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.fill indent 6
	Following is the well-known introduction to the second movement
of Dvorak's %2New World Symphony%1.  The notation here differs
enharmonically from the original.
.BEGIN VERBATIM

Example and Figure 71
.END
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	Even though the movement proper is in ↓_D_↓%4F%1, the key at the 
beginning, as listed on the highest level, is ↓_E_↓.  This represents a
continuation of the ↓_e_↓ of the first movement.  The tritone relation 
between two major chords (E and B%4F%1) is usually heard as V-%4F%1II or
vice versa, the former being used in this case because of the positions
of the two chords,  V%4H%1-%4F%1II%46%1, and because of the subsequent harmonic
developments.  By the time we reach the third measure we are sure that
the E chord was working as a dominant to ↓_A_↓.

.BEGIN VERBATIM

Example 72a
.END
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.fill indent 6



	However, the D%4F%1 chord which broke the continuity is most simply
heard as dominant to ↓_A_↓'s sixth degree, ↓_f_↓%4S%1.  It must be noted that the 
absence of emphasis in the first two bars makes immediate recognition of
the functions of all but the first tonic ↓_E_↓ very difficult.  Until more
is heard any chord may be dominant, subdominant, or tonic, etc.  When
the phrase is complete -- and thus has developed points of emphasis -- these
distantly related chords are retrospectively assigned functions in terms
of the end results.  The f%4S%1 chord serves as VI to ↓_A_↓ (Example 72a);
↓_f_↓%4S%1 is tonicized by the progression from the fourth to the sixth chord
(Example 72c); and the f%4S%1 chord is IV%4FF3%1 (g%4F%1) to ↓_D_↓%4F%1 (Example 72b).
↓_A_↓ has been tonicized by the first three chords, but the A chord also 
serves as %4FF%1VI (B%4FF%1) to ↓_D_↓%4F%1 (Example 72b).

.BEGIN VERBATIM

Example 72b
            







Example 72c
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	The later appearances of this material in the movement are
somewhat simpler because they both begin and end in ↓_D_↓%4F%1.

.begin verbatim

Example and Figure 73
.end
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	In the twentieth of Beethoven's %2Diabelli Variations%1, Op.120,
the listener is frequently kept in doubt as to whether or not the
chromaticism is functional.  The slow, regular rhythm and the constant
use of free imitation makes it difficult to specify a functional or
non-functional role for every note.  Notes such as the C%4S%1 of bar 4,
which had virtually no functional significance earlier in the work
(see Variation I, bars 4 and 6), now share equal status, timewise,
with some of the most clearly functional notes.  Another factor which
creates doubt is the occasional use of notes in the upper voices
which may have double significance as both dissonant pedal points and
true chord tones (see bars 5, 7, etc.).  The voice leading is
extremely carefully worked out -- every chromatic change has its
logical linear result.  However, the harmonic implications of the
combinations of the lines may be experienced on their own plane.  Of
course, it must never be forgotten that particular harmonic functions
never have a real existence apart from the total music which produces
them.  The alternating functions in this variation certainly grow
out of a mode of thought that considers all musical factors
simultaneously.