/LMAR=0/XLINE=10/FONT#0=METL/FONT#1=METLI/FONT#2=METS/FONT#3=MUS[HHA,LCS]
␈↓ α∧␈↓␈↓ ε↔54␈↓ 
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␈↓"β␈↓ α∧␈↓␈↓ ¬MCHAPTER V


␈↓"β␈↓ α∧␈↓␈↓ ∧YEXTENDED TONICIZATION

␈↓"β
␈↓"β␈↓ α∧␈↓Added Levels of Tonic Function

␈↓"β␈↓ α∧␈↓␈↓ αd Almost␈αby␈αdefinition,␈αmusic␈αof␈αthe␈αtonal␈αera␈αdepends␈αon␈αthe
␈↓ α∧␈↓listener's␈α∪strong␈α∩memory␈α∪of␈α∪a␈α∩basic␈α∪tonic.␈α∪ The␈α∩basic␈α∪tonic␈α∪is␈α∩a
␈↓ α∧␈↓cohesive␈α
force␈α
which␈α
sets␈α
limits␈α
and␈α
acts␈α
as␈α
a␈α
reference␈α∞point␈α
for
␈↓ α∧␈↓all␈α↔types␈α↔of␈α↔harmonic␈α↔movement.␈α↔ Even␈α↔␈↓↓modulation␈↓␈α↔within␈α↔a
␈↓ α∧␈↓movement␈α⊃never␈α⊃really␈α⊃destroys␈α⊂this␈α⊃reference␈α⊃point;␈α⊃it␈α⊂merely
␈↓ α∧␈↓sets␈α⊂up␈α⊂a␈α⊂foremost␈α⊂subsidiary␈α⊂point.␈α⊂ When␈α⊂␈↓↓tonicization␈↓␈α⊂becomes
␈↓ α∧␈↓greatly␈α∃extended,␈α∃the␈α∃same␈α∀effect␈α∃is␈α∃produced␈α∃on␈α∃a␈α∀somewhat
␈↓ α∧␈↓smaller␈α∂scale.␈α⊂ The␈α∂difference␈α⊂between␈α∂extended␈α⊂tonicization␈α∂and
␈↓ α∧␈↓modulation␈α∩lies␈α∩in␈α∩the␈α∩role␈α∩the␈α∩particular␈α∩passage␈α∩is␈α∩playing␈α⊃in
␈↓ α∧␈↓relation␈α⊂to␈α⊂the␈α⊂whole.␈α⊂ There␈α⊂is␈α⊂much␈α⊂music␈α⊂wherein␈α⊂these␈α⊂two
␈↓ α∧␈↓concepts␈αtend␈αto␈αoverlap,␈αbut␈αin␈αthe␈αmain,␈αcomposers␈αof␈αthe␈αmusic
␈↓ α∧␈↓here␈αunder␈αconsideration␈αhave␈α
been␈αso␈αintent␈αupon␈α
formal␈αclarity
␈↓ α∧␈↓that␈α"the␈α"dependent␈α"character␈α"of␈α"tonicization,␈α#even␈α"when
␈↓ α∧␈↓extended, is maintained.

␈↓"β␈↓ α∧␈↓␈↓ αd This␈α∞important␈α
facet␈α∞of␈α
tonal␈α∞music␈α
may␈α∞be␈α∞represented␈α
by
␈↓ α∧␈↓␈↓↓added␈α∂levels␈α∂of␈α∂tonicization␈↓␈α∂in␈α∞the␈α∂middle␈α∂area␈α∂of␈α∂the␈α∞analytical
␈↓ α∧␈↓diagram.␈α∃ These␈α∃added␈α∃levels␈α∀occur␈α∃when,␈α∃␈↓↓within␈↓␈α∃a␈α∀␈↓↓temporary␈↓
␈↓ α∧␈↓tonic␈α
area,␈α
again␈α∞a␈α
new␈α
tonic␈α
is␈α∞approached.␈α
 A␈α
simple␈α∞example␈α
of
␈↓ α∧␈↓this␈α→follows.␈α~ The␈α→basic␈α~key␈α→of␈α~␈↓&C␈↓)αβ␈α→is␈α~understood␈α→to␈α~be␈α→well
␈↓ α∧␈↓established both before and after the example.
␈↓"β
␈↓"β␈↓ α∧␈↓Example 56
␈↓ α∧␈↓␈↓ ε↔55␈↓ 
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␈↓"β
␈↓"β␈↓ α∧␈↓Figure 56a







