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.FILL INDENT 12
	In measure 1, the A major %4A%1 chord is probably best called
a Vs -- although such substitute functions cannot be assumed
as surely here as with earlier music.  The F%4S%1 may be taken to
change the function or it may be taken as an added sixth, a "frozen"
accessory tone.  In older music, the effect of the added sixth 
appears often with non-tonic chords (e.g., II%4B%1=IV+6, VII%4B%1=II+6,
III%4B%1=V+6 or V%4Z%1, etc.), but it is not until the late 
19th century that the %2tonic%1 with the added sixth is used as a
relatively stable chord.  A similar problem occurs with the E (major
or minor?) chord in bar 11.

	The functions of detail (there are several possible
interpretations) in bars 1 and 2 seem weak in comparison to the
slower, main harmonic movements, and so are placed in parentheses.
In bar 2 the possible (even probable) dominant or G6 function
of the chord is not immediately realized, so the C%4N%1 may be
heard as the lower neighboring note to C%4S%1 (see also page 54).
There is no sure way of ascertaining the functions in bars 5 and 6.
The A%4F%1-D%4F%1 progression may be heard as ↓_D%4F_↓%1: V-I
almost as easily as ↓_A%4F_↓%1: I-IV.  This latter intrepretation
seems best, however, since ↓_A%4F_↓%1 is closer to ↓_E%4F_↓%1, the
altered dominant of which appears in bars 4 and 7.  The cadence from
bar 7 to bar 8 (and at the end) is reminiscent of that noted in
Schubert's %2Piano Sonata in A%1  (see page 51).  The tendency
toward the subdominant is unmistakable, although in a texture as 
rich as Schoenberg's, the presence of a lowered seventh in a tonic
(or any other) chord does not necessarily influence its function.
(This is just one more bit of ambiguity.)  However, the subdominant
tendency is also an important element in the over-all design of the
entire work; the first of the largest formal units opens in ↓_E_↓,
moves finally to ↓_A_↓, and then closes there.  (It is curious to note
that this same interval relationship plays an important part in
Schoenberg's twelve-tone works.)

	The designation of temporary tonics in bars 9 to 11 is highly
arbitrary.  The highest melodic line seems to have a ↓_d_↓ 
quality, but the other voices form harmonies, most of which are only
indirectly related to ↓_d_↓.  Perhaps a main source of ambiguity
in this fragment is the large number of whole-tone-potential chords
(marked with a circled x in the analysis).  They all can be derived from the same
whole-tone scale and thus are all possible dominant functions to
↓_A_↓ ... or ↓_B_↓ (or could they be augmented sixth chords in
↓_D_↓?)  However, because of their vertical positions, some of the
forms of this whole-tone chord can be heard quite readily as dominants
of ↓_E%4F_↓%1 or ↓_G_↓.  After listening to the example several
times, it is possible to hear as an important relationship the 
movement of ↓_A_↓-↓_E%4F%1_↓-↓_A_↓, wherein the ↓_E%4F%1_↓
is the %4F%1II of ↓_D_↓; or in functional terms:
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In bar 4 the dominant of ↓_E%4F_↓%1 (or is it A6 of ↓_D_↓?)
grows out of ↓_f%4S_↓%1 (or is the melodic D%4S%1 more than an added
sixth?), but the melodic line in the following bars emphasizes the
↓_D_↓-↓_A_↓ relationship almost in spite of the harmony.

.FILL INDENT 12

	It is significant that ↓_E%4F_↓%1 somehow seems linked with ↓_D_↓ in
this excerpt.  As pointed out earlier, a direct tritone relationship
between two tonics is difficult to achieve in any functional sense (see
page 46).  In order to bring about this relationship, even indirectly, a
rather complex texture is necessary.  (Conversely, the simplest way to
ensure "atonality" is through the liberal use of tritones.)  However, as
the texture increases in complexity, the relative value of tonal functions
in the music decreases and what was a %2means%1 (the context) of 
clarifying and elaborating the functions becomes an %2end%1 (replacing
tonality).

	While it is true that there is much 20th-century music in the
new idiom which uses chords built on thirds and which even has an 
occasional functional progression, it is generally worse than useless
to analyze this music from a tonal point of view.  Almost any
relationships can be gleaned from any such music, but how valuable
are answers (even right ones) when the questions are wrong?  Even
music such as that of the Schoenberg example might better be analyzed
in contextual terms -- a basic element of the context being ambiguous
tonal references based on chords whose specific constitution is
frequently unclear.  Procedures for the analysis of contextual music will
not likely become fully developed until composers have finally explored,
in their intuitive manner, all the most fruitful potentials of this
basis of organization.  However, in the tonal music which stylistically
precedes the 20th century, the application of the principles of analysis 
here set forth should give the musician a clear understanding of the
harmonic role of each sound structure in the musical continuum.  The
primary purpose of this study is to increase the awareness of just what
particular progressions within the tonal conventions produce what
%2musical%1 effects on the individual.  It must again be emphasized
that tonal music is made up of a great deal more than harmony alone,
but all else is essentially rhythmic and melodic elaboration of the
functional harmonic relationships.  It is mainly by means of the
great variety and subtlety of these relationships that this music is
able to express such a wide range of human emotions.
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Exercises for Chapter XI.


	Analyze the following works.  Show alternatives in     
	ambiguous passages.

	1.  Chausson,  L'Aveu (Song), Op.13,#3

	2.  Franck,  String Quartet, Introduction to
					first movement.

	3.  Debussy,  L'Apres-midi d'un faune
		(This could be made into several projects.)

	4.  Debussy,  Preludes, Book I, #IV
			     (... "Les sons ... du soir")

	5.  Ravel,  Valses nobles et sentimentales,
					#VIII (Epilogue)

	6.  Strauss,  Fruehlingsfeier (Song), Op.56,#5

	7.  Berg,  Dem Schmerz sein Recht (Song), Op.2,#1

	8.  Schoenberg,  Verklaerte Nacht, from 5 bars before P
				('cello melody) to 1 bar before R.

	9.  Scriabin,  Poeme, Op.69,#1