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	In the following example, the ideas of tonicization and mere
non-functional alteration of primary function tend to merge.
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Example 42
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	The B%4F%1 and F%4S%1 may be called either chromatic passing tones
or tones which change the functions of the chords in question.  In the
first instance our analysis would give:
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Figure 42a
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%6⊂⊗⊃L[α%0.00,α%-2.34](17,22):FI42A.PLT[C3,LCS]⊂⊗⊃%1
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	The second point of view gives:
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Figure 42b
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%6⊂⊗⊃L[α%0.00,α%-2.16](17,22):FI42B.PLT[C3,LCS]⊂⊗⊃%1
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.FILL INDENT 12
 
	Neither of these results is completely satisfactory.  A mixture
of the two might be given, because the 4th of a scale seems  a weaker
tonic-determining factor than the leading tone, and the last
chord of a phrase usually takes on more importance than the middle chords.
Thus:
 
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Figure 42c
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%6⊂⊗⊃L[α%0.00,α%-2.26](17,22):FI42C.PLT[C3,LCS]⊂⊗⊃%1
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	One should not be overly concerned with such details unless
the music indicates that the composer was intent on directing the
listener's attention to them.  In most cases the actual duration of
an alteration and its position in the phrase might be good bases
for decisions.  For example, if the proper scale degree were involved,
an altered note which was twice as long as its preceding unaltered
form in the same chord  would tend to change the chord's function.
 
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Exercises for Chapter III
 
	Analyze the following works in the manner demonstrated
	by Figures 38-41.
 
	From the 371 Chorales of Bach:
	1.  Chorale 18
	2.  Chorale 29
	3.  Chorale 131
	4.  Chorale 188
 
	5.  Bach, Two-Part Invention #1, in C, first 9 bars
						and first note of bar 10.
	6.  Bach, Two-Part Invention #10, in G, complete work.
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	7.  Bach, Two-Part Invention #14, in B%4F%1, first 5 bars
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						and last 8 bars.
	8.  Chopin, Prelude in G, Op.28 #3, complete work.
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