Jean-Frangois Trubert 
 
caricatured. Hence, these bars make us feel the dialectic, when 
'everything is and is becoming": on the one hand the inductive 
development of the musical material (what should be) and on the 
other the musical thought (what in fact exists).  Both are 
contradictory, revealing different perspectives on the same section of 
time and space. 
After the instrumental introduction (mm. 1-44) similar effects are 
achieved in the song-style passage (mm. 45-93), summarized here to 
its first period, mm. 45-59 (Example 3). The musical thought proposes 
once again a caricature of the tonal idiom. The first phrase of four 
measures (mm. 45-48) gives the transposed restatement in Em of two 
rhythmic motives from the instrumental introduction: the beginning 
rhythmic cell (as shown above, marked A in Example 8), and a 
reminiscence of the introduction's march rhythm (first appears in mm. 
14-17, marked B in Example 8). A harmonic sequence of the same 
melodic line is developed in the next four measures on the diminished 
second degree (mm. 49-52). The next phrase (mm. 53-56) is 
constituted by the first motive repeated only twice, whereas the last 
phrase (mm. 57-59) ends the period with both motives. Except in the 
first phrase this produces harmonic complexity. After measure 49 the 
poles of the bassoon's melodic line (half notes) draw a typical bass 
line in F with chromaticism around its dominant, being C. The triads 
provided by the banjo can be read in such a tonal context as follows: 
measure 53, Gb as the root of the Neapolitan sixth of F; measure 55, F 
as the root of a cadential six-four chord; measure 57, an altered 
diminished seventh chord (Eb instead of the expected D) as 
secondary dominant. In contrast, the unexpected chord position and 
floating chords like the one in measure 57 (the same as the "Tristan

chord") provide harmonic ambiguity. More to the point, the banjo 
accompaniment follows an unusual triad progression by using 
chromatic slides. Each note of the different triads can be linked to 
another one by this semi-tone movement, a musical thought in 
contradiction to what was described before. Finally the last measure 
shifts in a stroke to a traditional tonal relation in E--a half-cadence--

and ends the whole period, without the justification of a traditional 
tonal context. By drawing two artificial tonal areas (E and F, another 
chromatic slide, see Example 3), this reveals the tonal relationship as 
an archaism, against modernity. 
 
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