Tonal Harmony in the Late Nineteenth Century

According to the chapter's summary of mediant relationships, what is the total voice-leading distance in half steps for a diatonic mediant progression where the roots are a major third up (e.g., C major to A minor)?

Which type of mediant relationship connects two triads of the opposite mode whose roots are a third apart and which share no common tones?

In the analysis of late-Romantic music, what chord is identified as a 'third substitute' for the dominant (V) chord due to sharing two common tones with it?

What is the term for a harmonic progression that harmonizes a non-functional chromatic bass line with familiar chord types, often featuring a voice exchange between the bass and soprano?

A complete chain of chromatic mediants using major triads with roots a major third apart will cycle through how many distinct chords (not including the return to the original)?

What is the total voice-leading distance in half steps for a chromatic mediant relationship between two major triads whose roots are a major third apart (e.g., C major to E major)?

In the discussion of the principles behind new harmonic directions, what is identified as the easiest way to understand the connection between two melodic gaps in the voice leading from V to IV6 in Mahler's music (Example 25-9)?

How many common tones do triads in a chromatic mediant relationship share?

According to the analysis of the opening of Wagner's 'Tristan und Isolde', the F half-diminished 7 chord progresses to what chord in measure 3?

What is the primary unifying principle that the chapter suggests makes the complex chromatic progressions of the late-nineteenth century cohere, even when they defy traditional functional analysis?

A complete chain of major triads with roots a minor third apart will cycle through how many distinct chords before returning to the starting chord?

What is the smoothest possible voice-leading distance, in half steps, between major-minor seventh chords whose roots are a tritone apart (e.g., C7 to F-sharp 7)?

In the analysis of Mahler's Symphony no. 9 (Example 25-8), what kind of sequence in measures 4-6 is described as a modification of the '5ths up' sequence?

Which of the following is NOT listed as a characteristic of late-nineteenth-century chromatic music?

The procedure for connecting two chords of different sizes smoothly, as when connecting the chords in Strauss's 'Metamorphosen', suggests that one voice in the smaller chord will be what?

What is the total voice-leading distance, in half steps, of a progression like ii-V?

Which of the four chromatic mediant chains shown in Example 25-5 are described as being more common?

In the extended omnibus progression shown in Example 25-17, what relationship does each minor triad bear to the minor triads before and after it?

How many common tones do triads in a diatonic mediant relationship share?

In the analysis of Richard Strauss's 'Allerseelen' (Example 25-18), an omnibus progression is used to modulate between which two keys?

What type of mediant relationship exists between a C major triad and an A major triad?

What is the primary musical element that the introduction identifies as being narrowed to intensify the sense of resolution between chords in late-nineteenth-century music?

When connecting a Bm7 chord to an F7 chord, the method for finding the smoothest voice leading involves finding the inversion of the second chord that creates what?

In the analysis of the omnibus progression (Example 25-15), what is the suggested analytical approach for the chords between the initial V7 and the final V6/5?

How is a chromatic mediant relationship defined in the chapter?

What is the total voice-leading distance in half steps for a doubly chromatic mediant relationship between a major triad and a minor triad whose roots are a minor third apart (e.g., C major to A-flat minor)?

The analysis of the excerpt from Mahler's Symphony no. 9 (Example 25-8) highlights a descending M3 chromatic mediant chain in measures 7-8 that connects which three chords?

In the smoothest voice-leading connection of major-minor seventh chords with roots a minor third apart (Example 25-7), how many common tones are there?

The opening of Rimsky-Korsakov's 'Scheherezade' (Example 25-13) features a sequence that moves through a series of tonicizations, each a whole step higher than the last, starting from what harmony?

What are the three core principles of late Romantic style harmonic progression, as explained in the 'Counterpoint and Voice Leading' section?

According to the analysis of the first four chords of the sequence in Rimsky-Korsakov's 'Scheherezade' (Example 25-14), the first three chords (C-sharp, E-flat7, B-flat-4/3) have what kind of relationship?

In the analysis of the opening of Strauss's 'Metamorphosen' (Example 25-1), why is it considered inappropriate to try to understand the passage using traditional Roman numeral analysis?

What is the total voice-leading distance, in half steps, for a chromatic mediant relationship between two minor triads whose roots are a minor third apart?

The main principle behind the extended omnibus progression (Example 25-17) is the shifting between pairs of voices that are moving in what way?

In the analysis of the excerpt from Puccini's 'Tosca' (Example 25-4), the progression from A-flat major to E minor is identified as what type of relationship?

What contrapuntal feature is highlighted in the analysis of the 'Tristan' prelude (Example 25-11), involving the soprano and tenor voices in measures 2-3?

What is the key difference between a diatonic mediant relationship and a doubly chromatic mediant relationship?

If the voice exchange were removed from the 'Tristan' progression in measures 2-3, what would be the total voice-leading distance between the two chords?

In the analysis of the Schubert sonata excerpt (Example 25-6), the mediant chain G - E-flat - B - G is described as a chain of what type?

The chapter states that late-nineteenth-century composers explored connections between which two specific seventh chord types extensively, due to their potential for smooth voice leading?

In the analysis of the opening passage of Strauss's 'Metamorphosen', the bass line of the 'smoothest voicing' (Example 25-1b) is notable because only a single what separates the adjacent voices?

What is the total voice-leading distance, in half steps, for a chromatic mediant relationship between two major triads whose roots are a minor third apart?

The chapter explains that the harmonic models explored in late-nineteenth-century music, such as chromatic mediant chains, are alternatives to the traditional reliance on what?

In the summary of mediant relationships from C major (Example 25-3a), which progression has the smallest total voice-leading distance?

The analysis of the F-sharp half-diminished 6/5 chord in Mahler's Symphony no. 9 (Example 25-8, m. 5) concludes that it is best understood as what?

What is the reason given for why M3-related chromatic mediant chains might be more common than m3-related chains?

How many steps are in the general procedure described for finding the smoothest voice-leading connection between two chords of the same size?

In the analysis of the 'Tristan' prelude, the searching and unstable effect of the first eleven measures is attributed to several features. Which of the following is NOT one of them?

What is the defining characteristic of the simple omnibus progression shown in Example 25-15?

The chapter's conclusion about the analysis of highly chromatic music is that composers often weakened the pull of diatonic pitches but did not weaken what?