Developing Ogolevets's Doubly Augmented Prime: Semitonal Voice Leading in the Music of Shostakovich Page: 87
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(B) Chordal reduction
G15ELMe5
On the surface, the DAP links the two keys, G and Eb Major; however, a larger passage
shows a grander chromatic descent (Example 5.7). While the right hand's A# resolution to B
immediately leaps down to D, the left hand begins a downward push from D in m. 12 through
two octaves and a clef change. The clef change draws the viewer into believing this chromatic
descent begins at Bb, while it had begun measures before in m. 12. The eighth rests create a
consistent, upbeat rhythm to break up the fluidity of the descent. Therefore, the Ab falls in the
middle of the descending bassline. Between the right hand's disjunct melody and the left hand's
stepwise descent as well as their consistent meandering between flats and sharps, the voices
seem independent of one another, as if more than one mode occurs simultaneously: a theme
found often in this work.
Near the end of the piece, m. 257 presents a similar situation as m. 15. Not only is there a
clef change during the modal shift, but this measure also uses a sharp in the right hand in the first
beat and flatted note in the left hand at the end of the measure (Example 5.8A). Beginning in the
key of A Balanced-Major Phrygian, both hands begin in bass clef with a Phrygian voice
exchange between tonic and flat scale-degree 2 (A-Bb).189 Other members of the scale are
189 Balanced-Major Phrygian includes scale degrees: 1-b2-3-4-5-6-b7-1. See Appendix A for a complete table of
Ogolevets's families of modes (Bazayev, 2014).87
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Hatch, Amy M. Developing Ogolevets's Doubly Augmented Prime: Semitonal Voice Leading in the Music of Shostakovich, dissertation, May 2022; Denton, Texas. (https://digital.library.unt.edu/ark:/67531/metadc1944286/m1/98/: accessed July 17, 2024), University of North Texas Libraries, UNT Digital Library, https://digital.library.unt.edu; .