Professional Documents
Culture Documents
by
MASTER OF ARTS
in
(Department o f M u s i c )
We a c c e p t t h i s t h e s i s as c o n f o r m i n g
to the r e q u i r e d standard
September 1983
© C h a r l e s Douglas M o r r i s o n , 1983
In p r e s e n t i n g this thesis in partial f u l f i l m e n t of the
r e q u i r e m e n t s f o r an a d v a n c e d d e g r e e a t t h e U n i v e r s i t y
of B r i t i s h Columbia, I agree that the Library shall make
it freely available f o r reference and study. I further
agree that permission f o rextensive copying o f t h i s thesis
for s c h o l a r l y p u r p o s e s may be g r a n t e d by t h e h e a d o f my
d e p a r t m e n t o r by h i s o r h e r r e p r e s e n t a t i v e s . It is
understood that copying or p u b l i c a t i o n of this thesis
for financial gain shall n o t be a l l o w e d w i t h o u t my written
permission.
Department o f MU^Kl
The U n i v e r s i t y o f B r i t i s h Columbia
1956 Main Mall
V a n c o u v e r , Canada
V6T 1Y3
Date OCTOBER S, 1 ^ 8 3
)E-6 (3/81)
ABSTRACT
earlier pieces are apparent throughout the quintet. The first chapter
pieces are discussed i n the light of the parameters effecting such segment-
and other rhythmic groupings are defined and illustrated. And finally, the
i i
i i i
include aspects of connection between the first and third pieces of the
ABSTRACT i i
L I S T OF EXAMPLES v i i
ACKNOWLEDGMENTS x i
E D I T O R I A L NOTES x i i
Chapter
I. INTRODUCTION 1
Introduction 23
Formal Organization o f t h e Work a s a W h o l e 24
Aspects of Textural Structure 25
T e x t u r a l d e t a i l s i n ensemble p i e c e s 26
Textural d e t a i l s i n s o l o i s t i c pieces 32
Summary 39
P r i n c i p l e s o f Rhythmic and M e t r i c D e s i g n 40
Summary 64
Modes o f P i t c h O r g a n i z a t i o n 66
Linear details 66
Summary 85
Harmonic d e t a i l s 86
Summary 103
Summary 104
Introduction 105
Delineating Factors of Formal Segmentation 105
Summary 106
Aspects of Textural Structure 107
Textural quality 107
T e x t u r a l space 110
Summary 112
iv
V
Introduction 160
D e l i n e a t i n g F a c t o r s o f Formal Segmentation 160
Summary 161
Aspects of T e x t u r a l S t r u c t u r e 162
Formal s t r u c t u r e as d e f i n e d by t e x t u r a l c o n d i t i o n s . . . 163
T e x t u r a l p r o g r e s s i o n s as m a n i f e s t i n d e n s i t y and
spatial fluctuations 167
Textural-density ., 167
T e x t u r a l space 171
Summary 172
P r i n c i p l e s o f Rhythmic and M e t r i c D e s i g n 173
Summary 178
Modes o f P i t c h O r g a n i z a t i o n 179
Linear d e t a i l s 179
Linear r e g i s t r a l connections 179
PC u n f o l d i n g 188
Summary 193
Harmonic d e t a i l s 194
Consonance-dissonance q u a l i t y o f c o l o r a t i o n s 194
S p e c i f i c placement and c o n t e n t o f c o l o r a t i o n s . . . . 198
S p e c i f i c placement o f o c t a v e and u n i s o n d o u b l i n g s . . 200
Summary 201
C o n n e c t i v e F a c t o r s Between t h e N i n t h and Tenth P i e c e s '. . . 201
Summary 203
Summary 204
V. CONCLUSION 205
transforming sonorities 7
4. Volumina, r e h e a r s a l n o s . 1 t o 2, s h o w i n g static,
c h r o m a t i c sound mass 12
5. Requiem, s e c o n d movement, m e a s u r e s 67-72, showing
micropolyphony 14
9. Instrumentation-density and s u b g r o u p i n g o f t h e t e n p i e c e s . . 24
element , 28
vii
viii
showing p o t e n t i a l p u l s e d e f i n i t i o n 47
23. P i e c e No. 4, i m p u l s e - d e n s i t y g r a p h 50
24. P i e c e No. 4, l a r g e - s c a l e i m p u l s e - d e n s i t y u n i t s 52
25. P i e c e No. 3, i m p u l s e - d e n s i t y g r a p h 53
26. P i e c e No. 3, m e t r i c u n i t s 55
28. P i e c e No. 5, i m p u l s e - d e n s i t y g r a p h 58
musical ideas 65
linearizations 68
relationships 74
39. P i e c e s 9, 5, and 6, p a t t e r n s o f PC u n f o l d i n g 77
c
68. Line-graph representaion 165
77. L i n e a r p r o g r e s s i o n r e l a t i o n s h i p between t h e n i n t h
and t e n t h p i e c e s ..' .' 202
78. Twelve-note aggregate completion from the n i n t h to
the t e n t h piece 203
xi
EDITORIAL NOTES
Subheadings of t h e s e c t i o n s w i t h i n c h a p t e r s of t h i s paper a r e
r a n k - o r d e r e d i n t h e f o l l o w i n g manner:
F i r s t - L e v e l Subheading
Second-Level Subheading
Third-level subheading
Fourth-level subheading
f o l l o w i n g octave c l a s s i f i c a t i o n s :
c 1
c 2
c 3
c 4
c 5
c 6
c 7
^Y. ) z
-/ ° — (V •)
J.
i -e-
p i t c h e s , e.g., E , D , e t c . P i t c h - c l a s s e s ( i . e . , r e g i s t r a l l y non-specific
PC s t a n d s f o r p i t c h - c l a s s , IC f o r i n t e r v a l - c l a s s , and C-D f a c t o r f o r
xii
CHAPTER I
INTRODUCTION
style.
began t o d e v e l o p a new s t y l e :
About 1950 I r e a l i z e d t h a t f u r t h e r development i n t h e p o s t - B a r t o k
s t y l e i n w h i c h I had been composing was not t h e way f o r w a r d f o r
me. . . . I n 1951 I s t a r t e d t o experiment w i t h s i m p l e s t r u c t u r e s
of rhythm and sound i n o r d e r , i n a manner of s p e a k i n g , t o b u i l d
up a new music from n o t h i n g . . . . I asked m y s e l f : what can I do
w i t h a s i n g l e note? what can I do w i t h i t s o c t a v e ? what w i t h
one i n t e r v a l ? what w i t h two i n t e r v a l s ? what w i t h d e f i n i t e
r h y t h m i c r e l a t i o n s h i p s which c o u l d form t h e f o u n d a t i o n s of a
whole based on rhythm and i n t e r v a l ? I n t h i s way s e v e r a l s m a l l
2
Ibid.
^Ibid.
1
, 2
p i e c e s were composed, c h i e f l y f o r t h e p i a n o .
f i r s t of t h e s e t h r e e t e x t u r e s , as i l l u s t r a t e d i n Example 1, i s d e f i n e d as
i n c l u d e s e v e r y p i t c h from ^ - t o
jyfr* except CJ. ^ , sustained
6 - T
7
"ametrically" as though suspended i n space.
4
Gyorgy L i g e t i , quoted i n Ove N o r d w a l l , l i n e r n o t e s f o r Musica
ricercata ( 1 9 5 1 - 5 3 ) , on Duo Pohjola (Grammofonfirma BIS 18, recorded i n
W. Germany, 1974). G i v e n t h e u n a v a i l a b i l i t y of p u b l i s h e d s o u r c e s by L i g e t i ,
of s o u r c e s w h i c h quote L i g e t i , i n f o r m a t i o n g l e a n e d from l i n e r n o t e s such as
t h i s has proved i n v a l u a b l e i n a s c e r t a i n i n g L i g e t i ' s own c h a r a c t e r i z a t i o n s
of t h e t e c h n i q u e s of h i s m u s i c a l language.
