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Non-coinciding Sequences
Author(s): Adam Ricci
Source: Music Theory Spectrum, Vol. 33, No. 2 (Fall 2011), pp. 124-145
Published by: University of California Press on behalf of the Society for Music Theory
Stable URL: http://www.jstor.org/stable/10.1525/mts.2011.33.2.124 .
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Non-coinciding Sequences
adam ricci
This study considers a largely overlooked phenomenon in tonal music, the simultaneous pairing of
two melodic sequences having different intervals of transposition; I term this phenomenon a noncoinciding sequence (in contrast to the more common coinciding sequence). In this essay I develop
a typology of non-coinciding sequences and scrutinize numerous examples of them in art and popular genres. Extending Allen Fortes linear intervallic pattern, which models coinciding sequences, I
group non-coinciding sequences by their configuration, an ordered list of their harmonic intervals,
e.g., <8,10|10,12>. Configurations that permute (with certain restrictions) the same set of harmonic
intervals belong to a single configuration class. I consider excerpts from the music of Rick Astley,
Beethoven, Brahms, Chopin, Dvok, Billy Joel, Nelly, Johann Strauss, Jr., Gwen Stefani, and
Wagner to demonstrate the interaction of non-coinciding sequences with coinciding sequences and
to identify suggestive connections between non-coinciding sequences and double counterpoint.
Keywords: sequence, melodic sequence, harmonic sequence, linear intervallic pattern, coinciding
sequence, non-coinciding sequence, configuration, configuration class, double counterpoint, canon
transposition differ. There is another important distinction between these examples: in the former, all voices in the one-measure pattern are successively transposed down by a third,
generating a harmonic sequence.2 In the latter, however, only
the outer voices are consistently transposed up by step.3 I will
refer to the cases in which at least two simultaneous melodic
sequences are transposed by the same interval as coinciding sequences (CS), regardless of whether or not the sequence involves all voices. This definition is dependent on Allen Fortes
linear intervallic pattern (LIP): while a LIP and a harmonic
sequence often proceed in lockstep, a LIP can persist despite
alterations to a sequence.4
In this essay I concentrate on the relatively unusual case of
two simultaneous melodic sequences that are transposed by different intervalswhat I term a non-coinciding sequence (NCS).
As with CSs, accompanying voices need not contain melodic
sequences. Often NCSs have accompanying sequential harmonic progressions, but sometimes an inner voice prevents the
formation of a repeated pattern of root motions. For instance,
Example 1(e) presents the NCS that closes each strophe of
Brahmss lied Wach auf, mein Hort. Because the outer voices are
I wish to thank Guy Capuzzo, Julian Hook, Bruce Moser, Jonathan Salter,
and Dmitri Tymoczko for their invaluable comments on various drafts of
this paper. I also thank Paul Duvall for his assistance with a mathematical
proof in Appendix B. Earlier versions of this paper were presented at the
annual meetings of Music Theory Southeast, 2628 February 2009, University of Central Florida, and the Society for Music Theory, 29 October
1 November 2009, Montreal, Canada.
1 Example 1(b) may be viewed as consisting of simultaneous melodic sequences as well: the harmonic intervals repeat every three beats, as shown
between the staves, and the two voices as a unit are transposed up by step
every three beats. Aldwell and Schachter (2003, 364) suggest an implied
3 meter here to explain the seemingly incorrect metric placement of the
2
second and fourth 43 suspensions. The third and fourth voices, which
enter in m. 10 and m. 12 (respectively), are omitted from the example.
2 I reserve the term harmonic sequence for this situation only, using Steven
Laitzs term sequential progression (2008, 525) for a repeating series of
root motions without accompanying melodic sequences in every voice.
3 While there is a varied harmonic sequence in the second and third patterns (a
diminished-seventh chord in the third pattern substitutes for the dominantseventh chord of the second pattern), the harmonic functions in the first are
different. A number of melodic sequences involving one or more voices and
the harmonic archetype IV | VI are outlined in Gjerdingen (1986).
4 Forte and Gilbert (1982, 85) write . . . the sequence is a melodic pattern in
a single voice, which is repeated at different transpositions and in immediate succession. . . . Such sequences may occur in connection with a linear
intervallic pattern. . . . However, the melodic sequence is not a necessary
condition for the linear intervallic pattern. The term was introduced in
Forte (1974).
