Linear resources in Romanticism

Following my studies in Romanticism, I have come across a series of what we might call linear resources.
Many of them are inherited from the Baroque or even earlier, such as the omnibus progression, in which the bass and the upper voice are constantly diverging, in a chromatic fashion.
Or also an ornamented version of fauxbourdon.
Other resources appear more in this period, such as the "glide" of chords, or structurally equal chord progressions (which would develop much more in Impressionism).

Edited November 7, 20232 yr by Luis Hernández

Very interesting analysis. Would you say that the Impressionist style of arpeggiation, along with the focus on modal tonality, was a reaction to romantic expression and vertical harmony?

I would say that Impressionism, as a new movement, tries to break with the previous language because it considers it obsolete.
That's why Impressionism stops using (at least in large part) functional harmony. Although it is still, in a way, tied to tonality, there is no longer a tonic-dominant hierarchy. 
Also, for the same reason, harmonies are created using other intervals than the superposition of thirds... Or the use of exotic scales and great profusion of modes.

Exactly that! The idea of tonality as an absolute center is replaced with a modal and vague sense of tonality. Impressionists focused on the

27 minutes ago, Luis Hernández said:

I would say that Impressionism, as a new movement, tries to break with the previous language because it considers it obsolete.
That's why Impressionism stops using (at least in large part) functional harmony. Although it is still, in a way, tied to tonality, there is no longer a tonic-dominant hierarchy. 
Also, for the same reason, harmonies are created using other intervals than the superposition of thirds... Or the use of exotic scales and great profusion of modes.

 

experience of the music and less so the structure of it. The music serves as much as a background for the experience as it did for the Romanticists.