5
Ibid.
6
T h i s s u s t a i n e d sound mass may be c o n s i d e r e d " a m e t r i c " because of
the absence of p e r c e i v a b l e , a c c e n t - d e l i n e a t e d m e t r i c u n i t s ; t h e 4 t i m e
s i g n a t u r e and n o t a t e d b a r l i n e s a r e e s s e n t i a l l y n o t a t i o n a l c o n v e n i e n c e s .
7
My c h a r a c t e r i z a t i o n of t h e s e measures i s c o r r o b o r a t e d by Thomas
C l i f t o n i n h i s r e c e n t book, Music as Heard (New Haven: Y a l e U n i v e r s i t y
P r e s s , 1983), pp. 155-56. C l i f t o n s t a t e s :
"The most e l e m e n t a l k i n d s of s u r f a c e o c c u r under t h r e e c o n d i t i o n s :
the f i r s t r e q u i r e s t h e absence of movement; t h e second, t h e absence
of any c o n t r a s t i n dynamics; and the t h i r d , an absence of t i m b r a l
c o m p l e x i t y . The opening measures of L i g e t i ' s Atmospheres r e v e a l the
3
0 1 9 6 3 by Universal Edition A . G .
Reprint with permission of Universal Edition Wien
5
by one u n t i l -s 1
i s formed i n b a r 32 and s u b s e q u e n t l y : s u s t a i n e d .
"Micropolyphony," as i l l u s t r a t e d i n Example 3, i s d e f i n e d by L i g e t i a s :
. . . a t e c h n i q u e by w h i c h i n s t r u m e n t a l p a r t s a r e i n t e r w o v e n and crowded
t o g e t h e r i n t o a dense c o n t r a p u n t a l t e x t u r e . There a r e so many p a r t s ,
and t h e i r p o l y p h o n i c i n t e r w e a v i n g i s so complex, t h a t t h e i n d i v i d u a l
p a r t s a r e c o m p l e t e l y submerged i n t o a m i c r o p o l y p h o n i c web, and t h e
o v e r a l l m u s i c a l p a t t e r n which emerges from t h i s t e c h n i q u e imposes a
f o r m a l shape on t h e w o r k . ^ u
f i r s t two o f t h e s e c o n d i t i o n s . W i t h i n t h e s e m e a s u r e s — I t h i n k
p a r t i c u l a r l y of the f i r s t s i x — o n e experiences very l i t t l e sensation of
change. W i t h o u t change, w h i c h i s c o n s t i t u t i v e o f rhythm, time i t s e l f
i s suspended. . . . A c c o r d i n g l y , t h e t e x t u r e o f t h e opening measures o f
Atmospheres can be d e s c r i b e d a s s y n t h e t i c , i n t h e sense t h a t i n d i v i d u a l
elements a r e absorbed i n t o t h i s amorphous mass o f sound."
g
An " e s t a b l i s h e d v e r t i c a l s o n o r i t y " i s one w h i c h has sounded l o n g
enough, w i t h o u t i n t e r n a l p i t c h change, t o be r e c o g n i z e d as a s t a t i c
verticality.
9
The b l a c k v e r t i c a l b a r i n d i c a t e s a c h r o m a t i c cluster, i.e., a l l
p i t c h e s between and i n c l u d i n g t h e two i n d i c a t e d .
S t a t i c sound b l o c k s , g r a d u a l s o n o r i t y t r a n s f o r m a t i o n s , and
Concerto t y p i f i e s a s l i g h t l y d i f f e r e n t a p p l i c a t i o n of s l o w l y changing
mode of l i n e a r e x p a n s i o n may be d i s c e r n e d . S p e c i f i c a l l y , t h e u n i s o n E^ of
f 1
' & faW
ti)
le-jttn Anm tr-
ie u.n.g
W Unker Fuij
A.
13
of L i g e t i ' s other pieces from the middle sixties s u c h a s Aventures (1964) and
''''''Two o b s e r v a t i o n s r e g a r d i n g t h i s e x a m p l e a r e n o t e w o r t h y , t h e f i r s t
of which i s t h e f a c t that the v o i c e p a r t s a r e doubled i n the s t r i n g s ; three
c h o r a l s e c t i o n s — s o p r a n o , mezzo, and a l t o — a r e i n o p e r a t i o n . The second
d e t a i l concerns the texture i t s e l f . W i t h i n each s e c t i o n , micropolyphony i s
e f f e c t e d through a f o u r - v o i c e canon. Although these canons a r e not
rhythmically s t r i c t , the succession (i.e., unfolding) of pitches i s the
same i n e a c h c a s e .
14
* Fc'i «*'ne VK'ccpe vo'handen ;it, sp.ele men d.,' ti no 8*ey i avovabfe. play 0.
H no'Sfy oudb'e
3l w n
ti
1 on *fe edge of m
2 a ikin
d-umit'CK
4| bo*«d
5i g'odajiiy completely iul pom calto
61 JU! fci'O, grodi<3:!v-*ord.
7) T ha lymbt* ot l"0*a» :»t oppronmo'e. Wl^out •'O'f.
E x a m p l e 8.
12
Ligeti, liner notes f o r Melodien.
20
J = 80 (Piu mosso)
al
P® <to
Oar..
spiel
Cel.
Arpa
. "Ftpr .
1
- err, -
-73T-- - t~ Iw
Vcl.
Ligeti's Ten Pieces for Wind Quintet, the subject of this paper,
specific reference to the Chamber Concerto. In fact, the wind quintet offers
from the middle to late sixties, some o f the techniques being refinements of
presented here.
would have been a t a s k too great for this paper; consequently, the first and
Introduction
chapter a r e as f o l l o w s :
Aspects of T e x t u r a l Structure
Modes o f P i t c h O r g a n i z a t i o n
Linear Details
Harmonic D e t a i l s
Summary.
and last pieces of the quintet are the subjects of Chapters ITT and IV,
23
24
P i e c e No.: 1 2 3 4 5 6 7 8 9 10
Instrumentat i o n -
density: 5 5 5 3 4 5 5-4 3-4-53 4-5
Subgroupings: I I I I I 1 I I
I I I I
several details are noteworthy. The alto flute i s used i n the first three
A l t h o u g h t h e s e two c l a s s i f i c a t i o n s a r e d e f i n e d i n d e t a i l i n t h e n e x t
s e c t i o n , they r e f e r e s s e n t i a l l y to pieces i n which a l l of the scored
i n s t r u m e n t s p a r t i c i p a t e e q u a l l y ( e n s e m b l e ) and t h o s e i n w h i c h one p a r t i c u l a r
instrument i s featured ( s o l o i s t i c ) .
2
O t h e r s u b g r o u p i n g s o f p i e c e s may b e i n t e r p r e t e d a c c o r d i n g t o f a c t o r s
o t h e r t h a n i n s t r u m e n t a t i o n - d e n s i t y and i n s t r u m e n t a t i o n . These, however, a r e
d i s c l o s e d i n t h e l i g h t of the s p e c i f i c parameters e f f e c t i n g such c o n n e c t i o n s .
