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ALLEN FORTE
PITCH-CLASSSET ANALYSISTODAY
Introduction
It appearsthatduringthepasttwentyyearspitch-classsetanalysishas become
quite widelyaccepted, particularlyin the United States. Indeed, a recent
observerhas describedthistypeofanalyticaltheoryas 'normal'.'Althoughitis
not possible to determinewhetherthis is a fairassessment,pitch-classset
analysisdoes seemto be more'normal'now thanit was fifteen yearsago. This
positive view was not alwayswidelyrepresented, nor is the pitch-classset
theoreticapproachuniversally accepted, as will be evident when I quote from
reviewsof TheStructure ofAtonal
Music and The Harmonic OrganizationofThe
RiteofSpringlateron.2
AlthoughI am wellawareofthecontributions ofotherstothisgeneralareaof
musicresearch,I willrestrict myremarkshereprimarily tomyownworkandto
workcloselyrelatedto it. In justification
ofthisegocentric but,I trust,notself-
servingposition,I remindyou thatI have been describedon occasionas a
'pioneer', a designationwhich conjuresup a vision of Daniel Boone in a
coonskin cap, axe in hand, making his way throughthe wildernessof
Kentucky,ratherthanthatof an academicclad in a T-shirtand seatedat a
typewriter in an air-conditioned
roomin southernConnecticut.
The planofmypaperis as follows.FirstI shalldiscussthescopeand domain
of pitch-classset theoryand analysisand review some interestingrecent
applications.I shallthenexaminesomeofthemajorcriticisms ofpitch-classset
analysisin an effortto clarifyand possiblyrebut. Althoughsome of those
criticismsmayhave lost validity(as indicatedby thevitalityand diversity of
ongoingand recentwork),othersare stillextantand continueto be expressed,
hencedeserveseriousconsideration.In conclusionI shalldo someanalysisin
connectionwitha discussionofproblemsofsegmentation in atonalmusic.And
finally,I shalloutlinewhatI see as interestingfutureprospectsforpitch-class
setanalyticaltechniques.
TheScopeandDomainofPitch-ClassSetAnalysis
In confronting
thequestionofthescopeand domainofpitch-classsetanalysis,
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Ex. 1
Miialige 2) rit.-
W"- _ m N.IN,,
An i
I{'.
-
? jI'
-
,I, . . . . FE L
" i i i i
i.19
Used bypermission
ofBelmontMusicPublishers,
Los Angeles,California
90049
Motive a (b.1)
6-5: (8,9,0, I,2,3}
16: {8,9,1,3)
Db A Eb/Ab D C Eb Db
F F
D D
7-/z18: 5,8,9
{0,, ,2,3,
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PITCH-CLASS SET ANALYSIS TODAY
Ex. 1-cont.
7I4p
ofBelmontMusicPublishers,
Used bypermission 90049
Los Angeles,California
4-16: {8,9,1,3}
A B D C# C
F# A [G# A Eb Db
E Eb F
Bb G D
4-Z15
t 4-16
t 4-16
t 4-16
7-Z18: {0,1,2,3,5,8,9}
1985
MUSIC ANALYSIS 4:1/2, 31
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ALLEN FORTE
withitstwothemes
section, ormotives, atthebeginning,
right
exposed
whichhavea closeconnection
tooneanother.
Theymaybereferred
toasa
andb.7
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PITCH-CLASS SET ANALYSIS TODAY
Ex. 2
pp cresc..
PT1
44 45f iti
X
WW, I SLW I
Iw
I
--I - -1L
rT.-1 -M-
W'L.
....... ,AIId-- :A
AO'FII
f
ff
Used by permissionof BelmontMusic Publishers,Los Angeles, California90049
5-218: {7,8,11,0,21
G C B G# D DG# C# C A Eb Eb A D C# A# E E
F# B Bb G C# C# G C B G# D D G# C#
5-Z18: {6,7,10,11,11
6-16:{11,1,2,3,6,7}
C# F# D G G
B G Eb Cb E/C F Db A
D F i/ F# G F#
F#
Bb
(Motive b)
4-Z15:
6-5: {0,1,4,5,6,7} {4,6,9,10}
6-5:{11,0,3,4,5,6)
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ALLEN FORTE
RecentApplications
As I have just suggested,recentapplicationsof pitch-classset theoryand
analysisarehighlydiversified, rangingovera widefieldofresearchactivities.I
shalldiscuss,briefly,severalofthese.
