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.begin verbatim

Example 14
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%6⊂⊗⊃L[α%0.00,α%-1.31]:XXX14.PLT[C1,LCS]⊂⊗⊃%1
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	Abbreviations depend on their context for specificity and so
are somewhat more subtle than their sources.  The VII%4F7%1 chord is
almost always heard as an abbreviated V%4F9%1.  But in this abbreviated
form it can function as the dominant to any of four different tonics,
depending only on where the composer leads it.

.begin verbatim

Example 15
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	Similarly, even the II triad in the minor may sometimes be
heard as the upper three notes of an incomplete V%4F9%1.

.begin verbatim

Example 16
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	When the diminished 7th chord appears in its 2nd inversion
(VII%4D%1) and moves to I in root position, the strong bass
movement from 4 to 1 gives the impression of a plagal cadence.  In
such a case VII seems to be substituting for IV.

.begin verbatim

Example 17
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	Likewise, the VII%4F7%1 may gain something of the subdominant
function when it moves from its 3rd inversion to the root position of
the dominant or tonic.

.begin verbatim

Example 18
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	Another important substitution for the dominant function is
the tonic %4A%1 chord.  This usually is heard as an abbreviation
of the conventional formula, I%4A%1-V.  Quite often a composer will
bring the music to the I%4A%1 chord, but head off in another
direction before taking the time for the resolution to the V.  The best
example of this comes at the beginning of the Classic concerto
cadenza.  In some rare instances the music will continue directly to the tonic
in root position or 1st inversion.  (See next example.)