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.FILL INDENT 6
	The exact location of the pivotal tonic will usually depend on
the association of the particular %2means%1 of presenting a given harmonic
function with earlier presentation of the same function.  In other words,
the return to the chord of departure, even with the same function on the
lowest level, can be inconclusive until we also return to the same
melodic and rhythmic presentation of that function.  In Example 66 the f%4S%1
chord at (*) has a tonic function, but ↓_f%4S%1_↓ as a tonic of the middle area
is still subsidiary to another tonic (↓_D_↓) until the return of the 
original material.
.begin verbatim

Figure 66
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	The middle area of the first analysis is preferred at (+),
because the tonic chord of f%4S%1 is completely consistent with the scale
of ↓_D_↓, and there are no other factors that might deter one from
hearing the passage as a stepwise progression of tonics (I, ii, iii).
If, for any reason, it seems undesirable to show a pivot in cases where
two or more levels of tonics are involved, the wavy vertical line (%4W%1)
might be used to show the lack of continuity along any given level
(see Figure 71).  However, it rarely happens that a logical connection
between tonics cannot be made.