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.FILL INDENT 12
	Heard alone, the above is a simple ↓_D_↓: IV-V-I progression;
but heard in its continuing context (Example 27) the I chord
retrospectively becomes a pseudo %4A%1 chord.  Because of the use of the
A pedal at the starred (*) points and the fact that each of the two bar
groups presents the A chord on the strong beats, the F%4S%1 and D of the
D chord, even when moved to the bass, are heard as auxiliaries to E and
C%4S%1 of the A chord.
.begin verbatim
 
Example 27
.end
.CENTER
%6⊂⊗⊃L[α%0.00,α%-5.48](17,22):XXX27.PLT[C1,LCS]⊂⊗⊃%1
.skip 11
 
.FILL INDENT 12
	Despite the two-part presentation, the essential movement of the
following passage from Bach's %2Partita%1 #5 is clearly heard as a
descending series of chords; VI-V-IV-III-II.  Needless to
say, the progression found in the details (VI-II | V%47%1-I | IV-VII |
III%47%1-VI | II) does exist.  But the context causes us to hear the
alternate chords (II,I,VII,VI) as subsidiary to the other
chords.  The fact that VI-V-IV-III-II hardly constitutes an
exciting harmonic progression does not alter our hearing of this
passage.  It must be understood that, in the largest sense, this passage
gives us a movement from VI to II.  In relative terms, the main
harmonies in between are passing chords, each elaborated by chords
at the 4th above.  However, the %2particular%1 effect of the
example depends on the functions of all the harmonic details -- VI-II
V%47%1-I -- etc.