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CHAPTER II
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DIATONIC FUNCTIONS
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.BEGIN VERBATIM

Scales and Tonality
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	A particular tonality is defined by a few essential interval
relations in any succession of tones.  Paradoxically, in the music
here to be dealt with, the tonal center itself is not a note
that need figure in any of the essential intervals.  In fact, an
unheard note on the tonal center may achieve its role through a
kind of musical default, wherein all other possibilities are
ruled out.  First of all it must be realized that in tonal music
the minor mode has no separate existence, but represents merely
a fairly consistently applied group of alterations -- flattings --
of certain parts of the major mode.  These alterable parts of the
major scale are the 7th, 6th, 3rd, and even the 2nd (most often
as the root of the "Neapolitan" chord or as a non-chord auxiliary).
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Example 1
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	The remaining notes, the 5th, 4th and 1st, can never be
altered, as functional tones,$$See page 49 regarding the exception
of the Augmented Sixth Chord.$ without causing at least a tendency
to shift tonal centers.  (It should be noted that chromatically
%2raising%1 any note of the %2major%1 scale causes some tendency to shift tonality.
See following chapters.)  However, the presence of a potential 1st,
4th and 5th may still be tonally inconclusive without
the appearance of the leading tone -- major 7th of the scale.
In minor keys especially, the lowered 7th may often be
heard, but -- in the broadest sense -- almost always as a
descending auxiliary tone.
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Example 2
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	When the %4F%*7th degree appears as a chord tone and is not, in
some sense, passing downward toward the 5th, the tonal center
tends to shift.
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Example 3
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