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00100	.FILL
00200	with the diagrams outlining Tonic Guide Tones.
00300	Tonic Guide Tones will be used solely as a means of clarifying
00400	relationships among the %2tonics%1 involved in any progression.  (See page 57.)
00500	
00600	.begin verbatim
00700	
00800	Figure 69
00900	
01000	Chordal Reduction
01100	.end
01200	.CENTER
01300	%6⊂⊗⊃L[α%-.15,α%-3.5]:N69F.PLT[HHA,LCS]⊂⊗⊃%1
01400	.skip 13
01500	
01600	
01700	
01800	.FILL INDENT 6
01900		Here the control tonic of III (↓_A_↓) has been established.  The
02000	section in ↓_A_↓ is far too brief to warrant the use of the term
02100	"modulation".  In measure 17 the G and the clearly implied C%4S%1 form
02200	a tritone which is most readily heard as dominant to ↓_D_↓.  However,
02300	measure 18 first offers us a 7th chord on B -- this heard as dominant
02400	to ↓_E_↓.  Then follows a d minor chord, the logical result of measure 17.
02500	In measure 19 is heard an E7th chord (over a tonic A pedal) which is
02600	a substitute for the simple tonic expected after the B7th chord.  At
02700	measure 21 things become a little more complex.  The last chord contains
02800	an A%4S%1, which could be interpreted merely as a chromatic passing note,
02900	but which certainly does tend to tonicize the following B (as the
03000	sixth degree, normally a minor tonic, of ↓_D_↓), which then functions as it
03100	did earlier.  At the end of measure 22, the tonic expected after the
03200	A7th chord of four beats back is replaced by the II%5I%1 of ↓_A_↓.
03300	
03400		Since the successive functions in such music sometimes bear
03500	only a secondary relation to each other, very skillful voice leading,
03600	as in the Chopin example, is necessary in order that the progression
03700	remains clear.  From one point of view, there is no doubt at all that
03800	this passage can be interpreted as a chromatic "working out" of the
03900	A chord.
04000	.begin verbatim
04100	
04200	Example 69b.  (Reduction of Example 69a.  The doubling of the
04300			highest part at the octave below is omitted.)
04400	.end
04500	.CENTER
04600	%6⊂⊗⊃L[α%0,α%-1.9]:N69XB.PLT[HHA,LCS]⊂⊗⊃%1
04700	.skip 5
04800	
04900	
05000	
05100	
05200	.FILL INDENT 6
05300		However, the particular form the chromaticism takes in this
05400	Mazurka also gives the unmistakable impression of a series of varied
05500	harmonic functions.
05600	.SKIP 1
05700	
05800		For more examples of chords which have both contrapuntal and
05900	harmonic significance we will turn to the opening of Schubert's
06000	%2Quintet in C%1, Op.163.
06100