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00100	.begin verbatim
00200	Example and Figure 73.  Berlioz, Fantastic Symphony 
00300					(Reduced from the fourth movement)
00400	.end
00500	.CENTER
00600	%6⊂⊗⊃L[α%0,α%-3.75]:N73X.PLT[HHA,LCS]⊂⊗⊃%1
00700	.skip 16
00800	.fill indent 6
00900		Below the main body of the analysis is shown the separate
01000	movement of each of the two alternating progressions.  The one in ↓_g_↓ is 
01100	quite simple; in fact, the whole g chord acts as a pedal until the
01200	augmented sixth chord leads to the dominant.  The progression begun
01300	by the D%4F%1 chord is listed under an ↓_A%4F%1_↓ tonic because, in view of the
01400	ultimate hearing of the E%4F%17 (enharmonic), ↓_A%4F%1_↓ is the most direct
01510	connecting link to ↓_g_↓, even though the I
01555	of ↓_A%4F%1_↓ is not used.  The
01600	functions listed in parentheses might be interpreted as chromatic
01700	elaboration of the D%4F%1 chord (see Example 70).  Thus the overall
01800	progress from the D%4F%1 chord is likewise simple -- ↓_A%4F%1_↓: IV...V,
01900	wherein the V serves doubly as the G6 of ↓_g_↓.  Notice that in all this
02000	the possibility of treating the D%4F%1 chord as a %4F%1V or %4S%1IV relationship
02100	in ↓_g_↓ is avoided.  A true direct relation of the tritone between two
02200	tonics tends to destroy both of them.
02300	Such a relationship would merely constitute a juxtaposition of keys
02400	whose tonic chords were incompatible except as they both served as
02500	subsidiaries to a third tonic (see page 46).
02600