The Ab-Db-G chord over the C bass has some significance here. It is an [0 1 6] playing out vertically instead of horizontally in a melody like the opening bars. It is related to the opening occurance of [0 1 6] by a transposition of a tritone.
Opening [0 1 6]: Db-D-G (over G pedal)
Ending [0 1 6]: G-Ab-Db (over C pedal)
It is interesting to note that although the two instances of [0 1 6] are related by a tritone, the accompanying bass does not follow the same relation. Instead, the pedal notes of G and C have a tonic-dominant relationship.
However, this is not the first time Ab-Db-G is heard. Instead it's heard about 11 bars before, with the whole orchestra in quadruple f's (Ex. 8). This instance of a chordal [0 1 6] is resolved; the tritone interval that G creates with Db is resolved to F. Notice that this resolution does not occur in the final bars of Mars.
Ex. 8
2 comments:
It's good that you've noted one interaction between the tonic-dominant and tritone elements. Have you examined how the two (and in connection with the tritone, the three-note motive) determine some of the conventional and unconventional chord progressions. In other words, explore whether the melodic motive impacts the harmonic progression.
Re the chord in Ex 8, notice how the chord spacing relates to the melodic motive.
Oh yes, I see! There're vertical intervals of tritone and a 4th, both of which are related to intervals found in [0 1 6]. Quite clever eh!
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