124
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non-coinciding sequences
3
4
(a)
3
4
B :
(b)
3 -2 3
5 -6
+1
I6
6 - d5 4 3 - 2
10
leggiero
2
4
G:
A4
V6
10
3
4
B :
V 43
10
+1
10
+1
I6
vii 65
3- 2 3
5- 6
+1
ii6 V 6 ii
3
10
6
8
6
8
G:
5- 6 6
I6
IV
+1
(e)
I6
iii6
+1
+1
3
4
6 - 5 4 3-2
10
vi
(d)
+1
+1
V 42
5- 6 6 - d5
2
4
(c)
+1
125
8
10
10
vi
iii
+1
ii
12
V4
example 1. Various contexts for melodic sequences (a) Melodic sequence in one voice in Mozart, Piano Sonata No. 4 in Eb Major,
K. 282, II, mm. 14; (b) Successive melodic sequences in J. S. Bach, Fugue in B b Minor, from The Well-Tempered Clavier, Book I,
mm. 612; (c) Simultaneous melodic sequences with the same interval of transposition (with harmonic sequence) in Chopin, tude in Gb Major,
Op. 25, No. 9, mm. 13; (d) Simultaneous melodic sequences with the same interval of transposition (without harmonic sequence)
in Mozart, Fantasy in C Minor, K. 475, mm. 8688; (e) Simultaneous melodic sequences with different intervals of transposition
in Brahms, Wach auf, mein Hort, WoO 33, No. 13, mm. 1415
transposed by different intervals, the harmonic intervals change
from the first pattern to the second.5 NCSs most commonly
contain the outer voices; this fact is not surprising, since their
5 Though it is conventional to label only compound seconds and thirds as
ninths and tenths I label the compound fifth as a twelfth to better indicate
the constant difference between the harmonic intervals in successive patterns. I will similarly convert simple intervals to their compound counterparts (and vice versa) elsewhere in this essay. Since CSs by descending
second are prominently featured in the rest of the song, this NCS can be
heard in a larger sense as a variant of a CS.
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126
example 2. Transformation graph for a coinciding or non-coinciding sequence with pattern cardinality 2
content. The second is to suggest some of the compositional
functions performed by NCSs by surveying examples from both
art and popular genres.
Example 2 formalizes the difference between CSs and NCSs.
It contains two transformation graphs, one each for an upper
voice and lower voice. Arrows designate diatonic pitch transposition up or down m and n steps; if m and n are equal, then a CS
results, and the harmonic intervals in all patterns are identical;
if m and n are unequal, then an NCS results. In the latter instance, the harmonic intervals in successive patterns differ by a
constant, which is equal to the difference between the intervals
of transposition in the upper and lower voice, respectively. 7
7 The lower-case t for diatonic transposition follows Hook (2008) and the
lower-case superscripted p for pitch transposition follows Rahn (1980).
Elsewhere in this essay, I generally omit the t and p for convenience.
That it is pitch transposition is important to remember. While the voiceleading prototype well known in jazz practicein which an upper voice
repeats interval-class 11s and the bass repeats interval-class 5smay seem
to be non-coinciding in the sense that the two voices exclusively feature
different interval classes, it is in fact a coinciding sequence. Since the upper
voice descends by half-step and the bass proceeds by alternating ascending
fourths and descending fifths, the voices cohere into a pattern that is pitch
transposed down by major seconds. Non-correspondence between the
shortest unique series of root motions and the cardinality of the pattern
also does not constitute non-coincidence in the sense meant here. For example, root motion by descending fifth can accommodate harmonic sequence patterns of length two or three; the former is the sequence
commonly known as descending fifths, while the latter, which features
smooth voice leading throughout, can be found in the music of Chopin and
Schubert. See Ricci (2002, 49) for a formalization of the relationship
Returning to Example 1(e), we can see why the harmonic intervals increase by two steps from the first pattern to the second:
since the upper voice is transposed up by step (i.e., m = 1) and
the lower voice is transposed down by step (i.e., n = 1), the
harmonic intervals of the first pattern are augmented by two
steps in the second (k = m n = 1 (1) = 2).8
The model in Example 2 shows two pitches in each pattern
and two patterns in total. What are the limits on the cardinality
of the pattern and that of the sequence? With respect to harmonic sequences, there is an inverse relationship between the
two: short patterns are likely to be subjected to more repetitions,
whereas long patterns tend to be repeated fewer times. Various
theorists have placed restrictions on the length of the pattern
between the shortest unique series of root motions and the cardinality of
the pattern; for examples of the ascending-third sequence with parsimonious voice leading between descending-fifth-related triads, see Chopins
Nocturne in G Major, Op. 37, No. 2, mm. 79, and the first movement of
Schuberts Piano Sonata in B b Major, D. 960, I, mm. 16572. Example 2
is suggestive of Klumpenhouwer networks: it models dual transposition,
which ODonnell (1998) and Buchler (2007) show to be equivalent to a
strongly isographic K-net. Replacing the dotted lines with I-arrows would
result in two K-nets, one for each pattern. Only in the case of an NCS
(when m n) would the two networks interrelate members of different
set classes.
8 The harmonic-interval-difference series will prove useful in connection
with Example 7 and the associated proofs in Appendix A. The algebraic
approach in this paperincluding in particular the relating of melodic
and harmonic intervalshas important precedents in Taneyev (1962) and
Roeder (1989).
