/LMAR=0/XLINE=10/FONT#0=METL/FONT#1=METLI/FONT#2=METS/FONT#3=MUS[HHA,LCS]/FONT#4=FIX30/FONT#5=BASL35
␈↓ α≠␈↓␈↓ ε.60␈↓ 
k


␈↓"β␈↓ α≠␈↓Figure 61c
␈↓"β
␈↓"β␈↓ α≠␈↓␈↓ βj␈↓¬⊂⊗⊃L[%0.00,%-1.47]:N61C.PLT[HHA,LCS]⊂⊗⊃␈↓





␈↓"β
␈↓"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 64).

␈↓"β␈↓ α≠␈↓␈↓ α{Notice␈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≠␈↓␈↓ α{ 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 62
␈↓"β␈↓ α≠␈↓␈↓ βc␈↓¬⊂⊗⊃L[%0.03,%-1.32]:N62X.PLT[HHA,LCS]⊂⊗⊃␈↓