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Updated: June 27, 2025
It contains a remarkable passage of consecutive fifths that set the theorists by the ears. Riemann manages to get some new editorial comment upon it. The nimble study, No. 9, which bears the title of "The Butterfly," is in G flat Von Bulow transposes it enharmonically to F sharp, avoiding numerous double flats. The change is not laudable.
He is very modern in his harmonies, the favorite colors on his palette being the warmer keys, which are constantly blended enharmonically. He "swims in a sea of tone," being particularly fond of those suspensions and inversions in which the intervals of the second clash passionately, strongly compelling resolution.
On p. 123 the voice brings the intervals of the chord which throws an atmosphere over the whole of the rest of the scene, and which has already been mentioned as "the soul of the Tristan music." The intervals are enharmonically the same as those of the chord in the first bar of Prelude F, A flat, C flat, E flat,=F, G sharp, B, D sharp but the treatment and surroundings are very different.
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