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.SKIP 2
.CENTER		
CHAPTER VI
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.CENTER			
ALTERNATING PROGRESSIONS AND INDIRECT RELATIONSHIPS
.SKIP 1
.INDENT 6
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.SELECT 1
 
 
	The simplest form of alternating progression is that in which
a particular chord is approached from two points of view with regard 
to its harmonic function.  In most cases there is not the slightest
doubt as to the primary function (usually dominant) of the final chord.

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.BEGIN VERBATIM
Example 65







Figure 65





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.FILL INDENT 6

	Here the delayed resolution of the D7th chord to %2its%1 tonic, ↓_G_↓,
may be shown as above.  The primarily dominant function of the G chord 
is ensured by the immediately preceding subdominant (II%5H%1)
function.  Thus the G major chord is tonicized by the second chord and
"dominantized" by the third chord, the last relationship in the
series being the most influential.  Here, once more, the voice-leading
or contrapuntal element becomes relevant and, from a broad point of
view, the bass notes F%4S%1, A%4F%1, and G form a kind of cambiata figure
which minimizes the effect of the D7th chord as a dominant.$$Many
books on harmony would call this D7 chord simply II%4S3%1.  This seems like
an oversimplification.  A dividing line must be drawn somewhere in these
matters; in this book the sharped 4th and 5th degrees of the scale will only
be admitted as "functional" when they are part of augmented sixth or
augmented fifth chords.$  In detail,
however, the above example %2does%1 offer us the musical effect
indicated by the analysis.

	Similar progressions occur in the Mazurka No.38, Op.59,#3,
of Chopin (measures 16-24):

.begin verbatim

Example 66a
.end
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.FILL INDENT 6

	As the progressions under study become more complex, the
following method for clarifying the relationships may be used.  The
horizontal bars connecting various parts of the Chordal Reduction
serve the purpose of showing which of the harmonies may be directly
related to one another.  %2On any given level, the horizontal bar
connects  chords which all serve the same temporary tonic%1.  It
should be noted that sometimes a chord of substitute function will
be found on a given tonic's bar even though the chord is at the same
time more clearly related to another tonic.  These Chordal Reductions
are not to be confused with the diagrams outlining Tonic Guide Tones.
Tonic Guide Tones will be used solely as a means of clarifying
relationships among the %2tonics%1 involved in any progression.  (See page 55.)