Chapter 2 Rencesvals (1946)

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x. 2.9
Rencesvals I: development, linear analysis

There are three parallel structures in the linear graph, Ex.2.9 above: the F#-F motion in the canto (mm.18-31), the B-G# linear skeleton that expands the second element of M0 over the entire course of the development, and the A-F#; D-B; Db-Bb linear skeleton that expands M at the mid-range level (mm. 17, 22 and 24).

In Ex. 2.10 below, the latter two structures are abstracted from Ex. 2.9. Referring to the upper graph, ‘B’ is the most important bass note of the development because with the possible exception of the C#, it appears in the bass register more often than any other pitch; it is the last bass note of the section; it is also emphasized in the inner voices by means of a stepwise descent (mm.21-22 and mm.21-25) and the chordal identity between the B-D-Gb-F in m.21 and the D-E#-F#-B of m.22 and m.25.

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