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.FILL 
 
.FILL INDENT 6
 
	Even without recourse to enharmonic change, the F6 chord may work
as the V%4G%1 structure of the original key's dominant
(see Example 52).  One notable use of the V%4G%1 occurs at
the end of Schubert's %2Quintet in C%1, Op.163.
 
.BEGIN VERBATIM
 
Example 55
.END
.CENTER
%6⊂⊗⊃L[α%0.03,α%-1.02](17,22):N55X.PLT[C4,LCS]⊂⊗⊃%1
.SKIP 4
.FILL INDENT 6
 
	In this particular case it might be inferred (perhaps
fancifully) that this chord is used to point in the subdominant
direction, a tradition of long standing for endings.  Thus:
 
.skip 2
.CENTER			
might imply
.CENTER
%6⊂⊗⊃L[α%0.09,α%-0.78](17,22):N55F.PLT[C4,LCS]⊂⊗⊃%1
.skip 2
 
.FILL INDENT 6
 
	For a stronger example, this time employing the G6, we turn to
Schubert's posthumous %2Sonata in A%1.  Here, there is little possibility
of confusion with an altered V, since there is no root of V present.
.BEGIN VERBATIM

Example 56
.END
.CENTER
%6⊂⊗⊃L[α%0.03,α%-1.50](17,22):N56X.PLT[C4,LCS]⊂⊗⊃%1