Marimba and wind ensemble by david gillingham, xl

Figure 1.3 – Mvt. I, mm. 29-33: Enharmonic Spelling of Dominant Ninth to Tonic
Figure 1.4 – Mvt. III mm. 37-38: Minor-Major Seventh
Much of the harmonic motion in the first and second movements is based upon the
chromatic-mediant relationship. The first significant use of this relationship is introduced in the
second theme of movement one, measures 45-49 (figure 1.2). Here, the first four chords (G
Minor, B-flat Minor, D Minor, and F Minor) demonstrate the relationship, which occurs
throughout the first and third movements as the theme is developed and recycled (the third
movement reworks earlier themes). Furthermore, the relationship is utilized extensively to
facilitate modulation during developmental sections and to generate harmonic interest in
transitions.
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