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00300	.FILL INDENT 12
00400		The exact location of the pivotal tonic will usually depend on
00500	the association of the particular %2means%1 of presenting a given harmonic
00600	function with earlier presentation of the same function.  In other words,
00700	the return to the chord of departure, even with the same function on the
00800	lowest level, can be inconclusive until we also return to the same
00900	melodic and rhythmic presentation of that function.  In Example 66 the f%4S%1
01000	chord at (*) has a tonic function, but ↓_f%4S%1_↓ as a tonic of the middle area
01100	is still subsidiary to another tonic (↓_D_↓) until the return of the 
01200	original material.
01300	.begin verbatim
01400	
01500	Figure 66
01600	.end
01700	.CENTER
01800	%6⊂⊗⊃L[α%-.1,α%-6.60](17,22):N66F.PLT[C5,LCS]⊂⊗⊃%1
01900	.SKIP 14
02000	.FILL INDENT 12
02100		The middle area of the first analysis is preferred at (+),
02200	because the tonic chord of ↓_f%4S_↓%1 is completely consistent with the scale
02300	of ↓_D_↓, and there are no other factors that might deter one from
02400	hearing the passage as a stepwise progression of tonics (I, ii, iii).
02500	If, for any reason, it seems undesirable to show a pivot in cases where
02600	two or more levels of tonics are involved, the wavy vertical line (%4W%1)
02700	might be used to show the lack of continuity along any given level
02800	(see Figure 71).  However, it rarely happens that a logical connection
02900	between tonics cannot be made.