Design imme eer 2 ay tari cn ai mio im agora, kr syle an ices andar msi examples. paccl ext athens ution circeri 0 sen es dae ‘Ana Apoaches orgie it far Ste the tan ih sch a th ‘ce be, fn edt aap tonal stot msc earieneUts 2 fochclase sts and Unit} with serial mie: ono 2 work te pers mater tre ioe Ising hove ah nde {hove beh sic andexpeaive efits JOEL LESTER is peor of mi a he (ky Univer of New Vr bere et "ae DMA Program ie ase Performance He ‘Chanter Player ice funding in 17, Bat in concept, couched in clear and ‘oi foundation forthe pte uy of tape Inthe pst ee, Sheer st hve come sessing inden ‘musica ofall persuasions. Morethan ee, Imserbecomplesiesof thse aa suet Irdacton to Scheer Analy fire he oly slame specify Severed Par I im sich relevant iciptines— snes, pcs compen tnd ge Bassa sarveyed, bust orbo review eteeeee tes festa eerie {ately apparats a the Schenken spc ad fc les compte fefines base concep ad apis ten 1 Tonger sad more complet examples The vous (pe of Scheerin prologue te indore pally. dace, an Isat brought ex Each caper cs with eof ees Keyed 1 te {eps aebeun opr, ante det ie pie inant engine fils and peciapebiens ey ms) cots ‘Allen Fortes pfesr of mas hoya for Music Theo An acknowledged ata (6s ls fe etor ef Ere ngertet "steven Gie proesor of mas t ommpleed his PhD. at Yale Univers,Analytic Approaches to Twentieth-Century MusicAnalytic Approaches to Twentieth-Century Music W. W. NORTON & COMPANY 4Saas Se es ESamassn Seer eekees Contents Peers teres Preface t etter} ee beadcnt e UNIT ONE TONALITY AND TWENTIETHL-CENTURY MUSIC 1 The Legacy of Fonality, 1 ‘Chapter 1 Pitch i Tonal and Nontonal Music 3 Fnctonl Harmony as Dieled Motion, 4 The Dissolution of Functional Tonal, 6 Motives and Sets in Tal and Nontonal Pitch Names in Tonal and Nontnal Mas, 12 Copyright © 1969 by Jo! Lester Points or Review, 13, Printed inthe United States of Ameria (Chapter 2 Rhythm and Meer 5 aso e688 (Chapter Texture and Timbre 3 aN oomnssre4 Teature, Pheting and Form, 34 W. W. Norton & Company, In it Avene, Nendo Pacement of Timbel Changes, 5 W. W. Norton de Company Li 10 Cope Steet, Londen CLA TEU Points or Review, 8 Bseres, 54Forms Based on Tonal Models 57 New Formal Posse, 61 versie, UNIT Two rrcH STRUCTURES s Chapter Pitches, Intervals, Melody 6 Pitches and Pch-Cases, 6 Interv, 8 InterakChss, Chapter 6 Piteh-Clas Sets a Pch-Cles Sets, 81 A Single Name for Fach Pich-Cas Set Lowest Locating Pich-Clse Set, 88 Ponts for Review, 90 (Chapter 7 Inter Content ” Interval Content, 97 CComposiiona and Expressive Efcs of PitthChss Sets 101 [Chapor 8 Using Diferent Pitch Clase Sets 1s Relations among Pich-Clas Ses, 108 Unity and Variety Using Transposition of a Relationships among Inversions of «St, 13, Unity and Variety Using Diferent Sets, 114 ‘Some Other Relationships in Paces and Sets, 132 Points for Review, 134 series, 124 Suggestions for Further Study, 143 ‘Chapter 9PtcClas Regions, Sales, Modes 6 The Dito Sea, 1 The Whole-Tone Sale, 18 The Octtone Seale, 162 Summary o Unit Two, 168 Suggestion for Further Study, 171 UNIT THREE SERIAL MUSIC (Chapter 10 Twelve-Tone Series “4 The Tweve-Tone Seis, 175 Locating the Twelve-Tone Series in a Pee, 12 nts for Review, 184, Chapter 1 Common Elements 1» Hearing Tweve-Tone Series, 189 Common intervals and Subsets, 190 Siggestions for Farther Std, 207 Chapter 12 Hexachordal Combinatocality » Committ inthe Works of Schoenbe Sggestions for Further Study, 218 Chapter 13 Desived Series ne Multiple Derived Series in Single ‘Composition, 2 Points fo Review, 22 Sgestions for Further Study, 234Chapter 14 Maltple Orderings of Twelve-Tone Serer Stravinsky's Twevt-Tone Music, 242 Suggestions for Farther Stady, 259, (Chapter 15 Otner Aspect of Seialism vere, 271 Suggestion for Further Stay, 273 LUNIT FOUR SINCE WORLD WAR I Chapor 16 Mone Recent Developments Timbre, 288 Innprovisatry and Alestri Masi, 295 Simplication ofthe Musical Language Tol, Minimalism, 295 Points for Review, 298 Everts, 298 Appendix: Combinatorial Hexachors Gott of Foreign Terms Series with Fewer han Twelve Pich-Clases, 256 Serilaton of Rhythm, 26t Seiaization of Other Aspe, 269 Points for Review, 271 ms Preface Te percpton of tvenist-century smc in the musical community BR erty charged dur th nt perneton fom mrarenese of Mat dissonant misma” to recognition of «repertoire o expresive ‘works aking that place alongside other muss of our hertage. This [inc generation ho witnessed the development of several new theo slarpeceches tht act the lnnguages of twentethcentury mus thet own terms, not as distortion of the thetrcofearer musi a Some euler pprosches did. In aiton to retleting the Way may tmuscans now perceive and tect otis music these new approaches te tansforming the way we understand this muse ‘Unfortunatly, most presentations of hi new theory are replete with jargon, we containing ile that assists novies in ani How to Fanti other perceptions and tan undentanding ofthe munk’s fepresive content. Anat prac 10 Toei Contry Msn thoes those theories with a ite argon a possible, emphasizing those Aspects tat ed to more informed hearing ofthis musics stractre and ‘One problem in teaching analysis of twentieth century music he Drkeopreed ignorance of twenccentury repre. Ante Ayprahes Te Tutt Coury Musi dresses this problem by incading numer ts analyse of excerpt from the Merature to demonstate the audible Feelecereair tects ofa the Cncreal tire caroned. Excerpta from a wide range of repertoire are dlacussed in Units One, Two, and Thre, but a small number of pies by Babbit, Bard, Debury, Mew sine, Schoenberg, Stravinsky, and Weber are the source for many di ftesona. As students come spon discussions of new aspects o these cers hey wil dd these new insights o what they have already eared, all the while gaining considerable amity wth a number of ‘works in contating sys Most of these pices ae for solo pano or ‘amber ensemble, In any classes, the students themselves wil be fet pestorm these work. “his book contains fur separate unt, Unt One fociss on aspects of musi structure other than pitch: inching chy, texture, te, foem, and the reltonshipof tonal ms othe musics ofthe twemtetcentury. Unite Two and Three desl with pth structure: Unit Two with spect of ptehclse sts and Unt Tree with seal music. The single ‘shaper n Unt Four surveys muse of recent decades Throughout Anite Apacer to TuentthsCetury Mus, musical examples illustrate how each theoreti pot affects the sound ofa pes ‘agen alton, most chapters contain analytic dicusion of consid frablelength and dep, which ere a dal purpos: they demmonstate the etlects of theoreti matters on sute and expression, fcusing the studen’ attention on hearing the music and they provide models forthe staden' own anal work "Each chapter condudes wth Points for Review (a summary of essen tl fatal mater, Exess (dil defor, nays ac in some shapers, stricture composton exercises), a8 well as Suggestions for Further Stuy (elerences orang and pisces fo analy This text not survey of twente-century muse. Some composers of stature arent mentioned here, nd many important works ar mi. ted. Once students lam te spproaches ols, they can study any piece ory. Sinuly his nota compentium ofall theories of twentieth en tury music Nor does offer ay particular theory in fll etal a pe sented by is cxginal thor. What is ncladed are those aspects that | deer tobe of the reset relevance to. suentbegning work inthis No book of thi oti possible without acknowledging the work of many theorists, The ploneerng studies by Nilton Babb, George Pee, and Allen Fote were invaluable gues, as were innumerable articles tnd books written daring the pas all centary. Suggestions and com iments by readers of various dats ofthe manuscript were parley heptl, especly those from Professors Remand Browne (Univers ‘of Michigan), Douglass Green (Universty of Texan), Lo Kral (Queens College, and Joseph Stra (Queens Calge) 1am indebted to Claire Tok for her mebculous editing of the final deat, and to Jl Glin {oratiendng to inmamerable production details foe Lester ‘Bronx, New York yy To the Student ‘te focus ofthis testis the analysis of twenteth-entury musio—the Tretia though which composers of or time address us, There mo agi teamect” wey osnalyze orto lsten to wenteth-ceatiry mee Getoany music for hat mater. Perception of work of art sa personal eae hs res this bok does nt pretend to tach “the” way Hen to tientiethv century mesic. Rater, introduces you to some Spproches that can lend to more informed stening by giving you sn BIE we nase materi reused an how sonic ac enprecsive fects are shied Bs you tea this book, you wl east in gaining amar with fe mae by several ads. Under each chapter tite you wil find a Ist Etknpertant fer, and a the end ofeach chapier you wl nd Pits Jor Recs, bth designed help you locate the fos es. Each chap fetus contains range of exeries designed toincrase your acy Analysis and to intatce you to farther applications ofthe mater. Me msc examples are an Integral part ofthe txt. Is nportant or BR hw te ces of an anno nthe masc provided Lea to es these samples In any convenient way. Most of them are for soko ano or small chamber ensemble, 0 that you may be aie play them Tapyourel or with your cssmates. If ths not posible, ten tothe FBtsicon recordings. Since many ofthe excerpts ar rom the sume com Bosiions 8 you famiarze yourself wit the examples in one chapter ou wl be preparing to hear addtional aspects ofthe same msn Bierce. Many chapter feature extended anaes that are intended fog you in your own analy workUnit One Tonality and Twentieth-Century Music ‘The Legacy of TonalityUnit One Tonality and Twentieth-Century Music The Legacy of Tonalitying hove thon, the sractaring ome fythe, meter, and the sense contin find moton}even the way we name pitches and intervals ia pice tot tonal, then many ofthese ssi aepet ake on new characte The chapters in Unit One cover important rmasie pitch, rythm, textre, timbre an fem these musa elements as they are wed in ona ms that oocur inal 1 Pitch in Tonal and Nontonal Music steer, Kern, o. 38 Jane Oe ae ven before you have fea! mach of Thetis onl and that Schcenber fnmeditlyesaishes a tonic andthe familar sound of tonal vie Teadings ana armors, wie the ater does no. The way the pitchesInteract with each other in these pecs what makes this ference apparent for tonality above all language of pth lationship cause the way in which pitches ae use is ch nimportnt spect of muse, we will bgin au suvey of various element in tonal and rontonal mic by considering pith, This chapter coves tee aspects ‘of pitch in tonal nd nontonal musk 4 Tonal harmony or voice lading is a lnguage of pitch relationships shared by al onal pier, a lnguage that plays major role in shaping ‘he maria gestures and rating the sense of direction in onal musi Thre i no compurale language of pitch reatonshipe shared by nor tora poe 2. The motives of 3 tonal piece interact with the harmony and wove leading common tall tonal mus Since theres ne pc language shared yall nontonal pecs, nies in nontonal mus play am exe rle in determining the pches of the pee, 3. There are such fndamental differences between the way tna nd rontonal msc ute pitches and intervals that in oder to analy nom tonal mic, we need new names for pitches and interval, Functional Harmony as Directed Motion think fist of groups of pitches called chords, of the voce lading that connects these chords one another, and ofthe melodies hat ar Ported by these chord progresons, When we stady tonal harmony, These ses occupy our attention na broader see, tonal harmony also refers tothe manne in which gestures are canted and shaped in tonal musi. As we will ee, the ‘ery nature of tonal armen tht hep creat these gestres ashes. From this bender perspective progression or vie lending rom one chord to anothers more than jut a racesion of blocks of pice, that progression diets motion toward or away fo important har mon ated melodic gol. The approach (, aval on, ane departure from these important harmonic goals and pints of nation ae oly related tothe esaton of phrases and lpr actons, thereby contribu ing the sens of form and gestre in toa music Tes the absence ofthis organizing power of tonal harmony that we react mediately when we ar nontonl music Not ony ate al iar tonal chords absent, but inthe absence of thee falar harmonies and pogreaions we may Toe ou berings in terms of expected pols and gestures, Nontnal muse docs of couse crest is own gestures Tut By arather diferent sense a pitch hamony, and vie lading, Tonal Harmony and the Flow of Time. The organizing power of tonal ce Scioto tay shoe tc ton between harmo ons on or {um tay have Bon extended fora tine by neighboring or passing ha Aros below the musics various dirctors of harmonic meson inthe pease. The sold artows incite theese, supporting I-V-L Progression the dated arms show subsidiary harmonic motions that Tend in some eases to the chords immediatly fring, and in othercases to more distant goals, Lisle tothe progression while following ‘he various directed mations indicated bythe arom, Despite the apparent complexities of ected motions inthis progres sion, the passages actualy fr simpler than an excerpt roma loa ‘umponion. Thee ae no norris eve, the texture ney ‘orl, and only the snplest of harmonic interacts appear. There fe no ambiguous chods, chromatic nots, deceptive molto, melee ‘motives ove indvidal harmonies, and no vations in the Barmonie ‘hythm, And the meter i ambiguous—tat any of several meters ‘would be plausibi ‘Although these factors ae absent, we ae aware ofan intricate src turing of armani ow This harmonic flow causes us To experience Pints of ination and areal, and to pereive motions to and from these point of initiation and arval, We know which chore are eal, which are connections, which elbocate subsidiary gol, and 3 forth In following these motion ins pice of musi, we fallow one aypect the expresion ofthe musi Functional Tonaliy. All his whats meant by the te fae ‘it tity. Every tonal composition tuna inthe way it gestures, motes, melodies, textures, phasings, andthe ike ae shoped. But in very tonal piece, the meaning ofa gen harmon progression ism lar We may hear a tonal pee fr the very fis fe, yet we sil know that V- progression a the end of phrase a tong cadena motion (thats, thease on a gol that VV is «deceptive resolution, and ‘hat I-VI snot the kind of progression that will article tony ca ‘We know al this because all onal compositions share this has an guage of harmonies and voice leading. We have been exposed otis language since bith, and have developed an extraordinary sensitivity to ‘expressive nuanct, Part ofthe reason that we have been able to am hiss lm tzusge shat the vabulary’ of fenconal harmonies used in foal music 1550 small and the dfeentton of intervals so cenrut. OF al the possible ways that tee pitches can be combined, only the major and Iminor ads are stable harmonies in tonal masi- And these types