Arthur Berger - Problems of Pitch Organization in Stravinsky

Problems of Pitch Organization in Stravinsky Author(s): Arthur Berger Source: Perspectives of New Music, Vol. 2, No.
1 (Autumn - Winter, 1963), pp. 11-42 Published by: Perspectives of New Music Stable URL: http://www.jstor.org/stable/832252 . Accessed: 06/12/2013 03:59
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PROBLEMS
OF PITCH
ORGANIZATION
IN STRAVINSKY
ARTHUR BERGER
ANYONE
at a somewhat shipsoftonesin theworksof Stravinsky may findhimself of as a result the fact that no of theoretical disadvantage significant body has emergedto deal withthe natureof twentieth-century music writing that is centric(i.e. organized in termsof tone center)but not tonally There are, to be sure,a numberof labels in circulation for functional.1 to this music: pantonality, pandiatonicism,antitonality, referring to embraceit. modality, tonicality-even"atonality"has been stretched is largelyidentification, and whereany one of them But theirfunction to represent a theory, thisis morelikely to be descriptive ofsurpresumes face detail than in the nature of an interpretation of internalrelations or structural Moreover,insteadof searchingforthe differsignificance. entia of the music theydesignateby ascertaining, forexample,its own the has been to rather too heavilyon principles, tendency unifying rely the established rulesof formation. A worthwhile an approach thatwould no longer objectiveis certainly use tonality as a crutch, a new branchoftheory, as it were,starting from what thismusic itself rather than its deviation from is, dwellingupon whatmusicwas previously. still we be (Granted might ultimately obliged to come to terms withtraditional sinceit is untenableto claim schemata, for themusicin questionanything likethedegreeofcleavagewithtonality that characterized twelve-tone But until such a theory is composition.) and with a crystallized implemented vocabularyof sufficient currency to make it reliableas a means ofcommunication, we cannotlegitimately be expected to more than simplyattemptto gravitatein the general
1Tonality,according to the restrictedsense in which it is construed here, is defined by those functional relations postulated by the structureof the major scale. A consequence of the fulfillmentof such functional relations is, directlyor indirectly,the assertion of the priorityof one pitch class over the others within a given context-it being understood that context may be interpretedeither locally or with respect to the totality,so that a hierarchy is thus established, determined in each case by what is taken as the context in terms of which priorityis assessed. It is importantto bear in mind, however, that there are other means besides functionalones for asserting pitch-class priority;fromwhich it follows that pitch-class priorityper se: 1) is not a sufficient condition of that music which is tonal, and 2) is compatible with music that is not tonally functional.
WHO undertakes an investigation of the essential relation-
* 11 *
PERSPECTIVES
OF NEW
MUSIC
of theself-contained direction thenew theory approach maysomeday That theattempt was one ofmy indeedbe rewarding provide. might mainthoughts as I undertook this ofStravinsky's discussion "pre-twelvea tone"works, to assemble someobservations that prompted by desire seemed In organizing tomeinteresting toshare. theobservations enough I found itconvenient togroup them into four sections: I) diatonic writing inwhich is notfunctional "tone center" scale "tonic";2 II) a symmetrical usedin sucha wayas to emphasize tritone relation; III) thesamescale withminor-third between diatonic elements IV) interaction emphasis; of I and the symmetrical scale of II and III. The prognosis forselfcontained in treatment seemed to me the covered encouraging ground in I and II, but III is a turning withthetraditional point-a concern minor third In IV thesynthesis itself, perhaps, being symptomatic. producesa curious that tonalfunctionality in itswake.Yet alchemy brings thisconclusion does not,I trust, invalidate since the initial intention; it is better tonalfunctionality for for to insinuate itself than gradually, ittoconfine all discussion at theoutset tothelevelofestablished theory.3
I
A suitable ofdeparture from which toapproach oneofthemain point of to us is concern familiar Danse the Russe the problems (in 1911 version),4 I taketoconveniently where the"white notes"-which thetotal represent content ofanyoftheso-called "diatonic" be said to scales-may comprise thereferential collection ofpitch classes inferable from themaintheme oftherondo at No. 44. The referential thecodetta ofinterorder and/or on the other of the referential collecvals, hand,varying independently
2 For purposes of non-tonal centric music it might be a good idea to have the term "tone center" referto the more general class of which "tonics" (or tone centers in tonal contexts) could be regarded as a sub-class (see note 1). 3 Any attempt at a statement of what I assume tonal functionality to be would, I fear,result in a disquisition-consigning the Stravinsky discussion to a postscript.This article could not have been writtenwithout the author's relyingon the reader to supply the precariously evasive first principles and to take it on faiththat thought has been given to the much needed revaluation of tonality that is now taking place. Indeed, as a gesture to this revaluation I have taken what may, perhaps, be the needless precaution of borrowingthe latestterms(e.g. "simultaneity" where "chord" might have been perfectlyadequate); but having done so, I feel I should say a few words, however informal,regarding them. In the first place, those who are in close touch with the rethinkingresponsible for the new nomenclature and who tend to forgetits limited currency,are the ones whose obligation it is to define and justifyit, which thus is not my intention here. To avoid the linguistic battle over what constitutesa "chord," I shall simply add to what I have already remarked about "simultaneity" that its attraction for me has some"Pitch class" (or "p.c.," thingto do with itsbeing a fairsubstituteforthe German Zusammenklang. in the folksy abbreviation used by a young contributor elsewhere in this issue) is useful to distinguishan observation about a pitch, say C, that may occur in any octave froman observation about a given C (such as middle C). Finally, notwithstandingthe suggestion in note 2 regarding "tone center" vis-A-vis"tonic," for that futuretime when a new theory is evolved, I feel uneasy about present usage which equates them: hence the precautionary "priority," a more noncommital term than "tone center." By virtue of its freedom from conventional
* 12
PITCH
ORGANIZATION
IN STRAVINSKY
is assigned, and this, in tion,is defined by thepitchclass to whichpriority evidence.In Ex. 1, G priority turn,is decided on the basis of contextual in the strings is indicatedby the simultaneities on the first beats of the measures (where G is emphasizedby doubling and its odd-numbered "low" registral return position);and at itsfirst (No. 38) it is confirmed by a G tremolo.(The melodic line itself for gives inadequate information thispriority.)5 The referential thatmay be inferred of intervals ordering from G as 0 yieldsthe following scale (in semitonal 0, 2, measurement): 4, 5, 7, 9, 10.
Allegro giusto Picc. 8va
WindszE
Stgs.
Ex. 1
associations it even lendsitself to beingapplied below to a tone thatis hierarchically at the head of a three-tone chord"without groupin the "Petrouchka necessarily beinga tonecenter as it is hereunderstood. But normally "C priority" willmean "C is the tonecenter."It may be idle to add thatthe borrowing oftheseterms (as also thesemitonal 0-11) is numbering, no moreto be takenas evidencethatthe writer sharesthe totalphilosophy thatgave riseto themthantheuse oftheterminology oflogicby someofmymostesteemed colleaguesis to be taken as a proof of the logical consistency of theirarguments. wherethenew orchestration is morepractical (exceptin one instance 4Use of thisversion forquotation)shouldavoid the objectionthatwhat are cited below as similarities between are not altogether reliablesimplybecause the new Stravinsky's earlyand recentpractices version ofPetrouchka someofhisrecent attitudes. mayembody for G priority is supported ofthispassage owninterpretation 5The argument byStravinsky's in the 1947 revision. the G is further ofthe Thus, amongotherthings, emphasized by virtue factthatit is doubledby the bassesnotonly,as in theold version, in itsfirst appearancebut in each subsequent "interference" appearance as well. Considerable qualifiesG: e.g. an A in the A priority ofthe subsidiary themes at Nos. 34 and 41) and pedal point(potentialized a doubling ofthetritone, to bothofwhichI shallreturn later(see p. 22 below).In Exx. 1 and ofthetriads B-D-F and C-E-G produces thewholestepoftheopening tremolo 2, thealternation of the work(D-E or A-G)-a relationship that is made explicitwhen the openingsection in itsD-majormetamorphosis returns at the beginning of the fourth tableau. Such are some ofthelargestructural thatare,ofcourse, issues also relevant in different musical waysto other insofar as complete data in terms ofthetotality ofrelations is tobe sought. here, given examples But especially sincemusicis heard in time, local events be considered as may also, I believe, sincetheyare morethan a tabula rasato be inscribed havingindependent validity, by total structure.
* 13 *
PERSPECTIVES
OF NEW MUSIC
referential oftheC major The codetta affirms thefamiliar scale, ordering thefinal simulfor which themainevidence andespecially isthecadence, a G pedalafter No. 44 over materializes (Ex. 2b),which gradually taneity in Ex. and then to the end. (x 2a) persists
col8va
Ex. 2a
Ex. 2b
It may be wonderedwhywe shouldbe burdenedwithtworeferential of intervals, since themeand categories:the collectionand the ordering ofwhichthe to theC majorscale, in terms codettacould bothbe referred "domiG-emphasiscould be regardedsimplyas a prolongedfunctional to one interval-ordered nant seventh";or the themecould be referred alternaand the codettato another.Now, the first collection, pitch-class for which tive leads to the proverbialhistorical search correspondences like if while second to avoid possible; the we should alternative, although ofa G priority it allows the independence among whitenotes-and is to this extentpreferable-ignores common pitch-classcontent.To retain both categories, seemsdesirable. therefore, howSince the major scale and tonality are strongly inter-identified, it of be that collection the functioning the referential ever, may insisted is thatof the major scale, but not tonallywhen the referential ordering the same has the referential referential collection tonallywhen ordering oftheotheravailable white-note an interaction between scales,engenders in the tonal and non-tonalprocedures-such interaction being implicit existence common It of content. would therefore seem to very pitch-class thisthatwhat to some may appear to be unjustifiable followfrom tonal bias is not only legitimate but necessary fordealing rationally withthis A in orderto refute thisargument, music. self-contained would theory, of the majorscale have to demonstrate that,thoughelements ultimately does notsignififortonal functionality, providethe conditions Stravinsky realize conditions. these cantly I am notpreparedtodemonstrate This is something it is now.However, not insignificant in the presentregardthat in Agon(a transitional work betweenthe"neoclassic"and the"twelve-tone" similar relations periods), to thosein Petrouchka four decades with C later, appear (i.e. as priority a tonal "C from functional still treated as distinguished major") justone referential all within the others the obtainable white-note ordering among * 14"
PITCH
ORGANIZATION
IN STRAVINSKY
collection. The from and the Danse Russediffer markAgon from one another on so conceivable that Pas-de-,Quatre level, edly every apprehension of any similarity For example,the requiresa highdegreeof abstraction. theoutset whilein thelatter from oftheformer, pitchclassC is prominent it is not.But ifwe discount thesupport thisC getsin Agon from repetition and instrumentation, the B-C in the first simultaneity (Ex. 3a) may be said to have itscounterpart in DanseRusse itsappear(yin Ex. 2a), though ance in thePetrouchka movement of until theend. almost is, course, delayed the measures with the Furthermore, triplet figure (Ex. 3b) carryin distilled formthe G implications of the Danse Russetheme,returnin like rondofashion (MM. 21 and 36, thoughthe last timewitha problematic and in analogous relationto the C-dominated stand at Bb), simultaneity the movement's end (Ex. 3c).
M.M.
AlTpt.2 M.. ....... . .

