JAVS Summer 2000

21

NIKOLAI ROSLAVETS AND HIS VIOLA SONATAS

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above the score to denote the chordal roots of the harmonies being used at the time. An exam ple is given in the following 2-measure excerpt, taken from the end of the exposition's transition (measure 24) and the beginning of theme II (measure 25). As the added chordal reduction shows, the succession of letters "G"-' 'A"-"D"-"Es" corre sponds with a root-position sequence of the composition's pentachordal source on G, A, D (with added perfect eleventh), and E-flat. The example also indicates that the roots of Roslavets' syn thetic chords are not always present in the bass or lowest voice, and that non-chord tones, such as the E-natural in measure 25, are evidently also allowed within his compositional practice. In this instance, the E-natural functions as a chromatic lower neighbor tone. More important, however, is the dear indication that the composer distinctly intended theme II to begin