of chords contain the same intervals major and minor thids and sche, an peret fourths and fifths. The tos ace the standard for conse. anc an important erterion in desing harmonic gain onal se ‘The Dissolution of Functional Tonality Throughout the history of tonal musi, composers expresed them selves within the tonal language oftheir tme, What happened inten. ny ing hewn eit many capone sgh te Fae ict or indiSoaliy’s sake. The longterm rel ofthese Fanon fet wos a gradual loosening of the bonds of functional Teoaity. The principal fates ofthis end were: 4: The incessing we of chromaisam, which weakens the datonic ts functional tonality, the secure status of the key and the secure (Gaus of goals within bey 2. The ines se of casonance in the frm of nonkarmenic tons, “Gasonnn chords and ltr chords, which ween the onsonance Gasorancedisncon cuca to harmon tablty and rescaton 3. The increasing ure of distant harmonic relationships between con secutive chords and key ares, hich weakens the disincson betveen Goel cated and distanly related tonal areas, and blurs the satus of harmonic gol 44 The use of muda erations and nondiatoni aks, of for exe ttfecs, which alo weakens the dantyof harmonic and aod goals 5, The avoidance drt statements ofthe ifn harmon gopressons and wise ledings, snc in hs new harman and tna Econment simple proessiosvmded te oh and baal. Five st sings f tise are percep in woe music fom the rly inetenth century. In works from the TAS and late, most of those estar are increasingly prevalent By the Beginning ofthe wen eth century, functional tonal ceased to bea coneling infence over armony and voce leading inthe mac of ome composers. Recogriz Able functional harmenves and progressions no longer appeared i het This change in musa anguage tok place itferent times for ai ferent composes arin rm dierent sources pd mutans foreach ff them. The misc that was create in new pth guages the focus of anost ofthis text (Not ll si iris ransional period i without a sete of tonic or without moments of functional tonality. Many composers continued new types of harmonies and voce ladings not found in tonal msc ffom before 19D. In addition, «great dal of nontonal musi has fel pitches. But as we wil ee in Inter chapters, focal pitch outside of functionally tonal ssi nt foie with ll that that term connotes Trad, seventh chords ninth chords, and ater chords thst cur in tonal msc alo occur in quite ait of nantonal muse, but ot necesMotives and Sets in Tonal and Nontonal Musi In most tonal poss, the matives or thematic buling Blocks are 50 closely weed fo the harmeonicmeloic structure ofthe work that we may think of the motvc and the harmonic leading stuctres a ‘one, Buteven in thes cases, the undetying harmonicmelod structure ‘may be identical to that of another tonal psce without these motives. ‘We wil study thi feature in]. S. Bah’ F-Pt eto n Listen to the opening of this pee: The pattem announce by the fs seven stenth-ntes, labled in Example 13, ls the motive idea of the pice. Motive # appears alone snaccompanied, a the very opening of the pice, and provides «bois for almost every pichin the emir nto Is transposed, a in tt ‘and 2 snerted, api the ight had in. 3. Pats of tive = ‘cccur separately ether inti oignal tytn or wit diferent due Hons. The fournote sae) hat opens motive x recs a eighth notes inthe ft hand in mim. 3 and 4 The arpeggte thirds (the second al of motive secur the right hand in bets 1and2o Fly, the voiceleading basis of motive xs the weighbor motion shown it xample 1-4. Ths neighbor pater he basi ofthe eg ole cou terpoint to motive xin mm. tan 2 Bas] Fy BBE cation 20 typical of tonal runic by the mares allows all thse appearances of motive #10 ft into the harmon pla and src al wee Ieding ofthe section wih amazing ese. The opening three omnsues serve to extant ky, the principal esters and thet fare ofthe lace. The righthand fornstance, starts wth C-E nm. fet ope up #0 Ean octave higher by m3. ln the proces, the voice [ending and harmonies announce the key and principal repieters ofthe faire invention, Listen othe separate nes that converge on the sigh fund Einm.3 he C-D-Eand the G-F-E Thete are notes nota pt of motives, but important othe tract veiceleading, such atthe D on the downbeat sr third bet of m. 2 These notes frame xin therght hand. At oer points, the content of = anges ts imspor. The C-B- eighth-note motion in the righthand in fm Tormsa neighbor oC. But the G-F-C inthe same poston nm. 2 Inte the G-F-E mation lading othe Ein m.3 (oe Example 15). This remarkabe marrage between strocture (the tonal Lnguge) and content (motives ofa given pee) sa pimary characters fa tonal Yet the marrage sa eagle one. It does not tke mach change 0 retin the motive tractre ofthe entin but destoy is harmon nd tonal structure. The motives could be eansposed dierent the bassin mI for instance, could ane on Chor Or the alteration of whale fed half steps between adjacent nots Inthe rive could retained in each transformation: the last seven righthand notes in m3 could read F-B-D.-C-B-Di-P, The motive truce ofthe nvnton wonkd ‘emai, but the piee would no longer be tral This is preciy what happens in nontonal works ofthe twentiethcentury, Tonal vice leading and harmonies no longer provide a bass forthe pth structure of «pace. In ther place, motive relaonships mong groups of pitches generale melody and harmony. Analysis of this mun ems lcting these motives, and understanding the 2 they ae used. Listen tothe opening of Schoenberg leet, op Po al Like Bact’s Major Inet, this pce announces is hase musical iden right atthe boginning. The thre four-nate chords in m, 1 (abled {tr provide the pth atures for the etre compotion. Each chord tccurs inverted in m2 as shown in Example 17. And inthe measures that fol, the nots of, and ci thet oigial and inverted forms provide the bass forall the adcent plches. (Sethe cites props Pitches in Example 1) In tat Schoenberg's Kiirstick opens with is base motives, and eves every noe the passage rom these motives, resembles Bach's Into. The ference betvecn the plcces esi how these motives Fancion. The motives in the rent ext alongwith the underyng alee lading and harmonies characterstc of ll onal musi. By con Tra, the Kick contains no vestiges of functional tonality. To be fre, chord b isa seventh chord: halt-iminished seventh nm. Inverted to become s dominant seventh in m. 2. But thee “seventh hori aze without any ofthe harmonic or viceeading implications iy would cary ins tonal eorpoation. They donot resnlve. The "C forinane-seventh chord in m2 n no way imps the Key of F major aad these seventh chords we no diferent in influence than the tonal chords «and. Rather, the pitch structure in this piece derives tually from the tcee chord, band ostckinvlves a more extended seo the erm mate thane custo ey tonal musi. The notre structures the bai of al the melodie, allthe harmonies, ll the groupings of pitches, and even the oie lad Ing in the sense thatthe adjacent pitches come fro the mative) For thisreaso, we ned aterm diferent from oie wo describe these pich stuctres. This tem i st, meaning 2 group of pes. In this ek we il continue tose mati for thematic pattems igo the Surface ofthe music, suchas the motives in act's Inwntn oe C. The fer se wil roter to the types of structural motives that underie no tonal music, Unit Two discusses sets in general Unit Thee discusses pecial ts using al the trelve notes inthe chromatic octave in spe he orderPitch Names in Tonal and Nontonal Music Tonal Intros and Pitches. The presence or sbence of tonality affects the way we ear intervals and pitches Intnl man we deter tine the sie ofan interval according tothe number of sale steps listen tthe two intervals ied in Example 18 Each cight semtonee lange, yet theese ifr dramatically The ist sa dlsonant ales ‘al(aminor sh). As you ste othe ample ote how te soporting stuned to the subeties of tal hasmony that 3 singe preceding ar ‘mony ca effect this change ample 1-8 also demansraes how pitch names are dependent upon tonal function, It would be wrong to nose the fist cred interval a Cj anit woud be wrong ona the second as EB, even hough ‘Cand Bf may be played om the same piano ey In tonal masic the very sdeaiy of pich or iterval depends on its post n relation to 3 major or minor acl. Thi part of the reson That we mame the feo pitches inthe octave wih sen letter names acre othe even see steps ina me orn ale, ng sharp tr lt where necessary. Sinaly, we rcogrze seven base pee of intervals unisons (and ectaven) seconds, thirds, fourths hs, ints, tn sevenths. We specify the exact see ofan interel by its quality Imajr minor, perfec, augmented, cx dilated. As we have ted in Example 18 Intervals that have the same number of semitones eed rot have the same numberof cle steps. The sound and efecto such Caharmonicly equivalent interes depends on lie number of erale ‘eps they contain, ton tht abacus. Drreotsend Prchs x Nontonal Mase. Since much ofthe non Pees cr rete in ttn font ned on a toni ce, there pura tas forthe clslication of pth names and intra Famed om ren ot Ary cage oa mtn Heres Sct sep £-01 and Cfo instance, do nat havea sytem Sty eet eninge fata ei cnbay ange tn qulty othe lnnra CD and C- tr inane ar oth yp of thd in tnal ma, ferent in nate Hoan CF which sa oath But in the absence of tonic cle, C- PCE and C.F ave imply three diferent types interval We ned new names for neva a ptches reflec this ew site Sion. The begining of Unit Two discuss thse new pitch and interval runs, But before proceeding to at new termineogy, we wel pure ar survey othe eect of tnaty on sythm and meter (Chapter 2 {Stare and tine (Chapter) an om (Chapters), Points for Review 4. Tonalty is more than a aysem of harmony and woe lading affects all aspects of sia strate. Functional harmonies are a pin pal factor eating» sense of malin and shaping the gestures of tonal pes 2 Beginning in the nineteenth century, several factors contbuted 0 the disotion of tonality: nereased chromatic, neeased levels of desonance, increasingly stat harmonic relationships, ws of modal fie nondistoc scale, avoidance of functional progression, and the Increased importance of motives as determinants of melody and har $. The language of factional tonality is common to all onal pices. In rontonal us, where there na ch language that i shared by all pices, harmonic and mac strictures arse motivially. The term Sus rele othe motives that under dhe pth stucture of nontonal a 4 tne near pts ae eid by hroatn Ina major or minor vale. For nontonal music, we need new pitch and Interval ames that are not dependent pon 3 dati bssExercises for Chapter 1 Suggestions for Further Study 1, Sever compones around the tam of the noe century changed from tonal to nontonal ste, or fried witha suspended sens of ora iy: Listen forthe sya evoaons nthe follwing works by these sx composer {D Armold Schoenberg (874-1951) Jean Seis (1865-1957) rire Nak, op. 4 (8)) Symphony No. 2901-2) String Quartet No. 1vep. 71905) Symphony No.4 (191) Chute Syn, op. 9(1905) Cade Debosy (182-1918) String Quartet No.2 op. 10 (198) Réerio pan (190) The Piss fr ln, op. 11 (1908) String Quart 153) Plot Lane op. 12912) La Me (195) 1 Igorstavinsky (1882-1971) Prete fr Pan (1910-13) The ire Bird (1910) Jews 192) Petras (1811) (Alexander Skyabin (1872-1915) The Rito Spring (1913) Pras, op 37 050) Ba Batok (81-1915) Pom of ty, op, (1905-05) Sting Quartet No, 11908) Sting Quartet No 2917) Proms, p60 (198-10) 2. Among the many artcls writen about the dissolution of tonality and itsefets on musta sracture, none more important hry than Amold Schoenberg’s "Problems of Harmony.” orginally pub Tse in Maden Ms 11 (934 167-86, and roprntd in Se anda, by Ammld Schoenberg ested by Lenard Stein (New York St, Martin's Press 1975 268-87. Another dcsson by Schoenberg concen the ———v By const, in the works of ome twentth-entry compe, them a hardly ever restated in the sume orm; instead they ae conetaniy ‘volving into nee themes n'a process calle continuous sro, The ‘musi of Schoenberg and compovers influenced by hin i particaty Fich in such continuous variations, giving entire movements the sent of being forever developmental ‘Transformations of Tonal Forms, In twentieth century compos tions based ona tonal frm, the form i oten compressed or expanded to tuch am extent that is nate isa. Many paces by Anton Weber forinstance, are 0 shoe by the standards of tna musk tht wht ht [ait oa phrase in another pice Becomes a major formal i ace ene oehereee New Formal Possibilities In ddison to adopting adapting or transforming tonal forms, ewer ntry composers have azo developed totally neve formal proce Many works of Claude Debussy, fr instance, donot allow tonal models Often n these works wacitiona notions such esate variation, and development of themes seem to ave been aban ‘One example, already cited in our study of eturein Chapter 3 the orchestal work Lt Me (195). Themes enter and ext eewting other themes in new surroundings, but without the same see ordering asin onal fens. Bay works ty Igor Stravinsky lo aie from new formal principles 25 the justaposton of several contrasting elements (themes, fx motives) The satment of cn element may be inemupted bynother element, flowed bya recurence or expansion of he a fetstyes, the very notion of musical form ado msi several diferent ements imply sind guns one another, Th fe Int : Ve Fucome unr atackIn Unit Four we wil dics ps potion pant ens ry gl ag pe prtirmetdeches the order ofthe actos, or even what Ie componei to conti. The Sas he pe a oe fri ol i orn oe of al Bec scone nding, nin ots oe Gaping . seconstrcive pencils img vero the work evant, Ate formal principe new tthe wenteth-cenry arses rom You should not regard the individual forma outines se of continous ain ty Schoenberg and ters. A there ot mot Pose toe etal onrge noes of wenttcenry tay appear only once, flowed by adit variant or tal new ug fons As noted near te begining of the chap, there 8 ‘ial euting in continuous stream of new muse Tn the toned Se eg racine ney Erourtug, op. 17 (19), the continuous ntoducion fnew hema speci plese in Units Two, Tre, and Four, we wil explore steals paris the ext ofthe worn which the sopra Sng el forms fragment of sentences na steama-conaciousess fashion. The years ‘llwing Word War I have sen a wie Vasey of F 5 approaches o musi. As we wl een Uni Foun any org tn foe a fis eve, themes and motives inthe tao sera arent ae 51 ms th ity tha ares om the mariage ofall aspects nt. Along with new textures and new nations melody sri armen Bese he you of oc res, the armoniemcec tr Sy meng th ial al onc he Me voice ndings, the tonal moss, he phrasing the textures, Taio Bub’ Composition or or trent (989, forint . ; permutation, the bs ofthe pitches, the concept underpin Stdioral tonal forms are the bss for many nonin went {he over organization ofthe wack. The piece i wien for Bite a composition. Bu the nck key, the aditon of mee apes Inc iin, and