Martha Hyde's recentdetailed study providesa radicallynew view of
Schoenberg'stwelve-tonemusic, dealing with the supposed anomaliesand
criticizedby earlierwriters.Amongotherachievements,Hyde
irregularities
shows'how Schoenberguses theharmoniesofthebasicsettointegrate two-or-
more simultaneousdimensionsof harmonicstructure'.o?In analysingthe
harmoniesof the basic set and the music fromwhichit is derived,she uses
pitch-classsetnomenclature and definedrelationsto demonstrate thatSchoen-
bergincorporated many ofhis atonalproceduresintohis twelve-tone musicin
specificways.In theprocess,sheprovidesa detailedand convincing exegesisof
Schoenberg'stwoimportantwritings,'CompositionwithTwelve Tones' and
'Vortrag/12TK/Princeton'.II
Workingwitha somewhatdifferent musical repertory, JeffPressing,an
Americancomposer,jazz pianistand ethnomusicologist livingin Bundoora,
Australia,has writtenan extremely essayentitled'Pitch-ClassSet
interesting
Structuresin ContemporaryJazz', which presentsextensiveanalysesand
theoreticalmaterialon such familiarworksas Thad Jones's'Big Dipper' and
JohnMcLaughlin's 'The Dance of Maya'.12 Also somewhatunexpectedwas
thepaperwhichAlanChapmandeliveredat therecentYale Conference on the
Music of Kurt Weill (Autumn1983), whichimpressively demonstrated the
relevanceofpitch-classsetstothemusicofthatcomposer,relatinghischoiceof
harmonicmaterialsto the music of the avant-gardecomposersof his time,
notablyto thatofSchoenberg.'3
One ofthefinestoftherecentstudiestoemploypitch-classsetanalysisis Paul
Wilson's as yet unpublishedwork on music fromBart6k'smiddle period,
1908-1922, with concentrationon the Three Etudes for Piano, Op. 18,
completedin 1918,and theImprovisations on HungarianPeasantSongs,Op.
20, completedin 1920. The studybeginswiththefollowing statement:
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PITCH-CLASS SET ANALYSIS TODAY
To a ratherlargeextent,Debussy'smusic(ofwhich'Brouillards' maybe
consideredtypical)reveals,in its pitchresources, combinations
which
exhibitcharacteristics
lyingbeyondtraditionalnotions ofharmony,voice-
leading,anda referential
toneandsonority (tonic).'9
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[The]bookis ofcapitalimportance
becauseit provides
thelong-awaited
meanswithwhichStravinsky's
analytical harmonic systemcanbe under-
stood and at the same timethrowsnew lighton his mind, showing,for
instance, that what seemed to be most immediatewas often most
reflective.24
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PITCH-CLASS SET ANALYSIS TODAY
Ex. 3
W.
W.
Tpt t
t
4-18:L2,3,6,91 4-7:[11,0,3,4] 4-17:.11,2,3,63 4-7
4-18. 9 10
1,43 4-18: 10,i1,2,514-8:t6,7,11,01(4-18)
B Used by permission.
copyright1978 by Yale University.
8 tp. .t.
BI V I Vv II)
v7V
B:I G:i _T V (VII)
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conjunctionwithSchenkerianor quasi-Schenkerianlinearmethods.JamesM.
Bakerhasprovideda convincingand originalinstanceofthistypeofworkin his
article,'Schenkerian andPost-Tonal
Analysis Music',in whichhe setsforth
cogentcriteriaforexecutingan analysisof thistypeand thenillustrateshis
viewsin a studyofa latetonalworkbyAlexanderScriabin,entitled'Enigme'.
