Unit 2 Conclusion

Midterm Analysis Exam 2 and Listening / Score ID Quiz 2 (whole class):

Thursday, April 7

Tonality and Set Theory

What is the C major diatonic collection in normal form?

(e 0 2 4 5 7 9)
What ToI of the C major diatonic collection in normal form?
(7 8 t 0 1 3 5)
What is the set class of the C Major diatonic collection (prime form)?
sc(0 1 3 5 6 8 t)
What TnI of (e 0 2 4 5 7 9) will produce an identical pitch class set?
n = 4.

1) TnI of a major triad?

1) TnI of a major triad?

Answer: minor triad

1) TnI of a major triad?

Answer: minor triad
2) Set class of major and minor triad?

1) TnI of a major triad?

Answer: minor triad
2) Set class of major and minor triad?
Answer: sc037(minor)

1) TnI of a major triad?

Answer: minor triad
2) Set class of major and minor triad?
Answer: sc037(minor)
3) TnI of a major/minor (dominant) seventh chord?

1) TnI of a major triad?

Answer: minor triad
2) Set class of major and minor triad?
Answer: sc037(minor)
3) TnI of a major/minor (dominant) seventh chord?
Answer: half-diminished seventh chord

1) TnI of a major triad?

Answer: minor triad
2) Set class of major and minor triad?
Answer: sc037(minor)
3) TnI of a major/minor (dominant) seventh chord?
Answer: half-diminished seventh chord
4) Set class of major/minor and half-diminished seventh chord?

1) TnI of a major triad?

Answer: minor triad
2) Set class of major and minor triad?
Answer: sc037(minor)
3) TnI of a major/minor (dominant) seventh chord?
Answer: half-diminished seventh chord
4) Set class of major/minor and half-diminished seventh chord?
Answer: sc0258(half-diminished, 3rd inversion)

1) TnI of a major triad?

Answer: minor triad
2) Set class of major and minor triad?
Answer: sc037(minor)
3) TnI of a major/minor (dominant) seventh chord?
Answer: half-diminished seventh chord
4) Set class of major/minor and half-diminished seventh chord?
Answer: sc0258(half-diminished, 3rd inversion)
5) TnI of a minor seventh chord?

1) TnI of a major triad?

Answer: minor triad
2) Set class of major and minor triad?
Answer: sc037(minor)
3) TnI of a major/minor (dominant) seventh chord?
Answer: half-diminished seventh chord
4) Set class of major/minor and half-diminished seventh chord?
Answer: sc0258(half-diminished, 3rd inversion)
5) TnI of a minor seventh chord?
Answer: minor seventh chord

1) TnI of a major triad?

Answer: minor triad
2) Set class of major and minor triad?
Answer: sc037(minor)
3) TnI of a major/minor (dominant) seventh chord?
Answer: half-diminished seventh chord
4) Set class of major/minor and half-diminished seventh chord?
Answer: sc0258(half-diminished, 3rd inversion)
5) TnI of a minor seventh chord?
Answer: minor seventh chord
6) Set class of a minor seventh chord?
Answer: sc0358(2nd inversion)

1) TnI of a major triad?

Answer: minor triad
2) Set class of major and minor triad?
Answer: sc037(minor)
3) TnI of a major/minor (dominant) seventh chord?
Answer: half-diminished seventh chord
4) Set class of major/minor and half-diminished seventh chord?
Answer: sc0258(half-diminished, 3rd inversion)
5) TnI of a minor seventh chord?
Answer: minor seventh chord
6) Set class of a minor seventh chord?
Answer: sc0358(2nd inversion)
7) TnI of a major seventh chord?

1) TnI of a major triad?

Answer: minor triad
2) Set class of major and minor triad?
Answer: sc037(minor)
3) TnI of a major/minor (dominant) seventh chord?
Answer: half-diminished seventh chord
4) Set class of major/minor and half-diminished seventh chord?
Answer: sc0258(half-diminished, 3rd inversion)
5) TnI of a minor seventh chord?
Answer: minor seventh chord
6) Set class of a minor seventh chord?
Answer: sc0358(2nd inversion)
7) TnI of a major seventh chord?
Answer: major seventh chord

1) TnI of a major triad?

Answer: minor triad
2) Set class of major and minor triad?
Answer: sc037(minor)
3) TnI of a major/minor (dominant) seventh chord?
Answer: half-diminished seventh chord
4) Set class of major/minor and half-diminished seventh chord?
Answer: sc0258(half-diminished, 3rd inversion)
5) TnI of a minor seventh chord?
Answer: minor seventh chord
6) Set class of a minor seventh chord?
Answer: sc0358(2nd inversion)
7) TnI of a major seventh chord?
Answer: major seventh chord
8) Set of class of a major seventh chord?

