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.begin verbatim

Figure 56a
.end
.CENTER
%5⊂⊗⊃L(8,2.35):56A.PLT[HHA,LCS]⊂⊗⊃%1
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.FILL
.INDENT 6
 
	The ↓_D_↓ area at (xx) appears in direct relationship only with
the ↓_G_↓ (or tonicized V) area.  Even though every numeral that
appears in the middle area of an analysis is %2understood%1 to be a tonic
(i.e., working as a "I"), a new I is placed under the first
presentation of V as a tonic in order that the interval of the subsequent
movement to ↓_D_↓ (i.e., the dominant relation to ↓_G_↓), is readily apparent.
Similarly, another I appears when the progression returns
to ↓_G_↓ as the tonic.  In the previous example it will be noted that the
tonicized ↓_D_↓ was specifically major.  This new I contains
F%4S%1 -- not a functional probability in terms of the original ↓_C_↓, but
completely compatible with the ↓_G_↓ scale.

 
	This may be made even more clear if we set up what will be
called %2tonic guide tones%1.  These represent, in musical notation,
the elements that appear in the middle area of the analysis.
 
.begin verbatim

Figure 56b

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%5⊂⊗⊃L(8,3.2):56B.PLT[HHA,LCS]⊂⊗⊃%1