Metric Dissonance in Non-Isochronous Meters Page: 45
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transition section. The effect, then, is one of stagnant metric tension, or a groove, rather than the
building tension that occurred in the previous section.
Example 4.6. CBAP visual for "Mars," mm. 43-44
= Consonant between 5.2 and 5/4
= Dissonant attack from 5/4
= Dissonant attack from 5/2
Arrival of the Transition
From the disruption at m. 34 to the end of the second theme group, there has been a
metric battle between 5/4 and 5/2, in which 5/2 has gradually gained the upper hand. As the
music progresses to the transition, 5/2 starts to completely overtake 5/4. Macan suggests the
transition begins in m. 58, where the ostinato drops out and a middleground dominant is
achieved.42 This moment represents both a significant textural and metric shift, but the lead up to
the transition, on which Macan does not elaborate, contains metric tension that aids in the arrival
of the transition section.
Example 4.7 shows the end of the second theme group, which is characterized by weak
grouping dissonance between two manifestations of 5/4 (3+2 and 2+3) and alternations between
42 Macan's transition occurs after the second theme group, which does not reflect the normative sonata scheme.
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Smith, Jayson. Metric Dissonance in Non-Isochronous Meters, dissertation, August 2018; Denton, Texas. (https://digital.library.unt.edu/ark:/67531/metadc1248499/m1/56/: accessed April 21, 2019), University of North Texas Libraries, Digital Library, https://digital.library.unt.edu; .