25
The e n g l i s h horn appears i n the first two pieces, the oboe d' amore in the
third, and neither i n the f o u r t h and fifth; the oboe i s saved f o r No. 6
similar to those listed above. In the second formal section of the seventh
soloistic treatment .(in the final piece). Finally, although the last piece
pieces, and others, of equal importance, which are specific to the soloistic
The fifth and ninth pieces are each comprised of one, continuous
4
The c o n t r a r y , however, i s n o t a l w a y s t r u e . In o t h e r words, a
p i e c e w h i c h f e a t u r e s one c o n t i n u o u s t e x t u r a l e l e m e n t may h a v e s e v e r a l
f o r m a l s e c t i o n s d e l i n e a t e d by v a r i a n c e s i n o t h e r p a r a m e t e r s .
n i n t h i s a three-part canon. 7
In the l a t t e r , the t e x t u r a l c o n t i n u i t y
c o r r e s p o n d s t o t h e u n i s e c t i o n a l form, w h i l e i n t h e f o r m e r , d e s p i t e i t s
continuous t e x t u r e , f o r m a l segmentation o c c u r s t h r o u g h v a r i a n c e s i n o t h e r
s u c c e s s i v e t e x t u r a l elements, t h e f i r s t p i e c e i s d e t a i l e d i n t h e next
"The components o f t h i s p a r t i c u l a r p o l y p h o n i c t e x t u r e a r e e x t r e m e l y
" a r t i c u l a t e " i n t h e i r use o f r e p e a t e d staccatissimo notes. The i m p l i c a t i o n s
of t h i s s u r f a c e d e t a i l w i t h r e s p e c t t o r h y t h m i c d e s i g n a r e d e a l t w i t h i n t h e
next s e c t i o n . A l s o , t h e s p e c i f i c mode o f p i t c h o r g a n i z a t i o n o p e r a t i v e i n
t h i s p a r t i c u l a r p o l y p h o n i c element i s e x p l a i n e d i n t h e f i n a l s e c t i o n o f t h i s
chapter.
7
The c a n o n i c treatment employed here i s a prime example o f l i n e a r
independence w i t h i n a p o l y p h o n i c t e x t u r e . That i s , a p a r t from c o n t r i b u t i n g
to t h e e f f e c t o f t h e whole, t h e i n d i v i d u a l components e x h i b i t a c o n s i d e r a b l e
degree o f independence and d i r e c t i o n . As n o t e d i n t h e p r e v i o u s c h a p t e r ,
t h i s i n c r e a s e d independence i s c h a r a c t e r i s t i c o f many o f t h e p o l y p h o n i c
t e x t u r e s i n L i g e t i ' s music o f t h e l a t e s i x t i e s .
g
The d e t a i l s o f t h e l i n e a r s t r u c t u r e i n t h i s p a r t i c u l a r t e x t u r a l
element w i l l be examined i n t h e s e c t i o n on p i t c h o r g a n i z a t i o n . A l s o , i t
might be n o t e d t h a t t h i s t e x t u r a l element comprises a l m o s t h a l f t h e p i e c e .
I t i s , i n f a c t , c h a r a c t e r i s t i c o f t h e ensemble p i e c e s t h a t a t e x t u r a l
element, once e s t a b l i s h e d , c o n t i n u e s t o o p e r a t e over a s u b s t a n t i a l p o r t i o n
of t h e p i e c e .
9
The d o u b l i n g o f t h e "theme" i n o c t a v e s i n t h i s s e c t i o n n e g a t e s any
soloistic implication.
28
/5 =fe i £ \
•) 5 (1, t £ £ e,c.) bedeutet: Tonrepetition
*; ^ \o, o, m, 0. ere.) means: repeated
Staccatissimo (JjJJJmm e:c.) so schncll wie m o g l i c h .
tones staccatissimo (JjJJJjJ etc.) as fast as possible.
Die n o i i e r t e n Dauerwerte werden mit solchen stacca-
The given note-values are filled with these staccatissimo
l i s s i m o - T o n f o l g e n ausgeftillt, w o b e i jedes I n s t r u m e n t ,
repeated tones; each instrument plays as fast a staccato
von den anderen I n s i r u m e n i e n unabhangig u n d ohne
as its technique and register permit, independently of
RLicksicht auf die T a k l e i n t e i l u n g , so schnell stacca -
the other instruments and with no regard for subdivi-
tiert, wie das seine technische Eigenart u n d die Lage,
sion of bars Single tonguing, double tonguing. Flute
in der es spielt, zulaUt. E i n f a c h e r b z w . d o p p e l t e r , bei
triple tonguing ad lib. So fluttertongue! Distinct,
der Klote ad l i b . dreifacher Zungenstofi. K c i n e F l a t -
separated attacks throughout.
terzungel Steis d i s t i n k t e . gesonderte A t t a e k e n .
Z u m R h y t h m i s c h e n : Wahrend die Einsatze u n d A b - Rhythm: Entries and cut- offs are indicated precisely;
satze exakt angegeben s i n d , ist die innere D i c h t e der the density of the staccato sequences, however, is rhyth-
staccato-Folgen rhythmisch frei. mically free.
*) D y n a m i s c h e Balance = s/jp a n n a h e r n d gleich in alien **y Balance of dynamics: sjp approximately equal in all
Instrumenten. instruments.
Ft.Sol
+J
c
CJ —
s
OJ
•H q
OJ OJ
c
0
&
E
/ 3
0
' +J 0
OJ SH
+J 3
O
OJ Ms
0
^ T h e s p e c i f i c t e x t u r a l elements a r e e x t r e m e l y c o n s i s t e n t throughout
each s e c t i o n , a g a i n r e v e a l i n g t h e a t t r i b u t e o f t e x t u r a l c o n t i n u i t y .
vertical homorhythmic s o n o r i t i e s of the 'a'-section (measures 1-37) feature
followed suit by the c l o s e of the section (cf. bars 12, 15, and 34). The
(the horn being silent in preparation f o r the eighth piece). These diverse
Clarinctto
in Si t
Corno
in l a
Fagotto
ri.
Ob.
Cl.$i\>
Cor. Fa
Fag.
all of the instruments (or a l l but the featured one), out of which (or over
tempo i s the average of the two i n the previous p i e c e , and the performance
•) A u l i e r d e n sff u n d - A k z e n t e n stels gleichmaftig *) Play very evenly, except for the sff and sfaccen.
s p i e l e n , so daft e i n e T a k t e i n t c i l u n g n i c h t w a h r n e h m b a r ruations, so that the subdivision into bars is not
w i r d . D i e T a k l e u n d T a k t e i n t e i l u n g e n d i e n e n als O r i e n - perceptible. Bar lines serve as a means of orienta -
l i e r u n g , e i n e m e t r i s c h e P u l s a t i o n g i b t es n i c h t . tton; there is no metrical pulsation.
c r i t e r i a a l r e a d y s t a t e d a s c o n n e c t i v e f a c t o r s ( i . e . , i n s t r u m e n t a t i o n , tempo,
and a r t i c u l a t i o n ) . S e v e r a l a d d i t i o n a l f a c t o r s may be a d d e d t o t h e l i s t , one
o f w h i c h i s t h e attacca i n d i c a t i o n a t t h e end o f t h e f i f t h p i e c e . Other
c o n n e c t i v e f a c t o r s , w h i c h i n v o l v e l i n e a r p i t c h - c l a s s c o n n e c t i o n s , w i l l be
disclosed i n d e t a i l later i n this chapter.
