00100	. DEVICE XGP    
00200	.spacing 10*5 mills;
00300	.EVERY HEADING(,{PAGE},)
00400	.AREA TEXT LINES 4 TO 40
00500	.FONT 1 "METL"
00600	.font 2 "METLI"
00700	.font 3 "METS"
00800	.font 4 "MUS[HHA,LCS]"
00900	.font 5 "MUZ[HHA,LCS]"
01000	.FONT 6 "BASL35"
01100	.PORTION MAIN;
01200	.PLACE TEXT;
01300	.COMPACT
01400	.PAGE←70
01500	.NEXT PAGE
01600	.<< Put in a footnote. >>
01700	.
01800	.COUNT FOOTNOTE INLINE FROM 1 TO 999 IN PAGE PRINTING ⊂"*****"[1 TO FOOTNOTE]⊃
01900	.<<	(IF THISDEVICE = "XGP" THEN "%51%*" ELSE "[1]");>>
02000	.
02100	.FOOTSEP ← "__________";
02200	.AT "$$" ENTRY "$"
02300	.	⊂
02400	.	NEXT FOOTNOTE;
02500	.	FOOTNOTE!;
02600	.	SEND FOOT
02700	.		⊂
02800	.		BEGIN "NEXT FOOTNOTE"
02900	.		SELECT 1;
03000	.		SINGLE SPACE
03100	.		SPACING 0 MILLS
03200	.		INDENT 0,0,0;
03300	.		(FOOTNOTE! & " ");
03400	ENTRY
03500	.		END "NEXT FOOTNOTE";
03600	.		⊃;
03700	.	⊃;
03800	.
03900	.TURN ON "%↓_↑↓[&]","α"
     

00100	.SKIP 2
00200	.CENTER		
00300	CHAPTER VI
00400	.SKIP 2
00500	.CENTER			
00600	ALTERNATING PROGRESSIONS AND INDIRECT RELATIONSHIPS
00700	.SKIP 1
00800	.INDENT 6
00900	.FILL
01000	.ADJUST
01100	.SELECT 1
01200	 
01300	 
01400		The simplest form of alternating progression is that in which
01500	a particular chord is approached from two points of view with regard 
01600	to its harmonic function.  In most cases there is not the slightest
01700	doubt as to the primary function (usually dominant) of the final chord.
01800	
01900	.CENTER
02000	%6⊂⊗⊃L[0,α%-2.75]:N68X.PLT[HHA,LCS]⊂⊗⊃%1
02100	.BEGIN VERBATIM
02200	Example 68
02300	
02400	
02500	
02600	
02700	
02800	
02900	
03000	Figure 68
03100	
03200	
03300	
03400	
03500	
03600	.END
03700	.FILL INDENT 6
03800	
03900		Here the delayed resolution of the D7th chord to %2its%1 tonic, ↓_G_↓,
04000	may be shown as above.  The primarily dominant function of the G chord 
04100	is ensured by the immediately preceding subdominant (II%5H%1)
04200	function.  Thus the G major chord is tonicized by the second chord and
04300	"dominantized" by the third chord, the last relationship in the
04400	series being the most influential.  Here, once more, the voice-leading
04500	or contrapuntal element becomes relevant and, from a broad point of
04600	view, the bass notes F%4S%1, A%4F%1, and G form a kind of cambiata figure
04700	which minimizes the effect of the D7th chord as a dominant.$$Many
04800	books on harmony would call this D7 chord simply II%4S3%1.  This seems like
04900	an oversimplification.  A dividing line must be drawn somewhere in these
05000	matters; in this book the sharped 4th and 5th degrees of the scale will only
05100	be admitted as "functional" when they are part of augmented sixth or
05200	augmented fifth chords.$  In detail,
05300	however, the above example %2does%1 offer us the musical effect
05400	indicated by the analysis.
05500	
05600		Similar progressions occur in the %2Mazurka No.38%1, Op.59,#3,
05700	of Chopin (measures 16-24):
05800	
05900	.begin verbatim
06000	
06100	Example 69a
06200	.end
06300	.CENTER
06400	%6⊂⊗⊃L[α%-.02,α%-2.95]:N69XA.PLT[HHA,LCS]⊂⊗⊃%1
06500	.skip 12
06600	.FILL INDENT 6
06700	
06800		As the progressions under study become more complex, the
06900	following method for clarifying the relationships may be used.  The
07000	horizontal bars connecting various parts of the Chordal Reduction
07100	serve the purpose of showing which of the harmonies may be directly
07200	related to one another.  %2On any given level, the horizontal bar
07300	connects  chords which all serve the same temporary tonic%1.  It
07400	should be noted that sometimes a chord of substitute function will
07500	be found on a given tonic's bar even though the chord is at the same
07600	time more clearly related to another tonic.  These Chordal Reductions
07700	are not to be confused with the diagrams outlining Tonic Guide Tones.
07800	Tonic Guide Tones will be used solely as a means of clarifying
07900	relationships among the %2tonics%1 involved in any progression.  (See page 57.)
08000