Unknown impressionism
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| Solemn Danse” op.75 № 3. This piece has brightly expressed an impressionistic manner. A free flow of solemn character music is achieved by an irregular measure:
Theme a
Theme b 78 88 198 34 78 48 98 78 24 The theme c is more “real” 44 78 24 78 34 38 24 34 24 54 44 The texture completely fulfils a thematic function, moving by parallel seventh and ninth chords chains without division on a melody and on accompaniment. As striking detail of a sound space expansion Scott uses the organ-points in the theme b and in the development of theme c. (Ex.15a, 15b, 15c) Ex. 15a Cyril Scott, Solemn Danse, the theme a 
Ex. 15b Cyril Scott, Solemn Danse, the theme b 
Ex. 15c Cyril Scott, Solemn Danse, the theme c 
For a character and rhythmical peculiarities “Dance” reminds the “Pavane” by Ravel, I mean, the similar creative interpretation, re-understanding of an old genre. I would like to mark out a special effect, I would call it “a colouring of recognizing”. It is presented three times in the cadences of the theme b. Accordingly when the times 34 48 24 a thesis coincides with traditional stress of the tune elements. When the times 48 24 the cadences are represented by the chords of dominant with suspension in the upper voice. When the time 34 the logic of functional inclination is broken: DD2 – D43 – tonic bass with superposition of the dominant seventh chord with sixth on the fourth degree. A similar situation is in a cadence of the theme a: when the times 48585848 a thesis coincides with the main tune sounds. The theme c is more “strong” by the same coincidence, by appearance of the iambic tunes in the following development and by symmetry in the texture (centrifugal and non-centrifugal moving of the voices). At the beginning of the theme c superposition of triads B flat major and g minor gives a colouring effect too by using the whole-tone scale elements. Download 3.96 Mb. Share with your friends:
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