/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↔71␈↓ 
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␈↓"β␈↓ α∧␈↓␈↓ ¬GCHAPTER VI


␈↓"β␈↓ α∧␈↓␈↓ α5ALTERNATING PROGRESSIONS AND INDIRECT RELATIONSHIPS


␈↓"β␈↓ α∧␈↓␈↓ αd The␈α⊗simplest␈α↔form␈α⊗of␈α⊗alternating␈α↔progression␈α⊗is␈α↔that␈α⊗in
␈↓ α∧␈↓which␈α
a␈α
particular␈α∞chord␈α
is␈α
approached␈α∞from␈α
two␈α
points␈α∞of␈α
view
␈↓ α∧␈↓with␈α∞regard␈α∞to␈α∞its␈α∞harmonic␈α∞function.␈α∞ In␈α∞most␈α∞cases␈α∞there␈α∞is␈α
not
␈↓ α∧␈↓the␈αslightest␈αdoubt␈αas␈αto␈αthe␈αprimary␈αfunction␈α(usually␈αdominant)
␈↓ α∧␈↓of the final chord.
␈↓"β␈↓ α∧␈↓␈↓ βi␈↓¬⊂⊗⊃L[0,%-2.75]:N68X.PLT[HHA,LCS]⊂⊗⊃␈↓
␈↓"β␈↓ α∧␈↓Example 68
␈↓"β
␈↓"β
␈↓"β
␈↓"β
␈↓"β
␈↓"β
␈↓"β
␈↓"β␈↓ α∧␈↓Figure 68
␈↓"β
␈↓"β
␈↓"β
␈↓"β
␈↓"β

␈↓"β␈↓ α∧␈↓␈↓ αdHere␈αthe␈α
delayed␈αresolution␈αof␈α
the␈αD7th␈αchord␈α
to␈α␈↓↓its␈↓␈αtonic,␈α
␈↓&G␈↓)αβ,
␈↓ α∧␈↓may␈α
be␈α
shown␈α
as␈α
above.␈α
 The␈α
primarily␈α
dominant␈α
function␈α
of␈αthe
␈↓ α∧␈↓G␈α∪chord␈α∪is␈α∪ensured␈α∪by␈α∪the␈α∪immediately␈α∪preceding␈α∪subdominant
␈↓ α∧␈↓(II␈↓∧H␈↓)␈αfunction.␈α Thus␈αthe␈αG␈αmajor␈αchord␈αis␈αtonicized␈αby␈αthe␈αsecond
␈↓ α∧␈↓chord␈αand␈α"dominantized"␈αby␈αthe␈αthird␈αchord,␈αthe␈αlast␈α
relationship
␈↓ α∧␈↓in␈α∀the␈α∪series␈α∀being␈α∀the␈α∪most␈α∀influential.␈α∪ Here,␈α∀once␈α∀more,␈α∪the
␈↓ α∧␈↓voice-leading␈α
or␈α
contrapuntal␈α
element␈α
becomes␈α
relevant␈αand,␈α
from
␈↓ α∧␈↓a␈αbroad␈α
point␈αof␈αview,␈α
the␈αbass␈αnotes␈α
F␈↓βS␈↓,␈αA␈↓βF␈↓,␈αand␈α
G␈αform␈αa␈α
kind␈αof
␈↓ α∧␈↓cambiata␈αfigure␈αwhich␈αminimizes␈αthe␈αeffect␈αof␈αthe␈αD7th␈αchord␈αas␈α
a
␈↓ α∧␈↓␈↓ ε↔72␈↓ 
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␈↓"β␈↓ α∧␈↓dominant.*␈α⊂In␈α⊂detail,␈α⊂however,␈α⊂the␈α⊂above␈α⊂example␈α⊂␈↓↓does␈↓␈α⊂offer␈α∂us
␈↓ α∧␈↓the musical effect indicated by the analysis.

