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Example 66.  Berlioz, Fantastic Symphony (Reduced from the fourth movement)




Figure 66.





	Below the main body of the analysis is shown the separate
movement of each of the two alternating progressions.  The one in g is 
quite simple; in fact, the whole g chord acts as a pedal until the
augmented sixth chord leads to the dominant.  The progression begun
by the Db chord is listed under an Ab tonic because, in view of the
ultimate hearing of the Eb7 (enharmonic), Ab is the most direct
connecting link, even though its I chord is not used, to g.  The
functions listed in parentheses might be interpreted as chromatic
elaboration of the Db chord (see Example 63).  Thus the overall
progress from the Db chord is likewise simple -- Ab: IV...V,
wherein the V serves doubly as the G6 of g.  Notice that in all this
the possibility of treating the Db chord as a bV or #IV relationship
in g is avoided.  A true direct relation of the tritone between two
tonics tends to destroy both of them.******see Schumann, Carnaval*****
Such a relationship would merely constitute a juxtaposition of keys
whose tonic chords were incompatible except as they both served as
subsidiaries to a third tonic (see page zzz).