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.SKIP 2
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CHAPTER III
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.CENTER			
	SIMPLE SECONDARY FUNCTIONS
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.BEGIN VERBATIM

Functional and Non-Functional Chromaticism
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	The first F%4S%1, as the lower neighbor to G is non-functionally
altered; but when F%4S%1 appears as part of a descending scale, then F%4N%1 loses
its tonic potential and the enharmonic spelling of the C%47%1 chord becomes
justified even before the B chord is heard.  By altering this scale note,
Mozart causes V of ↓_F_↓ to take on new meaning as an augmented sixth
chord in ↓_e_↓.  The dominant function of the final B is clear.

 
	No matter how brief the occurrence of functional chromaticism,
the implication is that a new tonic is being approached.  When this
occurs on a much larger scale, establishing one of the important
sections of a piece, we say that %2modulation%1 has taken place; but
when this kind of chromaticism leads only to a temporary tonic,
serving to strengthen it in relation to the main tonic, we say that
%2tonicization%1 has taken place.  Tonicization covers a very wide
range of situations.  It is by this process that great harmonic variety
within general tonal unity is possible.  It must be emphasized, however,
that no distinctions concerning tonicization (since the problem of harmony
versus counterpoint is often involved) can ever be taken as strict rules.
In the following examples the frequent conflict between functional and
non-functional chromaticism is presented.  In these cases the end result is to
strengthen the dominant and yet maintain its supporting role in
relation to the tonic.  The same process may also appear with regard
to the chords on other scale degrees.