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00100	.PAGE←43
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00300	.FILL INDENT 12
00400		It will be seen that any degree of either a major or minor
00500	scale may be tonicized.  Usually the new tonics will be major or
00600	minor depending on the normal forms of the various triads in the
00700	original tonic.  When the original key is major, II, III and VI
00800	will most often be tonicized as minor keys, while IV and V will
00900	be major.  VII will rarely be tonicized, since it presents a
01000	diminished chord in the home key.  (The chord built on the
01100	leading tone of C major is B, D, F%4N%1.)  On the other
01200	hand, VII frequently appears as a tonic goal when the first key
01300	is minor.  (The chord built on the seventh tone of the c minor
01400	scale is B%4F%1, D, F.)  With a minor scale we have III, VI,
01500	and VII forming major tonics, and IV and V minor tonics.  Since the
01600	chord on the second degree of the minor scale is normally diminished,
01700	II now becomes rare as a tonic, whereas the major tonic on %4F%1II,
01800	the Phrygian second, is often used.  (See Beethoven, %2Sonata #23 in f%1,
01900	Op.57, opening bars; %2Sonata #29 in B%4F%1, Op.106, third movement.)
02000	In actual practice, especially in the music of the 19th century, the
02100	major and minor elements are freely interchangeable.
02200	
02300	 
02400		%2From this point on, the distinction between major and
02500	minor tonics in the upper two levels of an analysis will be indicated
02600	by the use of upper and lower case Roman numerals respectively%1.  The
02700	functions %2within%1 the tonics (the lowest level of an analysis) will
02800	continue to be shown by upper case numerals.  Non-functional alterations,
02900	such as the "tierce de Picardie" (I%4S3%1 in the minor), may be shown in
03000	the usual fashion.
03100	
03200	 
03300		However, when a temporary tonic appears as major after the
03400	preceding music leads one to expect a minor tonic, certain problems
03500	are sometimes raised.  Often such chords are experienced as dominant
03600	functions to chords more closely related to the scale of the
03700	original key, as in bar 8 following (see also Chapter V).
03800	 
03900	.NEXT PAGE
04000	.BEGIN VERBATIM
04100	Example 46.  Schubert, Meeres Stille, Op.3, #2
04200	.END
04300	.CENTER
04400	%6⊂⊗⊃L[α%0.04,α%-5.88](17,22):XXX46.PLT[C4,LCS]⊂⊗⊃%1
04500	.SKIP 13
04600	 
04700	.BEGIN VERBATIM
04800	
04900	Figure 46
05000	.END
05100	.CENTER
05200	%6⊂⊗⊃L[α%0.00,α%-2.72](17,22):FIG46.PLT[C4,LCS]⊂⊗⊃%1
05300	.SKIP 8
05400	 
05500	.FILL INDENT 12
05600	 
05700		On the next page is a complete table of indications for the possible
05800	temporary tonics that might be found in %2direct%1 relation to a basic
05900	tonic of ↓_C_↓ major.  Change the appropriate accidentals when dealing
06000	with other basic tonics.
06100	 
06200	.NEXT PAGE
06300	.BEGIN VERBATIM
06400	Figure 47
06500	.END
06600	.CENTER
06700	%6⊂⊗⊃L[α%0.00,α%-5.24](17,22):FIG47.PLT[C4,LCS]⊂⊗⊃%1
06800	.SKIP 11
06900	.FILL INDENT 12
07000	 
07100		Group 1 lists the tonic chords available from the resources
07200	of the unaltered ↓_C_↓ scale.  The second group includes tonic chords
07300	that are available as the result of flatting any of the original
07400	scale degrees except the 1st, 4th and 5th; hence, ↓_c_↓ minor.  (The
07500	%4F%1vii, ↓_b_↓%4F%1, as a tonic is rare, but see the opening of Mozart's
07600	%2Quartet in C%1, K.465.)  Group 3 is set apart because it includes the
07700	less common temporary tonics, all of which involve either flatting or
07800	sharping of the 1st, 4th or 5th of the original scale in order to
07900	produce the new tonic chord.  These chords, even when surely approached
08000	as tonics, often prove to be working as dominant or subdominant 
08100	(see the tonicization of iii following) from the
08200	largest point of view.$$This type of progression will be treated somewhat
08300	differently in the section on added levels of tonicization in Chapter V.$
08400	.BEGIN VERBATIM
08500	
08600	Example 48
08700	.end
08800	.CENTER
08900	%6⊂⊗⊃L[α%0.00,α%-3.00](17,22):XXX48.PLT[C4,LCS]⊂⊗⊃%1
09000	.skip 6