ATONAL TRIADS
To demonstrate this, we need only take a melodic and harmonic inventory of the opening measures (Ex. 6-17) and spot-check the rest. And our inventory will start right off with something familiar. The very first harmony in the score, consisting of the three notes played before the first bar (a melodic quarter-note upbeat in the bassoon and an accompanying fourth that comes in on the last sixteenth), turns out to be an inversion of the same Rite-chord we have already spotted in the little piano piece, and which can be sighted in any number of early Schoenberg scores. (Transpose the accompanying fourth up an octave, as in Ex. 6-18a, so that it is above the bassoon’s G♯ rather than below it, and the more familiar voicing of fourth + tritone will appear.)
- Citation (MLA):
- Richard Taruskin. "Chapter 6 Inner Occurrences (Transcendentalism, III)." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 21 Sep. 2023. <https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-006013.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 6 Inner Occurrences (Transcendentalism, III). In Oxford University Press, Music in the Early Twentieth Century. New York, USA. Retrieved 21 Sep. 2023, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-006013.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 6 Inner Occurrences (Transcendentalism, III)." In Music in the Early Twentieth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 21 Sep. 2023, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-006013.xml