1) TnI of a major triad?

Answer: minor triad
2) Set class of major and minor triad?
Answer: sc037(minor)
3) TnI of a major/minor (dominant) seventh chord?
Answer: half-diminished seventh chord
4) Set class of major/minor and half-diminished seventh chord?
Answer: sc0258(half-diminished, 3rd inversion)
5) TnI of a minor seventh chord?
Answer: minor seventh chord
6) Set class of a minor seventh chord?
Answer: sc0358(2nd inversion)
7) TnI of a major seventh chord?
Answer: major seventh chord
8) Set of class of a major seventh chord?
Answer: sc0158(3rd inversion)

Beethoven, Op.59, No.1, 2nd Mvt.

Beethoven, Op.59, No.1, 2nd Mvt.

4579t02

Tt
Tt
23578t0

sc013568t

Beethoven, Op.59, No.1, 2nd Mvt.

t25

T2

047

4579t02

Tt
Tt
23578t0
803

t25

T2

T2 and Tt: transposition in opposite directions by 2

Bb ! Ab, Bb ! C

sc013568t

Beethoven, Op.59, No.1, 2nd Mvt.

t25

T2

sc013568t

047

4579t02

Tt
T1
23578t0
803

Tt

Te

t25

T2
T1

e36
T1 and Te: transposition in opposite directions by 1
Bb ! Cb, C ! Cb

Beethoven, Op.59, No.1, 2nd Mvt.

t25

T2

sc013568t

047

4579t02

Tt
T1
23578t0
803

Te

Tt

t25

T2
T1

e36

Te

t25

Beethoven, Op.59, No.1, 2nd Mvt.

t25

T2

sc013568t

047

4579t02

Tt
T1
23578t0
803

Te

Tt

t25

T2
T1

e36

Te

t25 7t2

Beethoven, Op.59, No.1, 2nd Mvt.

t25

T2

sc013568t

047

4579t02

Tt
T1
23578t0
803

Te

Tt

Te

t25 7t2

t25

T2
T1

e36
ToI

Beethoven, Op.59, No.1, 2nd Mvt.

t25

T2

sc013568t
sc037

047

4579t02

Tt
T1
23578t0
803

Te

Tt

Te

t25 7t2

t25

T2
T1

e36
ToI

Beethoven, Op.59, No.1, 2nd Mvt.

t25

T2

sc013568t
sc037

047

4579t02

Tt
T1
23578t0
803

Te

Tt

Te

t25 7t2

t25

T2
T1

e36
ToI

Beethoven, Op.59, No.1, 2nd Mvt.

t25

T2

sc013568t
sc037

047

4579t02

Tt
T1
23578t0
803

Te

Tt

Te

t25 7t2

t25

T2
T1

e36

9035
Subset of
9t02357 ToI

Beethoven, Op.59, No.1, 2nd Mvt.

t25

T2

sc013568t
sc037

047

4579t02

Tt
T1
23578t0
803

Te

Tt

Te

t25 7t2

t25

T2
T1

e36

9035
Subset of
9t02357 ToI

9t02357

Beethoven, Op.59, No.1, 2nd Mvt.

9t02357

T7

4579t02

4579t02

Emphasis on pitch class 5

Emphasis on pitch class 3

9035
Subset of
9t02357

Schoenberg, Op.15, No.11

(excerpt 36)

sc0347

sc0125

sc0126

T7

e015

T7

T4

pc2

pc1

Passing?

sc037

T3

T3

sc0147

pc5

1 of sc0347
4 of sc037
1 of sc0126
1 of sc016

1 of sc0347
4 of sc037
1 of sc0126
1 of sc016

sc037

1 of sc0347
4 of sc037
1 of sc0126
1 of sc016

sc037

sc0347

1 of sc0347
4 of sc037
1 of sc0126
1 of sc016

sc0147

sc037

sc0347

1 of sc0347
4 of sc037
1 of sc0126
1 of sc016

sc0147

sc037

sc0347

sc014

1 of sc0347
4 of sc037
1 of sc0126
1 of sc016

sc0147

sc037
sc0126

sc0347

sc014

1 of sc0347
4 of sc037
1 of sc0126
1 of sc016

sc0147

sc037
sc0126

sc0347

sc014

1 of sc0347
4 of sc037
1 of sc0126
1 of sc016

32nd notes: interval 7

sc0147

sc037
sc0126

sc0347

sc014

1 of sc0347
4 of sc037
1 of sc0126
1 of sc016

sc0147

sc037
sc0126

sc0347

sc014

32nd notes: interval 7

1 of sc0347
4 of sc037
1 of sc0126
1 of sc016

sc0147

sc037
sc0126

sc0347

sc014

sc016

32nd notes: interval 7

Identical pc set from m.2

Material from m.3-4

Melody from m.8

Descending motive
from m.1

sc0125

sc0147

sc0347

sc0125

sc0126

T7

e015

T7

T4

pc2

pc1

Passing?

