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00200	.NEXT PAGE	
00300	
00310	.FILL INDENT 12
00400		Figure 70b shows the implications of the various altered chords.
00500	The diminished chord at bar 13 is shown as ↓_d_↓: Vs of V (A%4F%1=G%4S%1) simply
00600	because of its being in a position analogous to that of the first 
00700	diminished chord, bar 4.  Bar 13 has, of course, at the same time the 
00800	role of Vs of ↓_C_↓.  This is demonstrated by the indications below the
00900	second analysis.  Thereby the symmetry of the first and second
01000	phrases is clearly shown.  At (*) three functions are given for the
01100	d minor harmony.  They represent, 1) its relation to the previous
01200	function, 2) its present function, as defined by a new statement of
01300	the main motive, and 3) its relation to the following function. Such
01400	triple indications should be used sparingly, since they could easily
01500	obscure the most important elements of a progression.
01600	
01700		Perhaps Schubert wished to prove that these altered chords
01800	could have harmonic functions, since his %2varied%1 restatement of the
01900	opening gives the following progression.
02000	
02100	.begin verbatim
02200	
02300	Example 71.  Schubert, Quintet in C, Op.163 
02400	             (Reduction of bars 33-46)
02500	
02600	
02700	
02800	
02900	
03000	
03100	Figure 71
03200	.end
03300	.CENTER
03400	%6⊂⊗⊃L[α%00,α%-2.00](17,22):N71X.PLT[C6,LCS]⊂⊗⊃%1
03500	
03600	
03800	.SKIP 2
03900	.FILL INDENT 12
04000	
04100		Now, the first diminished chord is certainly working as a
04200	tonicizing agent to ↓_G_↓.  The three chords found in measures 40 to 44
04300	give the effect of a deceptive progression in ↓_a_↓, the final chord
04400	of the group being also subdominant in terms of what follows.  Note
04500	that no pivotal tonic is used when the control tonic returns to ↓_I_↓.
04600	It is felt that the time spent under the control tonic of ↓_ii_↓ (↓_d_↓) is
04700	of such relatively brief duration that C could scarcely be heard as
04800	a tonicized VII.  However, some other piece with a different
04900	%2presentation%1 of a similar progression might be analyzed rather
05000	differently.
05100	
05200	
05300		In the %2March to the Scaffold%1 from Berlioz' %2Fantastic Symphony%1
05400	occurs a passage that has puzzled many musicians.  Its dramatic effect
05500	is highly dynamic and specific, but its musical justification has been
05600	difficult.  The problem arises from the alternation of the tonic ↓_g_↓
05700	minor harmony and the D%4F%1 chord.  It might seem that the closest link
05800	between these tritone-related minor and major chords would be found at
05900	the fourth above the tonic, or ↓_c_↓ minor.  Thus the relationship could
06000	be shown:
06100	.BEGIN VERBATIM
06200	
06300	Figure 72
06400	.END
06500	
06600	.CENTER
06700	%6⊂⊗⊃L[α%0,α%-1.8](17,22):N72F.PLT[C6,LCS]⊂⊗⊃%1
06800	.SKIP 2
06900	
07000	
07100	.FILL INDENT 12
07200		However, the composer does not seem to take this view of the
07300	relationship (nor does he treat D%4F%1 in this manner when it appears a
07400	few moments earlier).  The alternation of chords continues until D%4F%1
07500	is almost heard as a new and functionally unrelated tonic.  But, as the 
07600	drive of the passage subsides, it progresses to E%4F%17 and thence to a
07700	tutti chord, at which time the previous happenings may be reassessed.
07800	The analysis following the example represents the %2result%1 of this
07900	reassessment.  There is inadequate basis for choice until the end
08000	of the passage.