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00100	.PAGE←33
00200	.NEXT PAGE
00300	.BEGIN VERBATIM
00400	Figure 37a
00500	.END
00600	.CENTER
00700	%6⊂⊗⊃L[α%0.00,α%-1.70](17,22):FI37A.PLT[C3,LCS]⊂⊗⊃%1
00800	.SKIP 4
00900	.FILL INDENT 12
01000	 
01100		The highest level in Figure 37a will not be dealt with for the
01200	present, since it will show only modulations; i.e., the largest
01300	relationships of basic tonics.  The enclosed, middle level shows the
01400	relationships of the temporary tonics, and the lowest level the
01500	specific function of each chord.
01600	 
01700	 
01800	.BEGIN VERBATIM
01900	
02000	 
02100	Pivot Chords
02200	.END
02300		In most cases of tonicization one or more pivot chords will be
02400	present.  A pivot chord will function simultaneously in both the
02500	old and new tonics.  In Example 37, the chord on the first
02600	beat of bar 2 functions both as I of I and IV of V.  This may be
02700	represented:
02800	 
02900	.BEGIN VERBATIM
03000	 
03100	Figure 37b
03200	.END
03300	.CENTER
03400	%6⊂⊗⊃L[α%0.00,α%-2.26](17,22):FI37B.PLT[C3,LCS]⊂⊗⊃%1
03500	.SKIP 5
03600	.FILL INDENT 12
03700		The horizontal bracket and the "equals" sign (=) indicate
03800	that both Roman numerals represent the same chord.  It is possible
03900	that a whole group of chords may function, retrospectively, in two
04000	different keys.  However, generally it is most practical to be
04100	concerned only with the last chord before the introduction of
04200	functional chromaticism (see page 67 also).
04300	
04400	.NEXT PAGE
04500		Often a tonicization will be started by an altered passing tone
04600	(as in the Mozart example, page 31).  In such cases, either the
04700	preceding harmony or the one under the passing tone may form the
04800	pivot chord.
04900	 
05000	.BEGIN VERBATIM
05100	 
05200	Example 38.  Bach, Chorale 50 (second phrase)
05300	.END
05400	.CENTER
05500	%6⊂⊗⊃L[α%0.00,α%-4.22](17,22):XXX38.PLT[C3,LCS]⊂⊗⊃%1
05600	.SKIP 8
05700	
05800	.BEGIN VERBATIM
05900	 
06000	Figure 38
06100	.END
06200	.CENTER
06300	%6⊂⊗⊃L[α%0.00,α%-2.50](17,22):FIG38.PLT[C3,LCS]⊂⊗⊃%1
06400	.SKIP 5
06500	.FILL INDENT 12
06600	 
06700	 
06800		The first analysis is preferred, since it offers more common
06900	progressions in both of the middle ground tonics.
07000	.ADJUST
07100	 
07200		Frequently a flatted 7th will appear with a tonic that has
07300	just been preceded by its dominant.  Even though the new scale note
07400	is present in the tonic itself, that chord will be the pivot chord
07500	because it is at once a new dominant and the clear goal of the
07600	preceding dominant.  The I%4F7%1$$For brevity, most functions
07700	will be listed in root position rather than in terms of any
07800	specific inversions.$  may be indicated as Is, so as to show
07900	that the chord is substituting for a %2true%1 tonic effect.