sc037

T3

T3

sc0147

pc5

Common tones under transposition and inversion

Transpositional and Inversional Symmetry

Number of common tones under inversion:

Inversion matrix

Inversion Matrix

Inversion Matrix

Four instances of
eleven: all four
pitch classes are
preserved at TeI.

Inversion Matrix
Also shows pcs that will
map on to each other. In this
case, 4 and e will map on
to each other at TeI

Four instances of
eleven: all four
pitch classes are
preserved at TeI.

Number of common tones under transposition:

Vector
Transposition matrix

Transposition Matrix
A

A-A

B-A

C-A

D-A

A-B

B-B

C-B

D-B

A-C

B-C

C-C

D-C

A-D

B-D

C-D

D-D

Transposition Matrix

N of Tn

Pitches
replaced

A-A

B-A

C-A

D-A

A-B

B-B

C-B

D-B

A-C

B-C

C-C

D-C

A-D

B-D

C-D

D-D

Pitches
retained

Transposition Matrix

Pitches
replaced

Pitches
retained

Transposition Matrix
*T3 = 1 pc preserved. Pc (8) replaces pc (5).

Pitches
replaced

Pitches
retained

The Principle of Developing Variation:

Schoenberg, Op.11, No.1

Developing Variation
*Although Schoenberg argues that repetition is essential for coherence,
unmodified repetition represents, in his opinion, a primitive, or lower form,
bringing with it the danger of monotony.

Developing Variation
*Although Schoenberg argues that repetition is essential for coherence,
unmodified repetition represents, in his opinion, a primitive, or lower form,
bringing with it the danger of monotony.
*Developing variation was a fundamental compositional technique that
Schoenberg used throughout his career, transcending the boundaries between
his different periods.

Developing Variation
*Although Schoenberg argues that repetition is essential for coherence,
unmodified repetition represents, in his opinion, a primitive, or lower form,
bringing with it the danger of monotony.
*Developing variation was a fundamental compositional technique that
Schoenberg used throughout his career, transcending the boundaries between
his different periods.
*Developing variation: means that variation of the features of a basic unit
produces all the thematic formulations which provide for fluency, contrasts,
variety, logic and unitythus elaborating the idea of the piece
-Schoenberg, Style and Idea, 397

Developing Variation
Two methods of varying a motive:
One can distinguish two methods of varying a motive. With the first, usually the
changes virtually seem to have nothing more than an ornamental purpose; they
appear in order to create variety and often disappear without a trace.

Developing Variation
Two methods of varying a motive:
One can distinguish two methods of varying a motive. With the first, usually the
changes virtually seem to have nothing more than an ornamental purpose; they
appear in order to create variety and often disappear without a trace.
The second can be termed developing variation. The changes proceed more or
less directly toward the goal of allowing new ideas to arise.
-Schoenberg, Coherence, Counterpoint,
Instrumentation, Instruction in Form (ed.
Severine Neff).

Developing Variation
Two methods of varying a motive:
One can distinguish two methods of varying a motive. With the first, usually the
changes virtually seem to have nothing more than an ornamental purpose; they
appear in order to create variety and often disappear without a trace.
The second can be termed developing variation. The changes proceed more or
less directly toward the goal of allowing new ideas to arise.
-Schoenberg, Coherence, Counterpoint,
Instrumentation, Instruction in Form (ed.
Severine Neff).
*Developing variation is a special category of variation technique, one that
implies a teleological process. As a result of developing variation, later events even markedly contrasting ones - originate from, or grow out of, changes that
were made in the repetitions of earlier musical units. Therefore, true developing
variation can be distinguished from purely local varied repetitions that have no
developmental consequences. Developing variation continually leads forward to
new or contrasting ideas, while local variation effects only the passage in
question.

It is this very process that Schoenberg cited as one of the things that made
his music difficult to understand: "In my style of composition this is
frequently the reason why I am difficult to understand: I employ constant
variations, hardly ever repeat anything unaltered, jump quickly to the
remoter stages of development, and I take for granted that the educated
listener is able to discover the intervening stages for himself.
-Schoenberg, The Orchestral Variations