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non-coinciding sequences
and the length of the sequence. Most harmonic sequences contain at least three patterns; indeed, many scholars have suggested a three-pattern minimum. Walter Pistons definition of a
sequence explains the reason behind this mandate: It is generally agreed that a single transposition of a pattern does not constitute a full sequence . . . [rather,] three separate appearances . . .
are necessary to show that the transposition interval is consistent
(italics mine).9 The requirement seems to be predicated on perception: after two patterns, the listener may ask, Was that a
sequence?; only upon the arrival of the third pattern can she
answer, Yes, it is indeed a sequence. Mark DeVoto proposes
the term half-sequence for situations in which only two patterns appear,10 while Daniel Harrison prefers pattern transposition.11 The norm for harmonic sequences is three patterns;
however, I consider two patterns to be sufficient to define an
NCS. Because there are a limited number of consonant harmonic intervals, and since the harmonic intervals of an NCS
change from pattern to pattern, two-pattern examples are the
rule. NCSs that incorporate more than two patterns almost always include dissonant harmonic intervals, whichdue to
norms of dissonance treatment in tonal musiclimit their viability. This scenario necessarily lends NCSs a certain fragility:
they are not as likely to proceed beyond a second pattern as are
CSs. But because many of the examples to be discussed here are
either repeated (i.e., the entire NCS is repeated) or combined
with CSsand because the patterns are often sufficiently elaborated, making them seem longer and more substantialI believe it makes sense to speak of these objects as sequences. In
short, they sound enough like sequences to be referred to as such.
With regard to the content of a harmonic sequences pattern,
many theorists have specified a minimum cardinality of two. For
example, Richard Bass defines a pattern . . . [as] consist[ing] of
a minimum of two different harmonies, because passages consisting of a single harmonic construction used at different transpositional levels (e.g., parallel six-three triads or diminished
seventh chords) are not inherently sequential,12 and he cites
Arnold Schoenbergs work as a precedent for this view.13 As I
have contended in previous work, I believe it is the absence of
motion within the pattern as distinct from motion from pattern
to pattern that motivates this stance: adjacent chords in such
sequences are related by pitch transposition, entailing parallel
motion in all voices.14 By definition, NCSs with one-chord
patterns are not hampered by parallel motion, but the lack
thereof makes NCSs with one-chord patterns sound even less
like sequences.15
9 Piston (1987, 317).
10 The term half-sequence first appears in the fourth edition of Pistons
Harmony (1978), the first one to be edited by DeVoto.
11 Harrison (2003, 226).
12 Bass (1996, 266).
13 Schoenberg (1978, 283).
14 Ricci (2002, 13); Ricci (2004, 5).
15 Furthermore, the lack of any motion within the pattern means that such
NCSs must contain at least three patterns; otherwise any succession of two
harmonic intervals would constitute an NCS.
127
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128
(b)
8
3
G:
6
1
IV
ii6
3
5
V
1
3
I
5
3
1
I
(c) (rare)
1
6
3
IV
ii6
7
5
3
V (7)
3
8
5
I
+2
IV
ii6
V
I
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non-coinciding sequences
(a) piano reduction
34
34
C:
ii6
129
V7
(c) background reduction
3
1
6
3
5
3
8
5
example 4. Johann Strauss, Jr., Emperor Waltz, Op. 437, mm. 9299
(a) reduction
Violin
Piano (L.H.)
188
189
+1
10
10
+2
190
C 5
+2
+7
F5
E5
10
10
D4
C 4
E4
2
example 5. Beethoven, Violin Sonata in A Minor, Op. 23, II, mm. 18890
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130
3
4
3
4
C:
ii
IN
V6
3 6
ii 6
+1
6 (d)5 3
10
IN
V6
+1
IV 6
(P)
7
; V
V7
10
V6
10
example 6. Johann Strauss, Jr., Emperor Waltz, Op. 437, mm. 23138
the double-counterpoint segment and NCS pattern have different cardinalitiesand in particular when these cardinalities are
different but proximatea rich interaction between the two
structures results. Example 6 illustrates a much-elaborated realization of configuration class [3,3|6,6]. The pattern is four measures in length and elaborated with incomplete neighbors,
passing tones, and arpeggiation. The surface-level incomplete
neighbors (INs) are circled and labeled on the piano reduction
in Example 6(a). As can be seen more clearly in the middleground reduction in Example 6(b), the C5 and B4 in the upper
voice of the first pattern are passing in terms of the underlying
ii6 harmony; in the second pattern, the As in both voices are
passing in light of the underlying V harmony, and the F4 forms
a passing chordal seventh.24 Example 6(c) takes the beginning
and endpoints of each pattern as the structural template. This
first-species model realizes the same configuration as m. 189 of
the Beethoven violin sonata (Example 5[b]), but it features both
24 It is easy to see why there are no passing tones in the bass in the first pattern: the first passing tone would result in a dissonant fourth, the harmonic
meaning of which would be unclear. (It would be possible to place both the
G2 and A2 on the third beat, although that would force an interruption of
the accompaniment pattern.) At the same time, the omission of these embellishments points the way to a first-species model: the bass in the first
pattern is functionally a cantus firmus.