34
ffpp
mente ( etc. ). Die andersgeartete Notation other instruments ( , e^, etc. ). The different no-
bezieht sich lediglich a u f die K h y t h m i k : bei der N o - tation refers only to the rhythm: in the notation £
tation eP ist die Dauer der T o n f o l g e gegeben, die the duration of the sequence is fixed, but the numbei
A n z a h l der Schlage j e d o c h f r e i , bei der N o t a t i o n
of the attacks is free; in the notation fJjJJ the
ist die A n z a h l der Schlage festgelegt, die number of the attacks is fixed but the duration of tht
Dauer der T o n f o l g e j e d o c h frei (so k u r z wie m o g l i c h , sequence is free (as short as possible, since the tones
da T o n r e p e t i t i o n so raseh wie m b g l i c h ) . Bei der N u - are repeated as fast as possible). In the notation
tation ist der Kinsatz des ersten Tones i^J ^1 J fl the entrance of the first tone is metrically
metrisch festgelegt (fixierter l J latz tm T a k t d u r c h
fixed by the rests preceding it, whereupon the tones
vorangehende Pausen), darauf folgt d i e T o n r e p e t i t i o n
are repeated independently of the metre. The rests in
unabhangig v o m M e t r u m . Die 1'ausen in K l a m m e r n
brackets are the imaginary completion of the metre,
sind eine imaginare met rise he Krganzung der N o t a - and will be absorbed in part by the repeated tones.
t i o n , s i e werden z u m 'I'eil v o n der T o n r e p e t i t i o n
For example, y 1 [7] means: attack the third
verschlungen; z. B. bedeulet 7 7 1*2 [i\ : einselzen quaver of the triplet; the rest [V] is the virtual com -
im dritten T r i o l e n a c h l e l , die Pause [7] ist eine virtu- pletion of the triplet.
elle E r g a n z u n g .
features the flute, clarinet, and bassoon i n what could very well be an
effect being that of the whole. It i s , in fact, only when t h e horn enters
separate from the featured component. Rather, the components interact with
12
textural element of their own, but are, rather, integral to the single
12
T h i s type of component i n t e r a c t i o n w i t h i n a s i n g l e t e x t u r a l
e l e m e n t i s one o f two t o be d i s c u s s e d i n C h a p t e r s I I I a n d I V a s f a c t o r s o f
"textural quality."
Example 16. P i e c e No. 8, m e a s u r e s 1, 2, 5, 10, a n d 12, s h o w i n g a n " e n s e m b l e - l i k e " texture as an
accompanimental element.
Allegro COn delicatezza (sehr gleichmafiig, ohne jede Betonung der Takte bzw. Taktunterteilungen.)
(J 72) (very evenly, without any accentuation of the bars or their subdivisions.)
1 *) fliefiend, alle neuen Einsfitze sehr weich / fluently, every new entry very SOJI
x s s 1
5 ~l2 e_
') fliefiend, alle neuen Einsfitze sehr weich / fluently, every new entry very soft r
£ S I
Clarinetto
in Sit
PP sivtUU
*) fliefiend, alle neuen Einsatze sehr weich / fluently, every new entry very soft
Fagotto
PP 3
) Dynamische Balance: pp gleich in F16te, Klarinette, *J Balance of dynamics: pp equal in Flute, Clarinet
Fagott. Klarinette verhalthismafcig etwas starker Bassoon. Play the clarinet somewhat louder in rela-
blasen. tion.
**) Fagott, con sordino: Ein Tuch, in die Schalltiffnung * * ; Bassoon,con sordino: a cloth stuffed into the upper
gestopft. joint. _
Fl.
Fl.
Cl.Siv
Cl.$i\>
Cor.Fa
Fag.
Fag.
13
overall texture i n which the clarinet i s primary. This i s illustrated
in E x a m p l e 17.
C.Ing.
Cl.Siv
Cor.Fa
Fag;
Fl.Sol
C.Ing.
Ct.$i\>
Cor.Fa
Fag.
PPrpossibile
T h i s i s a p a r t i c u l a r l y c l e a r example o f f o r m a l d e l i n e a t i o n t h r o u g h
textural diversity. T h e o p e n i n g o f t h e s e c o n d p i e c e was shown e a r l i e r t o
c o n s i s t o f two s i m u l t a n e o u s , d i s p a r a t e t e x t u r a l e l e m e n t s w h i l e i n t h e
passage j u s t d i s c u s s e d and i l l u s t r a t e d a b o v e — a second f o r m a l s e c t i o n - —
o n l y one e l e m e n t o p e r a t e s . T h e s e f o r m a l s e g m e n t s a r e f u r t h e r d e f i n e d ".
t h r o u g h v a r i a n c e s i n tempo a n d d y n a m i c s .
38
The f o u r t h p i e c e f e a t u r e s a s i n g l e p o l y p h o n i c t e x t u r e i n w h i c h t h e
f l u t e i s d y n a m i c a l l y , r e g i s t r a l l y , and r h y t h m i c a l l y exposed r e l a t i v e t o
that they feature frequent and, o f t e n , abrupt texture changes. The second,
Summary
measure.
14
^ A p a r t i c u l a r a r t i c u l a t i o n o r i m p u l s e may b e a c c e n t e d through
r e g i s t r a l and/or dynamic exposure, a r t i c u l a t i v e a c c e n t s ( e . g . , - - ,
>, , e t c . ) , a n d / o r e x t e n d e d d u r a t i o n r e l a t i v e t o s u r r o u n d i n g
A
impulses.
In s h o r t , a c c e n t here r e f e r s t o emphasis i n h e r e n t i n t h e music, n o t
imposed by t h e p e r f o r m e r .
t h e n o t a t e d measure i n t h e p i e c e s , t h e s u g g e s t i o n i s t h a t p a t t e r n e d u n i t s
t h i s phenomenon a r e c o n s i d e r a b l y d i f f e r e n t i n p i e c e s or s e c t i o n s i n which
n o t a t e d measure (because of t h e l a c k o f a c c e n t - d e l i n e a t e d m e t r i c u n i t s o f
be d i s c e r n e d . For i n s t a n c e , l a r g e r phrases w i t h o u t i n t e r n a l m e t r i c
s u b d i v i s i o n s ( a t t h e l e v e l o f t h e measure) may be f e l t as c o n t i n u o u s
g e s t u r e s which d i s p l a y p a r t i c u l a r r h y t h m i c s t r u c t u r e s ( t o be specified
not t h e n o t a t e d b a r .
c o n s i d e r e d t o g e t h e r as a s i n g l e g e s t u r e of f l u c t u a t i n g r h y t h m i c interaction.
16
" P r o g r e s s i o n " and " r e c e s s i o n " a r e terms and c o n c e p t s used
e x t e n s i v e l y by W a l l a c e B e r r y . See h i s Structural Functions, Chapters 2 and 3..
42
i n ensemble p i e c e s (because, as n o t e d e a r l i e r , t h e y c h a r a c t e r i s t i c a l l y
o f f e r s an e x c e l l e n t example of r h y t h m i c p r o g r e s s i o n and r e c e s s i o n w i t h i n
r e p r e s e n t a t i o n of t h e a c t i v i t y l e v e l i n t h i s s e c t i o n (accompanimental
measure no.
u p b e a t s and downbeats.
18 i
By c o n s i d e r i n g t h e p u l s e u n i t t o b e 6 0 / 4, a n y i m p u l s e w i t h i n t h e
metric configurations involving I I 3 I, I I I I , and I l l I I , t h e t h r e e
5
o p e r a t i v e i n t h e p i e c e , may q u a l i f y a s a d o w n b e a t , o n c o n d i t i o n t h a t i t i s :
a c c e n t - d e f i n e d through r e g i s t e r , dynamics, d u r a t i o n , e t c .