Bakerconcludesbysaying:
Although'Enigme'... constitutesperhapsScriabin's
furthest
extensionof
implicit
tonalityin themusicofhis transitional
period(1903-1910),tonal
forces
arenevertheless inlargepartfortheoverallcoherence
responsible of
the work.At the same time,the retention of whole-tone elements
in theprolongation
participates of thedominant function, whileother
nontonal in
relationships,particularthosebased on complementation,are
importantinestablishing
structural
bondsbetween thecontrastingsections
ofthepiece.25
SomeCriticalViewsofPitch-class
SetAnalysis
Since it firstappeared on the scene in 1964,26 and, in particular,since the
publicationof TheStructure ofAtonalMusicin 1973,unorderedpitch-classset
analysis has received a good deal of criticalattention,perhapsmorethanit
needed, I havefelton several occasions.I wouldnowliketoreviewsomeofthat
criticism,excluding from this briefsurveythe detailedessaysby Benjamin,
Browneand Regener,notbecausetheyare unworthy of seriousconsideration
- farfromit- butbecausetheyarenotreviewsin theusualsense,butarticles
thatused TheStructure ofAtonalMusicin largepartas a pointofdeparturefor
presentation of the authors' ownideas.27In thecourseofthisreviewI hope to
touch on certainissues of a generalnature,issues involvingcontemporary
theoryand analysis which transcendthe immediateobject of attention,
unorderedpitch-classsetanalysis.
Pitch-classsetanalysishas been criticizedas beingtoo abstract,too formal.
An important case in pointis thesetofsetsknownas the'Z-collections'.It will
be recalledthattwopitch-classsetsin theZ relationhavethesametotalinterval
content,butarenotrelatedbytransposition or inversion.Each memberofthe
pairis calledthe'Z-correspondent' oftheother.Whyis itnecessarytomakethe
distinctionbetweenthe membersof such pairs,whentheyare intervallically
equivalent?One outragedcommentatorhas even described such sets as
'... specialtiesof the music theorydepartmentof Yale University',in an
apparenteffortto banish these sets foreverto the Arcadia of Southern
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PITCH-CLASS SET ANALYSIS TODAY
Thatthe'z-relationship' thetwohexadsofthetonerow
[sic]existsbetween
ofSchoenberg'sThirdQuartet doesnotimplyanawareness ofthisproperty
on thecomposer's is present
part,sincethisrelationship between thetwo
hexadsofeverytwelve-tonecollection[myemphasis].3o
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PITCH-CLASS SET ANALYSIS TODAY
thusroughly
Atonality delimits a widerangeof compositionalpractices
whoseonlyfeaturesare the absenceof thenormative and interrelated
andofthebasicconcept
oftonality
procedures tobe
Itremains
ofserialism.
seentowhatextent
atonality musicalcategory.35
is a usefulorrelevant
approachto 'atonality'
Ananalytical [i.e.,notas does
shouldbeginrather
The Structureof AtonalMusic] by acceptinga wide rangeof interacting
functionsin an oeuvre where traditionand innovationare inextricably
interwovenand whereemphasislies as muchon theexploration
ofnew
as ontheirorganization.37
resources
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ALLEN FORTE
pronetoirritation:
The authorofthisstudyis extremely
It is alsoirritating
toreadtheworkofreputable theorists
[i.e.,Perleand
Forte]whodo notbother todiscussstructural
relations
andfunctioningin
Opus 11eventhough theyabstract
variousnotesets.
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PITCH-CLASS SET ANALYSIS TODAY
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Ex. 4
A
G G# Ab A A# Bb B C C# Db D D# Eb E IF F# Gb
bl
1 #1 b2 2 #2 -3 +3 4 #4 b5 5 #5I -6 +617 #7
+32 1 27 7 6 +61
I
rfP s3p 3
...... . ?' 5 2
,I ' ' ,1I ' -
"2 2
--
G: (Vof V) IVor II 1
V I
N
7 2
0 P-2 5
B G# G A F EE PG G
B DbG C Bb B r B
F A I D F#A A# B
Bb Bb G# G#
ingtothemusicnotation,withpitch-classsetcomponents indicatedbyboxesto
whichare attachedsetnames.Perhapsthemostbasic difference betweenthis
readingand the tonal readingis the way in whichthe music is segmented.