different melodic intervals within the pattern and distinct intervals of transposition in the two voices. While the Strauss excerpt contains much more of the rhetoric of a sequencegiven
the greater duration of the patternthe structural parallels between the two are significant. Ultimately most of the NCSs I
analyze in this study fall midway between the Beethoven and
Strauss examples in terms of their complexity.25
Thus far, I have presented two cases in which the same configuration has been exemplified by different combinations of
melodic intervals and/or intervals of transposition: the first
drawn from the Brahms lied (Example 1[e]) and the initial
excerpt from Strausss Emperor Waltz (Example 4[c], bass
plus alto), and the second from the Beethoven violin sonata
(Example 5[b]) and the second excerpt from the Emperor
Waltz (Example 6[c]). I use the term realization to indicate
the particular way in which a configuration is fleshed out; each
realization is defined by its melodic intervals. Example 7 lists
the twenty-five first-species realizations of configuration
25 The Beethoven excerpt is also chronologically the earliest under discussion,
so it is unsurprising that it fits only nominally into this study. As with other
innovations in sequence practiceamong which were the gradual lengthening of the pattern and the rise of motivic alterations to patterns (on this
see Bass [1996])NCSs (other than sequential settings of the double voice
exchange) seem to have originated in the nineteenth century.
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non-coinciding sequences
1.
t1
t6
6.
t6
t4
t1
16.
t5
t3
21.
t4
t2
7.
12.
3.
8.
17.
22.
13.
18.
Example 3(c)
Example 3(a)
invariant
11.
t3
2.
23.
4.
5.
10.
14.
19.
24.
4c & 3b
Examples
15.
Example 1(e)
Examples 12 & 13
9.
131
20.
25.
example 7. The twenty-five pairs of melodic sequences that realize the configuration <1,3|3,5>
Transformations to the left indicate the (diatonic) interval of transposition for each staff
Double-sided arrows join non-coinciding sequences that are related by retrogression, transposition, and exchange of upper and lower voices
<1,3|3,5>.26 Each row contains the realizations that pair the
same intervals of transposition; for example, row 1 contains
upper-voice patterns joined by t1 and lower-voice patterns
joined by t6.27 Each column contains realizations having the
same melodic intervals within the pattern.28 Realizations of
the other configurations in the same configuration class can be
understood from this example by reading the given realizations:
26 For convenience, all realizations are represented without accidentals and
starting on C in both voices. Harmonic and vertical tritones should thus
not be taken at face value; realizations can of course be transported to different locations within the scale.
27 Nota bene: tn indicates pitch-class transposition within the diatonic scale;
in the realizations in Row 3, for example, the upper voices are pitch-transposed up by three steps or down by fourin both cases corresponding to
ordered pitch-class interval 3, mod 7.
28 Since melodic unisons within the pattern imply second species, realizations
incorporating them are omitted from the table; a melodic unison in one
voice corresponds to a non-unison in the other, so there are five realizations
MTS3302_02.indd 131
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132
Voice
Bass
1., 3. No
mat - ter what
2., 4. E - ven when Im with
I
my
ii9
d:
iv
do,
boo,
you.
you.
iii7
vi
VII
All I think
a - bout
is
Boy ya know Im cra - zy o - ver
F:
+1
the other and the track fades out at the end, without resolving
to any defining chord.32
The same first-species realization of <9,5|7,3> is found in
Rick Astleys Never Gonna Give You Up (1987); because it
employs the same scalar collection relative to the NCS, the same
dual-tonal interpretation applies. In Astleys song, however, the
NCS combines with a CS (see the transcription in Example
9[a]). In the first half of the chorus, the strings and bass articulate a <7,5|7,5> CS that ascends by step, while the voice sings a
sequence that descends by step. I view the NCS between voice
and bass as primary and therefore include only those parts in
the first-species model in Example 9(b). The first half of the
chorus realizes configuration <9,5|7,3>; the basss sequence is
repeated in the second half of the chorus, while the vocal line
descends by step once more. The expected continued descent
shown in the ossia staffis interrupted in the final measure of
the chorus, resulting in a CS in the third and fourth measures.
This passage thus suggests the possibility of an NCS containing
three patterns: <9,5|7,3|5,1>.33 Such a continuation, with its
melodic resolution to B b , would have tilted the tonal interpretation toward B b minor. Unusually, the CS acts as an alteration to
the NCS rather than vice versa.34 Such an alteration suits the
32 The lack of a leading tone is characteristic of many popular-music styles.
See Everett (2008, 15660) for a sampling of pop-rock songs in various
modes. The song on which the chorus of Dilemma is based, Patti LaBelles Love, Need and Want You (1983), lacks the lower-voice melodic
sequence; in its place is a pedal point on the dominant that (in combination
with a cadence elsewhere in the song) clearly establishes major mode.
