I was remembering Peters words about dissonance when replying Preston
, and I set to find (sorry my English) the passage in the score where, at bar 276 I read the same notes Peter mentioned (don't know if this is the same passage).
I make this analysis: in 274 C major is (temporarily) established, a feeling I get in view of the previous bars. What happens next, if we disregard the E? Can I see those chords as IV of C?
The most dissonant part in the Eroica is actually where he blasts out an F major triad combined with the note E several times with full orchestra in the development section and creates great excitement and tension by delaying the resolution.
I make this analysis: in 274 C major is (temporarily) established, a feeling I get in view of the previous bars. What happens next, if we disregard the E? Can I see those chords as IV of C?
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