Instead of followingthe bar-by-barsegmentationof the tonal reading,this
44 1985
MUSIC ANALYSIS 4:1/2,
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ALLEN FORTE
neverpresentedthehexachordin itsliteralform.
I submitthatthepitch-classset reading(whichshowsonlyone levelof set
structureand is notintendedtobe a 'finished'analysis)is complete,inthesense
thatno pitchcomponentsare omitted,and consistent, in thesensethatad hoc
methodswerenotbroughtintoplay.It also observesthecriterion oftestability,
sinceanytrainedanalystusingpitch-classsetproceduresin theentirepiecewill
comeup withresultssimilarto thosepresentedhere.
To continuewithmy survey,I notethatsome observershave feltthatthe
proceduresofpitch-classset analysisare too mechanicaland theconceptstoo
complex.While I agree,in principle,thatan analysisshould not be overly
complicatedin itseffortto elucidatethemusic,I findit difficultto understand
objectionsto elementary theoreticalstatements thatare requiredforanalytical
work.Considerthefollowing excerpt:
Notcontenttoregardmusicas onlythatwhichisnotatable,
Professor
Forte
further
reducesthefieldofhisinvestigations
toa gritty ofnotesfrom
deposit
whichinstrumentation,accentuation,
rhythm,tessitura,
tempo,dynamic,
evensequencehavebeenboiledaway.43
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PITCH-CLASS SET ANALYSIS TODAY
Concluding Remarks
Where,then,does unorderedpitch-classsetanalysisstandtoday?Have all the
negativeopinionsbeen laid to rest?Does nothingremainto be done? I have
alreadysuggestedmygeneralresponsesto thesequestionsat severalpointsin
the foregoingdiscussion.More specifically, in answerto the firstof these
questions,it is clearthatalthoughpitch-classsetanalysishas beenutilizedin a
varietyof fruitful waysby a numberof different individuals,thereare those
whohaveabsolutelyno use foritwhatsoever, forvariousreasons.
If one seeksa generalreasonfortheexplicitly negativeresponses,however,
thereis a threadthatrunsthroughthem,a misperception thatresultsfromthe
failureto disengage theoryfrom analysis in an appropriateway and at
appropriatemoments.A dichotomythatseemsto me to be basicin thisarea of
musicresearch,and one thatI willexpressin thesimplestterms,is this:Music
theoryis abstract;musicanalysisis concrete.The powerofa theoryresidesin
itsabilitytoprovidea generalbackgroundagainstwhichan analyticalstatement
maybe measured.Whilea theorymaysuggesta rangeofsignificant analytical
interpretations at variouslevelsof structure,includingthe level of minutest
detail,it muststillpreserveitsgenerality and itsaloofnessfromanyparticular
musicalexpression.Much of the criticismof pitch-classset analysisis based
upon a confusionofthesetwofacetsofthestudyofmusicalstructure, theone
theoretical, theotheranalytical.Evenat thesimplestleveltheprogression from
to
theory analysis has sometimes been ignored. One reviewer of TheStructureof
AtonalMusic,forexample,complained:'The "name" stilltellsnothingabout
thesetexceptitssize and itspositionon a list.That's acceptabletoa computer,
perhaps'.44Of course- thederogatory reference to 'a computer'quiteaside-
setnamesweredeliberately designedto be abstractand neutral.Nothingcould
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havebeenworsethantohaveburdenedsetnameswithdescriptors ofparticular
attributes,such as indications ofspecialsubsets theymightcontain,a strategy
thathas oftenbeenadopted.45
In goingfromabstracttheoryto theparticulars ofanalysis,theanalystmust
decide preciselyhow much of the theoreticalapparatusto applyand how to
interpretitso thatitfitstheimmediatemusicalsituation.Clearly,thisdepends
upon individual judgement.I mightdecide to stresscomplement-related
hexachords, as in myanalysisof the openingof Schoenberg'sOp. 11, No. 1,
presentedearlier, since I knowthatthisfeatureis important throughthemusic
in a varietyof ways thathave to do directlywiththe surfacecomponents.
