Yeah you're right. I like to think of both things as tonicization but it's my own nomenclature and even then I used it confusingly here. Tonicization typically is a term used when you briefly establish a pull towards something else than the tonic (i.e. V/V). To me though, establishing a tonic over a longer period is still tonicization. V/V's, V/IV's, trisubs and standard V-I's are are all "tonicization" in my ears, whereas context tells you how relevant it is.jancivil wrote: Fri Jun 19, 2020 1:55 pm Clarification needed methinks: tonicization actually means treating non-tonic degrees as tonic.
“II V I in F” is only ‘II V I’ in F;
II being secondary dominant aka V/V. In the basic sense V is tonicized there. This is not the function of G C F in C, let aloneWhat the term does not mean is recognition that a given I is the tonic chord.I, IV, V in C
But I get where you're coming from; if you're analyzing a piece that is 30 minutes long structured in a form, you have to use far better definitions to get the analysis done properly. But a 4 minute contemporary R&B song though? You'll be these days lucky to find even one trisub there and normally you'd just understand it as a passing chord (functionally speaking) due to how brief it typically is, it creates a lot of tension based on the expectation of being super consonant music by default