/LMAR=0/XLINE=10/FONT#0=METL/FONT#1=METLI/FONT#2=METS/FONT#3=MUS[HHA,LCS]/FONT#4=MUZ[HHA,LCS]/FONT#5=BASL35
␈↓ α∧␈↓␈↓ ε↔73␈↓ 
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␈↓"β␈↓ α∧␈↓Example and Figure 67.  Schubert, String Quintet in C, Op.163
␈↓"β␈↓ α∧␈↓                (Reduction of measures 1-26.)
␈↓"β␈↓ α∧␈↓␈↓ β[␈↓¬⊂⊗⊃L[%-.07,%-3.66]:67X.PLT[HHA,LCS]⊂⊗⊃␈↓

















␈↓"β␈↓ α∧␈↓␈↓ αdComplete␈αdiminished␈α7th␈αchords␈α(at␈αbars␈α4␈αand␈α13)␈αare␈αoften
␈↓ α∧␈↓used␈α
non-functionally,␈αas␈α
multiple␈αneighboring␈α
notes.␈α Taking␈α
this
␈↓ α∧␈↓point␈α∩of␈α∩view,␈α∩Figure␈α∩67a␈α∩treats␈α∩most␈α∩of␈α∩the␈α∩altered␈α∩chords␈α∩as
␈↓ α∧␈↓purely␈αcontrapuntal.␈α Thus␈αthe␈αharmonic␈αmovement␈αremains␈αquite
␈↓ α∧␈↓simple␈α∩and␈α∩without␈α∪any␈α∩new␈α∩tonicization␈α∪until␈α∩the␈α∩end␈α∪of␈α∩the
␈↓ α∧␈↓excerpt.␈α∪ This␈α∪is␈α∪very␈α∪likely␈α∪the␈α∪way␈α∪the␈α∪music␈α∪is␈α∀heard␈α∪(and
␈↓ α∧␈↓intended to be heard).

␈↓"β␈↓ α∧␈↓␈↓ αdAs␈α∩we␈α∪come␈α∩to␈α∪know␈α∩the␈α∩piece␈α∪rather␈α∩well,␈α∪especially␈α∩as
␈↓ α∧␈↓regards␈α
the␈αvioloncellos'␈α
repetition␈αof␈α
the␈α
opening␈αtheme␈α
at␈αbar␈α
33
␈↓ α∧␈↓(see␈α
Example␈α
68),␈αwe␈α
may␈α
feel␈α
that␈αthe␈α
various␈α
altered␈α
chords␈αin
␈↓ α∧␈↓the␈α≥first␈α≥part␈α≥also␈α≡carry␈α≥a␈α≥potential␈α≥of␈α≡having␈α≥functional
␈↓ α∧␈↓implications.␈α~ Any␈α~given␈α≠listener␈α~may␈α~not␈α~always␈α≠hear␈α~this
␈↓ α∧␈↓example␈αin␈αthe␈αsame,␈αeven␈αif␈αhe␈αhas␈αmemorized␈αit.␈α While␈αthe␈αmain
␈↓ α∧␈↓purpose␈αof␈αour␈αanalyses␈αis␈αto␈αshow␈αhow␈αthe␈αharmony␈αof␈αa␈αpiece␈αis
␈↓ α∧␈↓most␈α∂simply␈α∞heard,␈α∂we␈α∞should␈α∂also␈α∞try␈α∂to␈α∞provide␈α∂for␈α∂other,␈α∞less
␈↓ α∧␈↓simple possibilities that may be inherent in the music.
␈↓ α∧␈↓␈↓ ε↔74␈↓ 
T