33 Due to the repetition of the same pitches in the bass line, a realization of
the ossia staff would have produced two NCSs: <9,5|7,3> followed by
<7,3|5,1>.
34 Examples 12 and 13 feature NCSs as adjustments to CSs.
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non-coinciding sequences
(a) transcription
Voice
Strings
Bass
(reduced)
2nd time:
8
133
7
ii9
b :
iv
D :
up,
cry,
iii7
VII
vi
ii7
iv
you.
you.
iii7
vi 7
VII
i7
Voice
Bass
8
3
+1
0
narrators purpose: the ascending melodic sequence in the second half of the chorus better portrays his insistence on his commitment to his beloved than does the descending sequence in
the ossia part.35
Example 10 presents an excerpt from Billy Joels James
(1976) which, like Never Gonna Give You Up, suggests but
does not quite realize a three-pattern NCS.36 Walter Everett
summarizes the songs narrative as follows:
motivic and rhythmic content as well. These measures are tonally salient because of their chromaticism and pitch content:
while much of the song reiterates the diatonic descending-fifths
progression dgCF, these measures outline a chromatic
descending-fifths progression, FBbEA, which contains the
aggregate-completing G #.38 As Example 10(b) shows, these
measures articulate configuration <7,3|9,5>, retrograding the
patterns of the configuration found in the two previous songs.
The vertical arrows indicate the way in which the vocal part outlines a compound melody moving from an outer to inner voice
and back within each of these patterns; the motion from B b to D
is completed by an ascending stepwise line in the Fender Rhodes
part (shown in small noteheads in Example 10[a]).39
The end of the verse sows the seeds for the NCS; the cadence contains the previous pattern in the bass (GC) and the
second pitch of the upper voices pattern (C). The upper-voice
35 Since the same musicwithout the voice partoccurs as the songs introduction, the voice part in the chorus in this larger context is grafted onto an
underlying CS.
36 The transcription notates the rhythm of the first verse, which is varied
slightly in subsequent verses; the pitch material remains the same but for
the substitution of G for B n in m. 1, beat 4, in some verses.
37 Everett (2000, 119).
38 See Baker (1993) and Burnett and ODonnell (1996) regarding the structural role of aggregate completion in tonal music.
39 Everett (2000, 12021) interprets the passage differently as a <7,8|9,10>
succession which, from the standpoint of my interpretation, conflates two
different voices. He also views it as structurally 78, 78, but varied by the
raising of the vocal part into a temporary descant role for an emphatic
910.
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134
Voice
Bass
4
4
8
1. And we had to go
2., 5. Will you ev - er write
3. Some- one el - se's dream
4
4
F:
P6
ii9
V7
24
24
44
1., 4.
2.
3., 5.
I went on
Are you still
Do whats good
44
d:
( )
8
+1
+1
[Fender Rhodes]
IV
VI
V9
an e - du - ca - tion.
to ex - pec - ta - tions?
for a - ny - bo - dy.
V
V7
the road,
in school,
for you
example 10. Billy Joel, James (1976), end of verse plus transition
MTS3302_02.indd 134
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non-coinciding sequences
=
4x
4
4
Voice
Guitar
Bass
4
4
4
4
b :
4x
Woo
135
+2
- hoo
10
III
yee
- hoo
+3
9
IV (9)
VI(7)
example 11. Gwen Stefani (featuring Akon), The Sweet Escape (2006), opening vamp and non-coinciding sequence
Example 12 presents my analysis of a sentential structure
from the Prelude to Wagners Parsifal featuring multiple transpositions of the Faith motive. Example 12(a) reproduces a durational reduction and harmonic analysis of mm. 4555 by
David Lewin.44 In its entirety this passage modulates from A b
major to E b minor by way of a CS with alterations: its first pattern (mm. 4547) moves from I to V in A b major, while its
second pattern (mm. 4850) transposes the first up a minor
third to C b major; its third pattern (mm. 5155) begins as a
minor-third transposition of its second pattern to E bb major.
Lewins analysis, which appears within the context of a study of
the incommensurability of Stufen-space and Riemann-space,
shows that there is no structural enharmonicism in this passage:
he represents the third pattern as modulating from E bb major to
E b major, arguing that Wagners notation of E bb major as D
major is largely a matter of notational convenience.45 Example
12(b), my reduction and analysis of the third pattern, employs
the notationally more-expedient D major and continues in D #
minor so as not to imply an enharmonic modulation. This
phrase, itself a sentence structure, begins with a CS, but continues with two overlapping NCSs, the models of which are notated on the ossia staves.46 The phrase as a whole accomplishes
a modulation from D major to D # minor in which both outer
voices descend by a major seventh. At this Preludes tempo, a
CS traversing a seventh would likely be tedious; by enabling
each voice to take a shortcut through the seventh, the alterations help to avoid monotony. The first alteration of the smaller
CS occurs in mm. 5253, when the upper voice continues to
descend by step while the lower voice is transposed down three
steps, producing the NCS represented on the upper ossia staff.47
4 4 Lewin (1984, 348).