cel. Every combination of thee instruments cca as otal symmetries, perpetal variation) andthe presenation ne soo foreach, ll possible duos al pose tos, and one quate oc new time cles cents novel constructions in many of Section. These sections ae pate, with each instrument parting wo ‘once in ach pair of sections! Other went , And therein systematic sini betwoeninervas that ate enbarmonicalyequivalantC-E and Care four semitones large, deste the fact hat onthe stall one looks ike a ‘major thi and the other ikea dininshed fourth, "To day the statu of pitches in ths mus, many doris now use & new system of note names when analyzing this mace, itch asses reamed by sumbers instead of eters In this ook, we wil contine tonal eter sames when we refer othe notes ina sare or Bi ur we wll ae thee new pichateramesin est analyse. Pills, The number 1 1 refer tothe twee Pieces meen sone, Not hat ech pices Se Png name, no matter how ti opeld: both te B and Dt Soper pitch tuber fend Movable-Zero. How do we know which pitchsass is 07 There are two diferent ways of assgring the number Oto Somes it adventagnons to eng at whaler pith i convenient focal pint nthe pleeorparsage being analyzed ee wl use 0 forthe fs pitch in the excep tude. This ar nottion, 35 in Example 51. In movablezero notation, we plclassO by placing is eter name at he begining of he In guar brackets: such as [A=0] in Example rcs its convenient to use O for the pictus C opardlos of Cis particularly important ina given excerpt. Thies nro Jaco and movable-zero notations each have advantages. nd Dnotaton, each pth aways has the same name, making easier to ember. Movable-zro, which lows you to se 0 for any convenient chin pesage, often fctats your analysis We wil generally see zero notation inthis text. Bat we will use Hxed-ero where more appropiate, Aas Using Pitch. Class Numbers. In Example 52(00 p68) Pitches in a melody by Schoenberg are Inbeled according to bth ‘Te pitch numbers themselves Mumite varios features of cody. Not Est that no ich number i repeated inthe course of melody. This means that no ptc-lass ecurs fer anew pich-ans Indio, every number rom Oto 11 apparel pitch cases present inthis melody, Finally, hoe are unt afew adjacent nawsre 52 Seber. Sing Quart No.4. o. 7 est movement bers 2-1, 9-10, 3-4, 87, and 7-6 in fed zero notation; 0-1, 7-8, 26-3, and 5-4 in movable cero notation. This tellus ha thes adj ‘ent pitccases appeared in the stme octave, this melody cold om tain many semitones, All thee potential semitones afin ot Present as Seaton in the melody since all the pitcclaaes volved ae nthe came pater “This melody appeorsat the very opening of Schoenberg's Sri Qua tet No. op 37 (157). AS happenin muse fom any historical ery ths opening ofthe pice announces many of pera etre From "hs brief analysis of Example 2, you alrendy know ite 2 i about tse of pitches. That the melody contains all twelve pith lasses ina Sing phrase tells you thatthe se ofl the pitctctaaes feature the work In fac his quartet composed inthe welve-tne system a ‘ompostional method important to mich twentieth entry si, and tne that we oil discuss in some etal in Unit Thre, In twelve tne tusk all ele ich dass ae continlly i alton. ‘An aiiona etre ofthe lady in Example 52s the abundance cot semitones” Of the eleven intervals tween consecutive notes, ve Se semlones, In fc, as we wl se In Inter chapters when 96 sy {his movement nme deta serstone ae cal terval the use ttnstructon ofthe Fourth Quartet Summary. We now ko the difeencebetwsen pits and pit lasers We havea new set of names for itch-classes And we have some ‘eso the musclinsights we cn et ust from knowing the pts ames ofthe nos a passage. As we wil ace inthe next scion of this chapter, these new pitcvclass names help us to measure intervals Intervals How do we figure out the size and name of an interval in number notation? When we subtract the numberof he lower pc ua hat of the upper ph the resulting umber s the sof he interval in em happens the number af the ower pth sage han the nm Mttheepper pitch? We would then end up with a negative number interval size Sch negative numbers are comet, ut cumbersome in an octave) to the numberof the upper pitch when iis smaller that ofthe wer pitch rampls 5-4, which uses fixed-zero notation, demonstrates this, D 2) ies above Af (ptch-lss 10. To show a D above AF, we add 120 @412=10. utero Inversion. How do we invert intra in numeri nas ger an interval by subtracting the numberof the neva om See Empl 55. We cll he inversion of an interval he smperont tat interval Ae reason that we subtract the numberof the intra from 12s that dition a smple nee an interval salle han an octave) and ts fenion add upto an ete. Since the octave contains twee rem rs, the inversion of an intervals the dfleence between Ihe interval Compound Interoals. How do we del with mpd introe—those ae larger than an octave ae haves nurnberlangerthan 12? nore snplity many analyses, convenient to conver compound inter into snp intervals by subtracting 2 oe mules of 12 (an octave [fe multiple octaves) uni the interval ie isa number bebwsen 0 and Basal, this proces changes an interval between pes ito the [euvaent terval between ptthelassesHuser 56 re two mnemonic devices tht may be helpful you as you Me nc tnese numbers tthe interval names and sounds ith Ao ela. The is way remember few base inter Bean herring intervals in tome of the: Ladetincwiad and 2a the smite ond when. Thre, the inser of and 3 ntereals Ian 1: (121=11;12~2=10)—the mor Some Hints for Remembering Ineeal Stes, AS you begin ing ree. mumbo oer you may Gn clo remember ea sie snd ep tie PO tnich intervl is referred to by wich number. Table 1 Uist ll ty Scr scrote oats mlseeatertne icra intervals and thei tonal equivalents he poe forth and per th, Tam 51 3 and ae the minor and major thiol tp ad Fels. trols 9nd Beer cmp ar end na ‘Union| cr way 10 remember inten i rent thee o four parts. Sine the octave has twelve semitones, napenied wtoe 2s dilible by bothS and, bah dvsone ae ea sizes i to think of dividing the ‘Wheto, major second dined sid the octave into thre parts 048,12 ge th augment aloes seprtd by or seine (amr id). Sonera #4 thro dois our and inter ea inar tho agreed dig the octave into four parte (0.36212) gies us thins Feet oth, augment ed chr, thal tes spree ye seit min. So 3s nor hid or auger Seco ners 8 roe ait Titoe, aunt fourth, ini ts fe nr sith or dmiie reth, nurse are eter manters of one of thee diss of the actce 45.8.9,12) of «somone sale larger tha one of he nterls [257.10:0, Majors inns seventh Recommendations for Stuy. Whichever way you lean to en notation, you wll soon be comfortable with these names, A hs i tur to Terms aed Concepts Ecerises 2 and 3a he end of hie er. Spending afew mint with the dil exercises thete wil give Tact in using pitch and interval numbers, and wil ll you what erin this scion you should veread. Then proceed withthe next ths chapter,Interval-Class Justa pth the grouping of al pitches ofthe same ype Call CE-D®s and so forth), ttre ae the grouping of liner ‘also the same fype. Each intervals includes an interval com Plement, and all ompounds ofthe interval and it complement. Thre trek different interval dases, [ iterate 10,1622 we os Intra 81,20, ‘We wil ind intraclass an especialy sel concept when weal the structure af groups of pitches in Chapter 7. At this pol in out ‘dy, interaldase is el recognising the sinianty Between ‘sscending and descending forms of the same interval neral-Cass and Ascending an Descending Intervals. In meas ingmelodic intervals figure out he interval by nbtracting hers pitch number fom the second. Thus, tothe E immediately above sintered 2(4-2=2in fed nero notation In the case of descending intervals, thls process glves us negate interval numbers. For example, Eto the D trneditey below it ts 2 @=4=~2'n fhed-zer0 notation). This negative number is the comet Siz ofthe melodic interval Between pith Eand pk D. The minus sign tellus that tia descending itera. The negative number for a descending melodic interval can be cme ‘etd into the postive mums of the complement ofthe itera Hee EtoD, inter ~2,bocomes interval 10. Ths describes the intra se from pitas 0 pce D. analyse, easiest o avo negative numbers by measuring ding intervals between pitcclsees, not betwen pitches The ofthe ocending oid descending foro the ame mineral fs thoce of singe interval clan (See Example 57) Model Analysis: Melody Serenade, op. 24, Variations theme, Example 58 pre the unaccompanied rnc melody thatthe Ure easel of bans Schoenbrs See, op. 24 (1920-2. Each pitch is bed literals re ndicatd below the melody. Be abled On mow sotation the melody bens and ends on Bb, which a5 we sce an important pitch in this passage. Fare youself with cody by istening toi several ines, playing, and then singing, nate) 56:10) oo Loo VV AVIA, NY WAN A‘What strikes you about this melody? The following dscussionbeging swith some oft general festres and proceeds to deal Contour, Pethaps the most obvious aspect his melody, even on ‘at hearing how ts contour expands both above ad below i teh and then gradually coves bck to ha fst pth at the end ‘Study ofthe pthlss numbers revels that his expansion fom and “ontaction back to spat of larger aspect ofthe melody. The ene Second hal of the melody after the fermata in m, 5) sa everse a he ‘order ofthe pitches inthe fst hal Each pth ecu in he Second al Inthe same reste asin the st hall. Stipe. The ships in the melody complement the expanding and contracting shape ofthe melody. Increasingly lage skips appear a the ‘cody encompasses an ever arger reste. Two sip f intra (bth ‘ing td alin) in, 1-2are followed bya skp of interval 6 in mm, P-3and a downvard slp of ven somtones in 4 The second hal of he melody reverses ths, of couse aaowing the sizeof the slp 1B ara Focal Pitch, Puch (B)s the pont fon and conclusion fortis etal expansion and contraction, Bes exact the cenit of range ofthe melody Or, to pu it another way, the mo radiates ts far above Batt docs below. The highest pitches (pthclass 8 ie ‘me. and 8) and lowest pitches (pts 4in mm. 5 and 7) aright ‘emits distant fom pica 0 Interal-Cass 48, Theinteraass 48, therefore, plays an mpee ‘antral thi melody is the ntral dass that measures the distance fom the openingand losing pch tothe highest nd owes py neva ‘Cis also the interval beoween the lowest and highest pitches, Finally there are more sips of intervals 4 and § during the melody than thre far sips of anyother intervals eight skips by 408 and ony ‘hips yal other intervals combined Rhythm and Phasing. The expansion and contraction ofthis mel ny in nota property of pitch alone, Rhythm activity plays a role, 08 ‘As the pitches open up the range and the skips increase in equency tne dan quicker tythms appear igh the itches ofthe second half of the melody arin reverse Meson half ofthe meiody docs not sound ke mete versa fist al Father, i sounds more thea consequent or anewer to all Why i thiss? Rhythm a primary factor in creating ht Behe tythsafterthefrmata are aint hose athe begining pece as shown in Example 50 ® ®@ ® J 14 Fs of lee the dhythm becomes more active asthe melody expands in eg the thythms toward the end slow down, creating a sense of cad. atthe very end result, the ene melody sounds Uke a pair of phrases am ane= opening up fom the beginning, and a consequent fling bck tluding. Within the antecedent paterson, inceases ic actviy suppor the reyistal expansion of the mcody eight up end ofthe pase Inthe consequent phrse, the peak of the ommes ear, allowing forthe slowdown that prepares the Aspects, Although B sa fal pitch as eistral center ofthe ng and converging registral its is by no mens "oni" in onal sence. The melody may be centered around, but it ot it major” orb minor.” Eleven of he welve pch- and Bin the at meas, ‘Nontonal Melody actu. As can be sen frm the analysis above, fic of melody depends on many factors, including the overall whch pieh-dases ae present and which are absent the ep in which the phases appear, wha inter and interval dases prominent oth kcal and long-range, Now cyt acts hese 3, the typeof phrasing and the presence or absence of tonal fx Eich ofthe melodie for analysis in the eecises that concludethis chaper combines these factor in aque ways. In ler chap tne wl ad more detailed study of motive ls and harmonic under rings ke ou study of melodies Points for Review 1. The term pis refers to any single note ina singe reise, no ma ter nha its spling. The er pl (tata class OF aoa ‘lhe ees tool he ches that nace pestis neat 2. The numbers 0 to 11 refer to the twelve diferent pts in ascending somone. 3. Ocan be assigned to Cinall eases (fet zero mtton) ot any pith Aone tain. 4. Harmonicintrsals are caluatd by sbiracting the number ofthe lower pth fom tat ofthe upper pitch Ifthe number of Ie Upper plc s smaller than that the Tower patch, add 12 (an octave) 0th [pper number before subtracting 5 To invert an interval subtracts umber from 12. The ines of sv inerva sts complemen {6 To reduce a compound neal (an interval age than an octave o asin info (an Interval no larger than an ete), subtract 12 oF tmulupes of 12 tom the interval number unl the results between 0 17, An infers contains an iterval ls complement, and al co pounds ofthe interval and ots inversion. There are sx interval clases TiN; 2310; 39548557; and 6 |, Measure melodie itervas by sabracting the fist pith from the seeond pitch Descending meade intervals wil have negative numbers thot canbe conver into the pote numbers of the complement of the interval Exercises for Chapter 5 “Teams and Concepts 1 Define the following terms pice rovebe sem notation intra cas—_—ersin Diohclas Spl tere sonponen! Intra ompound intro! fie ero mtn Ding sumer, label the fllowing intervals, Reduce compound 15 spl intervals. The st xenue has been completed. Write the complement of the allowing interval. The fist exercise been completed interval? 