Analysis of these measures with traditional theory might look like the line below. Note that functions I, IV, etc are combined with identities, Im, VI#6, and VM. ‘VI#6’ is particularly disturbing since its identity is not given, only the function ‘#6’. An ‘augmented-six’ chord is a ‘dominant’, and since it doesn’t fall on ‘V’ it should be regarded as a ‘secondary dominant’, according to the theory.
If it were to be designated as a ‘secondary dominant’ it might look like the line below. However, this doesn’t do the trick because an ‘augmented-six’ chord isn’t a ‘dominant-seventh’…or is it? Note that the root, ‘A’ in the second measure above is simply an inversion of the super-tonic, ‘D-sharp’ in the second measure below as they share the same notes in the treble, albeit with different functions.
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 In addition, the word ‘dominant’ has only one definition in a musical sense, that of the fifth note of a scale. Period. There is no contrasting definition. (see two definitions of ‘dominant’).
 To help the reader understand the resolution to this problem, refer please to ‘The Tritone Its Function’.