␈↓"β␈↓ α∧␈↓␈↓ αd The␈α␈↓&D␈↓)αβ␈αarea␈αat␈α
(xx)␈αappears␈αin␈αdirect␈αrelationship␈α
only␈αwith
␈↓ α∧␈↓the␈α∪␈↓&G␈↓)αβ␈α∪(or␈α∪tonicized␈α∪V)␈α∪area.␈α∪ Even␈α∪though␈α∪every␈α∪numeral␈α∩that
␈↓ α∧␈↓appears␈α⊃in␈α⊃the␈α⊃middle␈α⊃area␈α⊃of␈α⊃an␈α⊃analysis␈α⊃is␈α⊃␈↓↓understood␈↓␈α⊃to␈α∩be␈α⊃a
␈↓ α∧␈↓tonic␈α⊃(i.e.,␈α∩working␈α⊃as␈α∩a␈α⊃"I"),␈α∩a␈α⊃new␈α∩I␈α⊃is␈α∩placed␈α⊃under␈α∩the␈α⊃first
␈↓ α∧␈↓presentation␈α∪of␈α∀V␈α∪as␈α∪a␈α∀tonic␈α∪in␈α∪order␈α∀that␈α∪the␈α∪interval␈α∀of␈α∪the
␈↓ α∧␈↓subsequent␈α⊃movement␈α⊂to␈α⊃␈↓&D␈↓)αβ␈α⊃(i.e.,␈α⊂the␈α⊃dominant␈α⊂relation␈α⊃to␈α⊃␈↓&G␈↓)αβ),␈α⊂is
␈↓ α∧␈↓readily␈α#apparent.␈α# Similarly,␈α$another␈α#I␈α#appears␈α$when␈α#the
␈↓ α∧␈↓progression␈α
returns␈α
to␈α
␈↓&G␈↓)αβ␈α
as␈α
the␈α
tonic.␈α
 In␈α
the␈α
previous␈α
example␈αit
␈↓ α∧␈↓will␈α⊃be␈α⊃noted␈α⊃that␈α⊃the␈α⊃tonicized␈α⊃␈↓&D␈↓)αβ␈α⊃was␈α⊃specifically␈α⊃major.␈α⊂ This
␈↓ α∧␈↓new␈α
I␈α
contains␈α∞F␈↓βS␈↓␈α
--␈α
not␈α
a␈α∞functional␈α
probability␈α
in␈α
terms␈α∞of␈α
the
␈↓ α∧␈↓original ␈↓&C␈↓)αβ, but completely compatible with the ␈↓&G␈↓)αβ scale.

␈↓"β␈↓ α∧␈↓␈↓ αd This␈α
may␈α
be␈α
made␈αeven␈α
more␈α
clear␈α
if␈αwe␈α
set␈α
up␈α
what␈αwill␈α
be
␈↓ α∧␈↓called␈α␈↓↓tonic␈αguide␈αtones␈↓.␈α These␈αrepresent,␈αin␈αmusical␈αnotation,␈αthe
␈↓ α∧␈↓elements that appear in the middle area of the analysis.
␈↓"β
␈↓"β␈↓ α∧␈↓Figure 56b
␈↓"β
␈↓"β␈↓ α∧␈↓ 
␈↓"β␈↓ α∧␈↓   Tonic Guide Tones
␈↓"β
␈↓"β
␈↓"β␈↓ α∧␈↓ 
␈↓"β␈↓ α∧␈↓ 
␈↓"β␈↓ α∧␈↓ 
␈↓"β␈↓ α∧␈↓ 
␈↓"β␈↓ α∧␈↓ 
␈↓ α∧␈↓␈↓ ε↔56␈↓ 
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␈↓"β␈↓ α∧␈↓␈↓ αdThe␈αtonics␈αwhich␈αare␈αmost␈αclosely␈αrelated␈α(see␈αtable␈α
on␈αpage
␈↓ α∧␈↓46)␈α∪are␈α∪connected␈α∩by␈α∪horizontal␈α∪bars.␈α∩ The␈α∪small␈α∪notes␈α∪may␈α∩be
␈↓ α∧␈↓added␈α∞to␈α∞show␈α∂the␈α∞mode␈α∞of␈α∞each␈α∂tonic.␈α∞ When␈α∞dealing␈α∂with␈α∞very
␈↓ α∧␈↓complex␈α
progressions,␈α
it␈α
may␈α
often␈α
prove␈α
quite␈α
helpful␈α∞to␈α
sketch
␈↓ α∧␈↓out␈α∞the␈α∞tonic␈α∞guide␈α∞tones␈α
previous␈α∞to␈α∞making␈α∞any␈α∞final␈α
decisions
␈↓ α∧␈↓concerning the particular relationships of the temporary tonics.