1 interval 9 29 intervals 1 intervals 1 eral 1 Famirize yous with each melody below. Listen to it seer tins. TL and, where the range isnot excesive, sing. Then abel the hes in each using number notation. (The st ich has Ben abled you in each melody) Men answer the questions. For each melody, thnk also about how it Shape. iw many phrases docs it have? How do you know? Where the climax of each phrase? Finally, consider that each melody occurs atthe very pening of 3 for & maverment What Kind of este might le foeshadow? What Git streture indicate about the intervals, pitches, contours, phrae Band chythms ofthe enske that lows Listen to the pce of ts he oping. Does the rns that fellows confi you con Easions? Does pve you new insights ito the opening melody? For your study ofeach melo, se the model analysis of the melody Schoenbery’s Srna Example 4 a5 gue A. Stravinsky, Reo Spring (1913, Introduction. This opening mel begin without companies. How en pich-lses ae used? hare mast prominen? Which are ast prominen?” Which pitch i orl ph for the melody? What factor lead yout his conlsion?ase ato st projects an ABA’ strate, with ach phrase tation. How doth yt and he registra contours sp 2 Bark, Mase fr Strings, Pec, and Clete (1996), fst move ment This i the unaccompanied fue subject that opens the mer ‘The dlted barnes indicate the subdivisions within each mess Hoy right you describe the itevclaver under the fat lu? Fallow frst phasing sr, how ae new pitcclases introduced? Label all intervals. Wha intervals are most prominent? Does ay sequence of nteral eur? Deseie the proces growth nd cont: ton that shapes the melody. What role does meter ly inthis shaping? ‘Chapler 4 diacuncs some aspect ofthis baal everest Seccea “entries ofthe fogue subject follow one another up or down By ine What role, any, does interval” playin the construction a the gue subject tel? Ines srongbe In addition, Chapter 4 noted thatthe clin ofthe movernent io nik ak interior the opening A. What rol, if any, does inter 6 playa aay the fugue subject sel? Andante nga (1631) Wate abi, Composton for Four Insrments (1948. This unaccomp cody opens the compotion. How many pitchelaes ate pre. How many sre absent? Label all intervals, How many diferent jhe does this contour occur? What ther recurring contours ch ea 5. Schoenberg, Sting Quartet No.4, op. 37 (197), fst movement We have dieuseed the Gist phrase in Example $2, The excerpt bet cones of the may ofthe fst tne phases, How many pies rein each phrase? As we discussed in Chapter 3, the texture i whipices made? Pitch-Class Sets ech pr rain pif (24 hel et sean 6, Webern, Sympony, op. 2 (1928, second movement. This mead Trees peach scimpani, the Ute fora set fvariaons How many pitt ek fecha are prevent? How many are absent? Label ll intervals. Wherein hg sorte pact ‘cept cn yu find intvas and thi complements? What oer aspect rine orm scent (ofthis mcody are also organized in the same way? frshon Serre oOo 0 0 0 oOo © oO Pitch-Class Sets ples ts proupof pitch cases, each diferent from the oth ches oots provide us with an analy ool to study melodies, oni and he interactions betwen melody and harmony in non Sie of Ptch-Clss Sets. How many pth-asses can there be picks sc? A pclae set may contain beeen ne and tee asses, but we wll concern ourselves at et mith those that con tween thre and eight ptcrlasses. The flowing ter ell us many ich lasses there arc in these pthc set «rch contains the pitches {eho contin a pitches {peach contains fie chases ‘hencird contains pch-dasoes nectchond cntann cht pitch dacs enced not concem ourselves with pteh-class sets with ne o | classes, becuse they are single nos orange intervals whose tare is seleviden.Simury, the structure of pitches et withtwelve o eleven pich-dassesis selevident comple chromatic alg Ser tnd crore wale missing singe note As fr pve ot Bi ‘ine or ten phrases, we wl teat them in Chapter under the ead = eee of Pitch Regions.) ‘“ cer ar area positon of [0.2478] by four semitones gives us the st Hor 0 pat the numbers i ascending ode, 1,681) 2 presents a ater passage in Debussy Thc Sine Cate Bie tanspostion of 0.2.47.8} up four semitones to (68,11, for ths posage of" ” TH ee ere, ome 2 4 ean 6 an The members of the ptch-dass set (0.2478 (with G=0) appear ona sepia staf below the example. We nota picrcas sete with ope nothesds in ascending onder within a single octave. (Remember that ‘ve ae noating piterclases, not pitches. So We can wt the nok Iheads in any convenient register) Accidental et ony the notched on. _ Invern pch-lse set means easing evry interval at wit ts complement. Example 63 present a melody by Me oth which we ate already fame. The tchord that opens the they precede 63 Mesien, Quarto he nl of Tin, th movement hi tc st le galerie em paar transposed, orient pee Transposition Transposition of a ptch-class set means moving up bya interval, Wetranapose a ptch-dass et by adding the itera of tanspontion to each pitch number, sublracting 12 from any pith numbers over I. For instance, to transpose the pitas 102.479] in Example 64 four semitones higher, we ad to enh ptch-lansfist pase (E-F-6 or[.26) eur a he cadence othe send ininverted orm, Each interval in the prime form replaced by i lement in he version: terval 2 (EF) placed by intra ie 1B), and interea4(F4-8) replaced by interval (=F) Ji} spectively. The tichord in Examples 63 through 6 has [0.201 and 10.68). Furthermore, i we had une diferent sd any ofthese examples, the sts would have had other Hyon may wel wonder atts pint how you ca ell two set ie orient any set can have so many names frit ror Tranoposions, and inversions we nec, thercore, ia single name for any given pecans Mame tht sands for the set mall ts forms, This single name ewe! ering hat st. Th est ordering of pce se sth a conti he st poste aera of ht Invert ptch-lss st by folowing these two steps: Step 1 Write the ame the et bepnning wth 0. ‘Oat the Lowest Ordering. You can Sure out the lowest any plchclss st by following the the steps given her, Formos se, you need only cary ou the st eo step.) The fin Example 7 wil be out fist example i Neat ll he tcl in ascnding oder within an cet. You co fon pic cls. See Empl 8. ° === wham 39m aoa 6 Step 2: Subtract och mumbo from 12, lace 12 00. Am inverted set can then te transpose by any interval The form o the inversion in xample 63 is transposed up eight semitones fom the formin Example 65, The following example luststes this. = 2: Find the lrget intel Betws consecutive ices. (Ramee th ner! ro the st tp the ste te net ce {Cup in Example 8) Rode te ths, begin eth he upper 0 te ret inte. Narr from 0. This sy he aes! are he ot a it pcs. PEsanpl 69, th ages intr i to Eat By revdring thee ng with, we he he fling al === wom 230 ote oee whe ‘A Single Name for Each Pitch-Class Set: | ‘Lowest Ordering Ie shouldbe str by now that 2 single se can have many dif ‘snes frit prime form ors inversion, and forthe transposons is prime for and inversion. The sues i the basi of Examples tnd 62, even though the set is beled (028.791, HAA10A) andStep he as intr our te 2 sl age th hing hts intercluster age than thei tere, tho ou lat ae let ring. Bu hat rl ep serene hee ordering. But he as itr Step 26 the same sia smal tan the ist rrr he ies from Se smaller tha the ist nee rere pcs ro ight tat ite hecompement ofeach umber nd rsp eo 0 he complement of ch mute, and tense gin oO, Coe re his es ef th ftp? tind he est erring alah reals of ey? fide es orig hes nr 02.363 whch ier thn hist ner 5 od rst stop 2 ing om DY) bee sth seme. Only inst erring oft rt 0.2.6 * Ferengi Eso S12 enews onto Sond wrk With [0.2.36 there only one result to consider in steps 2 and. aed some sete, there ae several candidates for lowes desing in steps [025891 98820 (evened onsen ‘nd’. Tat makes the proces of figuring out the lowes ordering eg SA71Q0 (thecomplonent feed) Tenge, but the step remain the same. Fora particu conpex ex 3A79) nepondt begncn) onside the pentacord in von I and viola atthe opening of Sch eyente oe ene ae oe, th thik adring i Exanle 612, (0146.9 an his nerson lor: alt he fourth abe. Sine 5 we ha 7, he id in Egle 12 he les! ordering: 0.1.4.6 ras 610 Schoenberg Stig Quit NO. 3, 3 fst movement ot the lowest ordering ofthis penachord is purculaly because thee ate thre instances of interval 3 the largest instep I. I was inladed here to lusts the most diet In most instances, as we sw in Examples 67 through 69, scnly one ct-orm to consider in steps 2 and 3 Forms in Relation tothe Lowest Ordering. Once we know ordering of «pte st, we can give a singe name to ianspostion and inversion ofthat se. Consider this pitches Step I: Notte he pitches in ascending oe ein ences (oo masa ma eyen cn abe! any transposition ofthis Set with this name and for ‘Sly 2: Find th rest into betwen consecutive pitches. (Remeber oe leer alter the numberof semitones up. ons he eral om he at te wp othe is en thee cae [om E upto Gin Example 6-11) Reser hpi, egg wt th pet Im he set above, the Lrget inerelBeten nsativeptclases i 3 Fool 1.47 wan cs the tins E-C, A-C an C-DY nthe, tree emt We three esos, iin on and Dx. Numer och fom 0 fy, any inverted form cn be Ibe I (hor inverted) fallawed interval of transposition between the fst piclasrs, (Go) M24 AM Koa aern whafereen SsLocating Pitch-Class Sets Be. At en perro Now that we know how to name a pitch-is et, how to tag It howto invert yan ho to ind the lowest ordering of thes ‘tu our stein to staying the uo of pclae sets f sn to composing ur on pecs. Pitch CleSts in Noto! Mak. When we ent pe ec ane a tng er ts fa alter motives, Motive hep to inake dierent pars « phil ‘Stn, ors pe und ke the bang tpt, They ae te tml fe petal are pols of rere or maar pment: The i eur mac a Sete Stony a Capt ohana ‘eww Chap the moive na oa cero mae al cl they te the harmonic scr et on pa the ncaa onal base the main roa mes wher ag ito hemos egy common meny ool ca, yl ‘eats en uur incon uo snd my. he ‘SSeS at pe hemo mera er mony ad melody Inui In feelin nonin mae oneal ‘aksin tonal mas ike el sols nontnal phases Poe the mt cute which mde and harmon ase iain, he ae os pce et, the srr to ale stint or the rng harms ad loi. Inne sly os haony sting nts en + Cro sae rotons sean eet intra ees a {ajor ach Suny pl at de ot conta any toner wl nc slow th prc tne ina Fusge sd onal et sti hese mis, he copostoa posses ar vial infinite, The pcos praca app one ea tr tary, Ty cm opp ty cndeing They on ppl snc ava humy bled betes ny an army or da betwen say td Narang Tey cm epee syn ‘youn entre, and tn. Thy cn apron of cat inborn A! woh Carri thchapy we aw pice sere a the bs to erent eters nang pe (amps 6 and 62) and pine ee te ba kr ptt med (epi 6) Exmpe ease» vat of ways tt singe pcs ‘pes wth te pening ve menus of Wet men Sm mest Rt 6am w16an east appease treo cn a2 melody with ll inthe same reser, tanaposel av aol aneposed dif spuot acter hod and aa et of te neracton between Seat inotraments, The ecurences of hs pitch-class set as mel asharmonics art sa scr eatonip among prs help the pone. The soir, dering, duran, ad intramen kth phases ney vary, ut he lanai win he et he ne Pitch-Clae Sts. Obviously, the resus ofa pth ass set pend to a Inge degree on which pts you select ab 5 ofthe set. In analyzing a given passage, thee are no hard fat uk for determining how many and hich ptcrcases should together ina pitches Contes almportant. The insight algtfocises attention om crcl pitches. his grouping of important othe sound of the passage i becomes acandits iesignaton aa ptch-clase et nan analy ofthat passage. Its up the analyst to init ax pat ofthe analysis why these particular clases are bing groupe into a set. n this Sense, pels se funda dierent from tonal harmony, where te method ng out chord tones and noaharmonic toes ares te, a all pice o pce FAthough there are no rales for ientying phase set, and thee a valety of ways of analyzing any given passage or piece, analytic are not arbitrary. Remember that he purpose of ptch-lass et ip, not ofall mal analy ito supplement your hearing of Passe helping you to understand the vay ts organized and ow fener ts eects. Any group of ptch-lasses can theoretically be pod ino ptheclase st But when we analyze a pasage oF Pee,‘we are not merely looking for pth-lans ets, We are ooking forty {ets that enhane ur esting and understanding of the piece Remember to tat componers do ot 84, crete compre sie sudiory puzzles when they cmpone. The cues tthe way tgp Pieces are oranied are ually apparent ta crf steer stein thas an important pr of wentying piteh-das st. With these conserationsin ming, the following guidlines wa you as youtegn yur analyses, Tobe het, and hereto, fn "Stamongaieing element tes ina phase must PP toe ‘ther consecutively asa melody, simaltaneoualy a « harmony, aa ‘Ned textural or timbrally asin the accompaniment to mod, felted in some other way. You wil nd that ater ou have Wenig tnd eae to hear the sto ets that are prominent in passage, an ier ining these phage sets a hey Occ seve WaYs in he passage, you can bein to sten for more sole featres. ‘Upto this pont, We have dcussed only the denifcaton of ph og pln et eas pling ety iain het eng wil 0, Sublract each number rom 12, and rece 12100 ercan then be tansposed by any interval. Inversons are rth I pls the interval of transposition following the lowest, "The orginal or ofthe pica sets called the pines, jhe rom the ose Exercises for Chapter 6 and Concepts Bene te following ems: chit fetch lowest odring ———_pentchnt clas sts. Daring the next thee chapters, we wl study how the suc a piven fre of given picclass et and relitonshipe among dilerent fem Ererson Ieptchond ofthe same and among ifferent pth ets give ie to the comp rept tacit Shional posites tht come to fein nontonal mas. Bat Sst you thor Should do the eeries to this chapter o ga aly in naming ane pei, ring and epi pcs et. The Aly ompesition execee a the end of ti chapter provide exerts oan oes Iyaeand suggestion for eomposton How do you tanspose a pth How do you invert pitch set? Points for Review 1. A ichele st isa group of pth ases, ach liferent fom the ‘thers The types of pitches sets we wil encounter most often a rc (th the phase), ahd (with fou, otc (oe five), hechod (ith 8, pachod ith sever, and cach (vith sigh). Liste steps necessary to gure out the lowest ordering of pth oy ite the name of the flowing phases and wanspos ech a itera interval ane interval. The st completed [Sa 2. The name of pitas st incudes ll its members in ascending ‘numeral onder within a single octave. We write the name a he Pt Clas st within square brackets, wilh a comma beeeen cach nembet Such a8 (024478). Te owes! orerig of pitches st forma ame Review Spe 1-30n pp. 85-86 fora method of finding the lowe ordering of ast 2 Transposon ofa ptch-las set means moving itp by an intra ‘Tanspone phase set by adding the interval of tanepostio i ich pltch number, subtracting 12 from any patch numbers over Transponitn ate labeled by T pls the interval of transposition fll Ing the lower ordering ofthe set,Ss Ppmse 6 Wate ou the name ofeach ofthe following pitehlas st, nv cach, reorder cach ascending order, and transpose the name to ‘vith The et hasbeen complet 7 ——— i =| moe en 7 Place each ofthe lowing pitch sts in awe onder The i has been complet Mach of the folowing passages, a singe pleas set provides fhe pitch material In what ways do the passages difer in how ake pla? | Srvinshy, Perso, Fs Tables (191). Meni the pitches fn the clarinets and horns, Waites name in west ordering. What etn between this et and the te melody in mm. 1-3" When tcclss (8) i added to the Bate melody Beinn in. 8 forma previous stated ptch-les set crested? ee a maw aes es}2 Shyabin, El op. 0.3 (911-12, What iva sts fommaq on the frst bat of mI? Where else does this pitches St cece this passage? = 7 Qo 002 e Wager, Tian wn (19), Peadeto Act. Wagner's Trista iy oa pce. But highly chaged comatose on uot he terre ae en Ha ering progres fo he pot of ve of pcs Bs impr te onthe pune, ely the acho formed by one chords in mm. 2-3. Which etrachords are flor ofthe ane Sa How deste ryt of he pase ete othe pt ts you dete? Imad inner sections of the Prd inten tthe types of pth es one pes sounding tee How desis ete o fanctonal onl harris ne ple? pam tsctmatnd @ 03) 3. Weber, Conzri fo Nine nstramets, op. 24 (1938), seond move ment. Figure out the pitchtass sets formed by all smullancousy sounding pitches hat the B-B!