Anotheranalystusingpitch-classsetmethodswoulddiscovermanyofthesame
structures but mightdecide at some pointnot to emphasisethe complement
relationor to deal with sets of magnitudessmallerthan six. Still another
approach- say, via the conceptof the 'basic cell' - mightyield totally
differentresults,perhaps not involvingthe hexachordas a set at all. The
evaluationofsuch'alternative' analyses,is, ofcourse,a matterforprofessional
and
cogitation judgment.
I would now like to deal with some importantresidual considerations,
includingproblemsin pitch-classset analysis- or, moreprecisely,problems
raisedbypitch-classsetanalysis- and possiblenewdirections, in responseto
thequestionI raisedaboveas towhetherthereremainsworkto be done.
First,I would like to deal withthegeneralproblemof theinterpretation of
analytical results obtained byperforming certain basic in
operations pitch-class
setanalysis,in particular,theoperationofsetidentification.
Set identification, simpleas it appearsto be, usuallyengagesa numberof
morecomplexanalyticaldecisions,primarily in thedomainof segmentation:
thedetermination ofthosemusicalunitsthatare to be regardedas structural.
Thus, in the analyticalprocess set identificationand segmentationare
inevitablyintertwined. Generalrules of segmentation are hard to come by,
althoughguidelines, based upon experience with the music of a particular
are
composer, always availableto thehardened analyst.PerhapsSchoenberg's
atonalmusicstilloffersthemostdifficult cases.
A briefexcerptfromthefirst pieceofPierrotlunairewillservetoillustrate this
point(Ex. 5a). Ex. 5b an
(p. 50) provides analysis based upon the notion ofbasic
cell, a pitch-interval unit which servesin a motiviccapacityand in other
capacitiesin theworkto provideunityand continuity.46 Thus, thefirstbasic
cell, markedb.c.a, is theaugmentedtriadin thepiano configuration whichis
repeated four times in the opening music. Basic cellb (b.c.b) is the ostinato-like
dyad F#-D#played by the violin.47 Basic cells largerthan the dyad or
trichord arelabelledtetradson Ex. 5b. For instance,thefirstofthese,tetrada,
comprisesthelast fournotesin the seven-notepiano figure(7-28). Withthe
entranceoftheflutein b. 3 on A, basic cell b, theminorthird,is now doubly
represented,while the succession consistingof basic cell a and tetrada
continuesbeneathit in the piano part. The tail of the fluteline in bs 4-5
incorporatesbasic cell b as A-F4(-A). The trichordhere is basic cell c,
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PITCH-CLASS SET ANALYSIS TODAY
Ex.5a
Flare.
/.Bewoo
*4 . .........
Geige.
ase
__
Bewegt(JL --C=F
Suit Dlmpter
Violo 1P _ _ _ _
-ell.t
.
A _. -
sReitation.
AM
am I I I
-
li I V- I I..
xfe
-
IlI !_
I,
dr M Wo
- - pa
i- " "ie, -
n"ht - "ond
IIJL A,?"
"IBM
G. Ii
IN L M', "L -
i
Used bypermission
ofBelmontMusicPublishers,
Los Angeles,California
90049
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ALLEN FORTE
Ex. 5b
Fl.
b.c.b* (b.c.b)
Pno. G# E C 1D Bb C# GIG# E CI iD Bb C# G
b.c.c b.c.c
b.c.b ib.c.b
Fl. A A A iBbA F#
Vn. F# D# F# F# D# F#
b.c.c b.c.c
b.c.b b.c.a b.c.b tetrad d
Fl. A C C C# B F#l
Vn. Ab G EI D# F# D
Pno. G# F# AG# E D# F E F Db C D Bb C# G
# E D# /
b.c.b
b.c.c
Lb.c.d
tetrad b tetradbc c tetrad a
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PITCH-CLASS SET ANALYSIS TODAY
Ex.5c
Fl. 6-21
6-21 6-217 6-Z44
/6-21 6-z17
Vn. F# D# F# F# D# F#
Pno. GL E C D Bb # G G#E C D b C# G
6-Z36
6-Z36 6-Z36
Fl. A A Bb A F#
Vn. F# D# F# F# D# F#
Pno. G# E C D Bb C# G G# E C D Bb C# G
(6-21) (6-21)
6-Z43 6 Z17*
Vn. Ab G =F# D# F# D c]
Pno. D-E
F#A G# #Fie F DbC D 1b C#G
63 6-Z3
G F# E
D#D
6- 3 6-Z3
6-Z10 *6-Z17 follows
in flute
1985
MUSIC ANALYSIS 4:1/2, 51
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PITCH-CLASS SET ANALYSIS TODAY
theotherhexachordsinthemovement - becomeclearinthesubsequentmusic.
