To fully appreciate its complex game of semitonal relations, the Duo requires overlapping transformational narratives and a revival of Karg-Elert’s idiosyncratic Terzgleicher function. 812 Grand Duo is used as a concluding case study. 812, 940, and 947 in particular in these works, the presence of sonata form forces SLIDE’s incorporation into exposition structures. Special attention is given to the four-hand piano duets, D. Extrapolating patterns of SLIDE usage from Schubert’s oeuvre illuminates the procedures through which the progression may be integrated into tonal fabrics. Following an evaluation of historical and group-theoretical conceptions of SLIDE, this article proposes a set of functional paradigms through which the relation may be understood in Romantic harmony. Schubert’s use of the transformation poses a challenge to our ability to reconcile prolongational and transformational modes of tonal hearing. Blending indicators of distance and proximity, complexity and direct intelligibility, SLIDE is the chromatic progression par excellence for evoking liminal states. SLIDE, the transformation that exchanges triads sharing the same third, is a pervasive feature of Schubert’s mature works. In the final chapter, the evaluation of the theory will be made, in the context of the preliminaries from the first chapter also with the data from the analyses. In the third chapter, the system will be applied to musical examples from Guillaume de Machaut, Alexander Agricola, Pierluigi da Palestrina, Carlo Gesualdo, Claudio Monteverdi, Giacomo Carissimi and Arcangelo Corelli, in order to investigate the relationship between harmonic motion and the emergence of tonality. After that, analytical examples from the common practice period will be presented in order to demonstrate the approach of the theory for typical tonal idioms. The construction of the system from components like tritone and minor third relationship, its connection with the concept of function and diatonicism will be explained in detail. The next chapter, which constitutes the main body of the study, is the presentation of the octatonic system. In the introduction of the paper, the components of tonality, its emergence in the Renaissance period and also important concepts from the tonal theories of last three centuries will be explained, in order to provide a background for the theory.
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