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.INDENT 12
	The tonics which are most closely related (see table on page 46)
are connected by horizontal bars.  The black notes may be added to show
the mode of each tonic.  When dealing with very complex progressions,
it may often prove quite helpful to sketch out the tonic guide
tones previous to making any final decisions concerning the particular
relationships of the temporary tonics.
 

	If some of the notes of Example 59 are altered so that we
arrive at ↓_d_↓ minor, instead of major, its role as the tonicized V of
↓_G_↓ is greatly weakened.  Voice leading is important in establishing
the ↓_d_↓ area.  The B and C%4S%1, 6th and 7th scale degrees, appear in
ascending lines, the B%4F%1 and C%4N%1 in descending lines.
 
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Example 60
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.INDENT 12
	Now, since the I chord of ↓_d_↓ does not disturb the material
of the original scale, it is heard in direct relation to ↓_C_↓.
 
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Figure 60

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