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With Schoenberg, freedom in modulation is not only permissible, but is an iron rule; he is obsessed by the theory of overtones, and his music is not only horizontally and vertically planned, but, so I pretend to hear, also in a circular fashion. He says: "Harmonie fremde Töne gibt es also nicht" and a sly dig at the old-timers "sondern nur dem Harmoniesystem fremde."
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