/LMAR=0/XLINE=10/FONT#0=METL/FONT#1=METLI/FONT#2=METS/FONT#3=MUS[HHA,LCS]/FONT#4=MUZ[HHA,LCS]/FONT#5=BASL35
␈↓ α∧␈↓␈↓ ε↔76␈↓ 
T


␈↓"β␈↓ α∧␈↓Example and Figure 70.  Berlioz, Fantastic Symphony 
␈↓"β␈↓ α∧␈↓                                (Reduced from the fourth movement)
␈↓"β␈↓ α∧␈↓␈↓ βl␈↓¬⊂⊗⊃L[%0,%-3.75]:70X.PLT[HHA,LCS]⊂⊗⊃␈↓

















␈↓"β␈↓ α∧␈↓␈↓ αdBelow␈α∞the␈α∞main␈α
body␈α∞of␈α∞the␈α
analysis␈α∞is␈α∞shown␈α∞the␈α
separate
␈↓ α∧␈↓movement␈α
of␈α
each␈αof␈α
the␈α
two␈αalternating␈α
progressions.␈α
 The␈αone␈α
in
␈↓ α∧␈↓␈↓&g␈↓)αβ␈α∞is␈α∞quite␈α∞simple;␈α∞in␈α∞fact,␈α∞the␈α
whole␈α∞g␈α∞chord␈α∞acts␈α∞as␈α∞a␈α∞pedal␈α
until
␈↓ α∧␈↓the␈α
augmented␈α
sixth␈α
chord␈α
leads␈α
to␈α
the␈α
dominant.␈α
 The␈α
progression
␈↓ α∧␈↓begun␈αby␈αthe␈α
D␈↓βF␈↓␈αchord␈αis␈α
listed␈αunder␈αan␈α
␈↓&A␈↓βF␈↓␈↓)αβ␈αtonic␈αbecause,␈αin␈α
view
␈↓ α∧␈↓of␈α∂the␈α∂ultimate␈α⊂hearing␈α∂of␈α∂the␈α∂E␈↓βF␈↓7␈α⊂(enharmonic),␈α∂␈↓&A␈↓βF␈↓␈↓)αβ␈α∂is␈α⊂the␈α∂most
␈↓ α∧␈↓direct␈α∞connecting␈α∞link,␈α∞even␈α∞though␈α∞its␈α∞I␈α∞chord␈α∞is␈α∞not␈α∞used,␈α∞to␈α∞␈↓&g␈↓)αβ.
␈↓ α∧␈↓The␈α~functions␈α~listed␈α≠in␈α~parentheses␈α~might␈α~be␈α≠interpreted␈α~as
␈↓ α∧␈↓chromatic␈αelaboration␈αof␈αthe␈αD␈↓βF␈↓␈αchord␈α(see␈αExample␈α67).␈α Thus␈αthe
␈↓ α∧␈↓overall␈αprogress␈αfrom␈αthe␈αD␈↓βF␈↓␈αchord␈αis␈αlikewise␈αsimple␈α--␈α␈↓&A␈↓βF␈↓␈↓)αβ:␈αIV...V,
␈↓ α∧␈↓wherein␈αthe␈α
V␈αserves␈αdoubly␈α
as␈αthe␈αG6␈α
of␈α␈↓&g␈↓)αβ.␈α Notice␈α
that␈αin␈αall␈α
this
␈↓ α∧␈↓the␈αpossibility␈αof␈αtreating␈αthe␈αD␈↓βF␈↓␈αchord␈αas␈αa␈α␈↓βF␈↓V␈αor␈α␈↓βS␈↓IV␈αrelationship
␈↓ α∧␈↓in␈α␈↓&g␈↓)αβ␈αis␈αavoided.␈α A␈αtrue␈αdirect␈αrelation␈αof␈αthe␈αtritone␈αbetween␈αtwo
␈↓ α∧␈↓tonics␈α∞tends␈α∞to␈α∞destroy␈α∞both␈α∞of␈α∞them.␈α∞ Such␈α∞a␈α∞relationship␈α
would
␈↓ α∧␈↓merely␈α∃constitute␈α∀a␈α∃juxtaposition␈α∀of␈α∃keys␈α∀whose␈α∃tonic␈α∀chords
␈↓ α∧␈↓were␈αincompatible␈α
except␈αas␈α
they␈αboth␈αserved␈α
as␈αsubsidiaries␈α
to␈αa
␈↓ α∧␈↓third tonic (see page 46).