= 156 r--
Obs.
Hp, Piano Strings
Hns. E.H.
a1 Vc.,b. col 8va basso arco e stacc.
Ex. 3a
60
Ex. 3b
Hns.
Ex. 3c
7v
let us pause Having taken due cognizanceof the parallelism, however, overthislastsimultaneity. G gives C the acoustical supportof the fifth-theassumption of the of such acoustical supportbeing indispensable to thisentire possibility discussion. At thesame time, G's association withD, and even,to a certain withF, forms a sub-complex of the simultaneity extent, relating directly to the referential order that governedthe measureswithtriplet figure. There are otherramifications, sinceF serves a double purpose, beingalso associatedtimbrally (in theharp) withC, in sucha way as to allude to F's roleon a secondary levelofimportance-as lowesttonebothin theopenand in theone in windsin Ex. 3b. As such,theF maybe ingsimultaneity * 15"
PERSPECTIVES
OF NEW MUSIC
to theA in thefinal ofDanseRusse, that compared simultaneity except A isnotonly this an allusion in themovement, toearlier butalsoa events continuation element ofan insistent oftheimmediately simple preceding measures. Themainpoint, is the G supporting that C inthefinal however, ofDanseRusse doesnot,unlike theG at theend ofPas-desimultaneity relate virtue of contextual associationsQuatre, directly back-by special to theG priority thataccounts for so largea partofthePetrouchka movementas to maketheabsenceofsucha relationship quiteperceptible.6 Another ofwhatI havein mind-lesscomplex thantheone example from becausethe movement has less complex Agon relationships-is OaksConcerto, thereferential where white-note provided by Dumbarton collection is thatof"Eb major."Extradoubling and theneighbor-note motion aroundG at the opening of the finalesubstantiate the triad a referential ofthescale:0, 1,3, 5, 7, G-Bb-D(Ex. 4a), defining ordering abstract 8, 10,whosenormal representation (alwaysreading upwards), an ordering indicates of intervals incidentally, retrograde-inversionally related totheordering ofthemajor The last scale,similarly represented. eleven measures ofthemovement do notdeviate from thepitch content ofEb major, butEb priority has onlybegunto gradually infiltrate the G priority since aboutNo. 74,and evennow,in thefinal simuloriginal retains from the G priority a G (as lowest taneities, voice),and a D (Ex. 4b).
Con moto = 160
pocoqf
Vc., Cb.
(stacc.)
Ex. 4a
AE4
Vas.G
--
Cbs.
Vcs.
A
Ex. 4b
6 The abruptness of the ending may well be a theatrical allusion to the character of a peasant dance. Thus, something of the same nature occurs on another dimension when the long continued motion ceases at this same cadence without warning.
* 16 *
PITCH
ORGANIZATION
IN STRAVINSKY
is far the ending,like that of Pas-de-Quatre, Despite its triadicelements, froma "resolution"in the harmony-book in an fashion, yet empirical issuesare all resolved. sense,the basic structural It may have occurred to somereadersthatthisdiscussion could benefit from the paraphernaliaof "modality," whichwould seemso veryapproof the different withinthe priateforthe identification interval-orderings white-note confusions collection.But quite apart fromthe multifarious withwhichthisnotionis laden, it does not reallyapply here. To claim Oaksis "Phrygian"disclosesnothing that the finaleof Dumbarton of the with between scales commonreferential peculiar symbiotic relationship collectionbut different interval It is quite frankly onlyon the orderings. mosttriviallevel that"modality"can be helpful, i.e. by freeing us from on the scale for the referential of dependence concept "major" identifying collection."D-mode," "E-mode," etc. rid modernmodal nomenclature historical and bysimplesubstitution ofextraneous of"scale" implications; for"mode" (e.g. "D-scale") we, in turn, a that may derive nomenclature the implications of "modality,"both modern analogouslycircumvents and archaic.According to sucha convention, each letter-name can define a different the white-note collection(includingC), the same of ordering letter-name fortranspositions, Oaksmay so thatDumbarton beingretained be said to open in the E-scale on G and to close in the C-scaleon Eb. Beforedispensing with "modality,"it is tempting to make a special case forthe Hymne of Sirinade en la, whichhas an openingsectionin the E-scale on A (with fewdeviationsfromthe referential collectionup to m. 19),closeswitha transitory allusionto it (m. 77), and has about a third of the movement (mm. 52-76) dominated, despite"black" patches,by a of the E-scale to the formreferable transposition directly (i.e. without transposition)to the white-notecollection. The symbioticrelation betweenreferential orderand referential collectionseemsunimportant is drawnto the insidepun ofthe opening here,untilattention measures, at whichpointthemodal interpretation the collapses.In thesemeasures, referential of the C-scale (transposed to F), whichplayed such ordering a part in DanseRusse and Dumbarton intrudes Oaks,covertly important by of the triadF-A-C which,in a narrowgrammatical way ofthe elements accountfor mostofthesimultaneities thethird beat ofm. 5. sense, through But any realization oftheir for the assertion ofF priority is studipotency in sucha way as to firmly assert ouslyavoidedowingto their employment A by virtue ofvariouskindsofarticulation: repetition, doubling, registration(A in outervoicesand themoreexposedinner ones),and accentuation and qualitative). (both quantitative This by now classicexampleofthe extentto whichpitch-class priority serves as an appropriate may be stipulated by compositional procedures, transition from contexts referable to the white-note collection to contexts 17
PERSPECTIVES
OF NEW MUSIC
In thelatter, all possible referable toa more modes collection. of complex morenecessary articulation become thaneverfor theassertion ofpitchmuchso,in fact, theabsence classpriority-so that ofsucharticulation, as it soonwillbe seen, in the music interstitial those realms mayplace and noncentric. between thecentric
II fromLes Noces(Ex. 5) cannot be referred to the white-note collection, an with observer bias tonal though strong mightclaim that,exceptfor whatmaybe regarded as a "closelyrelated"E, all thetonesare accommodated by Bb "harmonicminor"-and thus (so the argument would go) what resultsis simplyanother"diatonic" scale of the white-note class.
Meno Mosso
@Mezzo A
Without criteria for selection over thepassage ofcertain others, pitches
J=
104
Sop.
mf A Tenor 8va
Piano
6.bn
Ex. 5
Now I do not wish to tanglehere withquestionsof the "hybrid" minor that theydo not fulfill the conditions of the formations, exceptto stress white-note collectionof being capable of having its elementsarranged in an uninterrupted and the series,the firstand last tritone-related adjacencies separated by the identicalinterval-the only such possible interval the fifth. But even ifthe collection, being,withinthewhite-note of the "hybrid"minorscales was acceptable in its tonal interpretation functional sense,it would be hard to provethat the F# (Gb) is treated so thatifit is to be said thatthereis any correlation at all with functionally, than anything else. Bb minorit would seem to be morestatistical Should this,too, be consideredinsufficient the groundsforrejecting there would still remain the more serious "Bb minor" interpretation, objection that may be levelled against the low hierarchicalposition to Db. Thus assignedin thisschemeto the Eb-namely as appoggiatura the dyad formed of Eb-Db associateswithD-C by the linear expression of the preceding section(No. 27ff.), whereD may be interpreted as the as well as withthe E-D at theopeningofthework, pitchclass ofpriority, where the insistence on the soprano'sE5 leaves no doubt at all as to the ofE. The position ofEb is, then,hierarchically ofa higher order priority * 18*
PITCH
ORGANIZATION
IN STRAVINSKY
than thatofappoggiaturato Db, thoughthereis insufficient evidenceto establish itspriority as the tonecenter;therefore, whenthemezzo-soprano lineat No. 35 is heardin transpositions on C (No. 38) and on A (No. 39) these tones by analogy also have a certainpotentiality forassertion of in If an its turn.7 is of each assessment made the tone relative priority, it is observedthatA priority most receives weightofthesetranspositions, substantiation: from the A's on each beat of the ostinato 1) quarter pianos' at Nos. 35-40; 2) fromthe significant reinforcement just beforeNo. 39 and bythenewA4 on theoffbeats; thebass bytheoctavedoubling 3) from voice's entrance(6 measuresafterNo. 36 and 3 measuresafterNo. 37) withwhatstarts on A as another but continues as a variant transposition, thatwill be prominent at No. 40. These bitsofevidence, A in whilenotparticularly in asserting effective thissection ofNoces, are significant in thelight oftheA priority ultimately return realizedin themodified ofthe materialat Nos. 82-87:
86
MezzoSop.r
r i -p-Sop. , m ,,Ir
Piano Xylo. 8va Piano
AA
f Xylo.9m
C:t '""1 mO
".
? ,JI
1 --
--
Ar
LrL
laissez vibre
0 6
601 6o*$-Ex. 6
_oO'".007
o 6*T
7In the two transpositions, the original undergoes the following slight modifications: in both of them, m. 6 is truncated and the (Bb) grace-note omitted; where the transpositionon C has the contour A-C-E, identical interval order calls for A-C#-E, which is restored when this transpositionrecurs at No. 85.
0
19 -
PERSPECTIVES
OF NEW
MUSIC
theE tremolo where and theA A3 ofthepianos, acoustically supports since No. 78 predisposes theear toward thecontinued priority operative ofthis as asserted duration atNo.82. priority bytheA'soflong acceptance Butthequestion remains: reasonable evidence toverify it, why, given isA priority still ina certain A search doubt at Nos.35-40? for the answer thecurious consistence that mayleadonetocontemplate pervades fortyat Nos.35-40, five measures ofmeasures and thesamenumber (ofslightly as a result duration becauseofsome3/4meter) at Nos. 82-87, of longer bothlinear successions and simultaneities, which fits everything, together likewell-meshed so thatit is notsurprising to discover, from a gears, tabulation ofthetotalpitch thata single referential collection content, ofeight for classes accounts itall-witha few somarginal pitch exceptions as scarcely to require mention ornamental, (somedozentones, mainly at Nos. 35-40).If it is granted and most ofthem thatthepitch classA is themost element to determine thereferential order within the likely the scale drawn from the collection collection, may be represented as follows: iii ii v iv vi vii viii (i) i c a E Db eb Bb f# G (a) numbers: 0 1 3 4 6 7 9 10 (1) pitch