Example 20. P i e c e No. 8, m e a s u r e s 12-16 ( h o r n p a r t o n l y ) , showing l o w - l e v e l m e t r i c units.
t (t) 1
(») t 1 f (!) I
W I 1 1 1
re-
metered 11% r 'MM' IMJ IJ-
(no. of 6 0 ths
) (50) (42) (24) (39) (15)(15X39)
mm. 12
from over the delay of p r o g r e s s i o n ) , and longer duration are factors
the G^, having been a p p r o a c h e d linearly from the sustained G^, has the
19
The final G^ i s the only other downbeat o f any structural value and, in
While the first section of the eighth piece provides a clear example
1 (beats 1-2) and 10 (beats 3-4) of the piece, the three instrumental parts
c o i n c i d e o n e a c h q u a r t e r - n o t e , w h i l e i n t e r a c t i n g i n a c o m p l e x way during
19
The h a r m o n i c s t r u c t u r e w h i c h o c c u r s a c r o s s b a r s 15-16 i s a B major
c h o r d w i t h an a d d e d s e c o n d ; t h e r e l a t i v e c o n s o n a n c e o f t h i s s o n o r i t y p l a y s
an i m p o r t a n t r o l e i n t h e a r r i v a l - p o i n t q u a l i t y o f t h e s u s t a i n e d p i t c h e s ( i n
both t e x t u r a l elements).
20
L i g e t i does, however, s p e c i f y i n t h e s c o r e : " v e r y e v e n l y , without
any a c c e n t u a t i o n o f t h e b a r s o r t h e i r s u b d i v i s i o n s . " See L i g e t i , Ten
Pieces, p. 27.
47
q u a r t e r s a r e marked t h r o u g h t h e concurrence of a r t i c u l a t i o n .
BSN
and, e s p e c i a l l y i n t h e l i g h t of t h e l i n e a r p i t c h p a t t e r n s w h i c h occur o u t -
l i n e a r p a t t e r n s marked w i t h s l u r s . T h i s c l e a r l y r e v e a l s t h e l a c k of
s y n c h r o n i z a t i o n between r h y t h m i c and l i n e a r p a t t e r n s .
22
state. E x a m p l e 23 c o n s i s t s o f a g r a p h i c r e p r e s e n t a t i o n o f t h e r h y t h m i c
piece.
the o v e r a l l flow of rhythmic activity (e.g., the fermata over the rest i n
i m m e d i a t e l y upon r e - e n t e r i n g .
22
L i g e t i u n d e r s c o r e s t h i s by t h e p e r f o r m a n c e n o t e s i n t h e s c o r e ;
"Apart from t h e i n d i c a t e d a c c e n t s , always p l a y v e r y e v e n l y and without
a c c e n t u a t i o n , so t h a t t h e s u b d i v i s i o n s i n t o b a r s d o e s n o t become
perceptible." S e e L i g e t i , Ten Pieces, p . 15.
23
T h e i r r e l a t i o n s h i p t o t h e f l u t e l i n e w i l l become more a p p a r e n t
in the next s e c t i o n .
E x a m p l e 23. P i e c e No. 4, impulse-density graph.
measure
51
24
24
I f o n e c o m p a r e s t h e " r e c e s s i o n " i n t h e two p h r a s e s , o n e n o t i c e s
t h a t , i n t h e f i r s t , t h e f l u t e changes r e g i s t e r smoothly and without inter-
r u p t i o n ( e . g . , b a r 2 ) . I n t h e second p h r a s e , t h e f l u t e s t o p s s u d d e n l y and
r e s t s b e f o r e r e - e n t e r i n g a t t h e lower r e g i s t e r and dynamic l e v e l ( e . g . ,
bar 19).
52
p i e c e does e x h i b i t t h e p o t e n t i a l f o r c h a r a c t e r i z a t i o n as t o l a r g e - s c a l e u n i t s
qualities.
r h y t h m i c p r o g r e s s i o n and r e c e s s i o n w i t h i n an extended p o l y p h o n i c p h r a s e
c u r v e o f t h e p i e c e and, a l t h o u g h i t s shape i s g e n e r a l l y s i m i l a r t o t h a t o f
c o n s e c u t i v e t e x t u r a l elements. Three of t h e s e c o n t r i b u t e t o t h e l a r g e -
e l e m e n t — w i l l be d e a l t w i t h s h o r t l y . )
turn-around point
tr.H
1
15
measure no.
54
The d i f f e r e n c e i n t h e l e v e l s of o v e r a l l a c t i v i t y i n the t h r e e
t h e sharp i n c r e a s e i n t o t a l r h y t h m i c a c t i v i t y r e p r e s e n t e d on t h e graph
26
note) .
( d e f i n e d above) as w e l l as t h a t of t h e r e c e s s i v e g e s t u r e i s marked by a
t h e r e b y q u a l i f y i n g t h e f o u r c o n s e c u t i v e elements as m e t r i c u n i t s — u n i t s
mm. 1 7 8 9 14 16
28
structure (again, not unlike that of the horn line i n No. 8). By
the F of bar 11, may also be heard as a local arrival point, especially in
29
28
An a d d i t i o n a l g e n e r a l s i m i l a r i t y b e t w e e n p i e c e No. 3 a n d t h e
e x c e r p t f r o m No. 8 may be d i s c e r n e d : t h e r h y t h m i c a c t i v i t y c u r v e o f t h e
e m e r g i n g theme, i n e a c h c a s e , m i r r o r s on a s m a l l e r s c a l e t h a t o f t h e
l a r g e r c o n t i n u o u s element.
p i t c h t o be doubled i n o c t a v e s ) and i s , t h e r e f o r e , c o n s i d e r e d t o be of
a c c e n t u a l and m e t r i c significance.
Because o f t h e l a c k of e x p l i c i t l y a r t i c u l a t e d p u l s e — e s p e c i a l l y
i n Example 27.
mm. 10 11 12
BSN.II')- ~
T 6
| 17x^
17x1 | 17x| I
re-
metered
A g a i n , l o w e r - l e v e l m e t r i c o r g a n i z a t i o n i s r e v e a l e d w i t h i n a l a r g e r , more
become c l e a r .
m a r g i n a l i n c r e a s e i n i m p u l s e - d e n s i t y , w h i l e t h e t h i r d s e c t i o n (back t o
30
In t h i s p i e c e t h e d i f f e r e n c e between t h e most a c t i v e and i n a c t i v e
s t a t e s i s o n l y 4 i m p u l s e s / J ; compare t h i s w i t h 22 i n No. 8, 8 i n No. 4,
and a t l e a s t 15 i n No. 3 ("at l e a s t " because o f t h e i n d e f i n i t e number
p r o v i d e d by t h e t r i l l ) .
60
activity as to impulse-density.
38 39 40 41 42 43 44
measure no.
In fact, pitch unfolding and registral ascent are more important factors of
5 3
piccolo - | | | | , oboe - | I | I I , and c l a r i n e t - | 1 I . This d e t a i l i n
rhythmic design prevents the imitation from becoming too regular (or s t r i c t ) .
The first occurs i n bar 1 1 , approached from bar 9 , while t h e second takes
(a) m e a s u r e s 9-11
(b) m e a s u r e s 23-24
E x a m p l e 31 i l l u s t r a t e s t h e two p o i n t s i n question.
(a) m e a s u r e s 8-9 ^
Tempo:
Poco sostenuto.legato dolcissimo
8 senza tempo (Presto)
J A 9 v-JSL
Fl.
Ob.
Cl.SH,
Cor.Fa
Fag.
(b) m e a s u r e s 10-11
Fl.
prestissimo possibile
Ob.