45 See also Harrison (2002) for more on notational versus structural enharmonicism.
46 The NCSs here are thus alterations on two levels: both to the smaller-scale
CS beginning in m. 51 and the larger-scale one beginning in m. 45.
47 Murphy (2001) discusses this NCS in terms of a divergence between the upper-voice melodic sequence and Neo-Riemannian transformations relating the
underlying harmonies. This NCS corresponds to Realization 9 in Example 7.
The bass lines downbeat pitches in mm. 5253 imitate the sopranos C # G # (m. 52) in augmentation. In m. 53, the pattern is
expanded by the interpolation of a new chord, one that influences the continuation in the lower voice but not that in the
upper voice. The lower voices pattern in m. 54 deletes the first
pitch of the previous pattern, thus preserving only the melodic
ascending fourth from m. 53, an inversion of the upper voices
intra-pattern interval; the upper voice in m. 54 omits the middle
pitch from m. 53s pattern, thereby returning to the pattern employed in mm. 5152.48 Combining these two elements of the
two voices produces the NCS given on the lower ossia staff. The
unusual and dissonant 115 voice exchange in its first pattern is
transformed by displacement on the musical surface; the dissonant fourth in the second pattern remains, the upper voice functioning as a non-chord tone.
Like the Parsifal passage, the excerpt below from Chopins
Trois Nouvelles tudes, No. 2, also features an NCS within a CS.
The connection between the two excerpts is even closer: the
NCS, which occupies mm. 3334, is T4-related to mm. 5253 of
the Parsifal prelude.49 (Example 13 supplies a reduction of the
passage.) As in the latter, the phrase of which the NCS is a
partmm. 3336constitutes a pattern in a larger-scale CS.
But unlike the Parsifal passage, there is no smaller-scale CS
subjected to alterations. The irregular hexagon in the second
line marks the alterations to the CS; the third line notates the
pitches of an unaltered transposition of mm. 2930. The NCS,
which articulates the configuration <8,10|10,12>, replaces the
tenth and twelfth of m. 29 with an octave and tenth. Relative to
a -transformation of m. 29, the upper voice in m. 33 is
48 One might interpret the lower voice in mm. 5354 as containing a sequence by descending third (i.e., G # F # | E #), with the alteration occurring
in m. 54. But this interpretation is insensitive to the strong expectation
created by the half-diminished seventh chord on the downbeat: in other
words, since the A # dominant is so strongly suggested, it is not likely to be
heard as an alteration. (The seventh of the ii7 is present in the score but
not in my reduction.) The basss stepwise line (G #F #E #) continues to D #
in the following measure.
49 Thus, it also corresponds to Realization 9 in Example 7.
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136
6
4
A : I
48
51
III
C: I
53
55
III
E : I
v ii IV
vi iii
e : iv i ii
iii/
iii
i
(I
(VI
6
4
8
10
64
D:
iii
10
10
3
d:
5
2
4
4
10
(10) 12
10
11
ii 7
V7
iv
11
VI
10
44
i
10
mm. 2829. In addition to recomposing mm. 2832, these alterations intensify the rhetoric of the second pattern by expanding the registral space between the outer voices; at the same
time, however, the alterations increase the harmonic stability of
mm. 3336. Measures 3340 as a whole articulate a progression
in F minori (mm. 3335)iv (m. 36)V (mm. 3740)that
enables a smooth retransition to the opening material in m. 41
in the home key of A b major.
Both of the following excerpts feature a CS nested within an
NCS. They also employ the same sequential progressionroot
motion by ascending (minor) third alternating with root motion
by ascending (perfect) fifthas harmonic substrate. Example
14(a) supplies a durational reduction of a phrase from Dvoks
concert overture Othello.52 The NCS, which occurs in mm. 261
66, interrupts the phrases functional motion. The first three
hypermeasures expand the tonic via two neighbors, 6 and # 2.53
52 I have enharmonically respelled some pitches to better reflect underlying
voice leading.
53 One might view the chord in the second hypermeasure as a common-tone
half-diminished seventh chord (DFAB) spelled enharmonically. (A is
present in the score but not in my reduction.)