~CGinm. 1 the D-F-D in 2, a so forth). Des this pith set alo occur in the melodic ntruments? In how many forms? Clarinet and trumpet are writen at sounding pitch iSComposition phrase or pair of phrases with the following features: 7 » biz [email protected] 2 Add » socond putt ot en accompaniment 10 the melody you composed Ty different textures andor relationships between the pate 1) Use asthe ass forthe second part the pitch as se you ted the basis of your melody. Or ae another phase trom the et. 1) Try both a contrapuntal part and repeating ascompniment (an tina), ©) Try sty metal acompaniment as wll as fre one . Usean instrument other than the ane wed or your melody 3. Wie» contrasting melody to fellow your orginal one, ald & secon prt and combine Your tons frm 3 ce a ABA Interval Content Interval Content he intern content of ase tls us the numberof intervals present thei Pe How Many Intros Are There Set? The numberof intervals in sel depends etre onthe numberof piceclases. There thee intervals every trichord sx steals In every terachord, In every penlachor,iten sn every hevachord, and 50 forth, See Fon. What Types of intervals Are «Set? For pth-class sts with 2 muir ital ey 0 me he eral trea In Example 1, for instance, 8 irediatly obvious that the od [0.14] contains one instance cach of intewal 1,3, andsecon tend our om the phase Dire nee ofthe icles, ging with: toast neal (0.1.4: Saintes fom he first is (pha rel om he sn pls pti (41-3) Coun up th er of iste of ch nero and ne in he pote in Example 71, there is» single instance each of intra 111,39) and 6 ile 72 derives the interval content ofthe etachord [1,67 mom. ea [p67 1 6 7inkrls fom pha "tere oer pcos 7-61) Sond treogcgath iit ee hoe Dut for sts wit a lager numberof pitch-dises, we ned system tie way to figure out the interval content. We wil use the phase Set [0,14] as an example, “To igure out the interval contont of pth et: ra Sanieecaseereoes Mater What Ore the Se i We Yon Fg Oa gg I re vet wn npn cm) twa Interval Content? No. Since the content i he ttl ofa ites ater types of sts, the inversionally elated forms are sim tetween al pce, the fs wil alvay be the tne onl seth what ner the ich asses a is ala unneesry fname ‘You now know how to igure out he neal contents tit ph ds ato aed having ode ih pane es mn ie omey Gat al pees nantes Sen seo tT rade fh cape ces ow he oder Pent of» pclae et affects the musi that uses that et opin thls secon, you should tr to the Exess atthe What Happens tothe Intro! Contnt Who Set Ie Transposed? Rs chaper and do Terms and Concepts Execs 1 and 2. Then A transposons ofa pltchedass st ave the sae inlerval conte th the remain ofthe chapter. Moving ast up or dw doesnot change is intemal sracre What Happens to he intrsl Contet When Set I Incerted? The Compositional and Expressive Effects te, Review be eral cnet fhe cher in ample of Pitsh Claes Se8. Thelnversion of ths chords [0.34], whose interval content es now return to several excerpts we have aedy studied ica Fes and nays ences in Chapter 9 se and ea how eons 73 Et omentof th st tat re ae crete the musa lect shy, Perushha, opening. (See p. 93.) At the opening of Fa ingle etchord ats nl level of transposition he toss the melay and the aecompaninent Ts st (0.237, has the ws 34 terval contents: : : Indeed, ti because pitas ets have the ae nel conten cts 57 praminate, wth ntervlsss 2.10 and 3.9 wep srheniveied lot we conser he pine ar verted fons & dng toa leaer tent, There are no semitones tones or nstancs Pcs set and rt spate ones Ks ue ht he nero as 48 {pthc cots the component ofeach iterelin te Prine Predominant intervals ct stand oi he usc The ate form. Bat in eaton to ferent sty the uni of sound of pine and emphasis interval iss 5 (A-D and FA), we the tp. Inverted forms cteghe any deren. Take oan comple tice hcl inthe accompanies emphasize eral 2(O-Eand A- ‘thw eae al an: the dy Major and minor frm the framed by interval 7 (Da) Because ofthe way the emelos oe {ad are inversions fone anther he (07 tahoe), onal muse the econ hth ofeach eat preset al our piles sre ural thn of major and rior Sigs av opposes, not as two strony forms ofthe same structure, Bu in elton io other poss chord, Ase wl se in many anlyaes in thie the way pice opens Iujorand minor ads re ceri cy rated nha they ae te rcs thowe fstrcs prominent in that pee The 02-57) tet ny consonant cord. oth for misc at exam eso a bilan choice This aon representative of a plas st Inverted fos Pera Inthe it place suggest the etc sca sure certainly sound dierent rom one another cept feo ra tefl Pers contain al srt of wns: lk ner ae comthat are entirely nontna ae well as shers.* The opening eee and A sounding together—the four open strings of a violin—supg the familiar sound of orchestral tuning before the curtain rises. Weber, Movement for Sting Qua, op. 0. 4 peng. Sup £.)In sample 6 wes severanstanes fhe echo 04 uring the opening Section ofthis pace The Interval content of Asm the erchord at he opening of Pr, only te itera lasses ar present here ut he poles ets marke fleet Sern, tenes, an nerds 5,7 omar equal name Tee arena whole tones rth or sith, And the st ol a ll emi ‘ft aaa pet ach vet statement inthe pice eps diferent aspect of strctare. The temolo chord in 3 Conan inten 5 an the Separate intents (C-F and BF), whereas he cordon te dow teat of m4 pues th wo tones in acet postion (4-C inal vin; G-CHin the cell). Theva and clo am. 3 move in poral tetany seme to e rg forms an ect combination of elements me tone Webern was ay the mint compos res aved on afew clement In this exept he tere ee Rand are inensivey eveope. Tew ae ses other st canbe beard here—we wll dacs these ct and peti rhinine pe, tlhe Se cunbres and aricalstons of phases, melodie, chords ing nes rept ofthe cmpacines ofthe musi: These anh the groping: Each masa ttement Jerin il ht sera ttn epetstion our deve ti the any of conception of all thes element long eh Mero timbres arcltony melai shapes, and Testers i tt ine tht geste manic much of sent Concerto for Nine Instruments, op. 2, second movement, {Bee p28). The tehord that isthe basis ofall simul curing pitches here i [0A We worked ou the interval cts tnchord in Examples 7-1 and 7. The ichoed contains nce cach of intervadases 11; 39; and 48. Two ofthese, re the very cosence of this patage- Each harmonic ier the piano contains either 4 or 11 semitones. Everytime «pitch in {Einsiumeats sounds slong with 2 piano intra, creates Horm of (0.1.4). The melodie instruments form (0,14 several but only sate interval tases 111 or in immediate sucesion Baie intralclasees as the pano). Listen o Example 74 Fal, when to interval 40 1 olow eachother in the plano pat second interval is either intervablass 48 or IL distant from the Fu instance, in mum. 2-3, the piano hak D-FY then Db-F wo rcs of interval 4 separaed by interval 1, Smal, the intervals nmin 4-3(A-AS, AG) ave interval 1 apart ntervale 3019 do not in hs passage as harmonies in the plan or as melodic intervals eh adjacent pcs. Wiebe composed the Convo fr Nine instruments p. 24 in 1934 yfive year afer the op. 5 no. 4 Movement or String Quart thatwe just discussed. We already noted how only a few intervals fg Tate mea esate pr eae $y elected nother aonpitch aspects of the muse Wik a angrine nen wet Than wong soca" alll open ce oaaet en o _farbenmilodie (tome-color melody). mp music can seem sneventfuljust a series of shader and bet ena puters. But rom another perspective, the concentaion and eae Toate nara te aan ee Soul pret te ms Ne te patonans, care ul dodged tur reinarinar pei arg tecion ee Debussy, The Sunken Cathedral, from Preludes, Book 1 Und standing pitchers set nd hee ineval content can give sighing ‘compositional telasonships and processes that might not other ‘ovis. Consider the two brie passages fromm Deuy' Sunken Cl tal in Beamples 6-1 and 62. At fest hearing, they might seem Be ently diferent-—the ft offers bare fits and octaves ike organ the second ish, seeming to begin 2 Braj tod with added ah andninth, ‘One might assume a fist that Debussy simply composed these ik ferent passages to evoke in masical mages the legend referred oy he tile othe pret the sunken ata of Ys, bused Beneath the Wey that ss tom the sea. The organs iste church mc ofan a the resonance of deep church Bll, whe the ler passage suggests he surging sa, But despite these cliferences, Doh pasages are bas on the sme set: the pentachord [0247.9 which a pentatonic sae. The intra content of hs st woe —fo pete tet Sve found th the ets 57 make posse ayG=D. AE, EB) th ete pitch calcio a p29 om vet Exercises and Concepts Define interval content. Wate the name and figure ng pclae sel, The fi S55 that open Peruse and the Webern acternts of ths pentachord make Bd exprive purpone of thn pee The many ances The hanson perfec fours and hs 3c many instances of intervals 210 Bee yoy iy, heed vnc tepiming nm tothe pinncnte mtr es Mei harmonic 27 39:and 4.9 The eon pong tac caes pote opening mars bce over re simian. Inaditon the modi top nm, ll, re teanspstion ofthe tral in the upper part MLD -CH-DI ine. oie a transposon of D-E-Bin m1). Points for Review teterval content of 2 pthc set the otal fal ts inter rr ou the interval content of pth determines many ofthe compositional sive features tha canbe drawn from hast for Chapter 7 ut the interval content ofeach of he thas been completed ‘This tetachond called an “alLnterval Interval clases 57 and 2.10 predominate, and there reno semitones ot fiterotintances | 1 un [aw | ae | a | 7 | 6 [ rfa» ° “ Suggestions for Further Study to Weber’ orchestration ofthe rece from JS. Bach's rn (ranacribed by Webern n 1935), Study Webern's use of fon bringing othe fore ste sxpeis of pitch reaionshipe counterpoint For a study ofthis transcription and others ee tus, Recompostiona by Schoenberg, Steavinshy and Web el Quarterly 72 (1986) 301-28 or lting fal phase sts containing from thet ne pth long withthe interval contents of each set see Allen Forte, The eof Atal sc (New Haven: Yale Universty Pres, 1973), pp BBY oc John Rah, Bac onal They (New York: Longman, 198, 2. Discuss how the interval content ofa eae fo the melodica aumeonic posites of music using tha se. Compost Fue out the interval content ofeach of the flowing pitts For each, compose sever! strong consi mele ot exe, eh emphasing w diferent aspect ofthe sets interval content, Severs com fostionl posses ae thstrated forthe Gt, emphasing ial tals 57 connected by melodic semitones, emphasizing tones with semitone connections, and emphasizing meledie semitones and ty tones, Use nly one form of the stn your excerpts, Keep the sto bri bat remember to notte tempo, dynamic, ricultion and cht acter. Think of the intrament that might best project your es, od trite dhe excerpt for thal iturin,Ung Dion Ph Cs Ss 108 [oe Sets Relate to One Another? Sets canbe related to ane fppone o bth ofthe following factors ne numb of pth-asses they share irineral contents Using Different rection eens et Pitch-Class Sets pe raba ed arta yeaa Relations among Pitch-Class Set Se ee “hes ween eae at erate fh ity and Variety Using Transpostions of a Set {See score on p. 137, and pp. 102-3 in Chapter 7 for a discussion of the Histener to hear immediately the pitch and interval structures basic nalts als important fo understand the relationships among phe (DE, and Ap. Stravinsky emphasizes these pitch-lasses byure Sik, Pea cree in common with the orignal See Bample 83 and Deae 2 sn m % 5 aT rs eres are two Instances of nk 210, and therefore, wo pth jm common between TO and T2 or T0 and T0 Dame 2 87 bes an How doesithappen that hee ou four piel cases remain in omy ‘mon between TOsnd 172 The general principles he follwing oo wa Saw m2 aT S=S55 art was awe 2s am Wn ren onthe hn 6 i nner iste Whe eis trons by ner 6, the numberof a th marr of san of eral For example, fa intro other tha 6 os ce wt, trong th sy hat nero rb ts complement wil ein pt cl position by an interval that doesnot occu Inthe st gives ise common ptheases . SS waaan Consider the etrchord 102, sys Pera Dem 250 featured at the opening of Stain mas am ‘There ae thee instances of intervaclas 57. Tus, transposition by or 7 semitones as happens in the opening fate melody) ives Hise © transposon a the begining of Petru leary emphasizes mon tones 4 that only a ingle new pth ares,4 Bat, Dinnl Fh iatoms No. 10) nme The phrase etre a ely imitative tworpart tue A singe 102.33) the tai ofeach pat, trap by atone fom one theother Since there remotes inthe se angposon by ee {es eto no pc class in como Boren te parts in tet ht het fh ot gen ofa atone sete, See the four thse cach port ocr conjunly there tnt tonal or dal vor to each prt Ane fo righthand part Emir for the lt By sing the tone anspston | ‘th no ites in common, cach pr can ransom tna ‘Roda favor without lng the ote etre sound tol Which Pick-Classer and Intervals Are in Common Betavet Tranpostions? Knowing how mary pitches ace in coon between two tansposions of et doesnot el you ch pitch aes ‘or intervals wil be retained. In the Ate melody that opens Petras (Example 61), whats important to the mus Cninty ofthis pa ‘sage 5 not only that there ate three phlases in common Bete ‘Wand 17 of{0.2.5,7)batalio that theinterval A-D, which everteaes the melody, and whose pitchclases frame the accompany’ fr reind. Ane D-E, whi aboratesDearlynthe rae, Qt rude is: Whe a intro scr at a eet, re ene of thse ns Relationships among Inversions of a Set is Common Beer lveiont ofS. Wealready ko fie nverion oot asthe sence cntent she oa et Review Examples 7 and 73) Asa ea Bei itches tht mas pen ner inet aye tn nt re. 1371 for example cach interval le cur one. sample 67 Bott ver that a cach ners ity, an interval occurs tie in a set, both occurrences can be in single iverson. [0.2], which comins two wnstances of 11 retains bah at 12. Both instances of ntl 2 ae retsined atpny $10 isteates this pint with the eichord (025, 9 subse Pemcor (0235) 1.25] cntain te fhe our intervals pad emis ntervatclanes 48 and 6, js ke (0.235). 