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(Feel free to post examples of your choice, btw)


Missa Sancti Gotthardi: Credo

The drama starts when I6/4 of B flat leads to V6/5 of G minor (in bar 390)
and then the "wrong note" E flat (in bar 391) creates ambiguity in such a way that
"G minor: V7 (with the E flat as the non-chord tone, resolving to D) — i6/4 — F major: viio7 — V6/5 — V/IV"
can be heard as
"G minor: viio4/2 (with the bass D as the non-chord tone) — V7 — i6/4 — F major: viio7 — V6/5 — V/IV".
Then in bar 392, the "wrong note" G makes the IV in
"F major: IV — viio7/V — IV6/4 /V — V7 — I"

sound like minor 7th chord harmony.
Then in the next bars, the "wrong note" D sharp is added to the I of F major, so it leads into V of A major. In the rest of the section, the music feels "lost" there, before going back to the home key of the movement (C major) in the recapitulation "Et resurrexit".
 
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It doesn't sound too "special" in my ears, written within the harmonic idiom of its day and pretty much what you would expect a good composer to do when putting such an emotionally charged text to music.
But it's exquisitely beautiful moment for sure, Michael Haydn was such a great composer of church music!
 

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(Feel free to post examples of your choice, btw)


Missa Sancti Gotthardi: Credo

The drama starts when I6/4 of B flat leads to V6/5 of G minor (in bar 390)
and then the "wrong note" E flat (in bar 391) creates ambiguity in such a way that
"G minor: V7 (with the E flat as the non-chord tone, resolving to D) — i6/4 — F major: viio7 — V6/5 — V/IV"
can be heard as
"G minor: viio4/2 (with the bass D as the non-chord tone) — V7 — i6/4 — F major: viio7 — V6/5 — V/IV".
Then in bar 392, the "wrong note" G makes the IV in
"F major: IV — viio7/V — IV6/4 /V — V7 — I"

sound like minor 7th chord harmony.
Then in the next bars, the "wrong note" D sharp is added to the I of F major, so it leads into V of A major. In the rest of the section, the music feels "lost" there, before going back to the home key of the movement (C major) in the recapitulation "Et resurrexit".
Cool passage, could also look at the Eb as the 9th. 91 is a variant on the Fonte:

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A good example is variation 4, Andante meditativo, of the second movement of Prokofiev’s Piano Concerto No. 3. The descending lines of (mostly) chromatic thirds in the piano add to the slow, dreamy, atmosphere. There is an exquisite passage of chromatic harmonies in the oboe and first violins.

 

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A good example is variation 4, Andante meditativo, of the second movement of Prokofiev’s Piano Concerto No. 3. The descending lines of (mostly) chromatic thirds in the piano add to the slow, dreamy, atmosphere. There is an exquisite passage of chromatic harmonies in the oboe and first violins.

Totally agree. I also think this moment from No. 2 also applies. One of the reasons why I think Prokofiev is so great at this is because there is some much range - these moments of dreamy, atmospheric retrospection are intimate but come around savage moments.
 
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