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.begin verbatim

Figure 82b

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.CENTER
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.skip 8

.CENTER		        
_______________
.FILL INDENT 6

	A great extension of the situation just discussed is found in
Schubert's %2Quintet in C%1, Op.163, first movement.  The full exposition
clearly ends in ↓_G_↓ (followed by a single transitional 7th chord), but
the first key heard in the exposition's second group is ↓_E%4F_↓%1.  The second
group is preceded by an eleven-bar passage over a G pedal note.
Because of the absence of any simple V-I progression in ↓_G_↓ in these 
eleven bars, G manages to maintain its role as dominant to the basic
tonic of ↓_C_↓.  It would be quite normal for the music to continue at 
this point with ↓_G_↓ being heard immediately in both the roles of control
tonic and basic tonic.  However, when the second 'cello descends
chromatically from G at bar 59, we may well expect the goal to be a
C chord rather than the Eb chord, since the last heard G chord still
had a dominant quality relative to the control tonic ↓_C_↓.  (↓_G_↓ had
been tonicized, but only as the fifth degree of ↓_C_↓.  Even the eleven-bar
prolongation of ↓_G_↓ fails to give it the status of a control tonic.)

         Once ↓_E%4F_↓%1 is reached, the total texture leaves no doubt that
we are in an entirely new realm.  The next tonal movements again
raise a question regarding the location of the control tonic.  ↓_C_↓, as
the tonic VI of ↓_E%4F_↓%1, is touched upon at bar 71, and once more ↓_G_↓ sounds
as a tonic at bar 79 -- but still mainly as a secondary element.  The
whole process is repeated and then finally, at bar 100, ↓_G_↓ assumes a
primary tonic role.  Nevertheless, the whole second section of the
exposition may be analyzed under a single basic tonic, because the
unified character of the thematic material gives the ↓_G_↓ goal of all the
harmonic movement of the section strong predominance.  The upper levels
of a condensed analysis of this music follow.

.BEGIN VERBATIM

Figure 83.  Schubert, String Quintet in C, Op.163 
				      first movement.

.END
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.FILL INDENT 6

	The important thing in an analysis is to show indications
which parallel the actual progress of the music, not only on the
small, or point-to-point level, but also on the structurally higher
section-to-section level.  In the diagram above, when ↓_E%4F_↓%1 first appears
it is directly related to ↓_C_↓ as %4F%1III.  The new thematic material,
however, gives ↓_E%4F_↓%1 a stronger role as the %4F%1VI relation to ↓_G_↓.  It is
true that there is no way of knowing this on first hearing.  The
large structure of a work is fully grasped only upon reflection after
the music is ended.  This in no way undermines the affective quality
of harmonic "surprises" during subsequent hearings, whether they be
found in the functional details or in the movements of the tonics.
On the contrary, the %2affect%1 of the music can only begin to be fully
appreciated when the relationship of all the parts to the whole is
sensed -- even if only intuitively.