—LL. — j —
= ==
—f- —f- — — T T r«|*TT"rtl*"rtf tartyluil'gkjr' -
crescenao motto -
Cl.Si\> tr * -
s
i u ;
±^L±J
•1'
pp moito calmo
Jig rT\
Fag.
of r h y t h m i c g r o u p i n g w i t h o u t a c c e n t - d e l i n e a t i o n . I n o t h e r words, a m u s i c a l
p a r t s of t h e e i g h t h p i e c e . I n measures 26-32, f o r i n s t a n c e , f i v e d i s p a r a t e
Summary
i t s v i t a l i n f l u e n c e on p r o g r e s s i v e and r e c e s s i v e t e n d e n c i e s i n s e c t i o n s and
p i e c e s c o n s i s t i n g p r i m a r i l y of p o l y p h o n i c t e x t u r e s . The second p r i n c i p l e
and, i n f a c t , a c c e n t - a r t i c u l a t e d u n i t s a t t h e l e v e l of t h e n o t a t e d measure
( d e l i n e a t e d by f a c t o r s o t h e r than n o t a t e d b a r l i n e s ) were s a i d t o o p e r a t e i n
t h i r d p r i n c i p l e s t a t e d t h a t , i n p i e c e s w i t h a c o n s t a n t n o t a t e d meter,
31
The e a r l i e r p a r a l l e l drawn between t h e s o l o i s t i c p i e c e s o f the
q u i n t e t and t h e l a r g e r p i e c e s c h a r a c t e r i z e d by t h e s t y l e of Apparitions
and Aventures i s e x e m p l i f i e d i n t h i s p a r t i c u l a r e x c e r p t .
Example 32. P i e c e No. 8, m e a s u r e s 26-32, showing consecutive disparate musical ideas.
as
found to operate within the rhythmic and metric design of these pieces,
it i s hoped that the issues discussed in this section will serve as a point
developed.
Modes o f P i t c h Organization
Linear Details
32
and recession.
33
34
piece (A * ).
1 6
34
While the " i n n e r " p a r t s o f t h e a r p e g g i o s may a l s o r e v e a l l i n e a r
relationships, the " o u t e r " v o i c e s a r e most r e a d i l y p e r c e i v e d a t t h e
operative tempo,J = 144.
Example 3 3 . P i e c e No. 2, m e a s u r e s 12-15, two simultaneous linearizations.
mm. 12 13 14 15
41
CL
(inC),
%
y M f=±=z
5 5 6
111 I IIiff
6
51?
6
^ E J LLLU Uill 11 Bf ^L^L3Z^^L^L^0 iX^Li^EJ
ON
oo
mm. 21 22 29
69
point of o r i g i n of the flute's top linear event, (bar 1), i s the arrival
the clarinet part, as suggested by the arrow from bars 6-7. The linear-
35
3 6
particular e x a m p l e , movement by step i s exceeded). The top staff of
37
ships inherent i n the succession of tritones, while system (c) shows the
conclusion.
content; the twelve PC's are sounded once b e f o r e any are repeated. Although
3 6
B o t h t h e r e c u r r i n g l i n e a r t r i t o n e s and g e n e r a l arpeggio approaches
to s u s t a i n e d p i t c h e s may be c o n s i d e r e d m o t i v i c .
37
Inversion relationship r e f e r s to the v e r t i c a l order of the t r i t o n e
members ( e v e n t h o u g h a t r i t o n e , as such, i s not i n v e r t i b l e w i t h respect to
actual IC).
73
f o u r s e c t i o n s o f t h e p i e c e ( a s d e l i n e a t e d t h r o u g h o t h e r parameters already-
a r e not t r a n s p o s i t i o n a l l y o r i n v e r s i o n a l l y r e l a t e d , many i n t e r n a l PC p a i r s
("boxed" i n Example 3 7 ) .
Example 37. P i e c e No. 5, PC o r d e r i n g s , showing PC p a i r
and IC o r d e r i n g r e l a t i o n s h i p s .
I (mm.l-8.8fp1 DE^CD^EFBB*
II (mm.8-9.ff) E
III (mm.9-12.sfp) C D B* B
BE (mm.12-14,ff)
The c o m p l e t i o n o f t h e t h i r d PC o r d e r i n g ( i . e . , t h e E ^ ) c o i n c i d e s
w i t h t h e f i r s t n o t e o f t h e f i n a l s e c t i o n ( a s d e f i n e d by tempo and d y n a m i c s ) .
The f i n a l s e c t i o n , t h e r e f o r e , c o n t a i n s t h i r t e e n n o t e s : The E ^ from t h e end
of t h e t h i r d o r d e r i n g and t h e t w e l v e n o t e s o f i t s own o r d e r i n g , w h i c h a l s o
ends on E K
75
The b e g i n n i n g o f t h e s i x t h p i e c e c o n t i n u e s t h e o r g a n i z a t i o n a l concept
p a t t e r n s used i n t h e p r e v i o u s p i e c e . Example 38 r e v e a l s t h e PC p a i r
r e l a t i o n s h i p s between t h e f i r s t o r d e r i n g o f t h e s i x t h - p i e c e and t h e f i r s t
r e c u r r i n g IC o r d e r i n g (boxed i n t h e example).
No. 5, I
No. 6 C Br*D E ^ | A * A » G G ^ E F
No. 5, 3 E O ^ C B ^ B A G ^ F E E ^
F i n a l l y , w i t h r e g a r d t o o r d e r e d PC u n f o l d i n g , t h e n i n t h p i e c e
o r d e r i n g a r e a r t i c u l a t e d o n l y once ( i . e . , once p e r i n s t r u m e n t ) .
• 76 ;
may be associated with the orderings of the three pieces just examined.
in their orderings.
The pattern i n the n i n t h piece (top staff of Example 39) is, in fact,
in Chapter IV.
piece, apart from those with a black note above or below. (In the latter
cases, the black notes are the a c t u a l sounding registers of the notes.)
sense tends to " p o i n t " towards i t . The energy generated i n the latter is
77
w h i c h may be seen to continue with the final four pitches of the piece.
noteworthy. While the G^, F^, and of the third ordering occur early
in the third section, the final occurs an octave l o w e r and as the first
pitch of the final section (as defined by tempo a n d dynamics). This may
39 u
unfolding. Several conditions r e i n f o r c e the notion that D 4
would qualify
progresses through a descending seventh; and third, the final four pitches
of the fourth section point linearly to, but fall short of, D4.
sixth piece does not conform to the registral configuration of the wedge
39
T h i s i s f u r t h e r r e i n f o r c e d by t h e note i n the score: "stop as
though t o r n o f f . " See L i g e t i , Ten Pieces, p. 19.
p a t t e r n noted on t h e bottom s t a f f o f Example 39, i t i s r e s p o n s i b l e , i n PC
40
o r d e r i n g ) i s t h e f e a t u r e d oboe's f i r s t n o t e . The d i f f e r e n c e i n t i m b r e as
No. 5 No. 6
mm. 13 1 _/oboe \
registrally
specific
pitches
itch-
classes
p i t c h e s o f t h e o v e r a l l r e g i s t r a l space c r e a t e d by t h e i n t e r a c t i o n of the
40
Other a s p e c t s c i t e d e a r l i e r i n c l u d e tempo, a r t i c u l a t i o n ,
i n s t r u m e n t a t i o n , and t h e attacca i n d i c a t i o n a t t h e end of t h e f i f t h p i e c e .
80
r e v e a l s t h e aforementioned w e d g e - l i k e p a t t e r n of l i n e a r i z a t i o n .
mm. 1 2 3 4 7 7 8 10 11 12
as i n Example 42.
pitch unfolding:
rhythmic a c t i v i t y :
(impulse-density)
81
C# , 5
concurrent with the horn entry, also on C#5. Once t h e h o r n has assumed
the p i t c h , the f l u t e drops out. The linear component has, here, been
Example 43).
41
a transfer has occurred. This i s the case i n bar 5, f o r example, where the
*These brackets indicate the span over which a particular instrument sounds; the dotted portion
at the end of each indicates the point of "unison transfer" and the other instrument involved.
'These diagonal lines indicate instances of "pitch interchange. "
84
density.
Unison t r a n s f e r i s a l s o r e s p o n s i b l e f o r t h i n n i n g t h e t e x t u r e . In
B -A
4 4
i n t h e f l u t e , measures 4-5. The i n i t i a l B i n t h e f l u t e does n o t come
by t h e bassoon w i t h t h e c h a r a c t e r i s t i c u n i s o n o v e r l a p .