intervals: 1 2 1 2 1 2 1 (2)
thatthescale generates to theend thatit yieldsidenticalinterval content
A formal to this scale (hereafter to as "octatonic") referred approach wouldcalculatethe structure and enumerate the properties at once.8 Heretheapproach willbe inductive, so that such willbe only properties considered as aredemonstrated the musical discussed. by Thus, examples thepassagefrom Noces makesus awareofthehighdegree ofsimilitude
on Eb--provided statement thepiano's A is counted. original Naturally, whatholdstruefor a trans0, 3, and 6 willholdtruefor 9, andindeed on this element is between Nos. 83 and position ultimately suggested 84, where we are againreminded ofthecommon sinceit is pitchcontent,
8 Messiaen classifies this scale de mon among "modes of limited transposition" in Technique langage musical(Paris: Leduc, 1944, pp. 52f.). Its limitation to three transpositions becomes evident when the twelve pitch classes are arranged into the three available diminished-seventh chords: combination of any two yields the scale's total pitch content, and only three such combinations are, of course, possible. Also, between any two collections of scale content there will be one of these chords in common. (If the chords are designated X, Y, and Z, they yield XY, YZ, and XZ.) Taking his cue from Messiaen, Roman Vlad draws attention to Stravinsky's use of the scale (Stravinsky, London: Oxford UniversityPress, 1960, pp. 7f.), without,however, exploring the special propertiesthat will presentlybe seen to arise out of the ordering in which there is a semitone between firstand second degrees.
0
The form on A, forexample,requiresno pitchclassesnot present at the
for thereproduction ofthelinear at 0, 3, and 6 (hence the configuration lower-case in thescalerepresentation letters Substantial above). preservation ofpitch content from onetransposition toanother isalsoavailable.
20 -
PITCH
ORGANIZATION
IN STRAVINSKY
ofthetransposition at 0 crossing overto theone at 6. producedas a result defines the order: Since each trichordal interval 1, 2, it is easy partition In combination, thefour thesymmetry. to see whataccountsfor partitions scale degree,at the produce a scale of whole and half steps.The fifth from of6 semitones interval A, is an axis around whichthe twohalvesof and at theinterval of3 or 9 thereis another the octaveare symmetrical; axis around whichtwo quartersof the octave (halves of the tritone) are analogouslysymmetrical. collection When we had only the simplerrelationsof the white-note conditionprevailed:withinany to cope with (in Part I), the following each pitchclassthere was onlyone possible for collection, givenwhite-note in Withinany which it could have interval referential ordering priority. of the element octatonic first collection, by contrast, any of the given 9 of at and of the has octave the 0, 3, 6, partitions potentiality beingthe in an to the same given identical referable class of ordering pitch priority and this also for1, 4, 7, and octatonic holds true,analogously, collection, with to a different of which more will be said later. 10, respect ordering, That is to say,not onlyis each of the partitions a "transposition" of the in a but the interval of the collection total defined other, sense, ordering in relationto the first is also identical;hence, elementof each partition each ofthefourpossible is also a different ofthe orderings "transposition" octatonic scale. (Strictlyspeaking,this is really "rotation,"since the collection has onlythree in the footnote transpositions-see 8.) Therefore, intervalorderingof the scale as represented there above, are, loosely four ofequal weight and independence. "tonecenters" speaking, potential In Noces, of the octave concerned the two-part us more and partition If seemed more prevalentthan the four-part the octave is partition. assumed-as I have alreadyassumedthe fifth-then a hierarchy is thus on octave as a the fundamental construct within established, contingent the semitonalsystem. This attachesspecial importance to the factthat and its are intervals each adding up to 6 semiA-Eb Eb-A complement while which 3 is a of9. For ifthe has tones, A-C, semitones, complement octavetakesprecedence thesymmetrical of 3 within thetritone is position oflessconsequencethantherelationof3 to theoctave,thusplacingit on a different, or "lesser,"hierarchical plane withregardto itspotentiality forsymmetry than the relationof 6 to the octave,but on a higher plane withregardto itspotentiality fordifferentiation. betweenthe interval of a The, so to speak,equality (i.e. numerically) and its complement tritone if not final the then at least is, verification, oftheidentity relation between these"two" intervals, highly symptomatic or betweentheirelements, in Noces, betweenA and Eb. or, specifically In addition,each tritone-related elementhas the potentiality, within the octatonic scale, to standin an identicalrelationto any available interval thansymmetrical) (thisorderand relation ordering beingparallel rather
* 21 ?
PERSPECTIVES
OF NEW
MUSIC
-i.e. to be an element ofa transposition with interval identical ordering interval content. and/oridentical Therefore, givenany two tritonewithin theoctatonic related thepriority scale,to establish pitchclasses ofone overtheother within thescale'slimits, thisidentity the between of whichtheyare respectively the members mustbe configurations One oftheways inwhich eliminated. this canbe brought aboutisdemonstrated ofNoces between Nos.82 and 87, where thehigh by thesection ofsimilitude observed No. 39, between earlier at approximately degree theelements A and those around aroundEb, is gravitating gravitating nowscarcely at all, as a result, on theone hand,ofthecontinpresent on the Eb's fifth (theE tremolo)-the uingfifth beingtransitory-and ofthesustained leavesno doubtas to thepitch other, A's, all ofwhich classofpriority, eventhough thetransposition at 6 lingers on after No. 86 itsoriginal in very form. nearly Sinceeach scale degree of the octatonic scale is tritone-related, the noticeable ofthis interval is stipulated for referable presence anycontext to thecollection ofthis where it is usedwill scale;and anypartofNoces be more orlessassociated with thebasicsimultaneity E is at No. 1,where in thevoiceand Bb is in thepiano.(Thus,themezzo-soprano's Eb and A at No. 35 actually thepiano's theopening ofthe"black" reverse roles and "white" inPetrouchka itisclearly evident totheear notes.) Similarly, that thescaleemerges outofthefrequent ofthetritone directly expression as a dyad(usually in thefirst tableau:Bb-Eat Nos. 7, 9, 17,22; linear) F-Bat Nos.8, 11,23; both forms between Nos.24and27,and, alternately theform ofmost immediate concern C-Fj in theinterlude between here, thefirst and second tableaux. thelimited associastructure, (In thetotal ofidentical tions content also lendsignificance to F-B in the pitch-class mainsimultaneities ofDanseRusse of (Ex. 1 above)as a veriticalization thelinear at Nos.8,etc.According tothis G priority dyads interpretation, is a prolongation ofthefourth ofthebasicD-scaleofthefirst tabdegree ofthewholework;and theA pedal is an allusion to the leau, indeed, D priority, fifth ofthis an allusion supporting clearly pointed up bythe return ofthetritonal ofNo. 8 inthesection Russe ofDanse dyads following
No. 42.)9 To regardC-F#of the interlude as a foreshadowing of the "Petrouchka chord" is to admit some evidenceforthe standardinterpretation of this as a confluence oftwosub-complexes "based" on thesetwo configuration sonic event.So Stravinsky considpitchclasses,ratherthan as a unitary ered it, and, to judge fromone of his mostrecentpublishedremarks, stilldoes: "I had conceived ofthemusicin twokeysin thesecond probably tableau as Petrouchka's insultto the public . . ."10 However,since the entire undera singlecollection with configuration may now be subsumed a singlereferential order,i.e. the octatonicscale, the dubiousconceptof
9 See note 5. 10Expositions and Developments, New York: Doubleday & Co., 1962, p. 156.
0
22 "
PITCH
ORGANIZATION
IN STRAVINSKY
need no longer be invoked;nordoes suchan interpretation "polytonality" make it impossibleto acknowledgea certaincompoundnature of the since this can be done entirelywithin the referential configuration, collection of the octatonicscale, by means of the partitions. To evaluate the pitch-class if any, of the "Petrouchka chord," priority, it is well to determine beforehand towardwhat priority the ear may be disposedat its entrance, especiallysincethe eightmeasuresthatprecede thisentrance scale from whichthe"chord"is drawn. deploytheoctatonic The brief introduction to the secondtableau involves, to beginwith,the relief a prolongation ofG as thesupporting fifth of placingin theclearest theC whichis carriedoverfrom thefinalsimultaneity ofthefirst tableau (Ex. 2b above) by a kindof liaison-the liaison,namely,of the C ofthe in the interlude linear tritone betweentableaux. Example 7 showshow the piano botharticulates the C-G and segregates, from the intervening semitonalactivity six elements of the stepwise (mm. 3-6), the following octatonicscale: c, Db, eb, E, f#, G. (Since all the essentialfeatures are in the more concise 1947 orchestration, thisversion is quoted preserved here. No. 93 of the new versioncorresponds to No. 48 of the original.)
Impetuoso J=0oo 55 J
~f5)
941
4
st-FLII
It.. Ob.lU .."
Ploo..Q tJt n 'I I II

