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	In Debussy's %2Prelude II%1, functional tonality plays no more
than a distantly associative role.  All of this work, except for five
pentatonic measures, is based on a single whole-tone scale, used so as
to establish a contextual center of C-E with a low B%4F%1 in support.
.BEGIN VERBATIM

Example 115.  Debussy, Prelude II (...Voiles)
		(first 6 bars, last 2 bars)
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	With Schoenberg the situation is reversed.  Almost all the 
music he wrote in his last forty-five years (1906-1951) is outside the
realm of functional tonality.  But his beginnings were firmly rooted
in the "Wagnerian method",  as evidenced by the example on page 166
from his %2Kammersymphonie%1 (1906), composed when he was a young man.
An entire book could be written on the amazing extension of tonality
found in this piece.  The given example is one of the "simpler" parts
of the work and yet there could be many alternative interpretations
added to the analysis offered. Picking out which of the notes are 
chord tones is frequently problematical (e.g., see bars 10-11 of the
example).
Sometimes the harmony changes before a chord built on thirds can
appear;$$Note also the "fourth" chord at the beginning of the work,
etc.$ at bars 5 and 6 the chords containing unresolved or "frozen"
accessory tones could be explained as 11th chords.  However, there
is so much of this kind of thing that the makeup of the chords is
often obscured.  Example 118 gives a possible chordal condensation
of the music.  Many of the specific decisions in this matter are
arbitrary.  When playing over the music, the ear sometimes seems to
tell you two things at once.  Much of the chromaticism present is in
terms of appoggiaturas and traditional major-minor alterations
(non-functional).  Especially prevalent is chromaticism in terms
of augmenting and diminishing the fifth of dominant-function chords.
This latter situation produces a chord with a whole-tone potential
which has a far greater ambiguity than even the diminished seventh
chord.


.BEGIN VERBATIM

Example 116

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	In fact, when a whole-tone chord is found in highly chromatic
surroundings, the ambiguity is total.  Considered as a doubly
altered dominant ninth chord, any of a whole-tone chord's six notes
can be the root.  Or considered as an extended form of augmented
sixth chord, it may resolve to any of six dominants. 6+6=12!  The
role of chromaticism in a whole-tone chord is left in doubt until
other parts of the progression are heard.  When the progression offers
nothing to clarify this role, then the chord can have no tonal
function.  This point is almost reached in the example under study.