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.begin verbatim
Example and Figure 70.  Berlioz, Fantastic Symphony 
				(Reduced from the fourth movement)
.end
.CENTER
%6⊂⊗⊃L[α%0,α%-3.75]:70X.PLT[HHA,LCS]⊂⊗⊃%1
.skip 16
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	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 D%4F%1 chord is listed under an ↓_A%4F%1_↓ tonic because, in view of the
ultimate hearing of the E%4F%17 (enharmonic), ↓_A%4F%1_↓ 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 D%4F%1 chord (see Example 67).  Thus the overall
progress from the D%4F%1 chord is likewise simple -- ↓_A%4F%1_↓: IV...V,
wherein the V serves doubly as the G6 of ↓_g_↓.  Notice that in all this
the possibility of treating the D%4F%1 chord as a %4F%1V or %4S%1IV relationship
in ↓_g_↓ is avoided.  A true direct relation of the tritone between two
tonics tends to destroy both of them.
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 46).