-,
F -
,- ,;
CA_. fnUC Trtu rLII fn3C
pp-
oo..
Timp.
C 2m.P2
CPi~o
VleIV in B6 93~~~a sord.-PI' -ffm TrptLLU AExL -ff Pon Timp. f/

I I Imeus
______________-P
orsjnlaE .
* 23 *
PERSPECTIVES
OF NEW
MUSIC
The simultaneity in the woodwinds in the third and fourth measures from theprolonged dissociates itself motion the interof "neighbor-note" elements virtue of its its so all that ofit duration, content, vening by referable to theoctatonic be to the level collection, may applied higher on which thescaleis deployed-especially theA, which is notsupplied Whether at No. 94 issimilarly theA# tobe applied bythepiano. qualified to thatlevelis very the octave and dubious, accent, despite doubling, at the of a The understatement this of exposed position beginning phrase. thedescent G ofm. 1, in Ex. 7, via from A#is farmorestriking-viz. flutes and violins, to G ofm. 6, which deviates from semitonal stepwise motion toavoidit,with theresult that"in theplace"ofA# there is only an extra B. is a crucial in more element thanone way;keptin reserve, essenA# the first for of the chord" it "Petrouchka tially, dyad (Ex. 8), provides fora relationship whichstrongly the specialconditions counterpoises tritone-related ofthestandard triads if we assume Thus, interpretation. thatthehorizontalized C triad ofthefirst clarinet theregistrapreserves ofthesamepitch tion classes as in the occurred handat just they pianoleft No. 93, theA#, which can belong to an identically ordered triadic comin to relation is the element that avoids the F#, plex precisely identity by a registral distribution fortheF#triad(i.e. a first initiating inversion) thatis different from theregistration oftheC triad.Furthermore, the interval of 2 semitones formed the of this C with A# by simultaneity a principal becomes of total the defining agency configuration. (Notice howitisstressed extremities ofthecontour at x inEx. 8.)11 bytheregistral
Ex. 8
The otherverticaldyads in Ex. 8, if less prominent than thatjust indithe tritone-related sincethese cated,shouldalso be weighed triads, against with the describe the interval content of the A#-C, dyads,along conjunct trichordal of the octatonicscale: 2, 3, 1, in thatorder. partitions at No. 51 (to return to When,however, duringthe verticalstatement the 1911 version), thereis a concurrent linearization whichthe F# from triad is filtered the out, isolatingthe C triad (cornetsand trumpets), of the chord is as two triadic interpretation sub-complexes strengthened, of C. Then, in the continuation as is also the priority ofthe linearstateto theunified the balance shifts ment,whenthe sub-complexes intersect,
verticalizes theimportant wholestep, i.e. theopening D-E (see footnote unifying 5). 11AA#-C The interval's as a lineardyadin Noces willalso be recalled. prominence
* 24 *
PITCH ORGANIZATION IN STRAVINSKY
of3 occurs):
ofthe elements substantiated (Ex. 9b) interpretation, by an arrangement in what corresponds of an incomplete to "stepwise"representation octawhere tonicscale "gapped" at twoparallelpositions the interval (namely,
A2 3 2 3
9a Ex. 9b 2Ex.
Ex. 9a
Ex. 9b
elementin the above representation not because of priority, A# is first but on contextual of the tremolo in piano and grounds(the registration as in Ex. 9a); for in so symmetrical an arrangement evenC priority, strings with all its backing(among otherthings, the supportof the fifth) is not conclusive. of thisordermustbe what Stravinsky Surely,an eventuality had in mindwhenhe spokeof"polarity"in Poitique and though Musicale, he now cautionsus thatthebook was one ofthose"written other through ofquotinghimon thatconcept: people,"12I take the liberty What preoccupies so called, than us, then,is less tonality, properly what mightbe describedas the polarity of a sound,of an interval, or
even of a sonic complex [complexe sonore].13
While the meaning is perfectly to speculateon clear, it is tempting whether choice of a wordwhichcannotaccurately Stravinsky's "polarity," be applied (as he applies it) to one thingwithout itsopposite, eitherhad thatescaped the intermediary who transcribed his thoughts, implications or-which seemsmore likely-reflected an awareness, ifonlyon a subverballevelwhereit was difficult to articulate, ofthespecialproperties of the tritonewhich make it possible forpitchesat 0 and 6 (capable of as "poles" in a circleoffifths, whether or not one graphicrepresentation the on which thiscircleis predicated),by virtueof accepts assumption similitude or equal and thus independent weight,to remainin equilibriumor-to theend thata tonecenter is asserted byneither-to standin a certainopposition. This speculation in a direction might easilytake flight whichwouldestablish, as a necessary of"polarity," condition thedenialof to a singlepitchclass precisely forthe purposeof not deflecting priority from thepriority ofa wholecomplexe sonore. And from here,it would be a and so-called simple step to the conclusionthat shortof twelve-tone "atonal" procedures, nothingprovidesthis conditionbetterthan the
13 Pogtique Musicale, Cambridge, Mass., Harvard University Press,1942, p. 26 (translation ofthepre-twelve-tone takea morepositive attitude toward mine).Laterstatements Stravinsky ofhis Cantata,he declared, is mydiscipline" tonality. Only a decade ago, speaking "tonality December21, 1952; sec. 4, p. 5). Tribune, (New YorkHerald
12
Op. cit.,p. 153.
* 25 *
PERSPECTIVES
OF NEW
MUSIC
scale.It is nottheintention, to makeexalted octatonic claims however, for butrather, toobserve insuchconcrete this itsbehavior manifesscale, tations as the"Petrouchka after to which, this we had chord," digression, better return. promptly Fromthe vantagepointof the "gapped"scale,the C and F#can as they do in thefamiliar with figure justas prominently interpretation, theimportant nowfunction distinction thatthey as basicelements not so muchin terms oftwotriads, in terms either oftwotributprimarily, each withtheinterval order of2, 1 (thenotes with stems down chords, in Ex. 9b),oroftwotetrachords, theorder eachwith of2, 1,3 (thenotes withstems of a partitioning of the case, the result up)-in the latter octaveto producetwoconjunct And the reasonC and F# segments. rather and E, are hierarchically terms for than, say,A# higher defining therelationship, is thatsinceC has a certain which stands F#, priority, in an identical relation to itstwoadjacencies, willalsohaveanalogically a certain within itsowntrichord one priority priority (though maybe morestrongly asserted than the other)-which us back to the brings statement made above as to thescale'spotentiality for morethanone tonecenter. The inexhaustible "Petrouchka to say, is far from chord,"needless forby thisbrief accounted the ramifications of whichthe treatment, readerwillhave to infer forhimself. Yet,before it, twosmall leaving should be resolved. there is theA#, whose funcFirst, points important tionwouldseemto render it worthy ofconsideration for Such priority. wouldyieldtheinterval order2, 1, for theconjunct however, priority, of the complete trichords octatonic of 1, 2, which-for scale,instead reasons thatwilllaterbecome moreapparent-hasbeenposited as the fundamental form If nowithstanding forStravinsky. this,A#priority is still itmight be welltokeepin mind itmakes for that conconsidered, ditions akinto those determined distantly by the"Bb minor" interprein Noces. tation must be aware,though evidence has But,as thereader been givenforC priority of thechord, no firm commitment has been madeherewith to this or anyother at all. Which regard priority brings us to thesecond the"polytonality" ofthechord. point: namely, Though I realizethedisadvantages ofmaking sucha statement without a dison one'stheory oftonality, a "polytonal" insofar quisition interpretation, as it mayhave anyvalidity at all, is evenmoreproblematic thanthe ofsingle determination For the"gapped"scaleaffords fartoo priority. little for information thedelineation of"keys" ofanykind. III Let us make a fresh at a place in no way remote from this start,
discussionup to here, but somewhatcloser to the generallyaccepted the tritone-related analyticalapproaches.For it is untenableto pass from S26
PITCH
ORGANIZATION
IN STRAVINSKY
elementsto thoserelations definedby the intervalof 3 semitones without acknowledging of the Stravinsky's acceptance, until veryrecently, triadand itsrelatedchordalcomplexes, the permutations ofwhich, often but never completely metamorphosing disguisingthe "basic" interval content(by such means as doubling,verticalspacing,inversion, etc.), have produced resultsadmittedlyvery far indeed fromthe concept "triad"called to mindby thetextbook That thisacknowlrepresentation. edgement of preassumed interval complexes will not involve relinarise directly quishingthe notionthat certaincompositional procedures out of the independent choice of intervals should soon become evident. Meanwhile, it will be necessaryto resortto chordal nomenclaturethoughoften purelydenotationally. To say thatJeu de raptis a veritableprimerof the ways in whichthe octatonicscale may be arrangedintofour chords major triadsor seventh is not to denyitsabundance ofdetail. In considering the six measuresat Nos. 42-43 of Sacre(two representative measuresof which are givenin in Ex. 10), I shallignore mostofthisdetail(articulation, partialreduction of the elements etc.) and concentrate upon the chordal regimentation
Cis.E.H.
y
U
Pic.Fs. A0 -
j, pf
Vn.1
Vn. 2
Vc.
*.j
-U"
Vn.1(pizz.),
C
xpizz._ ______
Ex. 10
27 *
PERSPECTIVES
OF NEW
MUSIC
in by thereturn ushered ofthefirst (thatat No. 37) as a simultaneity kindofsignal for thefiltering not of content at this out, point, all pitch referable totheoctatonic the discernible scale.In triadic are these terms, and A (horizontal on C, Eb, F#, at, for 1) majortriads configurations: timbre rather vertical x'-the latter double-reed at x; being example, in first inversion than simultaneities as such); 2) dominant sevenths of statement aty', butmostly vertical vertical, (horizontal y); 3) a brief ofNo. 37); 4) a linear ofthesimultaneity theC triad expression atyx (part chord ofthediminished-seventh (z). in evidence a determining factor of Configuration z placesdirectly from it partitions similitude: the octaveat different thoseat positions thepitch-class content oftheir and which thefour roots triads drawing it partition dominant sevenths from theoctave;at thesametime, z has with identical thatoftheonlypossible an interval content configuration chord diminished thatcan be formed roots; seventh) bythese (another diminished diminished and thetwosemitone-related sevenths (oranytwo with no "common sevenths tones" contain at all) will,ofcourse, always ofan octatonic Nos. 30 and 70,where thetotal collection scale(seeSacre, toshow diminished arearticulated these horizontalized, sevenths, parallel their"whole-step" The identity is stressed relation). by the orderin enter: whichthevertical configurations yx(C) andy on Eb (thelatter andfinally, thesecond element ofduration), onF#, being theny byvirtue in m. 2 (note ofthree y on A-piling up a simultaneity sub-complexes theweakarticulation ofG in thedominant on Eb). The "pyramided" but the C triad ofy on Eb, F#,and A are twicerepeated; entrances in its tooktheform at No. 42) doesnotrecur vertical original (which yX thelinear it is significant thatamong triads form, (x) theoneon though to replace C is timed ofone ofthese). yx(in Ex. 10,xyis thebeginning of Each tritone-related pair(either y on Eb and A, or thecombination as the contains the sameinterval content y on F#)inevitably yX with "Petrouchka butnotein thecombination of chord," yxwith y on F#the is identiorder as well.(Pitch-class similar interval content, incidentally, It should also be noted thatthetritone-related triads and/or cal,too.)14 in the"Petrouchka are dominant suchas are contained sevenths, chord," notvery from those thatare related different bytheinterval complexes in the"Petrouchka of3 and/or the 9. Forbysimply chord," exchanging,
14This isa mildform thatmaybe observed ofa phenomenon again and again in muchmore in Stravinsky, of the musical as will becomeapparentfrom a comparison noticeablefashion of givenchordal in the courseof thisdiscussion: the association namely, examplespresented is like theold withfixedpitchclasses.In thissense,as in manyothers, relations Stravinsky Thus been remarked, foreach keyhad their masters who,as has often specialway ofwriting. his "Cfrom and thiswas different Mozart,forexample,had his "E-flat"manneror style, etc. major"style,
* 28 *
PITCH
ORGANIZATION
IN STRAVINSKY
whose sub-complexes are the F# foran Eb, we derive a configuration but a function on C and Eb-all ofwhichis nothing dominantsevenths sourceforthe sevenththat is the commonpitch-class of the diminished theotherdiminished seventh chordrootsthatdefine by the encompassed octatonicscale. with If, fromEx. 10, the intervalcontentof any two transpositions out roots related the interval of 3 is extracted (i.e. semitones) by adjacent triadsare no longer ofthefour available ones,thetritone-related present, fromwhat has been just said, that therewill stillremain but it follows contentin commonwiththe "Petrouchka a substantial degreeof interval the amount oftimbral thatwas and differentiation chord"; if,moreover, in minimum the Sacre to articuin from is reduced a the passage present in a largerconfiguration, lation of these two triads as sub-complexes common intervalcontentwill then be supplemented by anothercomofthe famous"chord." From mon factor:the special timbralconsistence resemblance should result-as may be observedin the all this,a family of brief in Dumbarton Oaks: duration configuration
