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In this article, I focus on a short, two-bar passage from the end of the development section of the finale of Edward Elgar’s String Quartet op. 83, which explores smooth voice-leading relationships between octatonic polar seventh chords. I look to ascertain whether this short passage can be heard to form part of a larger, coherent tonal gesture or if it effects a change of syntax that swaps the movement’s predominantly diatonic frame of reference for an octatonic one and thus establishes a moment of disjuncture within the form. My answer to this question is informed by analysis both of the passage in question and of earlier (albeit less piquant and transparent) instances of octatonic voice leading in the exposition.

“Octatonic” Voice Leading and Diatonic Function in theAllegro moltofrom Elgar’s String Quartet in E minor, op. 83