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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.)

.begin verbatim

Figure 66

Chordal Reduction
.end
.CENTER
%6⊂⊗⊃L[α%-.15,α%-3.6]:66F.PLT[HHA,LCS]⊂⊗⊃%1
.skip 13



.FILL INDENT 6
	Here the control tonic of III (↓_A_↓) has been established.  The
section in ↓_A_↓ is far too brief to warrant the use of the term
"modulation".  In measure 17 the G and the clearly implied C%4S%1 form
a tritone which is most readily heard as dominant to ↓_D_↓.  However,
measure 18 first offers us a 7th chord on B -- this heard as dominant
to ↓_E_↓.  Then follows a d minor chord, the logical result of measure 17.
In measure 19 is heard an E7th chord (over a tonic A pedal) which is
a substitute for the simple tonic expected after the B7th chord.  At
measure 21 things become a little more complex.  The last chord contains
an A%4S%1, which could be interpreted merely as a chromatic passing note,
but which certainly does tend to tonicize the following B (as the
sixth degree, normally a minor tonic, of ↓_D_↓), which then functions as it
did earlier.  At the end of measure 22, the tonic expected after the
A7th chord of four beats back is replaced by the II%5I%1 of ↓_A_↓.

	Since the successive functions in such music sometimes bear
only a secondary relation to each other, very skillful voice leading,
as in the Chopin example, is necessary in order that the progression
remains clear.  From one point of view, there is no doubt at all that
this passage can be interpreted as a chromatic "working out" of the
A chord.
.begin verbatim

Example 66b.  (Reduction of Example 66a.  The doubling of the
		highest part at the octave below is omitted.)
.end
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%6⊂⊗⊃L[α%0,α%-1.9]:66XB.PLT[HHA,LCS]⊂⊗⊃%1
.skip 5




.FILL INDENT 6
	However, the particular form the chromaticism takes in this
Mazurka also gives the unmistakable impression of a series of varied
harmonic functions.
.SKIP 1

	For more examples of chords which have both contrapuntal and
harmonic significance we will turn to the opening of Schubert's
%2Quintet in C%1, Op.163.