Nikolai Rimsky-Korsakov · sección 95 de 96

Particularidades de algunas sucesiones politónicas

Lee y escucha esta sección en la edición reproducible →

a) La armonización de la escala cromática descendente en el bajo, con acordes de quinta y sexta aumentada.

Example on one treble staff, whole notes, no barlines until the closing double bar and "etc.": the bass descends chromatically C4, B3, B-flat3, A3, G-sharp3, G3 — Fig. 401 · Verlo en el lector

b) La armonización de la escala descendente por tonos enteros en el bajo, con acordes de séptima de dominante.

Two examples on one treble staff, whole notes, separated by a double bar; the bass descends by whole tones G, F, E-flat, D-flat, B, A, G. (1) G major (G4 B4 D5 — Fig. 402 · Verlo en el lector

c) Sucesiones cromáticas de acordes de séptima disminuida en movimiento ascendente y descendente.

Two examples on one treble staff, whole notes, each ending with "etc." and a double bar. (1) Ascending: D4 F4 A-flat4 B4 (figured 6/5); E-flat4 F-sharp4 A4 C5 ( — Fig. 403 · Verlo en el lector

d) Sucesiones de acordes de sexta sobre un pedal, en movimiento ascendente y descendente.

Two examples on one treble staff, each over a pedal G3 held as a whole note, the sixth chords in stemless black note heads; double bar between and at the end. ( — Fig. 404 · Verlo en el lector

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