/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.62␈↓ 
k


␈↓"β␈↓ α≠␈↓␈↓ α{These␈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≠␈↓␈↓ α{Occasionally␈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 64
␈↓"β␈↓ α≠␈↓␈↓ βd␈↓¬⊂⊗⊃L[%0.00,%-1.45]:N64X.PLT[HHA,LCS]⊂⊗⊃␈↓






␈↓"β
␈↓"β␈↓ α≠␈↓Figure 64
␈↓"β␈↓ α≠␈↓␈↓ βg␈↓¬⊂⊗⊃L[%0.10,%-2.32]:N64F.PLT[HHA,LCS]⊂⊗⊃␈↓











␈↓"β␈↓ α≠␈↓␈↓ α{In␈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.63␈↓ 
k


␈↓"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≠␈↓␈↓ α{Most␈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 65
␈↓"β␈↓ α≠␈↓␈↓ βc␈↓¬⊂⊗⊃L[%0.00,%-1.25]:N65X.PLT[HHA,LCS]⊂⊗⊃␈↓






␈↓"β
␈↓"β␈↓ α≠␈↓Figure 65
␈↓"β␈↓ α≠␈↓␈↓ βc␈↓¬⊂⊗⊃L[%0.00,%-2.60]:N65F.PLT[HHA,LCS]⊂⊗⊃␈↓