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The former, which may or may not correspond to the latter, is the only valid measure for an analysis of form based on our musical experience. The distinction between real and notated measures arises when the composer adds or deletes bar lines to facilitate reading the score of movements whose tempo is very slow or very fast. In an adagio movement, for example, we may perceive that a single real measure actually occupies only one half of the notated measure. In such cases, we can use the formula R = N as a shortcut for indicating the relationship of real (R) to notated (N) measures.

Several other paradigms, in which the ultimate dominant is approached by descending motion from the sixth degree (usually lowered), are especially associated with that progression (ex. 10). 22 Although some sequential progressions exhibit a degree of harmonic functionality among their constituent chords, this aspect of the progression is secondary to the fundamental purpose they are meant to serve—to move the music away from, or return it to, a particular harmonic function or tonal center. Thus sequential progressions are especially suitable for destabilizing harmonic activity in a given key or for modulating from one key to another.

11a-b). This "circle-of-fifths" progression (as it is frequently called) can be varied in manifold ways through chord inversion, chromatic alteration, and added dissonances (ex. 11 C-g). Compared to the other categories of sequential progressions, the descending fifth pattern features the strongest harmonic-functional expression. 16 Sequential progressions—ascending second 3° FUNDAMENTAL PROGRESSIONS OF HARMONY ronment. Whereas each link may be functionally related, the overall direction of the progression remains somewhat in doubt until it is completed.

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