␈↓"β␈↓ α∧␈↓␈↓ αdFigure␈α∩67b␈α∩shows␈α∪the␈α∩implications␈α∩of␈α∩the␈α∪various␈α∩altered
␈↓ α∧␈↓chords.␈α⊂ The␈α⊂diminished␈α⊃chord␈α⊂at␈α⊂bar␈α⊃13␈α⊂is␈α⊂shown␈α⊃as␈α⊂␈↓&d␈↓)αβ:␈α⊂Vs␈α⊃of␈α⊂V
␈↓ α∧␈↓(A␈↓βF␈↓=G␈↓βS␈↓)␈αsimply␈αbecause␈αof␈αits␈αbeing␈αin␈αa␈αposition␈αanalogous␈αto␈αthat
␈↓ α∧␈↓of␈α
the␈αfirst␈α
diminished␈α
chord,␈αbar␈α
4.␈α Bar␈α
13␈α
has,␈αof␈α
course,␈α
at␈αthe
␈↓ α∧␈↓same␈α⊗time␈α↔the␈α⊗role␈α⊗of␈α↔Vs␈α⊗of␈α⊗␈↓&C␈↓)αβ.␈α↔ This␈α⊗is␈α⊗demonstrated␈α↔by␈α⊗the
␈↓ α∧␈↓indications␈α∞below␈α
the␈α∞second␈α∞analysis.␈α
 Thereby␈α∞the␈α∞symmetry␈α
of
␈↓ α∧␈↓the␈α_first␈α↔and␈α_second␈α_phrases␈α↔is␈α_clearly␈α↔shown.␈α_ At␈α_(*)␈α↔three
␈↓ α∧␈↓functions␈αare␈αgiven␈αfor␈αthe␈αd␈αminor␈αharmony.␈α They␈αrepresent,␈α1)
␈↓ α∧␈↓its␈α⊂relation␈α⊂to␈α∂the␈α⊂previous␈α⊂function,␈α∂2)␈α⊂its␈α⊂present␈α⊂function,␈α∂as
␈↓ α∧␈↓defined␈α
by␈α
a␈α
new␈α
statement␈α
of␈α
the␈α
main␈α
motive,␈α
and␈α
3)␈αits␈α
relation
␈↓ α∧␈↓to␈α∞the␈α
following␈α∞function.␈α
Such␈α∞triple␈α
indications␈α∞should␈α∞be␈α
used
␈↓ α∧␈↓sparingly,␈α∃since␈α∀they␈α∃could␈α∀easily␈α∃obscure␈α∀the␈α∃most␈α∀important
␈↓ α∧␈↓elements of a progression.

␈↓"β␈↓ α∧␈↓␈↓ αdPerhaps␈α
Schubert␈αwished␈α
to␈αprove␈α
that␈αthese␈α
altered␈αchords
␈↓ α∧␈↓could␈α∩have␈α⊃harmonic␈α∩functions,␈α⊃since␈α∩his␈α⊃␈↓&varied␈↓)αβ␈α∩restatement␈α⊃of
␈↓ α∧␈↓the opening gives the following progression.
␈↓"β
␈↓"β␈↓ α∧␈↓Example 68.  Schubert, Quintet in C, Op.163 
␈↓"β␈↓ α∧␈↓             (Reduction of bars 33-46)
␈↓"β
␈↓"β
␈↓"β
␈↓"β
␈↓"β
␈↓"β
␈↓"β␈↓ α∧␈↓Figure 68
␈↓"β␈↓ α∧␈↓␈↓ βg␈↓¬⊂⊗⊃L[%00,%-1.00]:68X.PLT[HHA,LCS]⊂⊗⊃␈↓






␈↓"β␈↓ α∧␈↓␈↓ αdNow,␈α⊂the␈α⊂first␈α⊂diminished␈α⊂chord␈α⊂is␈α⊂certainly␈α⊂working␈α⊂as␈α∂a
␈↓ α∧␈↓tonicizing␈α∞agent␈α∞to␈α∞␈↓&G␈↓)αβ.␈α∞ The␈α∂three␈α∞chords␈α∞found␈α∞in␈α∞measures␈α∂40␈α∞to
␈↓ α∧␈↓44␈αgive␈α
the␈αeffect␈α
of␈αa␈αdeceptive␈α
progression␈αin␈α
␈↓&a␈↓)αβ,␈αthe␈α
final␈αchord
␈↓ α∧␈↓of␈α⊃the␈α⊂group␈α⊃being␈α⊂also␈α⊃subdominant␈α⊂in␈α⊃terms␈α⊂of␈α⊃what␈α⊂follows.
␈↓ α∧␈↓␈↓ ε↔75␈↓ 
T


␈↓"β␈↓ α∧␈↓Note␈αthat␈αno␈αpivotal␈αtonic␈α
is␈αused␈αwhen␈αthe␈αcontrol␈α
tonic␈αreturns
␈↓ α∧␈↓to␈α␈↓&I␈↓)αβ.␈α It␈αis␈αfelt␈αthat␈αthe␈αtime␈αspent␈αunder␈αthe␈αcontrol␈αtonic␈αof␈α␈↓&ii␈↓)αβ␈α(␈↓&d␈↓)αβ)
␈↓ α∧␈↓is␈αof␈αsuch␈αrelatively␈αbrief␈αduration␈αthat␈αC␈αcould␈αscarcely␈αbe␈αheard
␈↓ α∧␈↓as␈α⊃a␈α⊃tonicized␈α⊃VII.␈α⊃ However,␈α⊃some␈α⊃other␈α⊃piece␈α⊃with␈α∩a␈α⊃different
␈↓ α∧␈↓␈↓↓presentation␈↓␈α∩of␈α∩a␈α∩similar␈α∩progression␈α∩might␈α∩be␈α∪analyzed␈α∩rather
␈↓ α∧␈↓differently.

