/LMAR=0/XLINE=20/FONT#0=MBIG[HHA,LCS]/FONT#1=BMETI[HHA,LCS]/FONT#3=BMUS[HHA,LCS]/FONT#5=MBIG[HHA,LCS]
␈↓ β⊂␈↓␈↓ 651␈↓ ∀0


␈↓"β␈↓ β⊂␈↓␈↓ ∧P Even␈α⊗without␈α⊗recourse␈α↔to␈α⊗enharmonic␈α⊗change,␈α⊗the␈α↔F6␈α⊗chord
␈↓ β⊂␈↓may␈α∃work␈α⊗as␈α∃the␈α⊗V␈↓βG␈↓␈α∃structure␈α⊗of␈α∃the␈α⊗original␈α∃key's␈α⊗dominant␈α∃(see
␈↓ β⊂␈↓Example␈α%52).␈α$ One␈α%notable␈α$use␈α%of␈α$the␈α%V␈↓βG␈↓␈α$occurs␈α%at␈α$the␈α%end␈α$of
␈↓ β⊂␈↓Schubert's ␈↓↓Quintet in C␈↓, Op.163.
␈↓"β␈↓ β⊂␈↓ 
␈↓"β␈↓ β⊂␈↓Example 55
␈↓"β␈↓ β⊂␈↓␈↓ ¬5␈↓¬⊂⊗⊃L[%0.06,%-2.04](17,22):N55X.PLT[C4,LCS]⊂⊗⊃␈↓





␈↓"β␈↓ β⊂␈↓␈↓ ∧P In␈α8this␈α8particular␈α8case␈α8it␈α8might␈α8be␈α8inferred␈α8(perhaps
␈↓ β⊂␈↓fancifully)␈α"that␈α!this␈α"chord␈α"is␈α!used␈α"to␈α!point␈α"in␈α"the␈α!subdominant
␈↓ β⊂␈↓direction, a tradition of long standing for endings.  Thus:


␈↓"β␈↓ β⊂␈↓␈↓ 
∩might imply
␈↓"β␈↓ β⊂␈↓␈↓ ¬7␈↓¬⊂⊗⊃L[%0.18,%-1.56](17,22):N55F.PLT[C4,LCS]⊂⊗⊃␈↓


␈↓"β

␈↓"β␈↓ β⊂␈↓␈↓ ∧P For␈α%a␈α%stronger␈α%example,␈α%this␈α%time␈α%employing␈α%the␈α%G6,␈α$we
␈↓ β⊂␈↓turn␈α∨to␈α≡Schubert's␈α∨posthumous␈α∨␈↓↓Sonata␈α≡in␈α∨A␈↓.␈α≡ Here,␈α∨there␈α∨is␈α≡little
␈↓ β⊂␈↓possibility␈α≤of␈α≠confusion␈α≤with␈α≤an␈α≠altered␈α≤V,␈α≤since␈α≠there␈α≤is␈α≤no␈α≠root
␈↓ β⊂␈↓of V present.
␈↓"β
␈↓"β␈↓ β⊂␈↓Example 56
␈↓"β␈↓ β⊂␈↓␈↓ ¬5␈↓¬⊂⊗⊃L[%0.06,%-3.00](17,22):N56X.PLT[C4,LCS]⊂⊗⊃␈↓