12am m.aau ater fates Using set- form followed by an inversion that keeps constant ine es aa | a0 | a9 | as | 57 | 6 allows» comport tan a prof pithlasees fl pitches, ie presenting them ina new bu related sting Ste That Are Their Om Inersons. Thre area number ose ha retain al thar pith-dases. Example 9 shor hat TO and 17 of 0259) tse ident ce: [om [aw [se [os [oe [6 amas ames moe more, 102.5 fa subset of 0.2.3.5] in ts igi oo wel For these sts, there no ned to tan inverted frm, sine for vey is inverted or: Inverted form thee some equivalent prime form, . ann Unity and Variety Using Different Sets mana ———— ‘Thus far we have considered only transpositions and inversions ofa mas single pitch-das set. Most passages feature moe than one pith Sel The following discussion covers ro fundamentally diferent wats fn which diferent sat cur Fit we wil discs ests, smaller se that are part ofa lager set. Then we wl discuss relonships among close tond betweeen (0.25 and [02.3.5] a Feature in Baths ha Fh. As we already noted nour discussion of Example 8, opens passage ofthis pce uses [0123.5] as the bss of each elie ora contrasting phrase nm. 1215, each melodic part wes the Unity oi Subst. Most subsets ate quite close in interval conte 102.5}. (See Fuample 812) Asa result, mm. 12-18 contrast to thelr parent set since ll the intervals in the suctnunt aluobe pr the Beginning ofthe piece because the undying pitch se is centin the parent st. (Why? Subsets containing one or wo pitas nin addon, some of the ptch-lsses are diferent in the two fewer than the ager set usualy emphasize the Wena itt ass 3%) Yer Because ofthe sity in strctare benween this subetnd its parent ttachor, the two sectons ae relate 38 Fs fa gy fed pie xqnres 812 Bah, Din Fh irons, No. 100) so o _@ Dam 2 5 2 a Another ice that es subset rite a ager sts Debus The anton Cea. Like many of Debary’ compositions hs plang rela tonal. For mich of he pice, «complete whitenot don cals preset, and the pce ends ona C-major tad: Dut the sere tally ql nena, Tere ar fe fencnal armor, se ma the tonsa seventh chords that do occur opette ina nono 'At the very opening a pntachord subst of the diatonic sale eas les the unique vou of te rela. Review Example 6-1 on which tlstetes the petachor in mim. 1-2 (0.2.4,791, Te inten Content ofthis pentagord, the pentatonic scale, emphases the to Sntvalons tat predomi a complete Gti cle intra Chases 57 and 210 The pentatonic sale (247) contains “Te datnic ale [0135.58.10] contains Interac an | a | 3 | ae swe saw in Brample 64, intervabctasee 5:7 and 2,10 are very Pines measures f The Santen Cathal expand (0279 into ete diatonic saleby adding F and C. And the sme procedure With he cotati macro mm, 16-18 Review Example ithe pentatonic wale in these measures again emphasizes interval [5 and 2.10 nthe bass eps (BFC) adn the upper part FDI). The lowing messures transpose tis musi p by interval add the ptch-cleses necesary to complet a distor seae ev ofall thiss wo allow the stone eae with ts tonal erage i any triads and seventh chords) to be the basis of most of yet ih a focus that distinc clferent from the diatonic fof any eater composer. The tad and seventh chords tha pear ‘cory with them the aigation of tonal fancy: nor do hey hess functions. From the pattages cryin the plese, we lesen 0 he diatonic ofthis pce as an expansion fom the [0.2473] with the spacial emphasis on interval classes 5,7 and 2.10 i procedure that occurs in many compositions by Debussy nd eomposers of the easy twentieth century who wrote music witha onal ura. By stesing interval structures that are not orinary ths way In tnal muse, these composition gest os novel ofan the dntonic hepachon! and other tpt of ol ae, at the sme time we understand other effects arising from the raion y's symphonic sketches La Mer (1905) simiely refocus our through emphasis om subcts ami other materi, Fr instance, fst moverent of Lar ends with a De-najr td and contains ‘musi fecusing om Ds major (expecially in the Mid passage ng ter tay number 2) But the movement begins on Bs B major and afer a tong emphais onthe key of major in hal Tres bythe beginngat study nur 9, From foal of view, the keys af BB, and Dae not at all closely related 0 another 2 common core of pitchcates exists in various gues during Of the frst movement, acing as subset to unite the music in Separate keys, The very opening of La Mer buds an otto cone 'B-CH-F4-Gt, the tetachord [025.7], These pitches form the of Second tt ostinato at study number 2 incorporating motives the contrasting musi that appeared inthe interim, (See Example fon . 118 or these wo ontnatos) he music then takes an abrupt turn to DS major, establishing an with the pentatonic yale’ D)-B)-F-Ab-B, (0247.9, (See le 3:3 on p. A.) The teachord ofthe opening ostinato Isaur 81% Dabs, La My, fst movement op Pac ave dongs crag) NN ME SY SS Brae 2 8 7 ofthe pentatonic cle. So even though the osinatos have only icles in common (C1/D> and G4/ A), dhe overall sound rs the sate interval. IDF oxinatoscomparies melody inthe French hors, the bein fof which may be found in Example 33. And the very opening of hen melody stresses thee of the four pitcr-dases in the opening, 1 the piece: CB, DEC, and Ab/GH. So the melody ane nna provide a strong ink wih the opening tewachord (See ple #1 or an lkvtration of he common ptch-dasses SE _—_—=—‘When the Dé ostinato comes to an end at study number 4, the fogs! ltt was nmr bam i Re copa ll Sits tates ar going tom és ten Sool Sevan oan —— wwe [| \ | SSS Se PSF The remainder of the opening half the movement ring suc sion aon end new an ld ote ar ous tom melody, avayat these phe Example (pe sae teint thse ena At sty number, oat cst apps in which cements tthe Dota eer, oy to present the opening B-CI-H-C!tetacord. Ts cnt then companies theme fom sty nur sow posed to eng Ste the sme teach (See Example 3c om pf fr ls pss) “Tis eds det note Rte and the dpe the esta ‘The opening taco sth cu of atenton ene apn. 3 Ram Ate ie ra usc of the second al ofthe movement sin 8 major—s key Hdowed by the chords raming the possage in Example 15. Ih no ths ection the pentatonic scales diapayed aly chord Mrajor overs dominant pedal. Ss Beam 2479 classes the opening eachord (-C1-F.-) ures all the music tho keys of B and Da well = hating at BY, the key ofthe contrast sci Palo the moverent (ia the mac n ample 18). And entice [0257] letachord fs 4 subst of the pentatonic scale that eres many ofthe oninatos throughout all thee sections, un¥ing sound ofthe ene movement. Al the themes emphasize the com chord. These ich structures provide many sounds amir fom musi but the dietons that x Mr takes are distin went " Unity vie Sets Similar i Stactre. In addition to reationships rn suet, relationships among otherwise independent set are be source for many musical contexts. The following analytes demon: te the use of sets slain structure in a varity of tls Model Analysis: Weber's Movement fr Sting Quartet op-5 no. 4 Opening ofthis work ues to sels sly related to ach other as ste bai ofthe musicmr Sieg Qartt p.50. 4 aed asa ‘Vietin memalos present the wo terachord shown below the example ‘Several actors cowl relate these strachords fone ahr bth tain two semitones and two instanceof intervals 37. Nether ete thins any whole tnes or ietances of interalass 33. In alton, at the levels of tanspston in Example #18 the wachords share these oftheir four ptheasses_ (See the Black noteheade below Example 18) Finally the [0.65] thor that sconimon oth etachorde coe Ikea aetna 0.47, ample 9 as nae Weave alrsdy noted in eater chapters that Webern always derived fu of muse eon 4 mininim of srt elements. You can imagine that with two closely related terachords anda common Webern creates psage using these acs as mach s posse ample £20 shows, this indeed 30. Melodles, harmonies, and int alae based on (0.1.5.6 (01.67 and [0.16 ou might describe Example £20 as being sed on the two ee the tichord we have been discusing Or You might describe ring bul frm a senitone and two of is anepostos, creating nt 620 Webern, Monet Srig Qt op. 0.4 Danis aon, nomenon, permis ei, ee mise fxs wisaresenRisa wise tere [use 92%: Savinhy, Fea, opening Sth Bhan est th = 3! » ies ry YF mle the two analyze terachods. Or you might hea the pasage beng hulk from the wchord [0,16] cresting the sane wo tetahords it however you deere tits the sound ofthese intervals that you hets perme ing every aspect of the section. Inervaldasss 11,57 and 6 ar prominent here that almast every melody and harmony is entely Basa ‘on these interval they form the two tetachonds and thet subset ‘And despite the brevity of the sation (ony sx measures. gest the satura concentation that does truly seem «cmp secon, ‘Study of subsetand lowly related sesh usto get rsp om the sural relationships between the intervals pitts set in this pe Sage. See Analysis Exercise in this chapter fora ful core ofthe ene ‘movement and questions that wil ead Yo an understanding of the remainder ofthe movement Moet Analy: Stravinsky's Petrus. Listen again othe oper ing of Petras in Analysis Beers of Chapter (p93). Weave seen how the (0.2.57 etachord i the basis ofthe secompanying tremolos an the fate melody, and how the fate melody expands it pie eld by transposing this trachon, (Review pp 101-2) But we have na et discussed her motives presenti the opening measures, or the way the fst tetachord and the ther pitchlas sets the opening gre ally expand to crest the tuth at study number 3. ‘The fist new material added to the opening ttrachord isthe cell melody at study number 1 As shown n Example 821, thecllo melody ‘sbasd onthe tevachord [02.3.5] 219, Te [0.2.5] etachord has an Interval content sia to [0.2.5.7 and atthe T evel of twanepositon, ‘shares two pltc-lasses with the opening [0.257] ktrachord, and thveeptchelasses withthe transposition of ha ietachord inthe te. eS stam pass Interval-iass: [an [aw [as [as | or | 6 [pamvwsinane | [2 [2 fe lslo pas — un [aw [a [os | o | Meteainuner | 0 | tfelale The trchor 025, 4 subset in both he [02.3.5] and the [0.257 et ‘chords, appears at numerous pins inthe fut fanfare and opens the feo melody‘We hav already note Stravinshy’spreition for beginning a pice witha small group of pitcrlases and gradually expanding to pls colletons. Let ue ace ths proces atthe opening of Ping The piece opens eth [0.2.57 aa ingle transposon (O1E.G,A) une as fanfare and accompaniment in the winds, With the entry he ce Band Ch are added Tym, 12 new instance of interval 2(8-C) jis the orga remo, expanding the tetrachord (0257 the howchor (23579 (na ffs ditonic seal). The tne in the ellos that accompanied by thie ew tremalo ke the ener cello mloy, bse on he [02.35 tm ‘hor lt appears in parallel she, eating the same hexachord as the tremolo Beware 822: Stavinaly, Paa @ leo® 2 35% an ji rer Atstudy number’ (se facing pag) the orginal texture returns more fully orchestrate. But now both the lode and the accompaniment ‘expand to include the entire D-minor atone sale “The elements that started ou as separate though rated ens (the 102.57 terachord an the [0.2.35] tetachord at TS) become a single tas we hear each orignal eteachord turning nt a subato larger nd arger sets until they have Blended into singe larger set, Coe Sponding to this expansion and merging of pels ses comes an ‘Spansion and mesg of tres ued rte long om te sharp ‘etched lines ofthe opening tothe tut By the tine the tat arses, we fearon entre dno sae: But bree of the voy rooting presents its elements, we hear this scale in a fresh manner. (Compare {histo the discussion of Debussy’ The unten Calla on pp. €2-€3) ‘Sravinsky’spredeton for repeated groups of pitches in his mel tes olin the iamediste perception ofthese process. Both thee nd clo melodies athe opering stick to their eiginal fou pitchlases Unt several repetions ofthe Basi groups have ben tte. Simty ‘epetious figures occur tal ater stages inthe movement, Indeed times the melodies seem moe ike ostinatos than ike developing Model Analysis: Barth's Concerto for Orchestra, fret movement. The arfce of Barks musi often sems quite Varied. Melodies and har es roe rom a wie ange of pitch combinations, and there soften fsbend of tna elements alongside a range of nontanal ones, Syme Tial divisions ofthe ccave (especialy the tone, which divides the ftv into to egal parts) often coexist with nonsymmetal atures [be combination of symmetrical and nonaymmetrial features charac Rares even his use of forms, both of sngl-movements and of mul Tmoverent pieces, Review the discussion of forms in Chapter 4 ot ps7) Despite these features, set analysis can illuminate many aspects of ich strctse in his musi. The first movement ofthe Cone for (chee (1943), for instance, contain a wide ange of pth structures Sune at crucl points in the movement by a group of close relation ip. The movements in sons frm Teanitnal and developmental fectons contain a wide range of itchcases. uta crac jnctares in the form, the texture thin ott allow afew closely related structures to emerge, Listen, for Instance, tothe opening theme of the Allegro sive Broan 22: Bah, Cnn fr Oct, Sint overtAap ace 83 8 ® 28 Spt end ofthe development section a fugatosppear, bul on the ing theme The main notes inthe melody outline the ttrachord (0.3.5.8. The melodic emphasis son intervals 57. The continuation of his theme and ts development use many ad tinal ptchlasses and other pacha sets. Bt when the txt cs forthe trangilo second theme inh 155, chord sey rtd 4 the opening tevachord appear. The (0.271 tchor, like the [0.58} teteachod ofthe opening theme, has pronounced emphass cine Baur 825; Bat Constr Ont fit movement ‘rms &, = ry Brean 2asza, onteratinsanes | 1 | «| 3 | 2 | s | o The heahord [0.2457] the bss fhe fae subst 02457 Isthe bss of the tonal answer. Like the trchord and etrachord ofthe Mest and second themes, there ls a pronounced emphasis on itera es 57. Encos of the subject ace ranged 2 that rpested forms of 192.57 lead into and remain ding an appearance othe fst theme {Usten to Example $27, (0.2.57), ke the tetachord [0.358] that Uunderics the fit theme, emphasizes interval classes 57.Beaune 827; Bak, Cons fr Orde fit vere Tapeh dese ee ‘The recapitulation begins with the tang theme, nov based on an Inverted fren of 027) (See mm AIH ia Example 8:27) The mone rent ends with the fgato theme ere 2h Bat, Cntr Ore, fit moveret pot dew = a epic structures discussed her are embedded in wide range of al ements, but each section is et off by a thinning oo ex Mach ain tonal musi, where keys ae often ost cltly defined important junctures in the form, the beginnings of ew sections Movement are defined by car mation with oe acther is the focal plch ofthe Allegro vivace at ts beginning and end the Bist and ast harmonies inthe section are rot positon F. rads (m7, See Example $24, and m. 52, see Example 829, there no sense of urtioalharmonses i his pice Te ial F instance, i approached by intra from above an Bel, wel fy a salar maton leading oF With ths orientation, ten tothe ete movement. The Algo vive jn sonata form: xpoiion, mm. 75-230 frst theme begins in m. 76 ecind there begins in, 155 ‘Development, mm. 231-396 Reception, mm. 396521 second theme begins in m. 402 At heme begin sn 8 ‘Aralysis Exercise 3 atthe end of this chapter olfers suggestions for er tad of his movement ‘he Same Sets DiforentPleces. You may have noted in our ceding the pst two chaps that the some pecs et Our te different pce. For iatance, Debussy’ The Sen Cath Mer, and Savinsy's Peas all discussed eae