␈↓"β␈↓ α∧␈↓␈↓ αdIn␈α≤the␈α≠␈↓↓March␈α≤to␈α≠the␈α≤Scaffold␈↓␈α≠from␈α≤Berlioz'␈α≠␈↓↓Fantastic
␈↓ α∧␈↓↓Symphony␈↓␈α
occurs␈α
a␈αpassage␈α
that␈α
has␈αpuzzled␈α
many␈α
musicians.␈α Its
␈↓ α∧␈↓dramatic␈α∪effect␈α∩is␈α∪highly␈α∩dynamic␈α∪and␈α∩specific,␈α∪but␈α∪its␈α∩musical
␈↓ α∧␈↓justification␈α↔has␈α_been␈α↔difficult.␈α↔ The␈α_problem␈α↔arises␈α_from␈α↔the
␈↓ α∧␈↓alternation␈α⊃of␈α⊃the␈α⊂tonic␈α⊃␈↓&g␈↓)αβ␈α⊃minor␈α⊃harmony␈α⊂and␈α⊃the␈α⊃D␈↓βF␈↓␈α⊃chord.␈α⊂ It
␈↓ α∧␈↓might␈α∩seem␈α∪that␈α∩the␈α∩closest␈α∪link␈α∩between␈α∪these␈α∩tritone-related
␈↓ α∧␈↓minor␈α∞and␈α
major␈α∞chords␈α∞would␈α
be␈α∞found␈α∞at␈α
the␈α∞fourth␈α∞above␈α
the
␈↓ α∧␈↓tonic, or ␈↓&c␈↓)αβ minor.  Thus the relationship could be shown:
␈↓"β
␈↓"β␈↓ α∧␈↓Figure 69
␈↓"β␈↓ α∧␈↓␈↓ ∧∧␈↓¬⊂⊗⊃L[%0,%-.9]:69F.PLT[HHA,LCS]⊂⊗⊃␈↓





␈↓"β␈↓ α∧␈↓␈↓ αdHowever,␈α∞the␈α∞composer␈α∞does␈α∂not␈α∞seem␈α∞to␈α∞take␈α∞this␈α∂view␈α∞of
␈↓ α∧␈↓the␈α∩relationship␈α∪(nor␈α∩does␈α∩he␈α∪treat␈α∩D␈↓βF␈↓␈α∩in␈α∪this␈α∩manner␈α∪when␈α∩it
␈↓ α∧␈↓appears␈α≠a␈α≠few␈α≤moments␈α≠earlier).␈α≠ The␈α≠alternation␈α≤of␈α≠chords
␈↓ α∧␈↓continues␈α∃until␈α∀D␈↓βF␈↓␈α∃is␈α∀almost␈α∃heard␈α∀as␈α∃a␈α∀new␈α∃and␈α∀functionally
␈↓ α∧␈↓unrelated␈α⊗tonic.␈α∃ But,␈α⊗as␈α∃the␈α⊗drive␈α∃of␈α⊗the␈α∃passage␈α⊗subsides,␈α∃it
␈↓ α∧␈↓progresses␈α∞to␈α∞E␈↓βF␈↓7␈α∞and␈α∞thence␈α∂to␈α∞a␈α∞tutti␈α∞chord,␈α∞at␈α∞which␈α∂time␈α∞the
␈↓ α∧␈↓previous␈α∩happenings␈α⊃may␈α∩be␈α⊃reassessed.␈α∩ The␈α∩analysis␈α⊃following
␈↓ α∧␈↓the␈α∂example␈α⊂represents␈α∂the␈α⊂␈↓↓result␈↓␈α∂of␈α⊂this␈α∂reassessment.␈α⊂ There␈α∂is
␈↓ α∧␈↓inadequate basis for choice until the end of the passage.