␈↓"β␈↓ α∧␈↓␈↓ αdIf␈α⊂some␈α∂of␈α⊂the␈α∂notes␈α⊂of␈α∂Example␈α⊂56␈α∂are␈α⊂altered␈α∂so␈α⊂that␈α∂we
␈↓ α∧␈↓arrive␈αat␈α␈↓&d␈↓)αβ␈αminor,␈αinstead␈αof␈αmajor,␈αits␈αrole␈αas␈αthe␈αtonicized␈αV␈αof␈α␈↓&G␈↓)αβ
␈↓ α∧␈↓is␈α⊃greatly␈α⊃weakened.␈α⊃ Voice␈α⊂leading␈α⊃is␈α⊃important␈α⊃in␈α⊂establishing
␈↓ α∧␈↓the␈α∩␈↓&d␈↓)αβ␈α∩area.␈α∩ The␈α⊃B␈α∩and␈α∩C␈↓βS␈↓,␈α∩6th␈α⊃and␈α∩7th␈α∩scale␈α∩degrees,␈α∩appear␈α⊃in
␈↓ α∧␈↓ascending lines, the B␈↓βF␈↓ and C␈↓βN␈↓ in descending lines.
␈↓"β
␈↓"β␈↓ α∧␈↓Example 57









␈↓"β␈↓ α∧␈↓␈↓ αd Now,␈αsince␈αthe␈αI␈αchord␈αof␈α␈↓&d␈↓)αβ␈αdoes␈αnot␈αdisturb␈αthe␈αmaterial␈αof
␈↓ α∧␈↓the original scale, it is heard in direct relation to ␈↓&C␈↓)αβ.
␈↓"β
␈↓"β␈↓ α∧␈↓Figure 57
␈↓"β
␈↓"β
␈↓"β␈↓ α∧␈↓   Tonic Guide Tones
␈↓ α∧␈↓␈↓ ε↔57␈↓ 
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␈↓"β␈↓ α∧␈↓␈↓ αd Very␈αoften␈αthere␈αwill␈αbe␈αno␈αclearcut␈αprocedure␈αthat␈αmay␈αbe
␈↓ α∧␈↓followed␈α∞when␈α
analyzing␈α∞situations␈α∞similar␈α
to␈α∞the␈α∞next␈α
example.
␈↓ α∧␈↓At␈α≠(*),␈α≠the␈α≠change␈α≠of␈α≠mode␈α≠on␈α≠the␈α≠G␈α≠root␈α≠makes␈α~varying
␈↓ α∧␈↓interpretations of the function of the ␈↓&d␈↓)αβ tonic possible.
␈↓"β
␈↓"β␈↓ α∧␈↓Example 58






␈↓"β
␈↓"β␈↓ α∧␈↓Figure 58a
␈↓"β
␈↓"β␈↓ α∧␈↓   Tonic Guide Tones
␈↓"β





␈↓"β
␈↓"β␈↓ α∧␈↓Figure 58b
␈↓"β
␈↓"β␈↓ α∧␈↓   Tonic Guide Tones
␈↓"β





␈↓"β
␈↓"β␈↓ α∧␈↓        * When a tonic changes mode for more than the duration of
␈↓"β␈↓ α∧␈↓        an occasional chord, the change may appear superimposed on
␈↓"β␈↓ α∧␈↓        the continuous line running from the original occurrence
␈↓"β␈↓ α∧␈↓        of the tonic.
␈↓ α∧␈↓␈↓ ε↔58␈↓ 
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␈↓"β␈↓ α∧␈↓Figure 58c
␈↓"β
␈↓"β␈↓ α∧␈↓   Tonic Guide Tones
␈↓"β
␈↓"β





␈↓"β␈↓ α∧␈↓        * Here the ␈↓&g␈↓)αβ tonic is shown as subsidiary to ␈↓&d␈↓)αβ.  This
␈↓"β␈↓ α∧␈↓        interpretation might be preferred if the duration of
␈↓"β␈↓ α∧␈↓        the ␈↓&g␈↓)αβ tonic area were quite short in relation to the
␈↓"β␈↓ α∧␈↓        following ␈↓&d␈↓)αβ area (see Example zzz).

