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.FILL INDENT 12
 
	In the next example the feeling of the dominant of ↓_F_↓
is clear until the last second.
 
.BEGIN VERBATIM
 
Example 33.  Mozart, Sonata in a, K.300d(310)
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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 C7 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.  However, it must be emphasized that,
since the problem of harmony versus counterpoint is often involved, no
strict rules concerning tonicization can ever be established.
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.
 
 
.BEGIN VERBATIM
 
Example 34.  Haydn, Sonata in E, (Edition Peters, #40)
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	Here the A%4S%1 in the bass is a chromatic passing tone between
the 4th and 5th degrees of ↓_E_↓.  The conflict with the A%4N%1 above it
intensifies the non-functional role of the alteration.  Situations
such as this occur frequently in Haydn, and especially in C. P. E.
Bach.
 
.BEGIN VERBATIM
 
.END
.ONCE NO FILL INDENT 0 
Example 35.  Mozart, Sonata in E%4F%1, K.189g(282)
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	In the last two measures above, the bass line certainly
tonicizes F (note the melodic and harmonic tritone, B%4F%1-E).  However,
the conflict with the auxiliary E%4F%1 of the upper part minimizes the
functional role of the bass.  Then, too, the direct movement of E%4N%1
to F might be taken as an appoggiatura from a weak to a strong
beat.  The earlier E%4N%1, even though appearing in a chromatic passing
movement, also has an appreciable tonicizing function because of the
implied diminished 7th chord (Vs of ↓_F_↓) at that point.  In this kind
of example the specific analytical conclusions will depend on the degree of
the individual's concern with detail  and with the rhythmic and melodic
factors which are beyond the scope of this book.

 
	The simplest form of tonicization occurs when a single note
of a chord or line is altered so as to play the part of either the
leading tone or 4th degree of a new key.  It is possible, however, to
tonicize a tone without any chromatic alteration whatever; but usually
this is not very definitive unless considerable repetition of a
motif takes place and the implication of chromatic change is felt.
 
.BEGIN VERBATIM
 
Example 36
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.BEGIN VERBATIM

 
Tonicization and Pivot Chords
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	Tonicized functions will be indicated in the following manner:
 
.BEGIN VERBATIM
 
Example 37.  Bach, Chorale 106
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