈αend␈αof␈αmeasure␈α22,␈αthe␈αtonic␈αexpected␈αafter␈α
the
␈↓ α∧␈↓A7th chord of four beats back is replaced by the II␈↓∧I␈↓ of ␈↓&A␈↓)αβ.

␈↓"β␈↓ α∧␈↓␈↓ αdSince␈αthe␈αsuccessive␈αfunctions␈αin␈αsuch␈αmusic␈αsometimes␈αbear
␈↓ α∧␈↓only␈α_a␈α_secondary␈α_relation␈α_to␈α_each␈α_other,␈α_very␈α_skillful␈α↔voice
␈↓ α∧␈↓leading,␈α∂as␈α∞in␈α∂the␈α∞Chopin␈α∂example,␈α∞is␈α∂necessary␈α∞in␈α∂order␈α∂that␈α∞the
␈↓ α∧␈↓progression␈α⊂remains␈α⊂clear.␈α⊃ From␈α⊂one␈α⊂point␈α⊃of␈α⊂view,␈α⊂there␈α⊃is␈α⊂no
␈↓ α∧␈↓doubt␈α⊃at␈α⊃all␈α⊂that␈α⊃this␈α⊃passage␈α⊃can␈α⊂be␈α⊃interpreted␈α⊃as␈α⊃a␈α⊂chromatic
␈↓ α∧␈↓"working out" of the A chord.
␈↓"β
␈↓"β␈↓ α∧␈↓Example 69b.  (Reduction of Example 69a.  The doubling of the
␈↓"β␈↓ α∧␈↓                highest part at the octave below is omitted.)
␈↓"β␈↓ α∧␈↓␈↓ βa␈↓¬⊂⊗⊃L[%0,%-1.9]:N69XB.PLT[HHA,LCS]⊂⊗⊃␈↓










␈↓"β␈↓ α∧␈↓␈↓ αdHowever,␈αthe␈α
particular␈αform␈α
the␈αchromaticism␈α
takes␈αin␈α
this
␈↓ α∧␈↓Mazurka␈α∀also␈α∀gives␈α∀the␈α∀unmistakable␈α∀impression␈α∀of␈α∀a␈α∃series␈α∀of
␈↓ α∧␈↓varied harmonic functions.


␈↓"β␈↓ α∧␈↓␈↓ αdFor␈αmore␈αexamples␈αof␈αchords␈αwhich␈αhave␈αboth␈αcontrapuntal
␈↓ α∧␈↓and␈α≠harmonic␈α≠significance␈α~we␈α≠will␈α≠turn␈α~to␈α≠the␈α≠opening␈α~of
␈↓ α∧␈↓Schubert's ␈↓↓Quintet in C␈↓, Op.163.