␈↓"β␈↓ α∧␈↓␈↓ αdNotice␈α⊃that␈α⊃the␈α⊃above␈α⊃examples␈α⊃were,␈α⊃for␈α⊃the␈α∩purposes␈α⊃of
␈↓ α∧␈↓illustration,␈α⊗presented␈α∃without␈α⊗varied␈α∃rhythm.␈α⊗ As␈α⊗always,␈α∃in
␈↓ α∧␈↓more␈αcomplex␈αsituations,␈αthe␈αrelations␈αbetween␈αharmony,␈αmelody,
␈↓ α∧␈↓and␈α∀rhythm␈α∀will␈α∀combine␈α∀to␈α∀offer␈α∀a␈α∀basis␈α∀for␈α∀a␈α∀more␈α∀specific
␈↓ α∧␈↓analytical␈α⊃interpretation.␈α⊃ However,␈α∩it␈α⊃must␈α⊃be␈α∩emphasized␈α⊃that
␈↓ α∧␈↓the␈α
main␈α
profit␈αto␈α
the␈α
serious␈αmusician␈α
is␈α
found␈αin␈α
the␈α
process␈αof
␈↓ α∧␈↓wrestling␈α⊃with␈α⊃such␈α⊂problematical␈α⊃decisions.␈α⊃ The␈α⊃final␈α⊂decision
␈↓ α∧␈↓need␈αnot␈αbe␈α
considered␈αthe␈α␈↓↓only␈↓␈αright␈α
one,␈αbut␈αrather␈αas␈α
the␈αmost
␈↓ α∧␈↓clarifying of the actual effect of the music on the individual.

␈↓"β␈↓ α∧␈↓␈↓ αd An␈α
extreme␈α
example␈α
of␈α∞added␈α
levels␈α
of␈α
tonicization␈α∞(and␈α
it
␈↓ α∧␈↓is often heard) is the progression through the "circle of fifths".
␈↓"β
␈↓"β␈↓ α∧␈↓Example 59
␈↓ α∧␈↓␈↓ ε↔59␈↓ 
T


␈↓"β␈↓ α∧␈↓Figure 59
␈↓"β
␈↓"β
␈↓"β
␈↓"β
␈↓"β
␈↓"β
␈↓"β␈↓ α∧␈↓                                                                        * When many levels
␈↓"β␈↓ α∧␈↓                                                                        of tonics appear, the
␈↓"β␈↓ α∧␈↓                                                                        letter names of the
␈↓"β␈↓ α∧␈↓                                                                        various keys should
␈↓"β␈↓ α∧␈↓                                                                        be added to avoid
␈↓"β␈↓ α∧␈↓                                                                        confusion.
␈↓"β
␈↓"β␈↓ α∧␈↓ 
␈↓"β␈↓ α∧␈↓ 
␈↓"β␈↓ α∧␈↓ 
␈↓"β␈↓ α∧␈↓ 
␈↓"β␈↓ α∧␈↓Example 60







␈↓"β␈↓ α∧␈↓ 
␈↓"β␈↓ α∧␈↓Figure 60
␈↓ α∧␈↓␈↓ ε↔60␈↓ 
T


␈↓"β␈↓ α∧␈↓␈↓ αdThese␈α⊃diagrams␈α⊃may␈α⊂appear␈α⊃somewhat␈α⊃unwieldy,␈α⊃but␈α⊂they
␈↓ α∧␈↓have␈α
the␈α
advantage␈α
of␈α∞giving␈α
clear␈α
pictures,␈α
in␈α∞intervallic␈α
terms,
␈↓ α∧␈↓of the relationships involved.

