You are on page 1of 7

Exemplos

(ps-romantismo)

1) R. Strauss Salom (1-16)
Strauss: Maximalizing Opera : Music in the Early Twentieth Century http://www.oxfordwesternmusic.com/v
a. Encadeamento cromtico (no-funcional)

ex. 1-10a Richard Strauss, Salome, mm. 1-16

By the downbeat of m. 8, that chord has been replaced by a rootless augmented triad (albei
Strauss: Maximalizing Opera : Music in the Early Twentieth Century http://www.oxfordwesternmusic.com/view/Volume4/actrade-9780...
2) R. Strauss Salom (quatro compassos antes do nmero 179)
a. Expanso e contrao cromtica

ex. 1-12a Richard Strauss, Salome, Herod flirts with Salome (4 before fig. 179)

ex. 1-12b Harmonic abstract of semitonal chiasmus (the master array)




Minute analysis of the score will confirm the hypothesis: our master array is indeed the operas harmonic
plan, one that owes nothing at all to the circle of fifths, but that, while maintaining the phonology or
sound-vocabulary of triadic functional harmony, connects the chords in polymorphously perverse fashion by
variously filling in the semitonally linked intervals in the array. Authentic (VI) cadences in Salome are
in fact exceedingly rare, and mainly serve a ceremonial functionas a symbol for decisive action, for
example, or of resoluteness or rectitude in contrast to the pervading lasciviousness. (Needless to say, Saint
John the Baptist gets most of them.) The As and Es in Ex. 1-12b are represented as whole notes as opposed
to the black note-heads otherwise employed, because they are the points at which the master array resolves
to perfect consonances (unisons or octaves). The intervals formed between the voices on either side of the E
are precisely the same, but the relationship between the voices is inverted and the order is reversed. Thus the
two octave pitches form a potential tonal axis (or axis of symmetry) at the tritone, the exact midpoint of the
chromatic scale. Strauss does not exploit this feature to any very appreciable degree in Salome, but he will

Exemplos (Debussy)

1) Voile - Preldios para piano, livro 1
a. Escala de tons inteiros











2) Brouillards - Preldio para piano, livro 2
a. Paralelismo diatnico no-funcional
b. Teclas brancas vs. Teclas pretas




3) Des pas sur la neige - Preldios para piano, livro 1
a. Paralelismo
b. Reharmonizao
c. Uso de modos




4) La puerta del Vino Preldio para piano, livro 2
a. Dissonncia no-funcional
b. Centricidade
c. Politonalidade? Ou Polimodalidade?



5) La fille aux cheveux de lin - Preldio para piano, livro 1