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.SKIP 2
.CENTER		
CHAPTER VI
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.CENTER			
ALTERNATING PROGRESSIONS AND INDIRECT RELATIONSHIPS
.SKIP 1
.INDENT 6
.FILL
.ADJUST
.SELECT 1
 
 
	The simplest form of alternating progression is that in which
a particular chord is approached from two points of view with regard 
to its harmonic function.  In most cases there is not the slightest
doubt as to the primary function (usually dominant) of the final chord.

.CENTER
%6⊂⊗⊃L[α%0,α%-2.82]:N68X.PLT[C6,LCS]⊂⊗⊃%1
.BEGIN VERBATIM
Example 68







Figure 68






.END
.FILL INDENT 6

	Here the delayed resolution of the D7th chord to %2its%1 tonic, ↓_G_↓,
may be shown as above.  The primarily dominant function of the G chord 
is ensured by the immediately preceding subdominant (II%5H%1)
function.  Thus the G major chord is tonicized by the second chord and
"dominantized" by the third chord, the last relationship in the
series being the most influential.  Here, once more, the voice-leading
or contrapuntal element becomes relevant and, from a broad point of
view, the bass notes F%4S%1, A%4F%1, and G form a kind of cambiata figure
which minimizes the effect of the D7th chord as a dominant.$$ %1Many
books on harmony would call this D7 chord simply II%4S3%1.  This seems like
an oversimplification.  A dividing line must be drawn somewhere in these
matters; in this book the sharped 4th and 5th degrees of the scale will only
be admitted as "functional" when they are part of augmented sixth or
augmented fifth chords.$  In detail,
however, the above example %2does%1 offer us the musical effect
indicated by the analysis.