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Example 8.  Mozart, Sonata in F, K.189e (280), first movement.
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	It  is  clear  that  A%4F%1-D cannot be the critical tritone, since
the E%4N%1, a whole step above D, rules  out E%4F%1 as tonic.  The context of  the
passage makes it doubtful that A%4F%1 could be interpreted as G%4S%1, because  the
G%4N%1 is a  normal goal  for the  flatted sixth  in C  Major-minor.  No  such
problems come with the interpretation of (G)-F-B-(C) as the tonic-defining
intervals, and so C is  the tonic at that point.   It should be seen  that
there is no reason to indicate the tritone relation between notes such  as
the E and B%4F%1 of measure 18.  The E%4N%1 becomes altered to E%4F%1 and unless there
is some reason to call the E%4F%1  now D%4S%1, there is no tonic-defining  element
present, but rather a move into the minor mode.  The same line of  thought
will apply to the rest of the passage, due to its sequential nature.


	The preceding  discussion  has  been  in  terms of a succession of
tones -- a melodic  line.  The same  things prove to  be true when  dealing
with the interval relations in chord progressions, since chords, in  tonal
music, may be  thought of  as simultaneous vertical  occurrences of  scale
parts.  Every  chord  progression is  inextricably  bound up  with  linear
implications;  chords  grow   out  of  the   verticalization  of   melodic
combinations and melodies  are directed  so as  to serve  the purposes  of
particular chord progressions.  Since music never exists in a static form,
the  linear  impulse  --  the  impulse  to  move  forward  --  is   always
predominant.   However,  early   in  the  history   of  tonal  music   the
relationships of the vertical elements  became so conventional that  their
abstract manifestations were clear to all.  Strike any dominant 7th  chord
before even the  most untrained listeners  and they will  be able to  sing
back the notes  of the expected  tonic chord, but  without any  particular
regard for voice leading between the two chords.  Thus in tonal music  the
simple melodic impulse must share primacy with the impulse of the harmonic
progression.

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.BEGIN VERBATIM

Harmonic Functions
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	Harmonic functions are the basic relationships between the
chords -- the relationships of the %2roots%1.  It is not inferred  that the
roots are to be heard as a kind of imagined bass line.  Nevertheless, the
roots might be called the generating tones of each chord, in that the
relationships of the roots to the tonic note usually give fair representation of
each chord's function.  Chords seem to be less stable -- that is,
they tend to move on to other chords -- when the 3rd, 5th, or 7th appears
in the bass.  In fact, the simple %4A%1 position (with the 5th in the
bass) most often has no independent existence.$$See section on substitute
functions, page 16.$  Usually the upper two
notes of such a chord act as appoggiaturas or neighboring notes to
a following chord.


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Example 9
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