Speaking of diminished sevenths? The example at 1:53 is fabulous (RE-DO-SI, FA-MI-RE, SI-LA-SOL#, RE-DO-SI). Even more impressive is 2:25, where the bass plays MI-LA (dominant-tonic) and the voice plays SOL#-LA(anticipation)-FA, which is a "turned" deceptive cadence.
The effect is amazing, it reminds me of Ravel (it's in the Quartet) and Fauré; in my opinion, this comes from organ registrations: if you use a "4-foot doubling," the standard bass movement ends up in the treble.
The point is that mine is an early music reading... scholastic dogmatism (and I think more Schönbergian) imposes paying attention to the "magnetism" of the bass movement.
You know, I don't know what is meant by "doubling of 4 feet"
O
Organista94
Member
Reply 3 by Organista94
Posts
194
Zaccaria wrote:
You know that I don't know what is meant by "doubling of 4 feet"
Real note notation involves the use of the organ's 8-foot stops; when using the 4-foot stop, the note written in the score will be played an octave higher precisely due to the effect of this stop.
The point is that mine is an interpretation in the ancient style... scholastic dogmatism (and I think more Schönbergian) imposes paying attention to the "magnetism" of the bass movement.
At this point Silbermann, I think it is just a matter of "vision" and different points of view in the analysis...
I think Schönberg aims to justify the transition from the harmonic point of view and yours is eventually a "historical" justification... they seem perfectly compatible to me and not in opposition....