Hns.x
Bn. Fl.
j:.. [
1
Ex. 11
where, when the elementsare apprehended as a whole, the typical much retarded,but belongingto the "accordion"-effect, Stravinskyan same generalclass as the "Petrouchka chord,"will be recognized by anyWith sufficient confione who does not take the analogy too literally. one ofthemostpeculitmaybe said thatwhatpassesfor dence,therefore, "sounds,"risesout of theoctatonicscale. iarlyStravinskyan of Detailed analysisof this excerpt,to be sure,revealsthe subtleties to which the referential lend themselves, differentiation relationships forabsence of marked and it becomes apparent that,in compensation on the alternate beats dwell the longerdurations timbraldifferentiation, on each dominant seventh: the one on then the one first, Ab, separately on F. This phenomenon, of course,is simplya productof the different intersections of the stationary element(Ab-A-C) and the verticaldyads in the fluteand clarinetlines; and in thisprocess,accordingto conventionalinterpretation, Ab and A each assumethe oppositerolesof"chord tone" and "non-chord tone"-roles that theyreverse when the intersectionchanges.
29
PERSPECTIVES
OF NEW
MUSIC
Whereas delineated twodiminished sevenths-one formed Jeuderapt the dominant-seventh roots and other the formed the common by by content sourceof the dominant the second pitch-class sevenths-only is evident demarcated the in C terms of octave-doubled here, by type ofthediminished whichtheelements seventh are clearly apprehended as agents ofthefour-part Butthediminished seventh seems to partition. in to be to the element trichordal me, significance, secondary stationary which is capableofproviding a modest ofa useful comexemplification the consistencies of it would which be positional procedure, preserved for within us to follow contexts referable to the octatonic scale. profitable ofthese Thenature manifestations from becomes a correlation apparent ofthestationary with from trichord a trichord formed elements ab-A-C ofthecombined In trichord the common each intervals dyads:Eb-f-Gb. 3 semitone and in are a different Or ifit (the semitones) arrangement. is assumed that thesomehow "disembodied" intervals constitute a "basic "transformation." cell,"then Now, they maybe saidto haveundergone since eachconjunct of the scale octatonic contains theintervals partition of 1 and 3, thescale is singularly adaptedto transformation involving twointervals. these Hencewhen theabove-mentioned trichords areconother will transformations result: joined, f-Gb-ab; f-ab-A; Gb-ab-A. At thesametime, it wouldbe injudicious to ignore theconventional of"non-chord tone" and "major-minor" when theinterval interpretation of3 or4 is taken as a "fixed" and a the as semitone "movable" quantity so that the latter is-to the of the "disembodied" one, pursue metaphor intervals-like "attached" at anyofthefour something capableofbeing "inside" or "outside" either form of thethird possible positions (which is sometimes as a to be But in said, result, "bracketed"). ifsomewhere thebackground theprocedure oftransformation exerts all effect at any as an operation in which no single interval has anypriority, essentially chancesare verygood thatthe implications of such a procedure will insinuate into a context themselves that iseither tonal orotherwise centric, withtheresult thatthechoiceor assertion ofthe"fixed" interval may be insidiously placed in doubt; and it is thus that therearisesin music another occasion for thepun,different in detailfrom Stravinsky's thatoftheSirinade, butnotaltogether inintent. dissimilar In thisregard, thetheme withvariations from theOctuor (Ex. 12) is singularly apropos:
Andantino = 92
ben cantabile
Ex. 12
* 30 *
PITCH
ORGANIZATION
IN STRAVINSKY
forhere,permutations of fourpitches, to whichthemain linearaspectof confined such the themeis entirely the Bb ofm. 7, horizontalize through the scale of discussed. The as those of transformations representation just Noces(p. 20) could servehere,too,and thoughit cannotbe claimedthat relationsbetween one work and another are compositionally valid, a check the other to substanof both enables us to one contexts against study to be sure,sharesthispriority tiatetheA priority. The Octuor, onlyinsofar ofthemelodyis concerned, as theposition thelinearstatement ofA within sincethesimultaneities on theoffbeats assertD. The A may thusbe said to have "second-order" of D, it as for, the dominantsegment priority, both supportsand is subservient to D. At No. 39, the second-order is A. since the context also asserts first-order replacedby priority, bothA and Bb. The pun thispassage was chosento illustrate involves A D minor ofthesimultawhereas offers the acoustical to Thus, support around the which the linear collection to statement that neities, gravitates D A is referable no at all! the succession has of the Furthermore, pitch in D what linearstatement to minor like the is passage Ex. 5 something a is Noces to certain extent the affinity from is to Bb minor-namely, The C. as witness, of the "irregular"progression very purelystatistical: of A-C#as the "fixedinterval"are thereby foundations shaken-hence, the ironyof Bb, which carrieswith it implications of the statistical Bb in Noces that but minorthatwas rejected becomesmorecompelling here, E and irregular owingto 1) the factthatthe "foreign" F$ are notheard untilm. 7; 2) the separatetimbralplane of the melody(so that the ear and 3) a unaffected by theD minorharmony), may hear it as something of Fromtheviewpoint degreeofBb-orientation amongthesimultaneities. a basic cell, Bb-Cj could be the "fixed"elementontowhichC and A are "attached." variously a doubt,and the oftheD minor, Into thelargercontext Bb introduces of a doubt is an irresistible excuse forthe pun which assumesthe form to the accidental suggestion only to make it immediately susceptibility it is the A, rather, that has apparentthatwithinthe octatoniccollection What fleetingly takesplace is like thatfamiliar priority. opticalillusion, whichmakesus see checks ofa linoleum, with whitein relief on alternately on white.To equate thiswith"keyshift," black,and black in relief "polyand such,is to missthe point,forit is rather, as may be seen tonality," a function of the affinity betweentheminorand theoctabelow,merely tonicscales (Roman numeralsdenotescale degrees;the sixthdegreesof both minorforms are included): iv v vi vii viii ii iii i E a c f G Bb Db eb I VII II III IV VI VI Bb minor D minor V VI II VII VII IV S31
PERSPECTIVES
OF NEW
MUSIC
Otherambiguities in terms of basic cell and/or mainly interpretable in the relation the melody are observable between and major-minor chordalaccompaniment. For example, the indirect D-f-Fj,formed by ofthesimultaneities relation ofmm.1-2with those ofm. 3, results from theinfiltration oritsretrograde ofthelinear A-c-C#, inversion, a-Bb-C#, intotherest ofthecontext. Fromthefrequency withwhich thisinterval (i.e., 1 and 3) complex occurs in the Octuor it is obvious thatthemostimportant determinants ofbothmotivic and structural in "neoclassic" relationships Stravinsky's music were in 1923-suchdeterminants, for already crystallized example, as those that wereto invest a special later with Orpheus twenty-five years and intheir most familiar dominate theSymphony Psalms. form, imprint, of
IV
such is the way "[T]wo minorthirds joined by a majorthird":15 characterized the"double"version ofthebasiccell Stravinsky recently as manifested in Psalms, from it is evident which thatbothmajor-minor and thesemitone-related in his mind.The therelation dyadsdefined ofthefour elements is thesameas in theOctuor; and arrangement pitch hereonceagainwe encounter thepun,buton a higher structural level, where the"optical is exploited insucha waythat, illusion" topursue the both checks andblackchecks white arealternately each image, validated, a substantial for oftime. "fixed" with in the period Equating "priority," first movement ofthePsalms, thelower third ofthepairmaybe saidtobe the"fixed" element in theC-minor the (x in Ex. 13a); whereas fugue, is reversed on B, thesupporting relationship (yin Ex. 13b).The motive fifth hassecond-order therela(y in Ex. 13a) which priority, anticipates in thefugue as itis found tionship subject.
Obs.
Vc.COb r- Y
ATOb.
col 8va basso -
V-~
p7.
;..,:
..
II
Ex. 13b
Ex. 13a
The four-element receivesmostlysimplemotivictreatconfiguration ment in the first movement. Versions of the basic cell like thosein mm. 2-3 (e.g. at x in Ex. 14), articulated ofthecontours and by theextremities theirdirectionalchanges,are rare here. Transformation is much more but detailsof that movement likelyto be foundin the last movement, are beyondthe scope ofthe present discussion.
15 PERSPECTIVES OF NEW MUSIC,
Fall, 1962,p. 16.
* 32
"
PITCH
Tempo M.M.
ORGANIZATION
= 92
IN STRAVINSKY
x
Ob.
BTL
P
Ef
Ex. 14
The broad structural themain pivotsofall threemoveplan, unifying also the influence of the ments, reveals quabasiccell.Taking configuration, the main pitchclassesof priority, withoutregardto temporalordering, theycould almosthave outlinedthe motiveif E-G-eb were followed by is theothertermin thisrelationC, instead, Gb. That thetritone-related oftransformation but ship,notonlyplaces thewholeplan in thecategory has provocative as to the of the octatonic scale implications significance forcompositional structure. the presenceof Among these implications, I fifth is a one to which shall but right now return, significant supporting the symmetry let us contemplate from the of (absent parallel dyads the created the two related motive) by intersecting retrograde-inversionally trichords: c eb E G
triadicinterprethemeansto circumvent While thebasic cell provides indeed thatsuch interpretation, tation,it is verydoubtful along withits can be ignoredhere,especiallyin view of the fugal tonal implications, whichleast calls forsuch an interstatements. Even the first movement, scale playsthe itis theone wheretheoctatonic sinceofall three pretation, dominatedas it is by an largestrole,cannotreadilyescape it altogether, "Psalms chord" is like no E-minor E-minortriad. True, the celebrated if but itsuniqueness shouldbe considtriadthatwas ever knownbefore, its implications do not; tonal association, ered by anyoneto freeit from thatspecial withthefateofC minorthrough for it is implicated indirectly that exposesthe octave doublingsof G in the quasi-mirror registration the of intervals. Wheneverthe "Psalmschord" punctuates arrangement G the alternate it E but not movement, only asserts priority prefigures C minor. of which will as dominant serve eventually priority with either or indirectly, Thus, the"Psalmschord"is involved, directly with which structural issuesofpitch-class all three oftheprincipal priority is concerned.(Eb priority does not become an issue the first movement in terms ofthebroad plan ofthe untillater.)As to theseissuesthemselves * 33*
PERSPECTIVES
OF NEW MUSIC
inasmuch as they discussion, present theyare particularly significant return us bya circuitous route to thewhite-note scalesthat us occupied inPartI. The E-,G-,andC-scales, itwillbe recalled, were those precisely thatStravinsky favored theorderings availablein thewhite-note among collection. In dealing with in order these three letus takethem priorities, byfirst of thosetonesthatmay be (Ex. 15) the simpleexpression observing referred to the interval thatE defines within thewhite-note ordering collection:
QPiano
Pn.,Vc.,b.
col 8va basso
Ex. 15
The white-note collection statedat No. 2 without deviationprovides the basis forbringing theG- and C-scalesintodirectcontactwiththeE-scale in what was describedabove as a symbiotic relation.Whereasformerly such a symbiotic relationwas achieved with eitherthe E- or G-scale vis-a-vis the C-scale,now forthe first timewe have all threescales at our disposal at once-which should provide optimum conditionsfor the diatonicexchange.That thisresultdoes not obtain,derives from thefact thatboththenumber and character oftheterms in thesymbiotic involved relation have now been expandedto encompass theoctatonic scale,which acts as a catalyst the others. upon Examinationof thissymbiotic relationnot only revealsmore clearly the nature of different referential intervalorderingsand Stravinsky's reasonsforbringing some ratherthan othersinto contactwiththe octatonic scale, but in addition-as anotheraspect of the same thing-it illuminates thestructure defined in theoctatonic by theorderofintervals scale itself. it even answers that have been botherFurther, questions may is the form with ingthereaderin regardto it-such as, in particular, why the semitone betweenfirst and seconddegreesfundamental? To this end it will be usefulto set up the octatonicscale as a norm and differentiaagainstwhichto measuredegreesand typesofsimilitude tionofeach ordering, the lines of what was done to collatethe above along minorand octatonicscales. Let us imaginethe octatonicscale actingas a filter whichonly the intersecting elements will pass. Now, as through may be seen fromcomparisonof Tables A and B, the resultsare very the intersecting white-note scales starton different, accordingto whether odd or evendegrees oftheoctatonic scale. . 34 *
PITCH ORGANIZATION IN STRAVINSKY TABLE A*
C D E F G A B C D E F G A B
e 0 I I I I I I I VII VII
F 1 II
ii
iii g 3 III III III III II II II II II
A 4 III
iv
vi
bb 6
III III
IV V
II I I I I I I I IV III VII VII IV
B 7 V V V V V V
c 9 VI VI
vii
viii
D 10
VI VI
VII VII VII VII VII VI VI VI VI
TABLE B
III III III III