in hs chapter) ure the pentachord [02.479], a pentatonic scale. Simieely, the ng of Stravinsky's Petra and BaiS’s Diminished Fh (view iszusions ear in his chap feature the tetachor (02.3.5, From one perspective, th quite diverse textures, tunes, and harmon: ofthese pieces vividly demonstate how a single set can appear is 3 ways. Bat rom another perspective al these pieces do indeed common features. Ina of ther, there ae ks with tonal musk two Debut works exist on the bordenine of tonality, while St ss Perch and Barts Diminshe Fft ane early na incon onal pieces Bu they all ave melodies andor harmonies andlor andi aspects of phasing and form reminiscent of tonality lca seta —tetrachonds that re atnicscale segments, and pentatonic sale—allow them to create ther own sonic universes fe mporing that onl aura. Perhaps their shared fentres te most dramatily ghlghed whenthese Debussy, Stinky, and Bark pieces standin conta to tt seems thatthe two tetrachords are ute diferent from each two Weber, compositions we have stied the Movement fr Shing fa A the level of transposon wed, they share no common pitch Quart, op. Se and Comara for Nie Isrumens, op. 24 Weberes ‘re the interval contents are ute diferent what with (0.23.5) plehlae sets are nota all ence of tonal sutures, and hp sng intervalcase 39, the only intervallase misng from ices share few melodies, harmonies, or phrsings with onal mae 2.8: coe Bee NE Renee 1S Fie is eee anprenees ‘Similar Melodic Pattern from Different Sets. Even when two sets mangle inlerval-dase and the melody contains neither missing inter are quite diferent trom each other, 4 composer cin arange these is within a phase, The feature, where two diferent tet emsposionally to point out an unexpected sina between thes rs pive ie tthe sane milage interval, i 3 laconic musical parcubly imapaatve instance onc in Schoenberg’ song Tet (Dad) om ofthe txtal meaning In ths cae, the relationship Schoenberg revel serves a wit tang ofone painting isk tthe following vo fournot pve Dien Sete with ena! nero Conent. There ae number ane . E teehee! mee cnet eve ghey urs 82% Shen, Top m2 fetirom one another (hat they ae not inversions of one anothe. ose the pthlss set in Exp 30, Ota pthc sets with Dperween thee ands ptchclases, there ae no tchords, one pa of fetochords, thee pair of pentachoeds, and ie pas of hexachords rth es property = es Brea miaan mazar masar pas Se ee ee Naber of tines When such es are usd in a compstion, they can projec similar Interac sound through diferent contents Summary. _Thisconches our survey of elatonships among dif fen forms of piteclass St, among sets and subsets, and among di Internat ferent ptch-cas ets. We have described varius analy ols an the Appin of these os in analyses of several excerpts The Exercises ‘Number fetes Tor Analysis an Suggestions for Further Stay the conlsion a his shaper present you with a numberof pices and analyses fr you Yeexplore. Thenext chapter connie or sy of pitclas st yt Ing to the larger sets ofa pec tha form pcs epions. Points for Review 2. Pich-clss sets (whether transpositions or inversion of one et oe Ailerent set) can be related fo one another by the number pices or ‘he number a intervals they have in common, 2. When se is trneposed by an interval other than 6, the number instances of that intervals inthe sts the number of pelos in common between the two wanspostions When a et transposed bynteral 6, the mamber of common pisses edule the mor instances of interval ‘3. When an interval curs more than anc inst, here i tans postion that wil ol one form ofthe interval in common Between the two wanspostons. 4 Any nteralin a set maybe retained when the sts inverted 5. an interval ocurs ice ina st, oth occurrences can be telaned ina single inversion 6, Acide! isa pitchlas set that is part of anger set 7. Some pitches sets have identical interval contents, eventhough they ate not inversions of ne anther. Exercises for Chapter 8 “erm and Concepts 1. Define subset 2. Find subsets tha ce a es tien etch of the following pic clasts. The lst example has ben completed (em an cancel El oe 5 Ser fase fase farsa fen Analysis Allo he pieces discussed below begin with a small number of pitch hisses, nd then se the stricringo the opening cells) expand the fange of plch-lasss and interials In addition to answering the gue fone about each pice, consider how it develops rom ts opening, How dofoem, phrasing tue, djramics, register and other apes pat Ipc? Where are climactic moments nd pont of epose? How are they freatec? How does the composer asst the Listener in perceiving the piece? Use the Model Analyse in thi chaptr as guide 2. Bartok, Dini Fifth (Mitohnnos No, 101). Some aspect ofthis piece were discussed on pp. L12and 115-16, After familanzing Yours rth the work, anewer the allowing questions: 2) dent the pieh-das sets used asthe basis of the two parts in sme. 1-5. Idemy the pitch set tha results fom the comb ‘ton of ighthand end lefthand a man. 1-5 (0) What itera s mising rom cach prt taken spate, and Ishenvily emphasize by the combination ofthe to put? (2) How many teaspoons ofthe combined pitas st ge rset diferent pitches? Why ar there o fe: transpositions that ‘ier | 1b) What is the relationship Between the ptch-liss structure of mi, 1S and that of sucneding pleases? Which later phrases use thep) What i the formal function af the passoge in mam 5,10, ane 152 Pow do the pitch classes in these measure ela t howe in pre feding andor flowing measures? it ‘tga tanspositon of the base pts set and which useg ‘dierent tampon? i ©) What i the relationship between form and pth- dant, ‘whic sounds a whole sep lower than sete: the French hom nF tvhih sounds a pvc ith lower than writen and the sting tas tehich sounds an ectave wer han writen 1) Listen ft othe opening oboe sl. The st four pitches are under fone li, and fled by a breath. What the sacar of this tetrochord? What properties ofthis setae most prominent het How itis st used in he following measures? 1 Transposition and other related sts app in mim. 4 and flow ing. How are thes transposon and sel elated wo the opening? ‘9 As you proceed through the movement, note particully those pins where the textures change, such a6 study umber 1, the 55 after stad number 2, the tempo primo before sty number 5 and the concladng oboe sol. How do the harmonies and nes proceed rom the opening? SteaSee, fire to itee + rc smucruRis sing Diet Phin Ss 19 o Tcompose 3 bref opening scion ofa work that Begins with only IS ie plcvcloscs. Increase the numberof pitches in culation tracing transpositions or inversions of the orginal et that add hs one or wo ain, Use a etachord or pntachord a the foe your piece. Your composition should be under a minute In vd scored for instruments avaiable n your cass. ‘Compose 8 short place using two related ptchclns st. Use 0 Tetachors or sted etachord and petachor. All pitches ome from these sets, inchiding transposons and inversions. ay wish tows some ideas you worked out inthe Composition foe Chapter ggestions for Further Study 4. rts, Sting Quartet No , fist movement (128. Several wait hve found fo rented etachonds along with tonal and other ele ro be the bass f much ofthe ft movement (0.2.3, (02.46) (George Poe's aici “Symmetsical Formations in the Sting Quar- of Ela Barto, In Music Revi 16 (1955 300, Leo Tree's" Procedure in the Fourth Quart of Bela Bark in fara of Masi 31959) 292-298 and Eliot Antholt’s The Misc of le Bart y University of Clfoenia Press, 198), 2 Bark, Masco Stings, Percusion, and Cott (1936). The fugue cf the fist movement is dicuses in Anal Exerc 2f Char iss summarized in Chapter 4 the fist statement ofthe gue sujet gin and ends on A, etablshing this as the fal pth fo the move The climax of the movernent occurs on the trtone Study how ores of gv ss cts kad he pening AS “This pec soften cited to demonstrate Barks interest in propor one derived from the Fbonac series, number saquence it which ech numbers the sum ofthe to preceding numbers: 11, 2.3, 5 B13, 213455, and ao forth. One characteris of hs series thatthe iow of pairs of numbers approaches 8 more and more csey atthe eres progresses, Thus? <3" 06; 35=.600;5+8~ 425,86 13 615 35-21= 61%, 205 34 617; 4S5~ SIS, 55 99= 617% and wo fr. Many of the clmases in this movement and within sections ofthis movement cour dove Io 618 of the way through the movement ot through tha section.‘The second and thd movements re gos example of Bak'sincoy poration of all ements in melody and rythm. Note also the ap ran of he fist movement gue sabe when retusa “emphasizing the symmetric relationship of movements 1 and 3. The Second movement replete with special bral effects as Wel a jm retrial elements in pth, rhythm, and form. {3 Stavinshy, Tne Pies String Quart! (1914. A the pce uae a vue of sl sel, Std inptculr the econ ple, which an ‘ith ing etrchord in to transpositions nd pad ntoduce ‘much wider ange of pitch structures 4. Weber, Fie Moen Siig Quart op. 5. Study the remaie ing movements ofthis opus. You might hein with the ist and thd ‘movements, which are closest n structure to the fourth movernent i fers oftheir use of cosely related ets Several tudes dacs the fourth movement in deta. Among these are George Pec's Srl Compention and only (Berkley: Unive ‘of California Pres, four eitons from 1963-1977, and Charlee Bake Its “The Symes Sour of Web's Opus 5, No." The Me Farum 5 (980) 317-39, Fora detailed dscssion of he first movement, sce Sunkey Perky, "A Discasion of Compesitonal Coles Webern's Fan Sitar ar Sure, op 5, First movement" n Caren Mis yy 130972). 6874. 5, Schoenberg, Pera ans, op. 21 (19125 Thee Pao ies, op. 1 150). ih ich doen, op. 180.1 (I87). This song i an excelent ‘crample of the inkeration of toval elements and pitas sts na ‘work of Schoener Ua ws compose during the tation Hem {o nontonal wang. The harmonic and melodlc motives in mm, 1-2 funtion a5 motives (subject to development) anc pitches ts, whe the vie leading of mm 1-3 leads tote mpl! Brad at the end of m3. See the very end of he song for condensation ofthis progres 6 Maurice Ravel, Somat fo violin and cello (122) The opening ure inthe von announces a motive (and ptch-das et) hat sa mush ‘al source for all oor cnovement. Shay the way ths sot ae hal raters interac with ach oer nthe various moverbens, Fr insta when the cello melody a the opening return the ecpstulation of the frst movement it as anew accompaniment 7. Debussy, Prdes Fr Pleo (volume 1 published! 191; volume 2 published 1913). Any ofthese pices i ia! for studying the mai five ways Debussy intereeaves tonal reminiscences with newer Ueage> sue 2 more detailed stay of The Sunken Cathal (No. 10 in Bok isthe source ofthe mle section ofthe piece (ith the four sharp ioe? How dows hs ate to the reading and foowing mise? thes the tation into and ot of thi section funtion? What tna jars are crested during this plese? Then ten to Votes (No.2 In 1), Whats the sts ofthe opening and sing section? How does uso one pitch ae during these sections? What the ass the ection ofthe pce? 1, George Crumb (ben 192), Elen Eas of Antu, 1965 966). 1) Begin your study with Eco I. What tetachod te Bass ofthis seston? In how many tranepostons does tour? What intervals bre emphasized in ths etachord? What interval ae aed when the ther taneposton is ncuded? 1 How mach of Eco 2s based onthe sme material as Exo 1? Where fe the nee element adds? How distinct ate they? 1) Which elements in Eco 3 are continantions of previous material? 4) As you rowed through the pee, study the way old element ane Combined in new ory to form new stuctre, and the ways in tehich these new stuctues are Bemscves ranaormed. The ene pce hasa shape perhap most immediately audible nthe dynam Ics: growth tothe loud passes in Eco 8 and tapering of fo the fend. Do any other structural sspets of the pice fallow this ptPitch-Class Regions, Scales, Modes las region attic Chimes Phares rd se she ex pit clare to gr tc css ets contsining a the ptclases ina Dven pssge-Ineuchnontonal mse pc eons ae srt sae in tna msi Jst 6 tonal Sas the ‘Sure for many ofthe hamonie and melodies passage plan feyore area source forthe mre loc ph events ina Posse Ins sence, pthc ens point the presence rer eve enrctare in mach ontnal msi sino sh ager evel trust Inthe ter, tncharmones, vie leading, and motes organi {he lca leven, whe the caning ey provide nee foal thes and ne ph clleons 3 ler level Inthe former, the inkracion of Fiche sts andthe shy of oss rom one ich wo athe Ergun the oe evel, whe hanging pts reo ring with them ew fc pices or changing ph callesons. ten changin pls repos ncn confuncton wih hangs of theme ad the Trvlin new setons, mech as ey changes in tol mesic ih nt purtgpate incest the orm of the compotion. “hthough en not toed he em to dese tem, we have ale encom perc eon, In ts Did Fi stan srenoted how two etched that have no pthdasses in como a The buns reach vour part (Reviow ample on p12) Ineo ‘Phase, thes etachord jn to form an otahord hat funtion a Fc class elon, prong the prises or the each in enh Tole part ad sie providing conrast ap the each phe from one phrase to the nex. Similar, the first movement of Bay's Le Mer, changes rom one ostinato to another ate changes ie regione this chapter we wil stady these and other excerpts in more deta, ing the ways come commonly used larger ith da sete ane ps pitas eons a muy tvensctentry compen, Mich ine apes consis of analyses of epresentaiv excep ‘The Diatonic Scale musi composed inthe twentieth century continies ose the sale of fantona ony (he major or natura minoe sale oF eptachoed (0.356810), eventhough the resources of his sale appear in ways that would have been uniagible during the er. Pat ofthe reason tis cle hat remained in use i historic sens, we ar fama with dat scl and can percsive sable pe in thei content even when they ae wed in ways that ave not I. We wl not dines here mucha age based on fae tonality bt wil stress other uses of his heptachord The Dlatonic Scale asa Harmony. One way of sing a etie da scale as pitct-dase epon thot mpg unto nl he sto have the entive sale sound asa harmony. We have already tere such passages i Strains’ Petras and Debussy’ La Review theft texture from Pru in Example #23 (on p. 127) the Dé ontinato fom La Mer in Example 3a (p. 41). The 9195.65.10] heptachord isthe asic bath psp, Yet ecase the 10s and melodies interact to keep al seven pitch cases i co Af drculaton, the only harmony t emerge ra the texture i the ‘seal itsel In La Mer, the change fom one pitches region to er provides lner harmonic regions, Inked fo one another by 3 aon subset. (Review the discussion of Examples 813 though 813 Pp. 115-20) In bath excerpt, the various components ofthe texture separated by means of reste, inbre, and motives nto the subsets acteristic that pce. he Dian Sele a Sr of Fifth In many pss the entrance fine diatonic scale preceded by marc tht fares attention on st Uunchancterti f fant onal muse This prepraon tony the way we hear the diatonic collion when # ocuts.Even 3¢ recognize the dtonc collection, we heat tas an expansion ofthe sonore aed donot expe ito user fae na mse Jn paricule, hese preparatory passages mont ote stress the most teri interab asin [13 56810) 57.