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non-coinciding sequences
T p1
2
4
29
10
12
2
4
A :
c
iii
24
33
2
4
f:
with exact
sequence
10
e
B
a:
1
10
10
f
i
+4
12
d
iv
12
e
iv
6
4
5
3
F
V
10
E
V
6
4
a
i
5
3
10
b
iv
3740
C
V
24
10
2
4
d
f
C
137
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138
= 1 measure of 34
4
4
4
4
4
4
D:
62
I 53
253
5
3
43
2 4
4
4
43
24 44
12
4
3
4
6
A
T 3p
iv
T +1p
E
T10
6
G
D
T10
F
24
T 3p
E
II6
[non-coinciding sequence]
p
T 32
4
273
43 24 44
3
4
267
B
Gr+6
V 64
6
mel. intervals: +3
F
A
T 2p
+3
E
G
+3
+3
D
F
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non-coinciding sequences
(a) reduction of mm. 712
9
8
98
iv
B:
ii
V 64
5
3
vla. II
iv ii
vi vii 7 V 64
G:
G:
vla.
(c) Segment 1
9
8
E
VII
Segment 1
10
5
9
8
I6
B:
VI
3
+1
c
ii(?)
V 65
iv
10
F
vii 43
VI
5
3
D
9
8
(b) Segment 2
9
8
vcl.
vcl.
vla. II
Segment 2
Segment 1
139
Segment 1
10
10
Segment 2
5
+5
10
3
3
3
F 5
Mel. intervals: 10
D 4
Mel. intervals:
+2
+2
+2
+2
C 5
E5
B4
D 5
10
10
F 4
C 4
E4
B3
+2
B4
D5
A4
C5
G4
D4
F4
C4
G4
+5
+2
+1
+2
E 4
+2
example 15. Brahms, String Quintet in G Major, Op. 111, I, mm. 712
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140
5
6
7 8
7 8
10
7 8
10
9
8
9
8
10
6 5
3
10
6
7 8
9 8 5
7
10
6 5
7
10
6 5
10
6 5
example 16. Example of double counterpoint at the twelfth from Fux, Gradus ad Parnassum (Mann [{1958} 1987, 126],
used with permission by Dover Publications, Inc.) and Brahmss mm. 89 (brackets and harmonic interval labels added)
chords preceding the downbeats of mm. 8 and 10 are the same, and
6-5 motion.61
the first two beats of each segment articulate a V 4-3
Harmonic motion within each segment operates on a different level, however. Within mm. 712 as a whole, the second
viola (doubled part of the time by the first viola) functions as
the bass, while the cello has the primary line in the middle of
the texture. Immediately after the downbeats of mm. 8 and 10,
both viola parts either drop out or move to a higher register and
the cello becomes the lowest sounding part. These junctures
thus effectuate harmonic elisions, with each segment interrupting the functional progression leading into it. The sequences
emerge and are somewhat separate from the larger harmonic
context, with the downbeats of mm. 8 and 10 serving as harmonic pivots. The downbeat of m. 8 is therefore both a cadential six-four chord and a first-inversion tonic triad (in B major),
and the downbeat of m. 10 is at once a cadential six-four and a
root-position tonic triad (in G major).
Within the two segments, the outer voices contain only two
melodic intervals, descending fourths and ascending thirds, intervals that occur in strict alternation; a descending fourth in
one voice accompanies an ascending third in the other. Example
15(e) displays the pitches of the outer voices, showing that there
are only two discrete melodic strands, beginning with a descending fourth and an ascending third, respectively.62 The outer
61 Omitted from Example 15(a) is an indication of the larger-scale prolongation of E minor; in terms of this prolongation, the two E-minor triads that
directly precede each segment may both be viewed as local pivotsfrom E
minor to B major and E minor to G major, respectively.
62 These melodic strands are also paired in the outer voices of the Wagner and
Chopin excerpts. Both mm. 5153 of the Parsifal prelude and mm. 2930
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non-coinciding sequences
141
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142
and the lower-voice melodic sequence <y, r, y>. The harmonicinterval-difference series is thus <xy, qr, xy>. Retrograding
the realization and exchanging upper and lower voices produces the melodic sequence <y, r, y> in the upper voice and
<x, q, x> in the lower, resulting in the same harmonicinterval-difference series.
If the initial and final harmonic intervals in a configuration are different, then maintaining the same configuration
also requires that one or both voices be transposed to reset
the opening harmonic interval. For configuration <1,3|3,5>,
the difference between the final and initial harmonic intervals
is (5 1 =) 4. Retrogression results in configuration <5,3|3,1>,
and exchanging the voices produces its double-counterpointat-the-octave partner, <4,6|6,8>. The resultant harmonic intervals must be increased by four steps (or decreased by three)
to produce configuration <1,3|3,5>; thus, the difference between the transposition of the lower voice (which becomes
the new upper voice) and that of the upper voice (which becomes the new lower voice) must be 4. Transforming
Realization 6 into Realization 11 involves t4 of the lower
voice (= new upper voice) and t0 of the upper voice (= new
lower voice): 4 0 = 4; transforming Realization 8 into
Realization 12 involves t2 of the lower voice and t5 of the
upper voice: 2 5 = 4; and Realization 1 is transformed into
itself by the same transpositions.