TABLE C
IV IV IV IV IV IV
IV V VIII VI III
VI VI VI
III C D II G VI E (on G) "A" (on C) *
V IV I I V
II VI
III VII
II I V V II
to white-note scale degrees.) (Large Roman numeralsrefer
The results of rotation, inferable from of Tables A and B, comparison concern us mainly where they reveal a reversalof the entriesunder v and vi, so thatwhilethe lowertetrachords columns remainmoreintact in Table B, theperfect above thepitchclassesofpriority are "filtered fifths out"-a critical oftheassertion lossin terms ofnonfunctional tonecenter, assumed as fundamental to the organizing of the music principle being considered here. In thissense,the scales represented by the intersecting in Table B standhierarchically elements lowerthan thosein Table A in theirrelationship to the octatonicscale. Certain qualifications of this in are order: the its cannot statement, however, B-scale,by nature, (1) fulfill fifth is its normal fifth (because the diminished degree) what is here assumed to be Stravinsky's and since he treatsit requirements; as the usual that it has been takento be, it may generally stepchild long . 35 *
PERSPECTIVES
OF NEW MUSIC
Nos. 5, 8, 20, 42, 103,etc.,etc.). What could be morenatu(cf.Petrouchka, ral than a merger of two predilections-theotherbeing his well-known one forthe tritone-outofwhichwould issuea new scale: D, e, F, g;G#, twotritone-related tetrachords theD-scale intothe thusbringing a#,B, c#, orbitofthe octatonicscale? The answerto thisquestionis fundamental: ifsuchwerethecase theoctatonic scale would suffer a severelossofidenof the important first Thus, in terms tity. degree(or ofeach "accented" elementof the disjunctdyads in the normalrepresentation of the scale), the succession of consecutive scale degreeswould yieldnothing different fromany referential orderingof intervalsin the familiarwhite-note vocabularyuntilthe fifth degreewere reached-and even this,in terms of Classical practice, could be a so-called"tendency tone." It is the new in the ordering of intervals, thatdefines the uniqueness ofthe "rhythm," relationsStravinsky employed: namely, an orderingthat gives up its notat thefifth, but at the a tetrachord whose secret, fourth degree, defining and fourth first elements are relatedby the interval of4 semitones. We may now, afterthisdigression, returnto Psalmsand the "minor thirds therootidea ofthewholesymphony"; and joined by a majorthird, by the same token,the "root idea" of the octatonicscale, of whichthis workis an epitome, since in itsmotiveand/orbasic cell, as expressed at No. 7 (Ex. 13a), on both B and E, in terms of E priority, thereis clear S36
be eliminated with butfour intersectaltogether; (2) theC- andA-scales, in at a members Table are but not A, ing numerically, disadvantage, only becausetheirso-called does not fulfill the "pentatonic" arrangement ofthewhite-note conditions with the collection to tritone and the regard series offifths mentioned above (p. 18),so that, what is on depending assumed tobe their theC-scale couldequally "filtered-out" be elements, and theA-scale theF- or G-scale, couldbe theD or E; and evenwhere this isrectified, inTableB, theabsent third oftheC-scale for leaves room thepossibility of"minor," whilethefourth of the A-scale is degree parofitsassociated triad ticularly "weighted" bythepresence (i.e.,Bb-Db-F). Sincethespecial valueplacedon thepresence insupport of ofthefifth thefirst due that is fact we are with a to the based degree dealing system on pitch-class it follows that other meansfor this priority, every defining first In it is ofprimary this is degree importance. regard, immediately thattheE-scale, under theconditions ofintersection ofTableA, striking is theonlyscale(i.e. satisfying therequirements ofsupporting that fifth) retains thatstandin relation bothelements of adjacencies to its first On the other itcouldbeargued that the tetrachords remainhand, degree. in Table B provide meansfor in ingintact significant identity, precisely theenvironment ofanypotential tonecenter. The tetrachord with intervalorder isonethat inmanifold 2, 1,2,itcouldbe pointed out, proliferates motives and melodic folktune-derived fragments throughout Stravinsky's "Russian" inthecompound form that the D-scale period, especially yields
PITCH
ORGANIZATION
IN STRAVINSKY
delineation ofthescale'stotalinterval content. The minor thirds define theconjunct the of and the octave; symmetrical equal partitions "major third" thetetrachord. Andthemotive, defines with itstransposition along at thetritone on B inthesecond andfourth indiminution), oboes (starting thescale's total content. The similitude between theoctatonic yields pitch scaleand theE-scale, is suchthatanystatement to theeffect moreover, that thefirst movement isintheE-scale, isimmediately toqualifisubject itisalmost since in the scale. octatonic cation, equally Thatthis movement isless than oriented theothers, isa function tonally ofthis E priority, whether intheform referable tothe white-note collection ornot.An important ofthis function istheabsence ofthe"subsymptom the intersection of theE-scalewiththeoctatonic, dominant," A, from subdominant no structural function here.Stravinsky does,howhaving a minimal make concession totonal treatment ofE inm.8,where ever, A, thefirst deviation from theoctatonic in its with F# collection, wake, brings thesignificant effect thatnowhere else but hereis the"Psalms chord" attacked without caesura-thusgiving a senseof "E minor cadence," orviceversa. followed F# "justified" ostensibly bytheliaison, (Compare
relation,let us considerfurther Pursuingthe image of the symbiotic the E, G, C (priorities) and the octatonic scale's effect on them.Boththe E and G priorities willcomeintocontactwithC priority, buttherelationcommon such as ship will not be established content, through pitch-class we observed muchearlierin DanseRusse, for C since the example, priority sincethepitchclassC is notreferable to thecollecMoreover, exposition). tion of the octatonicscale deployedhere, that scale will be prevented
by F? before No. 12, and also m. 10 of the Concerto per duepianoforti soli.)
reached willbe notthatofC major, butthatofC minor (ofthefugal
from with relation being placedina direct (It isalsoquite anyC priority.
thatEb, too,is absentfrom thisoctatonic If E priorsignificant collection.) forrelating to C minor, such potentiality is a product ityhas potentiality oftheoctatonic influence on G priority. As intermediary, G priority assumesthe variouscharacteristics of all statement oftheE-scaleon G (x in Ex. 16) in anticipation ofthefirst "pure white"statement of the E-scale.
rcol 16mabasso - - - - - - - - - - - Piano
theothers. Forexample, No. 2, in thepiano, there is a linear justbefore
BM
Ob. Y
Ex. 16
* 37
"
PERSPECTIVES
OF NEW
MUSIC
A certainsymmetry betweenE and G here flowsout of thoseby now familiar ofwhichG can define oftheoctatonic scale,as a result properties on 3 in terms ofE as 0, each one capable ofrelating theoctavepartitioning At the same time,it shouldbe orderand/orcontent. to identicalinterval of G-priority noticedthat the presentcharacteristics may also be interofthe pitchcontent as a linearexpression pretedin relationto C minor, of theA-scale on C (what is called "natural" minor)-compare E (on G) and A (on C) in Table C. behaviorimposedin the compositional on The chameleon-like process G wheneverit comes into prominence, the tonessurrounding is adumthreemeasures, whereallusionis immediately bratedin thefirst made to thethree mainstructural theusual claims pitchclasses.(I shallnotdiscuss as to the anticipations of Eb major.) I cannoteven begin to defendthis in available space, but I shouldlike to draw attention to these statement G: (1) the"Psalms conditions chord"predisposing us to it; (2) the favoring whereG follows Ab; (3) G-B in the"chord,"returning changeofcontour -this timeas a familiar element- after Bb-Ab. If all thisis so interpreted because ofthelatercontextual amplification itis nonetheless oftheG-relation, thattheelements are herealsignificant oftheE-scale on G and oftheG-scale readypresent: e.g. theintersections withtheoctatonic scale-see Tables A and C. And the itself, respectively, othersetofelements thatshouldbe mentioned hereis thesimilar intersection of the E-scale itself.(In each of these cases, there are the five in theTables.) While thereare other scale degreesobservable intersecting intersections as well, these are the ones concerning us, because in this movement issues.It will be notedthatactheywill be the predominant to thisinterpretation, the"harmonic"minorofC results the from cording further on a "lower"level,betweentheE-scale on G and the intersection, G-scale. that obtained among the Though a resemblanceto the relationship threedominantsevenths in Jeu de rapt(on Eb, F#,and A) may stillbe observed,it is obvious that thereis less identicalintervalcontenthere, withE as rootof a minortriad,G as rootof a dominantseventh in first and Bb as root of a dominantseventhin root position.The inversion, dominantseventhon E, in woodwinds(y in Ex. 16), could, of course,if used at the opening, have restored But thecomsome ofthe parallelism. avoidssuch parallelism, muchmorethanthecomposer of poserofPsalms Sacre.Thus, a comparison of what are, broadlyspeaking, the same relain four different works-two earlierexamples(Ex. 17a and b) with tions, twomorerecent ones (Ex. 17c and d)-reveals, in thelasttwo,theestablishment ofthe relationship in mm. 1-2 ofPsalmsas a kindofnorm-the
relative emphasis varying considerably fromone work to the other. The
S38
PITCH
ORGANIZATION
IN STRAVINSKY
different degreesof-to borrowEdward Cone's concept16-"stratification" (that is, the mergingof "strata," their intersection, coexistence, etc.) would make a fruitful studyin which the comparison, separation, but rather-and farmoresignificantly ofone workto another, notsimply of the Psalms would yieldmanifold the various relational -of itself, parts of such a kind that thesedegreescould be virtually fluctuations representedon a graph.
Allegro
meno f
Ex. 17a, "Danse du diable,"Histoire duSoldat
= 144
7 7
7r
-
=pl
p I
Ex. 17b,Symphonies Instruments ofWind