Whereasthe basic cell analysisshownin Ex. 5b was developedin a light-
hearted,spontaneousand 'contextual'manner,theanalysisshownin Ex. 5c is
aboutas spontaneousas a cookinglessonon television,in whichtheinstructor
shows,stepbystep,theingredients andcombinations, knowingfullwellthatthe
completed dish is in
safely the ovenand ready tobe photographed attheendofthe
programme. In a similar the
way, reading of the setsin Ex. 5c is conditioned bya
detailedcompletedanalysisoftheentiremovement, presentation of which inthis
settingwould most certainly result
in massive indigestion. I will say,however,
thatthemovementis based upon exactlysixhexachords- notan insignificant
numberin Schoenberg'scase - togetherwiththeircomplements.49 Of these,
twoofthemostimportant aregivenintheopeningmusic:the'almostwhole-tone'
hexachord6-21 and the 'almostchromatic'hexachords6-Z3 and 6-Z36. The
sixthhexachord,6-Z 13,incidentally, does notappearuntilb. 8, whereitis the
basis of the canon there.As will be obviousnow, segmentation in Ex. 5c is
strongly determined by repeated occurrences of these six fundamental
hexachords.A segmentationof this kind, which seems to be especially
appropriatein the case of Schoenberg'satonalmusic,but may be applicable
elsewhere,may be termeda 'top-down'segmentation, as distinctfromthe
'bottom-up'segmentation illustrated
byExample 5b.
It should be clear that the two typesof segmentation are not mutually
exclusive.Ex. 5d illustratesthis: What was called tetrada in the basic cell
Ex. 5d
Vn. i F# D# F# F#
Pno. G# E C D Bb C# G G# E
44-' /4-18
4-18
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ALLEN FORTE
to a relatively
completeanalysis.This examplefocusesupon b. 1, ignoringthe
elaborateoverlappingstructures oftheprevioussegmentations. It dividesthe
seven-note intotwotrichords,
pianofigure thefirst
andthelast,leaving
D inthe
middle,a symmetric positionwhichit occupiedin thetetrachordal analysisin
Ex. 5d as well. In thisreading,D is connectedto therhythmically symmetric
componentbasic cell b (thatis, rhythmically symmetric withrespectto the
seven-notepiano figure)to formbasic cell c. This divisionof the seven-note
piano figurerevealsbasic cell a again in contrastto basic cell b. Here it is
represented twice,becominga 'diminishedtriad',a representative ofsetclass
3-10, to use thejargonofunorderedpitch-classsettheory.
Ex. 5e
Vn. 1 --V
Pno.IG# E C D Bb C# G
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PITCH-CLASS SET ANALYSIS TODAY
Ex.5f
4-
Geige.
E jmit Dmptfer
Violoaeell.
D-.
SBewegt
(Jases)
Resitation.
Bw ( ) Den Weinaden
manmit An.gen trinkt, gielt
Kiavier. pp
o
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Used bypermissionofBelmontMusicPublishers,Los Angeles,California
ic3
ici ic2
6-Z17 in piano
bs 1-2: C# G G# E C D
b.c.a
b.c.b b.c.a
6-Z43 in violin
bs 5-6: b G, F# D#1F# D
/ C
icl ic3 ic2
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ALLEN FORTE
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PITCH-CLASS SET ANALYSIS TODAY
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ALLEN FORTE
This content downloaded from 141.20.212.241 on Fri, 01 May 2015 12:34:01 UTC
All use subject to JSTOR Terms and Conditions