Chapter 30 AHWM: Diverging Traditions in the Later Nineteenth Century

In comparison with La Cathedrale Engloutie Debussy: (late) romantic harmony in Richard Wagner, César Franck and Gabriel Fauré

Prelude Tristan und Isolde (score)

Prelude Choral et Fugue (cyclic vorm) (score)

Une Sainte en son Auréole (score)

OMO Wagner: https://doi-org.nlhhg.idm.oclc.org/10.1093/gmo/9781561592630.article.O905605

OMO Franck: https://doi-org.nlhhg.idm.oclc.org/10.1093/gmo/9781561592630.article.10121

OMO Fauré: https://doi-org.nlhhg.idm.oclc.org/10.1093/gmo/9781561592630.article.09366

Chromaticism

• expanding tone material (with alterations: sharps and flats)
• tonicization of other degrees than I (including alteration of the degrees themselvers) 
• suggestion of tonicization other degrees but without confirmation or with deceptive constructions
• obscuring resolutions by means of suspension(s)
• ambiguity of chromatic chords by enharmonisation (for example diminished 7th chord)
• emancipation of the dissonant 
• use of different tone material (outside (extended) major/minor) (octotonic for example)

Tonality and key relationships

• Movement away from fifth-fourth relationships; parallel or third related keys
• Permanent modulation (Franck).

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