16 "Stravinsky: The Progress of a OF NEWMUSIC, Method," PERSPECTIVES Fall, 1962, pp. 18-
26. Though,as it shouldbe obviousby now, my"harmonic"analysiswould be somewhat different from forfurther Cone's, I findthat the "stratification" approach has possibilities ofstrata." The various dimensions couldbe stratiin,so tospeak,a "stratification development forexample-both in themselves and in relationship one to another. It is itself, fied-priority thatCone places Nos. 4-6 on a singlestratum, whichis appropriate in viewofthe significant of the octatonicscale. A stratification within thisstratum or on anotherlevel perseverance could drawattention to theshift from a stratum forE priority to a stratum for G priority.
* 39*
PERSPECTIVES
OF NEW
MUSIC
mf marc a
"
col 8va basso - -
Ex. 17c, in Three Movements Symphony

8va------------
Act II, Sc. 3 Ex. 17d, TheRake's Progress,
Note thatin theearlierexamples( 17a and b) theentrance oftheE (Fb in the Symphonies), whichis the first is delayed; whilein elementin Psalms, Ex. 17d it is near at hand butstillthelastoftheelements to be heard.Ex. are transposed 17c,theonlyone ofthethreein whichtherelations (theA in thetemporal to E of Psalms)is otherwise closestto Psalms corresponds order in whichthe threechordsare presented, and in theirdisposition. The elements ofmm. 1-2ofPsalms are encountered again in prolongascale perseveres forelevenmeasures tionat Nos. 4-6,wherethe octatonic else in thework.(There (Exx. 18a and b), whichis longerthananywhere is a notabledeviationin the tenors at No. 5-the A, whichagain tries to upset the octatonichegemony.)
mf cantabile
Altos af A
Ob.
mf legato
F F-
-t--
AF
f cantabile
ww.
Ex.18a Ex. 18a
18bT B
Ex. Ex. 18b
* 40 *
PITCH
ORGANIZATION
IN STRAVINSKY
ofE priority at No. 4 is followed Assertion to G priority at No. 5, bya shift and by increased densityand loudness,though articulated timbrally in doubleof pervasiveeighth-notes withinthe ostinatocontext suffused is not The reed sonority, the differentiation serious. by implications, are veryserious,indeed,since thisis as close as the musicwill contrast, evercome to theoutlining ofC, suchas thatat the oftonesofa dominant end. If the fugato had started at No. 6 as theresult movement's ofa ruthto what it less cut, the approach to it,looselyspeaking, would be similar actuallyis. ofF to D (sopranosat Nos. 5-6) does notfavor Though themovement the vertical B-D-F at No. 6 (Ex. 19) tonal functional interpretation, as it were-with dominantseventh investsthis section-retroactively, association:
Fls.
Ex. 19
ofa at No. 6 has the function In thisreciprocal relationthe simultaneity of whatever continuation degreeof dominantseventhis, indeed,associthe conditionsforone of Stravinsky's ated with Nos. 5-6, establishing withineasy reach, is the goal not ironies:here,ostensibly most striking work.Yet,we shall not achieveit but oftheentire onlyofthemovement, now, as long as the "incomplete"dominantseventhis not "resolved." the "key" implied is that of the referential Since, moreover, ordering it may be said, pursuing definedby C withinthe white-note collection, of tonal behavior,that the this anthropomorphic further description thewhite-note defined "wants referential collection, by E within ordering is indirectly exertedhere-go to "C major." to"-insofar as its influence in the whichrepeatedly But C is notreferable to theoctatonic collection, exertsits influence of the course of the movement against the assertion pitchclass C. Confronted withbroadlytonalissuessuchas these, thecritical question where to draw the line between an is,again, serial, intervallic, incipiently ofthismusicand the tonalbias thatobviously "non-tonal"interpretation there its conception. To be sure,since thereis no "resolution," governed hereto theimperatives is no yielding oftonalfunctionality. Furthermore, are that what tonal implications it is significant do presentthemselves the of that the most ironybeing distinctly parenthetical-part important is tossedoffin a littlewoodwindaside, issue of the whole composition in this reverent It is also true that the frivolous well-nigh atmosphere. contextis typically"neoclassic,"-more precisely,-"neo-Baroque"; so * 41 *
PERSPECTIVES
OF NEW
MUSIC
tonalinvestiture thatthe transitory could conceivably be regarded as a form of of kind be a not to manimre de merely parody, la expected ..., the"Russian" Butthen all at onceonemaythink from works. oftheF at No. 46 inSacre theintervening issimilarly related which, measures, despite at No. 42 as a pitch totheoctatonic collection classnotsubsumed within thecollection-the triad the since of C-major operative beginning Jeude all for this rapt having prepared along goal. If an adequatetheory is to be developed to deal withsuchrelationas been have what should attitude be adopted toward discussed, just ships them? Are theyactually tonalfunctional or are they"semrelations in whatsense? and ifthelatter, it is illuminating to blances,"17 Surely music from the the octatonic of scale and Stravinsky's approach angle thebasiccell.ButStravinsky, all hisgenuine for and origiindependence nal musical was into a in born that a manner of outlook, generation had, a orientation toward those of "traditional speaking,"congenital" concepts thatare nowbeing harmony" questioned. eventhough an attempt was madehereto avoidtonal Consequently, as a norm from which to we ourselves theory depart, found eventually to confront it as a result of certain tonal obliged potentially interpretations which aroseoutofwhatI believe to be theessential nature and significanceofthemusic. The validity ofthese their to interpretations, relation tonalfunctionality their relevance to a of or,conceivably, functionality a new order-these are problems thatoughtto be seriously explored, in a concerted effort. Our ultimate in doingso desideratum preferably be an approach from should thevantage ofcontemporary point concepts. Butitneednotfollow from this that because music iswritten withtoday outreference to thepostulates oftonality these should notbe taken into whenthey account illuminate in structural such works as those meaning he undertook before thediscipline oftwelve-tone composed byStravinsky should be to the music he wrote since (That they composition. applied that I am not,however, undertaking discipline, Thus,any convinced.) residuum or-if suchis thecase--"semblance" oftonality must be dealt with in both the of our total theoretical and accordingly, light knowledge inthelight ofinterval whether of the basic cell, relationships, independent or thediatonic and symmetrical scales.I leave formations, pitch-class these considerations as a query in thehopethata newbranch oftheory an answer. maysomeday provide
17I choosethiswordinstead thereasonthatsomewhere in backofmy of"resemblance" for mind I have the archaicsense,according to OED, of "an appearanceor outwardseeming of there is different itsappearance)." whichis notactually orofwhich thereality from (something
* 42 *