␈↓"β␈↓ α∧␈↓␈↓ αdSimilar␈α
progressions␈α
occur␈α∞in␈α
the␈α
␈↓↓Mazurka␈α∞No.38␈↓,␈α
Op.59,#3,
␈↓ α∧␈↓of Chopin (measures 16-24):
␈↓"β
␈↓"β␈↓ α∧␈↓Example 69a
␈↓"β␈↓ α∧␈↓␈↓ β@␈↓¬⊂⊗⊃L[%-.02,%-2.95]:N69XA.PLT[HHA,LCS]⊂⊗⊃␈↓













␈↓"β␈↓ α∧␈↓␈↓ αdAs␈α∞the␈α
progressions␈α∞under␈α∞study␈α
become␈α∞more␈α∞complex,␈α
the
␈↓ α∧␈↓following␈α⊃method␈α∩for␈α⊃clarifying␈α⊃the␈α∩relationships␈α⊃may␈α∩be␈α⊃used.
␈↓ α∧␈↓The␈α→horizontal␈α_bars␈α→connecting␈α→various␈α_parts␈α→of␈α→the␈α_Chordal
␈↓ α∧␈↓Reduction␈α
serve␈α
the␈α
purpose␈α∞of␈α
showing␈α
which␈α
of␈α∞the␈α
harmonies
␈↓ α∧␈↓may␈α∞be␈α∞directly␈α∞related␈α∞to␈α∞one␈α∞another.␈α∞ ␈↓↓On␈α∞any␈α∞given␈α∞level,␈α∞the
␈↓ α∧␈↓↓horizontal␈α≥bar␈α≥connects␈α≥chords␈α≤which␈α≥all␈α≥serve␈α≥the␈α≤same
␈↓ α∧␈↓↓temporary␈α⊃tonic␈↓.␈α⊃ It␈α⊂should␈α⊃be␈α⊃noted␈α⊂that␈α⊃sometimes␈α⊃a␈α⊃chord␈α⊂of
␈↓ α∧␈↓substitute␈α∪function␈α∪will␈α∪be␈α∀found␈α∪on␈α∪a␈α∪given␈α∪tonic's␈α∀bar␈α∪even
␈↓ α∧␈↓though␈α∀the␈α∀chord␈α∀is␈α∀at␈α∃the␈α∀same␈α∀time␈α∀more␈α∀clearly␈α∃related␈α∀to
␈↓ α∧␈↓another␈α⊂tonic.␈α⊂ These␈α⊂Chordal␈α⊃Reductions␈α⊂are␈α⊂not␈α⊂to␈α⊃be␈α⊂confused

␈↓"β␈↓ α∧␈↓__________
␈↓"β␈↓ α∧␈↓ Many␈α⊃books␈α⊃on␈α⊃harmony␈α⊃would␈α⊃call␈α⊃this␈α⊃D7␈α⊃chord␈α⊃simply␈α⊂II␈↓βS3␈↓.
␈↓"␈↓ α∧␈↓This␈α∩seems␈α∪like␈α∩an␈α∩oversimplification.␈α∪ A␈α∩dividing␈α∩line␈α∪must␈α∩be
␈↓"␈↓ α∧␈↓drawn␈α
somewhere␈α
in␈α∞these␈α
matters;␈α
in␈α∞this␈α
book␈α
the␈α∞sharped␈α
4th
␈↓"␈↓ α∧␈↓and␈α5th␈αdegrees␈αof␈αthe␈α
scale␈αwill␈αonly␈αbe␈αadmitted␈α
as␈α"functional"
␈↓"␈↓ α∧␈↓when␈α_they␈α_are␈α_part␈α_of␈α_augmented␈α_sixth␈α_or␈α_augmented␈α↔fifth
␈↓"␈↓ α∧␈↓chords.
␈↓ α∧␈↓␈↓ ε↔73␈↓ 
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␈↓"β␈↓ α∧␈↓with␈α
the␈α
diagrams␈α
outlining␈αTonic␈α
Guide␈α
Tones.␈α
 Tonic␈αGuide␈α
Tones
␈↓ α∧␈↓will␈α∂be␈α∂used␈α∂solely␈α∂as␈α∂a␈α∂means␈α∂of␈α∂clarifying␈α⊂relationships␈α∂among
␈↓ α∧␈↓the ␈↓↓tonics␈↓ involved in any progression.  (See page 57.)