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00300	.begin verbatim
00400	Example and Figure 73.  Berlioz, Fantastic Symphony 
00500					(Reduced from the fourth movement)
00600	.end
00700	.CENTER
00800	%6⊂⊗⊃L[α%0,α%-7.50](17,22):N73X.PLT[C6,LCS]⊂⊗⊃%1
00900	.skip 16
01000	.fill indent 12
01100		Below the main body of the analysis is shown the separate
01200	movement of each of the two alternating progressions.  The one in ↓_g_↓ is 
01300	quite simple; in fact, the whole g chord acts as a pedal until the
01400	augmented sixth chord leads to the dominant.  The progression begun
01500	by the D%4F%1 chord is listed under an ↓_A%4F%1_↓ tonic because, in view of the
01600	ultimate hearing of the E%4F%17 (enharmonic), ↓_A%4F%1_↓ is the most direct
01700	connecting link to ↓_g_↓, even though the I
01800	of ↓_A%4F%1_↓ is not used.  The
01900	functions listed in parentheses might be interpreted as chromatic
02000	elaboration of the D%4F%1 chord (see Example 70).  Thus the overall
02100	progress from the D%4F%1 chord is likewise simple -- ↓_A%4F%1_↓: IV...V,
02200	wherein the V serves doubly as the G6 of ↓_g_↓.  Notice that in all this
02300	the possibility of treating the D%4F%1 chord as a %4F%1V or %4S%1IV relationship
02400	in ↓_g_↓ is avoided.  A true direct relation of the tritone between two
02500	tonics tends to destroy both of them.
02600	Such a relationship would merely constitute a juxtaposition of keys
02700	whose tonic chords were incompatible except as they both served as
02800	subsidiaries to a third tonic (see page 46).