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Problems of Pitch Organization in Stravinsky Author(s): Arthur Berger Source: Perspectives of New Music, Vol. 2, No.

WHO undertakes an investigation of the essential relation-

AlTpt.2 M.. ....... . .

Hp, Piano Strings

a1 Vc.,b. col 8va basso arco e stacc.

Without criteria for selection over thepassage ofcertain others, pitches

thatthescale generates to theend thatit yieldsidenticalinterval content

The form on A, forexample,requiresno pitchclassesnot present at the

It.. Ob.lU .."

Ploo..Q tJt n 'I I II

CA_. fnUC Trtu rLII fn3C

VleIV in B6 93~~~a sord.-PI' -ffm TrptLLU AExL -ff Pon Timp. f/

PITCH ORGANIZATION IN STRAVINSKY

Op. cit.,p. 153.

col 8va basso -

Fall, 1962,p. 16.

col 8va basso

PITCH ORGANIZATION IN STRAVINSKY TABLE A*

iii g 3 III III III III II II II II II

II I I I I I I I IV III VII VII IV

VII VII VII VII VII VI VI VI VI

III III III III

III C D II G VI E (on G) "A" (on C) *

to white-note scale degrees.) (Large Roman numeralsrefer

reached willbe notthatofC major, butthatofC minor (ofthefugal

theothers. Forexample, No. 2, in thepiano, there is a linear justbefore

Ex. 17b,Symphonies Instruments ofWind

col 8va basso - -

Ex. 17c, in Three Movements Symphony

Act II, Sc. 3 Ex. 17d, TheRake's Progress,

Ex.18a Ex. 18a

Ex. Ex. 18b

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