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Contents
Figure 5.1 | Example 5.1 | Example 5.2a; Example 5.2b; Example 5.2c | Example 5.3 | Example 5.4a & b | Example 5.5a; Example 5.5b | Example 5.6 | Example 5.7 | Example 5.8 | Example 5.9 | Example 5.10 | Example 5.11 | Example 5.12 | Example 5.13 | Example 5.14a; Example 5.14b | Example 5.15a; Example 5.15b; Example 5.15c | Example 5.16a; Example 5.16b
Figure 5.1
A representation of the finale?s idiomatic crescendo
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Example 5.1
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Lydian |
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Ionian (major) |
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Melodic Minor |
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Major with flat 6 (Harmonic Major) |
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Mixolydian |
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Harmonic Minor |
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Dorian |
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Major with flat 6 and 7 |
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Aeolian |
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Phyrgian |
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Example 5.2
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Example 5.3
Three types of maximally smooth progressions between two triads (neo-Riemannian theory)
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Example 5.4
Common-tone retention between diatonic keys: a comparison between (a) the normative minor and (b) the verbunkos minor. ?R? denotes relative key.
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Example 5.5
(a) Kalindra?s diatonic II and enharmonic (monotertial) II;
(b) a quasi-diatonic cycle of kalindra scales, dividing the octave symmetrically into major thirds Common tones down a third (clockwise): ^1, ^2, ^3, ^5, ^6; common tones up a third (counterclockwise): ^1, ^3, ^4, ^6, ^7
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Example 5.6

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Example 5.7
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Example 5.8

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Example 5.9

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Example 5.10
Dialectical tonal process and modal transformation in RH3
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Example 5.11

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Example 5.12
A Schenkerian graph of RH6?s allegro. Repetition of detail is denoted by the symbol.
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Example 5.13
A reading of D-har/maj as the controlling tonic key in S1
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Example 5.14
(a) Alternative spellings for the hexachordal collection of the concluding cadence in D and of the vacillating cadence that follows (corresponding to mm. 120?26);
(b) a hypothetical and schematic representation of the tonal meaning of mm. 120?27. In 5.14a, white noteheads denote the tonic chord in each context; in 5.14b, white and black noteheads represent the real rhythmic values.
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Example 5.15
The idiomatic and tonal transformation of the concluding cadences in:



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Example 5.16
(a) The finale?s tonal process. White arrowheads signify tonal directionality and white noteheads the tonic or possible perception of the tonic. Dotted stems denote doubtful structural status and dotted beams denote tonal ambiguity;
(b) the background structure according to (a)
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