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.BEGIN VERBATIM
Figure 37a
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.FILL INDENT 12
 
	The highest level in Figure 37a will not be dealt with for the
present, since it will show only modulations; i.e., the largest
relationships of basic tonics.  The enclosed, middle level shows the
relationships of the temporary tonics, and the lowest level the
specific function of each chord.
 
 
.BEGIN VERBATIM

 
Pivot Chords
.END
	In most cases of tonicization one or more pivot chords will be
present.  A pivot chord will function simultaneously in both the
old and new tonics.  In Example 37, the chord on the first
beat of bar 2 functions both as I of I and IV of V.  This may be
represented:
 
.BEGIN VERBATIM
 
Figure 37b
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	The horizontal bracket and the "equals" sign (=) indicate
that both Roman numerals represent the same chord.  It is possible
that a whole group of chords may function, retrospectively, in two
different keys.  However, generally it is most practical to be
concerned only with the last chord before the introduction of
functional chromaticism (see page 67 also).

.NEXT PAGE
	Often a tonicization will be started by an altered passing tone
(as in the Mozart example, page 31).  In such cases, either the
preceding harmony or the one under the passing tone may form the
pivot chord.
 
.BEGIN VERBATIM
 
Example 38.  Bach, Chorale 50 (second phrase)
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.BEGIN VERBATIM
 
Figure 38
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	The first analysis is preferred, since it offers more common
progressions in both of the middle ground tonics.
.ADJUST
 
	Frequently a flatted 7th will appear with a tonic that has
just been preceded by its dominant.  Even though the new scale note
is present in the tonic itself, that chord will be the pivot chord
because it is at once a new dominant and the clear goal of the
preceding dominant.  The I%4F7%1$$For brevity, most functions
will be listed in root position rather than in terms of any
specific inversions.$  may be indicated as Is, so as to show
that the chord is substituting for a %2true%1 tonic effect.