The F 4 a n d $k Q f ^
t e bassoon a r e i n t e r c h a n g e d w i t h t h e A ^ 4
and F 4
of the
p i t c h i n t e r c h a n g e s a t t h e i r o n s e t , so t h e t e c h n i q u e i s employed here t o
t h e oboe c o n t i n u e s b u t t h e c l a r i n e t d r o p s o u t .
W h i l e t h e t e c h n i q u e s o f u n i s o n t r a n s f e r and p i t c h i n t e r c h a n g e may be
85
42
Summary
S e v e r a l modes o f l i n e a r pitch a n d PC c o n n e c t i o n h a v e b e e n f o u n d t o
43
42 r
T h e c l i m a x i s f o r m e d b y t h e h i g h e s t p i t c h i n t h e s e c t i o n , G- , a s 5
43
Others c e r t a i n l y e x i s t , s e v e r a l o f which w i l l be e x e m p l i f i e d i n
t h e n e x t two c h a p t e r s .
86
Harmonic Details
dissonance fluctuation.
44
i
; I
45
and metric c h a r a c t e r i z a t i o n noted earlier.
first s e c t i o n of the fifth piece and measures 7-15 of the n i n t h are, here,
means.
46
E-
D-
C-
A«-
G«-
F*-
E—
D- •
C-
A«-
G*-
F*
E-
D-
C-
A*
E-
D-
C-
i r i r 1 T
measure no.
flute / / * /
clarinet
horn *
bassoon —
93
(unison
toendK^
a
B
FLUTE
OBOE
A
CLARINET
G
F - | 1 1 h ' -f=i
E
H 1 _J
_ l
8 10 11 12 13 14 15 16
measure no.
It was a s s e r t e d at the beginning of this section on harmonic details
47
components. In the three pieces cited, the tempo and rhythmic activity
piece, and measure 1 of the fourth, both of which are n o t a t e d without stems
are boxed, numbered, and detailed on the second system of each excerpt.
relative consonance.
ma
3
ft
<
0)
0)
w
</>
(0
(0 ro
I
co
"<g>
Wr -
I
co
I
98
which comprise the fourth piece. Here, the rhythmic activity has relaxed
mm. 7 8
finC)
1 - 2 - 1 - 2 - 2 - 1 - 2 1 - 2
BSN.
mm. 23 24 25 26
FL
1 J JJ [) ill J\ .0 ^
»•*!
- 1 - 1 - 2 - 1
CL
(inC) IvA J Ik J_e_ 1
99
a s p e c t i s p r i m a r y , w i t h t h e p o s s i b i l i t y of d e r i v e d l i n e a r r e l a t i o n s h i p s ,
i n t h i s p a r t i c u l a r s e c t i o n (measures 1-11), t h e f i r s t t h r e e c o n s i s t i n g
sonority.
The f i v e - n o t e v e r t i c a l i t i e s appear l a t e r i n t h e p i e c e ( e . g . , b a r s
s o n o r i t y (where t h e y appear as t h e l o w e s t t h r e e p i t c h e s ) , t h e r e b y p r o v i d i n g
system.
f u n c t i o n a l consonance-dissonance r e l a t i o n , as p o s i t e d i n c o n n e c t i o n w i t h
100
and r e t u r n t o , t h e PC r e p r e s e n t i n g t h e l o w e s t p i t c h of t h e opening
5 0 . A n d f i n a l l y , t h e upper a s c e n d i n g l i n e a r c o n n e c t i o n j u s t mentioned
T h i s r e l a t i o n s h i p i s n o t e d on t h e t h i r d s t a f f o f t h e example.
s o n o r i t i e s based on G^ i s p r o v i d e d by t h e v a r i o u s i n s t r u m e n t a l v o i c i n g s
n — 1 J
„ 1
— J
— — — i J
* , 1
sustained sonorities
^ * s
mm. 1-12 12-15 15-19 23 30,34
102
B* 74
(measures 6 ff.), followed by t h e t r i c h o r d G -A -B'
4 4 7 4
(bars 12 f f . ) ,
in the pieces of the quintet (and i t occurs i n a l l but the fourth) thus
r e s p e c t i v e l y , each f u n c t i o n i n g as a d e p a r t u r e p o i n t f o r a wedge-patterned
b o t h l i n e a r l y and r h y t h m i c a l l y . F i n a l l y , i n the e i g h t h p i e c e t h e s u s t a i n e d
t h e s u s t a i n e d s o n o r i t i e s of the calm f i n a l s e c t i o n .
Summary
piece.
Summary
musical language of Ligeti's Ten Pieces for Wind Quintet v i a the definition
next two c h a p t e r s .
CHAPTER I I I
ANALYSIS OF P I E C E NO. 1
Introduction
Modes o f P i t c h O r g a n i z a t i o n
Linear Details
Harmonic D e t a i l s
Summary.
105
106
1
polyphony operating over t h e range >y • - , dynamically from pianissimo
J = 40 a n d J = 4 8 , r e s p e c t i v e l y . The f i n a l tempo c h a n g e b a c k t o J = 4 0
Summary
The PC c o n t e n t o f t h e f i n a l d y a d , C a n d D, i s a n o t h e r a s p e c t
s u g g e s t i n g r e l a t i o n s h i p t o t h e ' a ' - s e c t i o n ; t h i s , however, w i l l r e c e i v e
closer attention i n thesection dealing with linear d e t a i l s of pitch
organization.
107
Textural Quality
I n E x a m p l e 52 a q u a l i t a t i v e a n a l y s i s i s a p p l i e d t o t h e t e x t u r a l
2
Instrument i n t e r a c t i o n i s t h e primary f a c t o r i n t h e d e t e r m i n a t i o n
of t e x t u r a l elements which i n t u r n d e f i n e o v e r a l l t e x t u r e .
3
The t e r m s " i n d e p e n d e n t " a n d " i n t e r d e p e n d e n t , " i n r e f e r e n c e t o t h e
i n t e r a c t i o n o f components, a r e a s s o c i a t e d w i t h t h e work o f W a l l a c e B e r r y .
See h i s Structural Functions, Ch. 2.
108
TE = textural element
mm. 1 5 10 15 20 25
( i i L _i_ J L J l_ J I L » j i ; i L l J L J i i
I
FL —
EH.—
C L -
'•I I
HRN.—
BSN.—
1 TE
4 1 TE 1 TE 1 TE
^
0 0
TEXTURAL
QUALITY 2ITC-»»2IDC 2ITC
>2ITC
5 IDC
CI
>3 IDC V3ITC-»6IDC
2ITC
OVERALL
QUALITY V independent independent/interdependent . interdependent
110
c h a r a c t e r i z e d by a t e x t u r a l q u a l i t y of independence ( i . e . , polyphony),
i n t e r d e p e n d e n c e of components) e n t e r i n d e p e n d e n t l y of one a n o t h e r .
F i n a l l y , components of t h e c l o s i n g dyad e n t e r i n t e r d e p e n d e n t l y . T h i s
p a r t i c u l a r i n s t a n c e o f v e r t i c a l a l i g n m e n t i s p r e p a r e d by t h e i n t e r d e p e n d e n c e
r e p r e s e n t a t i o n of t e x t u r a l components.
T e x t u r a l Space
v a l l i c d i s t a n c e between outermost r e g i s t r a l l y s p e c i f i c p i t c h e s of a
p a r t i c u l a r f o r m a l s e c t i o n o r o t h e r s t r u c t u r a l segment. I n comparing
l e v e l , e.g., t h a t of t h e whole p i e c e .
i n t e r v a l l i c r e l a t i o n s h i p s r e v e a l i n g an o v e r a l l p a t t e r n of s p a t i a l expansion
(inv.)