‘Wathen pic lass aed irate of nterada57,ech meme of (0,1.35810] a perfect fourth or ith distant from one oe ts ‘other members ofthe set Indeed, al the pitch-lasses ina major sale ‘an be writen a3 single lesen an uninterupted sercs of pee fs In pieces ap liverse as Debusy’s Sunn Catal and La Mer, an Stravinsky's Peach, the tonic heptachord appeacs only ae ue Set as stressed interadases 5,7 nd 210-2 subset hat i smaller Portion ofthe fithseres, The pentatonic scale (2.479) that opens ‘he Santen Catalan the [0.2.5.7] tetrachord that opens La Mer an arhia ace segments ofthe fit-seres And the opening musi all three pieces steses intervals Sor 7: the paral ithe in The Saker Cattada, the Rarmonic and medi fits snd oaths inthe B ostinates ‘in LaMar, and the fourth inthe te fanfare in Pers, cexpare with Bump on 2 (Db, Th Suen Cat) Sey {pelts ia Ds inte omar with Esp on pt (Dabs, La Mer sein *? |e. compare with Example $23.0np127Stavinly, Pete) The FifthSres and Diatonic Subsets. Even where the ent ds theres is nota prominent enti, sgments often delineate crclas egions, case ofthe close relation betreen the ites atone structures, such segments ofthe fits easy establish clas on Bartok Concerto for Orcheste, fst movement. Review the dsc in Chaper 8. At several junctures in this sonateform movement, pitch structure emphasizes small groups of ptcclasses. This ape primal atthe beginning of the Bist theme, the begining ofthe cond theme, the end of the development section, and the end of the rement. The [03.38] tetachord tht i the oun ofthe opening me ofthe Alegre consist of fur ptrelases of the pentatone 4 fit-senes. The (0.271 chord that opens the sec theme Pisa segment containing thre pitc-clase ofthe ihe. And gato theme thal appears inthe expostion an the en ofthe devel rent lines segment ofthe filth sere. Wilh snd follosing these tons, and throughout the movement, segments ofthe itrsenee frac with oher pcan ete tha flint tural olin. The mens ofthe ith series provide focal pitchelawes forthe reiningcompare with Example 826 ey Diatonciom and “Wrong-Note” Harmony in Neo-Clasie Muse Beginning before 1920 and continuing a east Int the 180s, quit a fy ‘composers wrote music in which some aspects of ich strscture as el {ser syle in general seem tbe funconall tonal and other apts ae ‘early nonlonal. The term no Clase refers to this musi Stravinsky ‘wns vewed by many a the chi exponent ofthis movement. inten tote following passage for sao plane fom Stavnsky’s Ca ceri for Pio end Wind (028, Folowing the more chromate, disso {nines personal and overty expressive musica the te nneeenth tnd early fretith centuries, neo-Clssicpossges such a hi, with {hel obvious diatonicsm, clean line, and seeming wadioal sense of eounerpint and motive play, certainly i seem tke a return ton ‘zhteenh-cenfuy syle, But ther apes of neo-Casie msi, among them the pth language and the sense of continuity and arm, are die tiny ofthe wenihrcetay. xan 4 Stviky, Com fr in an Winds, it vere = Bs tenes oe satus ich ears) ‘Af teed in oes ater wo (One key to understanding the dette balance between the mimicke of eightcevcentury music and the pce’ venetvcentry lan Gunge may be found ino 1926 analy ofthis excerpt bythe theorist Hench Schenker Schenker, who was unsympathetic to pos-tonal en, wrote his anata to demonatate thatthe passage war not feceptabe becuse was not tonal Although hiscrique was motivated bys negative reaction to the must dos inate crcl racial pecs ofthe muse Me crus of Scherer’s argument that there are tonal es in the Psiows voices and lonabtyc elaborations of thowe Ines (euch asthe Iman ncghtorng gues inBth sbenths and eight), but that hese nes arent coordinated to form tonal harmonies, as would happen i tonal compeniton Hence, for Schenker, Stravinsky’ ines are ese May siniess. For instance, the top voice that begins om Ain. descends via Gi to the Fon the downbeat of m. 72. The completion of His descent coupled withthe pose on the quarter note, makes this Fs Sound ike tonal gal and makes A-F the span motion. The mie Sic so descend third, fom Do Bin these measures But the asf to suppor any of hs ariving on AB on the same downbeat Bam. 72 Furthermore al along the way the vole fal to fom the che onortes that would be expected in onal composition, and that are Inpied by tepwise diatonic lines spanning thsds and fourths. From Shenker’ perspective, everything tems jumble. If only the voces sould somehow be weaiged ll would te right ‘Anwther perspective aces the tonal features but recognizes that ontonal nore contra the harmonies hee. The [15 chord (or he oft inervaclases: 5,7) that cxcurs on the downbeat fm. 72counts for mos ofthe harmonies in mm 6 and 70a the begin ‘the phrase (since by asterisks Below ample 9.) Most fie ‘ther arms ae formed by the related (0.6 tchord (which sa Intervalclases 1,11 and 57 with [0.15) or eter tions ste interabcass 5. These achords are lsbeed by leer belo Brample 94, ‘Aro rest, ths musk etures tonal Bat “wrong-not” harmon snd melodies in addition tots wn nantnal organization Those note ich that base Atom the dovenbeat of m7, that are most “rong ‘rom the tonal perspective ate mow “core” nthe nontonl srt ing, Its the interacuon a the “wong-ote” tonal aspects an the nay tonal aspects that gives this passage a ell as so many others ike usta this mesic firs with fantinsl and nonfunetionsl usages of atone pth calections alo plays with the Iistener expectations i the realm of meter. Whether notte ina stick meter oF changing retrs, the eft soften of ines ding or subtracting bets or dine Copland, Applacian Spring (194). Another composition whose pitch stata combines tonal and nntonal aspects i Aci Sig enw 95 Copan, Apion Sg Vers =t) ooo fmt ‘aaron Copland Gen 1800. Mach of he piece is ently datni, any setions are fenctonally tna, But oer passages et fa oral ements more lke pitts set Hui 3st ofthe opening Sceon, for netance, ses only the notes of YArmajor sale, andthe very opening olin Acme ad. But haces ptch-collecion othe plea combined Amur and joe id, forming the pentachord [13.5.3 hat funcons as sep axons entity Punctonal harmonies appar inthe piece in the recutng peogestion in Buample 3 but the fist chord are funcional Rarmonics, The opening harmony 023,71 asset of the characters pentachon [19,38 But when progression fst appears, the rs chord ste complet [0,133.8 Hes together the functionally tonal harories withthe nonune. ion of triads om the opening.ew his major nd awed a th acto ag ont and pcs es wit aon ening i ‘Several iat Coletions Simltonouy. The sno ug two or tore diatonic sales sometimes refered 0a analy oy Poti, These tem are proemate they dente to oF ot oa enters, each supported by scales and harmonic progressions. For the ‘stablshment of kay inthe traditonal sense reques 2 spec ne Seton of harmony and moody, an interaction not possible ther ae ‘onfing lines and harmonies eleewhere inthe texture. But whatever ‘the merits ofthis term to describe the efits, many compesions ise ‘more than one distnic colton silanol ‘One such pce i Bar's String Quartet No.3 (1527), Work cast in ‘single movement. Example 98 lastrates the begining ofthe sind tin which a dlatone sale ad its transposition up a seitonepro- fe the pitch material for separate prt ofthe texture. Using two dh scales a semitone apart gives se al twelve pitesases,” Bak eel pchlsses ae ley ved by ttre, reat, and ine two colections of seven pitclasses cach The cello prt use the te-note colection with» strong emphass on D, imparting» Doran ound to the passage. The fist ila melody es pices rs same cle bl onthe focal pitch f. Dand Bre also emphasized focal ptch-classs by the D-E tal in the second violin and the D- ato inthe vil, This passage rom the Third Quartet combines tw divergent thematic 9s hat are present throughout the work: ses emphasing emiones set that are diatom. The very opening ofthe quatt shove in ple 9, ullds evo sets that are pats of chromatic sale car 98 Br: Sing Quart No.3, mda arte ris 99: Br: Sting Quartet No, 3, pri pte Mose) i ities, rape yinIn several ater passages dstonic wale segments combine a tang positon that produce many semitones, One ofthese patage, ig. Mate in Example 910, jntsposes the pentatonic sae I he lang xqures 9:10 an, Sting Gur No, 3, rite in with [0.2.7 chord inthe cello ostinato. Although there no semitones in iter et, the combination of the wo Sts ives se semitones, The second vn plays a messed tl ve pce each from the vo cleans. Sfrough » gradual increase in texture, tempo, andthe overall paca, yt pice ros tn he slow opening fhe rom parent gr that opine the sends pre A hat pot he passage in Tample>soppeare a th cinacicunicaton ofthe itn and em ets tw compete dsc collins thal together produce all re piclaes Ein opening of Barth's Diminished Fh (Example 6 on p12) also ontinc spree ofa dacs that ge it 3 age pc Shs colecion emphasising an interval mising in the india se fins Inika pce he tne anon ofthe 0.2.35] ktachord rouces an emphasis on ttnes in the larger clecton™—an interval Bae not present inthe tetachod, The ret into the textures Gute Tht Qu. The difernce Between the pes es nthe com Ponty of presentation of set material in the quart, andthe manner i fic the preceding music eads up othe passes Altered Diatoic Scales. Nineteenthvcentry composers such a ‘Chopin, Sait Sains, ad Bizet, seking an ethnic or exate Naver for Rome oftheir pieces, experimented with nondlatonic sles. But once Invi created such scales, they used them inthe adsl tonal ss In the twentieth century, several composers continued to explore Inflences fom outside the main European traitons Pechaps Use ost Important among these wat Baik, who recorded many tyes of Fas tim European and Neat Easter flk musi and who incorporated nto Fis syle many ofthe salar and shythmic patterns he discovered. The ‘Aran Dine, ser 42 rom his Dus for Tp Vins fo stances sed ona harmonic minor cle wth raised fourth tp (ee p15). Bat as Bok uses FH, no Gs the concinding pith,SSS] ‘The Whole-Tone Scale “The wholtne ee, [0.246810 i the basis for xcasional passages tn the musi of many composers. But the resources of this sal ae foo Fite for entensive use Only thie intralsses ate presen, two of them ocuring the same ‘umber of tes, The number of subsets Hkewise extremly mite ther ar only the diferent ype ol tr (24, (0.26 an (048), three diferent types of tetachords (02.46), (02.48, and (02.68), nd one typeof pentachord (0.2458). Fray since the sales entirely “Uniform i structure, is sown inversion, and has anther wholetone| ans complement, thes at nly two such sales Any ater tans Sn or inversion i rerdering of one af hese two forms. With its fem structure and lined resource, the sae or portion of are ned in brief ston o ong ith ther ements. Mp notable exception Debusey's Vil, the second of his Preludes fo T CDI0), Voie isin teary form, withthe outer sections based iy ona tingle whole-tone sale. The mle section uses the pen or (02.47.9}-the pentatonic cake made up ofthe Black notes on ybourd This new pica region allows contrasting sounds nak fund elaewhere inte pace (nota, perfect fourths and ths and the Fisenceof itor) mn Mesisen's Quattor the El of Tine the whole-tone wale exists Jong with reditoaldatnic and her cles. The opening ofthe sith ovement is based onthe wholetone sae: Five notes ofthis sale (E-F1~GI-B-©)constate the backone of the mclody, with ection Bsa ional ates, always neighboring fe pssing to aincent whale fone scale notes. In Intersections of the Tpoverent dierent sais aerate with hs. Interaction of Distonc and Whole-Tone Soles. The iteracion of Aistnic and wholetone structures underlies an early work of Schoen T's, the Chaner Symphony, op. 9 (908). Tiss Schoenberg's ast Tange work in atonal language, however extended. It begins an ends ‘in E majo.” But funcional progresons are avided almost through ut and there are long sections with ew recognizable harmonies cha Aes of traditional tonal music Trample 213s the very oping ofthe work, the slow introduction ‘andthe beginning ofthe exposition. The progression fom one harmony fo the nent inthe iraduction (rm. 1-4) sounds tonal But the ha ‘onic nnguage e quite extended, The nal Par tad in. spre (tle by ts dominant seventh (C-E-G-BS), bat wih the th ofthe chord spt into an ascending and descending form: G in the melody is replaced by A or GF leading to A, and Gin the bss I replaced by G>leading to F. The opeing chord i serie of pero fourths creating ‘he 02.4573] hoachord ane fourth shot of complete distri al Ian extended harmon language, the progression sounds Ike yy Cheri oF, ar ome foro supertonctodominant 0 fone Bet the sens in which this progressions onal weakened By he cae ‘matic (nine difleentptch-lsses appa in these chords) an the Atssonance lve the fst two chords contain sc ae ve thes). Additon, the retention ofthe notes etren theft eo chord wonky aunt hearing harmonic progression betven ther "xanrur 913 Schoenberg Cher Spiny, op 9 More important than these extended harmonic impleationsis the way In which the inrsucion announces the ideas contained in his pio Tnfrn cach chord ofthe sow itrocon becomes the bass or Mele tnd harmonic ractures in the opening of hes sch "the fst chord ofthe into i bul in x perfect fourths, In he fist measure of the sly rash this [0.2.4.579]hexacord appears a 8 melody “he second cod of de intodsion i five-nole segment ofa whe Aone sae: [02.468 Serutures derived from a wholetone sale pre dominate in am. 6-8 the augmented tads moving to one another by Ivhole steps Sine the ate of chord change in ech par ofthe teatre Gileent, up to five notes froma wholetone sale Sound together du lng. 62nd 7. “The hd and fl harmony ofthe ntodeton ia major tad. After the augmented tad in. 6-8 the eh rash, a major tad appents in. 10, The melody connects notes of this tad by a compete whole tine scl: GL-At-C-D-E-F-GH Theres sme tonal bass otis progression, as notated on the lower sltsystem in Example 91, The corde in mm. 6-9 emphasize dom fans of E the augmented V ism. 6 and folowing (B-DE-P») and the Ay of in min. & and 9, These dominant rea in mm. 10 and 11 to the Emer toni chords But the mative relationships among harmon. Ses within this passage andin elation othe introduction forms a mote cimpellng determinant ofthe sounds and senge othe pasage than the Pre-enistent harmonic langage of tonalityThe Octatonic Scale ‘An eight note olson that as ben partials pop eth many composer, the elton ce, fentresalemating whole tones and vent SSS 5 wee em ‘The popularity ofthe ectatonc sale may be raced to he large mam terof foal and nontnal elements i contains. Like waditona diatonic scales, i combines whole and hall steps Between consecutive scale

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