␈↓"β␈↓ α∧␈↓␈↓ αdOccasionally␈α∪a␈α∪very␈α∪rapid␈α∪movement␈α∪through␈α∪part␈α∪of␈α∩the
␈↓ α∧␈↓circle␈α⊃of␈α∩fifths,␈α⊃or␈α⊃the␈α∩successive␈α⊃use␈α⊃of␈α∩7th␈α⊃chords,␈α∩will␈α⊃cause
␈↓ α∧␈↓certain elements of a progression to stand in relief.
␈↓"β
␈↓"β␈↓ α∧␈↓Example 61







␈↓"β
␈↓"β␈↓ α∧␈↓Figure 61












␈↓"β␈↓ α∧␈↓␈↓ αdIn␈αthe␈αabove␈αdiagram,␈αthe␈αabrupt␈αskip␈αdown␈αto␈αa␈α
third␈αlevel
␈↓ α∧␈↓of␈α⊂tonics␈α∂(which␈α⊂resolves␈α∂to␈α⊂a␈α∂I␈α⊂on␈α∂the␈α⊂second␈α⊂level)␈α∂accurately
␈↓ α∧␈↓parallels␈α
the␈α
effect␈α
of␈α
the␈α
example.␈α
 Notice␈α
the␈α
problems␈α
created␈α
by
␈↓ α∧␈↓the␈α
use␈α
of␈αa␈α
string␈α
of␈α
diminished␈αchords␈α
over␈α
a␈αbasically␈α
chromatic
␈↓ α∧␈↓line.␈α
 Such␈α
situations␈α
may␈α
be␈α
analyzed␈α
as␈α
substitutes␈α
for␈αthe␈α
"circle
␈↓ α∧␈↓of␈α∞fifths"␈α∞progression,␈α∞but␈α∞generally␈α∞it␈α∞is␈α∞best␈α∞to␈α∞consider␈α∞all␈α
but
␈↓ α∧␈↓the␈α∞first␈α∞and␈α
last␈α∞chords␈α∞of␈α
the␈α∞string␈α∞as␈α∞parallel-moving␈α
passing
␈↓ α∧␈↓␈↓ ε↔61␈↓ 
T


␈↓"β␈↓ α∧␈↓chords␈α⊂(see␈α⊂Bach,␈α⊂␈↓↓Partita␈α⊂#1␈α⊂in␈α⊂B␈↓βF␈↓,␈α⊂Gigue;␈α⊂Mozart,␈α⊂␈↓↓Fantasy␈α⊂in␈α⊂C␈↓,
␈↓ α∧␈↓K.394).␈α However,␈αin␈α19th-century␈αmusic,␈αdetails␈αof␈αvoice␈αleading
␈↓ α∧␈↓(especially␈α→the␈α~melodic␈α→skips)␈α→often␈α~tend␈α→to␈α~give␈α→functional
␈↓ α∧␈↓importance␈α⊃to␈α⊃the␈α⊃inner␈α⊃chords␈α⊃of␈α⊃strings␈α⊃of␈α∩diminished␈α⊃chords
␈↓ α∧␈↓(see␈α≥Chopin,␈α≥␈↓↓Etude␈α≤in␈α≥E␈↓,␈α≥Op.10,#3,␈α≤measure␈α≥38,␈α≥etc.;␈α≤Liszt,
␈↓ α∧␈↓␈↓↓Transcendental Etude #6, "Mazeppa"␈↓, beginning).

␈↓"β␈↓ α∧␈↓␈↓ αdMost␈αoften␈αthe␈αreturn␈αto␈αthe␈αmain␈αtonic␈αwill␈αnot␈αbe␈αmade␈αby
␈↓ α∧␈↓the␈α
same␈α
route␈α
as␈α
was␈αthe␈α
departure.␈α
 When␈α
this␈α
happens,␈αa␈α
pivotal
␈↓ α∧␈↓tonic␈α
may␈α
appear␈α
in␈α
the␈α
middle␈αarea␈α
of␈α
the␈α
analysis␈α
(see␈α
below␈αat
␈↓ α∧␈↓the sign *).
␈↓"β
␈↓"β␈↓ α∧␈↓Example 62








␈↓"β
␈↓"β␈↓ α∧␈↓Figure 62
␈↓ α∧␈↓␈↓ ε↔62␈↓ 
T


␈↓"β␈↓ α∧␈↓Example 63. Mozart, Sonata in D, K.576, 2nd movement.
␈↓ α∧␈↓␈↓ ε↔63␈↓ 
T


