/LMAR=0/XLINE=10/FONT#0=METL/FONT#1=METLI/FONT#2=METS/FONT#3=MUS[HHA,LCS]/FONT#4=MUZ[HHA,LCS]/FONT#5=BASL35
␈↓ α≠␈↓␈↓ ε.51␈↓ 
k


␈↓"β␈↓ α≠␈↓␈↓ α{ Even␈αwithout␈αrecourse␈αto␈αenharmonic␈αchange,␈αthe␈αF6␈αchord
␈↓ α≠␈↓may␈αwork␈αas␈α
the␈αV␈↓βG␈↓␈αstructure␈αof␈α
the␈αoriginal␈αkey's␈αdominant␈α
(see
␈↓ α≠␈↓Example␈α∩52).␈α∩ One␈α∪notable␈α∩use␈α∩of␈α∩the␈α∪V␈↓βG␈↓␈α∩occurs␈α∩at␈α∩the␈α∪end␈α∩of
␈↓ α≠␈↓Schubert's ␈↓↓Quintet in C␈↓, Op.163.
␈↓"β␈↓ α≠␈↓ 
␈↓"β␈↓ α≠␈↓Example 55
␈↓"β␈↓ α≠␈↓␈↓ βc␈↓¬⊂⊗⊃L[%0.03,%-1.02]:N55X.PLT[HHA,LCS]⊂⊗⊃␈↓





␈↓"β␈↓ α≠␈↓␈↓ α{ In␈α≤this␈α≤particular␈α≤case␈α≤it␈α≤might␈α≤be␈α≤inferred␈α≤(perhaps
␈↓ α≠␈↓fancifully)␈α⊃that␈α⊃this␈α⊃chord␈α⊃is␈α⊂used␈α⊃to␈α⊃point␈α⊃in␈α⊃the␈α⊂subdominant
␈↓ α≠␈↓direction, a tradition of long standing for endings.  Thus:


␈↓"β␈↓ α≠␈↓␈↓ ¬\might imply
␈↓"β␈↓ α≠␈↓␈↓ βe␈↓¬⊂⊗⊃L[%0.09,%-0.78]:N55F.PLT[HHA,LCS]⊂⊗⊃␈↓


␈↓"β

␈↓"β␈↓ α≠␈↓␈↓ α{ For␈α∩a␈α∪stronger␈α∩example,␈α∪this␈α∩time␈α∪employing␈α∩the␈α∪G6,␈α∩we
␈↓ α≠␈↓turn␈α∂to␈α∂Schubert's␈α⊂posthumous␈α∂␈↓↓Sonata␈α∂in␈α⊂A␈↓.␈α∂ Here,␈α∂there␈α⊂is␈α∂little
␈↓ α≠␈↓possibility␈α∞of␈α∞confusion␈α∞with␈α∞an␈α
altered␈α∞V,␈α∞since␈α∞there␈α∞is␈α∞no␈α
root
␈↓ α≠␈↓of V present.
␈↓"β
␈↓"β␈↓ α≠␈↓Example 56
␈↓"β␈↓ α≠␈↓␈↓ βd␈↓¬⊂⊗⊃L[%0.03,%-1.50]:N56X.PLT[HHA,LCS]⊂⊗⊃␈↓