
Notice the differing ways in which the diminished triad is used to approach a cadence either on the tonic or the subdominant.
We have six examples on the page:
1. D-E-F-G#-A
2. D-F-G#-F-E
3. D-F-G#-B-A
and he was gathered to his people - and then his sons buried him - in the purchased burial ground...
4. same as 3
5. same as 2
6. a new variation.
Can you see a circular pattern emerging? I wonder to what extent this is frequent in the music...