So I have listened to Gustav Holst's The Planets before, especially the first movement, Mars. And in Mars I hear an outright rhythmic and harmonic war. And at the ending I hear a lot of tense C chords in there, and they sound like C minor with a bunch of non-chord tones. But the thing is, when I look at the score, that C minor is all but missing. What I see in the ending C chords in the score are these notes:
C, Db, Ab, G
2 perfect fifths a half step apart fundamentally speaking, but spelt so that G is more than an octave away from the C and the Ab-Db interval is a fourth, giving us a quartal spelling over a C bass note.
But I find that regardless of whether I am listening to the piano version or the orchestral version, I hear an Eb in there, making it sound like a C minor chord with Db and Ab as non-chord tones. If I only heard the C minor in the piano score, that would mean that the pianists are adding in the Eb. But I hear the Eb in the orchestral score as well and clearly an orchestra wouldn't just add a nonexistent Eb right? So there has to be more to it. Something about the harmony itself that makes me hear a nonexistent Eb.
I have heard nonexistent notes within chords before, especially string and woodwind chords due to resonance of the overtones in just the right way that a note more than an octave away from the bass note becomes audible as another note and not just an aspect of timbre. However, I don't typically hear this overtone resonance within piano chords, nor within full orchestral tutti chords. I will hear a full chord from an orchestral tutti, but no significant resonance. Piano chords, I hear both full and sparse, sometimes even symphonic in sonority, but again, no significant resonance.
So then, why am I hearing this nonexistent Eb in the ending chords of Mars? Why do the ending chords sound like C minor when there is no C minor to be found in the chord spelling?