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	It will be seen that any degree of either a major or minor
scale may be tonicized.  Usually the new tonics will be major or
minor depending on the normal forms of the various triads in the
original tonic.  When the original key is major, II, III and VI
will most often be tonicized as minor keys, while IV and V will
be major.  VII will rarely be tonicized, since it presents a
diminished chord in the home key.  (The chord built on the
leading tone of C major is B, D, F%4N%1.)  On the other
hand, VII frequently appears as a tonic goal when the first key
is minor.  (The chord built on the seventh tone of the c minor
scale is B%4F%1, D, F.)  With a minor scale we have III, VI,
and VII forming major tonics, and IV and V minor tonics.  Since the
chord on the second degree of the minor scale is normally diminished,
II now becomes rare as a tonic, whereas the major tonic on %4F%1II,
the Phrygian second, is often used.  (See Beethoven, %2Sonata #23 in f%1,
Op.57, opening bars; %2Sonata #29 in B%4F%1, Op.106, third movement.)
In actual practice, especially in the music of the 19th century, the
major and minor elements are freely interchangeable.

 
	%2From this point on, the distinction between major and
minor tonics in the upper two levels of an analysis will be indicated
by the use of upper and lower case Roman numerals respectively%1.  The
functions %2within%1 the tonics (the lowest level of an analysis) will
continue to be shown by upper case numerals.  Non-functional alterations,
such as the "tierce de Picardie" (I%4S3%1 in the minor), may be shown in
the usual fashion.

 
	However, when a temporary tonic appears as major after the
preceding music leads one to expect a minor tonic, certain problems
are sometimes raised.  Often such chords are experienced as dominant
functions to chords more closely related to the scale of the
original key, as in bar 8 following (see also Chapter V).
 
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.BEGIN VERBATIM
Example 46.  Schubert, Meeres Stille, Op.3, #2
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.BEGIN VERBATIM

Figure 46
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	On the next page is a complete table of indications for the possible
temporary tonics that might be found in %2direct%1 relation to a basic
tonic of ↓_C_↓ major.  Change the appropriate accidentals when dealing
with other basic tonics.
 
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Figure 47
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	Group 1 lists the tonic chords available from the resources
of the unaltered ↓_C_↓ scale.  The second group includes tonic chords
that are available as the result of flatting any of the original
scale degrees except the 1st, 4th and 5th; hence, ↓_c_↓ minor.  (The
%4F%1vii, ↓_b_↓%4F%1, as a tonic is rare, but see the opening of Mozart's
%2Quartet in C%1, K.465.)  Group 3 is set apart because it includes the
less common temporary tonics, all of which involve either flatting or
sharping of the 1st, 4th or 5th of the original scale in order to
produce the new tonic chord.  These chords, even when surely approached
as tonics, often prove to be working as dominant or subdominant 
(see the tonicization of iii following) from the
largest point of view.$$This type of progression will be treated somewhat
differently in the section on added levels of tonicization in Chapter V.$
.BEGIN VERBATIM

Example 48
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