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Example 19.  Beethoven, Sonata in d, Op.31,#2, first movement.
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	The case of the III chord of the major implying the V%4Z%1 or
I%47%1 presents a somewhat different problem.  In completely diatonic
situations the III chord seems "stronger" than only the VII.
Probably this is partly due to the identification of its root and 3rd
with the I chord and its 3rd and 5th with the V chord.  The existence
of this triad as a true III function (i.e., not as a substitute
for V or I) is fairly rare outside of sequential patterns with 4th or
5th related roots (see Example 12).  When the root of III, appearing
in a melodic role, moves to I, III frequently carries a
dominant function.

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Example 20
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	The III as a substitute continuation of I is sometimes found
in the I-III-IV progression.
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Examples 21a, 21b
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	In Examples 21a and 21b the functions involved are clearly
similar, since the B sounds as a passing note, en route to A, in both
cases.  However, with the same upper parts and a new bass line
(Examples 22a and 22b) the substitute character of the III tends
to disappear.  Now, due to the strength of the 5th descent in the
bass, three functions might be heard instead of two.  The  tied-over C
can be heard as a suspension with the following B as its resolution.
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Examples 22a, 22b
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	The very special effect of the %2ascending%1 3rd progression
may be seen as an occasional characteristic of Brahms' work.
.BEGIN VERBATIM

Example 23.  Brahms, Romance, Op.118,#5
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	Any two-note  chord  (or  even  a  single  note)  can  be  a
substitute function whose numeral designation depends entirely on the
context.  In two-part tonal counterpoint the clearly  implied  roots
of  chords  are  very  often omitted.  When doubt does arise in such
music,  usually  the  analysis  which  shows   the   simplest,   most
conventional  progression,  or  one  which  is part of an established
pattern or sequence, is the right one.
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Example 24
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	Quite subtle is the relationship between II, especially
II%4B%1, and IV.  It is clear that when the II in root
position moves to V its function will not be confused with that
of IV.  However, in cadential formulas the sense of II%4B%1 or II%46%1
is certainly heard as subdominant -- with the root of II being heard
usually as an anticipation, added 6th, or passing tone.