Realization 1 is invariant since the melodic sequences in its
upper and lower voices are inversionally related.69 Let the melodic
intervals in the upper voice equal x and ythus, the melodic
intervals in the lower voice are x and yand the harmonic
intervals be f, g, h, and i. Thus, the first harmonic-interval difference is x (x) = 2x = gf, and the second harmonic-interval
difference is 2y = hg. (The third harmonic-interval difference is
equivalent to the first.) The number of invariant realizations of a
given configuration is the product of the number of solutions to
these two equations; the number of solutions to each equation
depends upon scale cardinality s. By elementary number theory, if
d = gcd(2,s), then there are d solutions to 2x = gf (mod s) if and
only if d divides gf and no solutions if d does not divide gf .70
The number of invariant NCSs differs depending only upon
whether s is odd or even.
If s is odd, then d = 1; and since 1 divides all integers, there
is exactly one solution to each equation and (11 =) 1 invariant realization. In the case at hand (s = 7), d = gcd(2,7) = 1 and
1 divides both gf (= 2) and hg (= 0). Thus, there is exactly
one invariant NCS of pattern cardinality 2 in a scale of seven
tones.
If s is even, then d = 2. Since the two voices of an invariant
realization are inversionally related and any integer multiplied
by 2 is even, the harmonic-interval differences are always even.
Since 2 divides any even number, there are four (22) invariant
69 It is also degenerate, however; since both voices have melodic unisons in
their interior, the pattern boundary is not well articulated. (Of course, moving inner voices could help to differentiate the two BD tenths.)
70 Jones and Jones (1998, 4647).
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non-coinciding sequences
0
2
4
143
2
and
yi xi = q.
Thus, xi = p yi and xi = yi q, so p yi = yi q.
2yi = p + q
length d
length n
y1, y2, , yn, , yd
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144
that satisfy
xi + yi = p, for 1 i d
for 1 j n 1.
and
yj xd n + j = q for 1 j n.
length d 1
length n 1
length n 1
u1, u2, , ud n + 1 , ud n + 2 , , ud 1
l1, l2, , ln 1, , ld 1
l1, l2, , ld n + 1 , ld n + 2 , , ld 1
u1, u2, , un 1, , ud 1
l2(d n) + k = ud n + k. [3]
Substituting in equation [3] via equation [1], we obtain
lk = l2(d n) + k.
Thus, lks that are 2(d n) apart are equal; similarly, uks that are
2(d n) are equal.
In the case of the Brahms passage, d = 5 and n = 4. If d = n +
1, then melodic intervals that are 2 apart are equal, so either the
melodic intervals are all identical (in which case parallel motion
results, entailing the case in which d = n) or the melodic intervals within each voice strictly alternate between two values. The
latter is what occurs in the Brahms, as shown in Examples 15(e)
and 15(f ).
c. The number of realizations of the harmonic-interval-difference
series of the Brahms passage
The case where d = n + 1 entails an upper-voice melodic sequence that can be described by <x, y, x, y, . . . x>. The lowervoice melodic sequence must then be <y, x, y, x, y>. Only one
melodic interval is freely chosen, since the difference between x
and y is given by the difference between the two harmonic intervals. The harmonic-interval difference between 5 and 10 (= 3
mod 7) is 2, a condition that is fulfilled by x = 4 and y = 2,
Brahmss solution. Disallowing melodic unisons, there are three
remaining solutions: x = 3, y = 1; x = 5, y = 3; and x = 6, y = 4.73
Retrograding the passage results in melodic sequences <35> and
<53> in upper and lower voices, respectively. The two remaining
solutions<31>, <13> and <64>, <46>are also R-related;
these sequences have intervals of transposition of 3 or 4, making
them less viable because such intervals of transposition threaten
registral continuity.
works cited
Aldwell, Edward, and Carl Schachter. 2003. Harmony and Voice
Leading. 3rd ed. Belmont [CA]: Thomson/Schirmer.
Astley, Rick. 1987. Never Gonna Give You Up. Written by
Matt Aitken, Mike Stock, and Pete Waterman. Whenever You
Need Somebody. RCA 75150.
Baker, James. 1993. Chromaticism in Classical Music. In
Music Theory and the Exploration of the Past. Ed. Christopher
Hatch and David W. Bernstein. 233307. Chicago: The
University of Chicago Press.
73 The solution x = 1, y = 6 results in a unison interval of transposition.
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non-coinciding sequences
145
Music Theory Spectrum, Vol. 33, Issue 2, pp. 124145, ISSN 0195-6167,
electronic ISSN 1533-8339. 2011 by The Society for Music Theory.
All rights reserved. Please direct all requests for permission to photocopy
or reproduce article content through the University of California Presss
Rights and Permissions website, at http://www.ucpressjournals.com/
reprintinfo.asp. DOI: 10.1525/mts.2011.33.2.124
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