/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⊂␈↓␈↓ 653␈↓ ∀0


␈↓"β
␈↓"β␈↓ β⊂␈↓Example 57.  Chopin, Prelude, Op.28, #23
␈↓"β␈↓ β⊂␈↓␈↓ ¬5␈↓¬⊂⊗⊃L[%0.00,%-3.85](17,22):N57X.PLT[C4,LCS]⊂⊗⊃␈↓












␈↓"β␈↓ β⊂␈↓␈↓ ∧PAnd then there is the standard "Blues" progression:
␈↓"β
␈↓"β␈↓ β⊂␈↓Example 58
␈↓"β␈↓ β⊂␈↓␈↓ ¬#␈↓¬⊂⊗⊃L[%-0.16,%-3.71](17,22):N58X.PLT[C4,LCS]⊂⊗⊃␈↓










␈↓"β␈↓ β⊂␈↓␈↓ ∧P Many␈α↔variants␈α↔of␈α↔the␈α↔main␈α↔A6␈α↔chords␈α↔may␈α↔be␈α↔found␈α_in␈α↔later
␈↓ β⊂␈↓tonal␈α∀music.␈α∀ But␈α∀once␈α∀they␈α∃are␈α∀recognized␈α∀for␈α∀what␈α∀they␈α∃are,␈α∀they
␈↓ β⊂␈↓should␈α"cause␈α#no␈α"difficulties␈α#in␈α"an␈α#analysis.␈α" Similarly,␈α#there␈α"are
␈↓ β⊂␈↓many␈α⊗chromatic␈α∃variants␈α⊗of␈α∃the␈α⊗dominant,␈α∃subdominant␈α⊗(the␈α⊗A6␈α∃is
␈↓ β⊂␈↓one!),␈α&and␈α'other␈α&functions,␈α'except␈α&for␈α'the␈α&I␈α'function.*␈α&Various

␈↓"β␈↓ β⊂␈↓__________
␈↓"β␈↓ β⊂␈↓*␈α~But␈α~remember␈α~that␈α~there␈α~is␈α→always␈α~the␈α~␈↓↓potential␈↓␈α~of␈α~a␈α~change␈α→of
␈↓"␈↓ β⊂␈↓function when any chromaticism is introduced.
␈↓ β⊂␈↓␈↓ 654␈↓ ∀0


␈↓"β␈↓ β⊂␈↓notes␈α≤may␈α≥be␈α≤␈↓↓added␈↓␈α≤to␈α≥tonic␈α≤function,␈α≤and␈α≥the␈α≤root␈α≤may␈α≥even␈α≤be
␈↓ β⊂␈↓omitted,␈α&but␈α%if␈α&the␈α&root␈α%or␈α&5th␈α&are␈α%altered,␈α&the␈α&tonic␈α%function
␈↓ β⊂␈↓becomes dubious.

␈↓"β␈↓ β⊂␈↓␈↓ ∧P Chromaticism␈α'has␈α(always␈α'caused␈α'composers␈α(trouble␈α'with
␈↓ β⊂␈↓notation.␈α→ The␈α→augmented␈α→sixth␈α→and␈α→diminished␈α→seventh␈α→chords␈α→in
␈↓ β⊂␈↓particular␈α≥have␈α≥raised␈α≤problems,␈α≥because␈α≥of␈α≤the␈α≥ambiguity␈α≥of␈α≤the
␈↓ β⊂␈↓situations␈α in␈α which␈α they␈α!are␈α often␈α found.␈α  Composers␈α!cannot␈α be
␈↓ β⊂␈↓totally␈α1consistent␈α0in␈α1notating␈α0such␈α1chords␈α1when␈α0enharmonic
␈↓ β⊂␈↓equivalence␈α⊗is␈α⊗involved.␈α⊗ It␈α∃will␈α⊗always␈α⊗be␈α⊗necessary␈α⊗to␈α∃determine
␈↓ β⊂␈↓the␈α≤function␈α≤or␈α≤functions␈α≤of␈α≤chromatic␈α≤chords␈α≤by␈α≤studying␈α≤their
␈↓ β⊂␈↓surroundings rather than by taking their notation at face value.
␈↓"β␈↓ β⊂␈↓␈↓ πq_______________