ABSTRACT
Chapter 3 demonstrates how Wagner's rotations round the far-flung peripheries of the functional moons hypothesised in Chapter 2 are paralleled by more strongly centred but still notably chromatic passages in more generally diatonic music: extracts from Beethoven's Op. 10, No. 1 and Brahms's Double Concerto for Violin and Cello, Op. 102 are adduced in support of this claim. In relation to the latter piece, in particular, the authors critique Neo-Riemannian Theory's tendency to abstract short, chromatic excerpts from their broader harmonic and formal contexts, and thus to brush over their dialectical interaction with more conventional tonal materials.
