Metric Dissonance in Non-Isochronous Meters Page: 54
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fifth and a lowered ninth (A-flat-C-E-G-flat-B-double flat)."47 Beginning at m. 85 the first
trumpet imitates the tenor tuba at the octave. Because the first trumpet enters exactly one
measure after the tenor tuba, a true imitation would not contain metric dissonance. But Holst
creates a displacement by augmenting the second E-flat in the tenor tuba at m. 85 and restating
the dotted eighth/sixteenth figure at m. 86 (circled). This augmentation generates the
displacement shown in mm. 86-92. The relationship is DMi, where 5 represents the shared
cardinality of five quarter notes and +1 represents the length of the displacement. Holst corrects
the displacement at m. 93 by shortening the previous tuba measure to four quarter notes, just as
he did when he corrected the conflicting pulse stream at mm. 39-40.
The CBAP visual in Example 4.16 shows the dissonance that takes place in mm. 84-93.
At the onset of the displacement, the dissonant metric state repeats from mm. 86-92 and resolves
at m. 93. Because the displacement is by only one quarter note, the dissonance is very strong,
affirmed by Krebs's principle of proximity. In fact, these measures are completely dissonant-
there are no points of consonance until m. 93. Thus, although the harmonic arrival occurs at m.
84, metric dissonance intensifies the drive to the development.
Example 4.16. CBAP visual of mm. 84-93
47 Ibid., 417.
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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/m1/65/: accessed April 26, 2019), University of North Texas Libraries, Digital Library, https://digital.library.unt.edu; .