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.begin verbatim
Figure 58c

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.skip 5
 
 
 
.ONCE NO FILL INDENT 0 
	     * Here the ↓_g_↓ tonic is shown as subsidiary to ↓_d_↓.  This
.ONCE NO FILL INDENT 0 
	     interpretation might be preferred if the duration of 
.ONCE NO FILL INDENT 0 
	     the ↓_g_↓ tonic area were quite short in relation to the 
.ONCE NO FILL INDENT 0 
	     following ↓_d_↓ area (see Example 61).
.FILL indent 6
 

	Notice that the above examples were, for the purposes of
illustration, presented without varied rhythm.  As always, in more
complex situations, the relations between harmony, melody, and
rhythm will combine to offer a basis for a more specific analytical
interpretation.  However, it must be emphasized that the main
profit to the serious musician is found in the process of wrestling
with such problematical decisions.  The final decision need not be
considered the %2only%1 right one, but rather as the most clarifying of
the actual effect of the music on the individual.

 
	An extreme example of added levels of tonicization (and it is
often heard) is the progression through the "circle of fifths".
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Example 59
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