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.FILL INDENT 12
	These diagrams may appear somewhat unwieldy, but they have
the advantage of giving clear pictures, in intervallic terms, of the
relationships involved.
 

	Occasionally a very rapid movement through part of the circle
of fifths, or the successive use of 7th chords, will cause certain
elements of a progression to stand in relief.
.BEGIN VERBATIM

Example 64
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.BEGIN VERBATIM

Figure 64
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.FILL INDENT 12
	In the above diagram, the abrupt skip down to a third
level of tonics (which resolves to a I on the second level)
accurately parallels the effect of the example.  Notice the problems 
created by the use of a string of diminished chords over a basically
chromatic line.  Such situations may be analyzed as
substitutes for the "circle of fifths" progression, but generally it
is best to consider all but the first and last chords of the string
as parallel-moving passing chords (see Bach, %2Partita #1 in B%4F%1, Gigue;
Mozart, %2Fantasy in C%1, K.394).  However, in 19th-century music,
details of voice leading (especially the melodic skips) often tend
to give functional importance to the inner chords of strings of
diminished chords (see Chopin, %2Etude in E%1, Op.10,#3, measure 38,
etc.; Liszt, %2Transcendental Etude #6, "Mazeppa"%1, beginning).

	Most often the return to the main tonic will not be made by 
the same route as was the departure.  When this happens, a pivotal
tonic may appear in the middle area of the analysis (see below at
the sign *).
.begin verbatim

Example 65
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Figure 65
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