␈↓"β␈↓ α∧␈↓␈↓ αdThe␈α∞exact␈α∞location␈α∞of␈α∞the␈α∞pivotal␈α∞tonic␈α∞will␈α∞usually␈α
depend
␈↓ α∧␈↓on␈α∂the␈α∂association␈α∂of␈α∂the␈α∂particular␈α∂means␈α∂of␈α∂presenting␈α⊂a␈α∂given
␈↓ α∧␈↓harmonic␈αfunction␈α
with␈αearlier␈α
presentation␈αof␈α
the␈αsame␈α
function.
␈↓ α∧␈↓In␈α∞other␈α∞words,␈α
the␈α∞return␈α∞to␈α∞the␈α
chord␈α∞of␈α∞departure,␈α∞even␈α
with
␈↓ α∧␈↓the␈α∞same␈α∞function␈α∞on␈α∂the␈α∞lowest␈α∞level,␈α∞can␈α∞be␈α∂inconclusive␈α∞until
␈↓ α∧␈↓we␈α
also␈α
return␈αto␈α
the␈α
same␈αmelodic␈α
and␈α
rhythmic␈α
presentation␈αof
␈↓ α∧␈↓that␈α∪function.␈α∪ In␈α∪Example␈α∪63␈α∪the␈α∪f#␈α∪chord␈α∪at␈α∪(*)␈α∪has␈α∪a␈α∪tonic
␈↓ α∧␈↓function,␈α
but␈αf␈↓βS␈↓␈α
as␈αa␈α
tonic␈αof␈α
the␈αmiddle␈α
area␈αis␈α
still␈α
subsidiary␈αto
␈↓ α∧␈↓another tonic (␈↓&D␈↓)αβ) until the return of the original material.
␈↓"β
␈↓"β␈↓ α∧␈↓Figure 63
␈↓ α∧␈↓␈↓ ε↔64␈↓ 
T


␈↓"β␈↓ α∧␈↓␈↓ αdThe␈α∀middle␈α∀area␈α∀of␈α∀the␈α∀first␈α∀analysis␈α∀is␈α∀preferred␈α∀at␈α∪(+),
␈↓ α∧␈↓because␈α⊃the␈α⊂tonic␈α⊃chord␈α⊃of␈α⊂f␈↓βS␈↓␈α⊃is␈α⊂completely␈α⊃consistent␈α⊃with␈α⊂the
␈↓ α∧␈↓scale␈α⊃of␈α⊃␈↓&D␈↓)αβ,␈α⊃and␈α⊃there␈α⊃are␈α⊃no␈α⊃other␈α⊃factors␈α⊃that␈α⊃might␈α⊃deter␈α⊃one
␈↓ α∧␈↓from␈αhearing␈αthe␈αpassage␈αas␈αa␈αstepwise␈αprogression␈αof␈αtonics␈α(I,␈αii,
␈↓ α∧␈↓iii).␈α⊂ If,␈α⊂for␈α⊂any␈α⊂reason,␈α⊂it␈α⊂seems␈α⊂undesirable␈α⊂to␈α⊂show␈α⊂a␈α⊂pivot␈α∂in
␈↓ α∧␈↓cases␈αwhere␈α
two␈αor␈αmore␈α
levels␈αof␈αtonics␈α
are␈αinvolved,␈α
the␈αwavy
␈↓ α∧␈↓vertical␈α⊃line␈α∩(␈α⊃)␈α∩might␈α⊃be␈α⊃used␈α∩to␈α⊃show␈α∩the␈α⊃lack␈α∩of␈α⊃continuity
␈↓ α∧␈↓along␈α~any␈α~given␈α~level␈α→(see␈α~Figure␈α~68).␈α~ However,␈α~it␈α→rarely
␈↓ α∧␈↓happens that a logical connection between tonics cannot be made.
␈↓"β
␈↓"β␈↓ α∧␈↓Control Tonics

␈↓"β␈↓ α∧␈↓␈↓ αdAn␈α∪extension␈α∪of␈α∪the␈α∀previous␈α∪line␈α∪of␈α∪thought␈α∀will␈α∪serve
␈↓ α∧␈↓well␈αwhen␈αconsidering␈αthe␈αfollowing␈αanalysis␈αof␈αmusic␈α
typical␈αof
␈↓ α∧␈↓the work of Bach.