4
A more immediate e x p a n s i o n i s d i s c e r n i b l e w i t h i n t h e ' b ' - s e c t i o n
i t s e l f , s p e c i f i c a l l y i n t h e p r o g r e s s i o n f r o m t h e o p e n i n g u n i s o n C//^ t o
B4
and E^5.
112
Summary
Wallace Berry:
the first sixteen bars of the eighth piece. Specifically, the recurrence
Element-Rhythms
point." Units of comparable design and dimension are also discernible in the
measure no.
116
This pattern repeats itself with each subsequent pitch-pair. Although the
the p i e c e . I n c i d e n t a l l y , a p r o g r e s s i v e tendency i s r e v e a l e d i n t h e
Rhythm o f t e x t u r a l - d e n s i t y fluctuation
density f l u c t u a t i o n i s i n d i c a t e d by t h e v e r t i c a l l i n e s m a r k i n g changes i n
Rhythm o f t e x t u r a l q u a l i t y fluctuation
q u a l i t a t i v e changes f u n c t i o n as r e c u r r i n g events w h i c h d e l i n e a t e s p e c i f i c
Rhythm o f h a r m o n i c - d e n s i t y fluctuation
number o f v e r t i c a l p i t c h e s sounding) i s e s s e n t i a l l y t i e d t o t e x t u r a l -
g
do n o t c o r r e s p o n d . D e s p i t e a five-component t e x t u r e , t h e harmonic-density
I t n e v e r t h e l e s s a r t i c u l a t e s a w i d e s p r e a d r h y t h m i c p a t t e r n , t o be r e v e a l e d
i n c o n j u n c t i o n w i t h those a l r e a d y defined.
I n t e r a c t i o n o f element-rhythms
Example 56 i s a r e p r e s e n t a t i o n o f t h e s i x element-rhythms d e f i n e d
g
Two v e r t i c a l i t i e s i n measure 12 r e p r e s e n t b r i e f d e p a r t u r e s from
t h i s norm. I n t h e s e i n s t a n c e s , t o be d i s c l o s e d i n a l a t e r s e c t i o n , t h e
f i v e i n s t r u m e n t s sound a f o u r - n o t e s o n o r i t y .
121
mm.1
(a) rhythm of
impulse-density
fluctuation
(b) rhythm of
dynamically exposed mf mf mf mf
pitch-pair
mf mf
~f 1
mf
I I. I \
groups mf mf
FL.
(c) rhythm of E.H.
textural-density CL-
fluctuation HRN.
BSN.
(d) rhythm of
textural quality independent , independent/interdependent , interdependent .
fluctuation — —>H +
(e) rhythm of ^ 4-
harmonic-density g 3-
fluctuation "2 2-
o I-
y-4o J.-48
4-
(f) rhythm of J . 4 0
tempo change
also simplified here as only the initial mezzoforte pitch change o f each
group i s indicated (these being the unit delineators taken from the centre
harmonic densities.
Summary
It was found that the first piece i s consistent with the other
9
T h i s i s m e r e l y f o r c l a r i t y ; a s w i l l be shown, s i g n i f i c a n t
i n t e r a c t i o n occurs only at the turn-around point, adequately represented
by t h i s l e s s - d e t a i l e d v e r s i o n .
124
10
simultaneous reduction i n t e x t u r a l and harmonic d e n s i t i e s . The rhythmic
exemplified above.
Modes o f P i t c h Organization
Linear Details
connection.
Outer-voice prolongation
second highest on t h e second staff, etc. The " h i g h e s t " pitches are
^ A l o n g w i t h t h e r e d u c t i o n i n t e x t u r a l and harmonic d e n s i t i e s i n
the t r a n s i t i o n i s a decrease i n t e x t u r a l space (e.g., from a minor seventh
t o a m i n o r t h i r d ) a n d d y n a m i c s ( t o a c o n s t a n t pianissimo level).
125
ant. = anticipation
126
mf mf
oo
in
a>
a
E
CO
X
LU
• C
O
TJ
0)
D
C
+->
c
o
o
i.m.mxi.n
127
of i t s p i t c h i n t h e v e r t i c a l i t y . P i t c h e s of a given i n s t r u m e n t a l part a r e
r e s t s e p a r a t e s t h e two p i t c h e s i f t h e l i n e i s n o t a t e d w i t h a p a r a l l e l slash,
e.g., " /• a
— . Where a d i a g o n a l l i n e connects two, l i k e p i t c h e s on
s e p a r a t e s t a v e s , i t s v o i c e p o s i t i o n has changed ( b u t n o t i t s i n s t r u m e n t a t i o n )
2
Our f o c u s on t h e o u t e r v o i c e s i n p a r t i c u l a r as one mode o f l i n e a r
12
patterns, also n o t a t e d as black notes, are stemmed to the slur which
of a
labelled
"major" and
MMUN o r MMLN
"minor" second
(major-minor
are notated
upper
thus:
neighbour
V
n f
*—r-
Pf
or major-minor
1
J ,
lower
and
neighbour).
Given the function of and C^ as the outermost pitches and, hence, form
12
An e m b e l l i s h i n g p a t t e r n , i n t h i s c o n t e x t , r e f e r s t o s t e p w i s e
m o t i o n ( b e y o n d a m a j o r s e c o n d ) away f r o m , and b a c k t o , a p a r t i c u l a r
s t r u c t u r a l note. I t may a l s o c o n s i s t o f a l e a p away f r o m t h e m a i n n o t e
and s t e p w i s e m o t i o n b a c k , o r v i c e v e r s a .
• 129
system (c).
preceding bars i n that the instrumental parts of the score are given.
that of measures 1-12. On system (a), pitches with brackets above (e.g.,
•5 o 13
F J
(the lower remaining on D )
J
as an interim basis. This lower-level
16-22) i n s c o r e form. Systems (b) and (c) begin with identical summaries
of system (c) from Example 57 (i.e., measures 1-16), but offer two
13
This i s the reduction i n t e x t u r a l space noted earlier.
130
of the final D ,
5
with C# 5
(bar 16) and E* 7 5
( b a r 21) functioning,
C^ and C^), and one of D (involving and D^). The end result of either
and dynamics, and quasi eco indication i n the score, strengthens the
14
"Pitch-class (PC) neighbour" refers to r e g i s t r a l l y non-specific
neighbour notes.
^ T h e PC's C a n d D, i n f a c t , f i g u r e v e r y p r o m i n e n t l y i n t h e a u d i t o r y
e x p e r i e n c e a s a r e s u l t o f t h e a f o r e m e n t i o n e d o u t e r - v o i c e p r o l o n g a t i o n and
l i n e a r d i r e c t e d n e s s t o m e a s u r e 22.
131
/ ^
9 t—
I i * i I I " •
(E.H.)
(CL.)
— 4
_ ^ T>
V —
|
J. _i lll|
li*
(HRN.)
(BSN.)
4 ZZZZZZZZZZZZZZZZZZZZZl
(b)
(O
133
is by s t e p , movement a c r o s s r e s t s i s o f t e n by l e a p . In order to d i s c e r n
16
It i sconsidered t o be a subordinate linearization.
Timbral connection
in t h e same v o i c e o f a c r o s s v o i c e s , ^ a s i n d i c a t e d by a d i a g o n a l arrow,
18
progression with i t s dynamically exposed pitch; refer t o E x a m p l e 60.
16
I f a t some p o i n t a p r i n c i p a l p r o g r e s s i o n h a s two a v a i l a b l e
s t e p w i s e c o n n e c t i o n s , e a c h i n t h e same d i r e c t i o n a s i t s t a r t e d ( e . g . , f r o m
G to and G t o F ) , both o f which continue i n that d i r e c t i o n and a r r i v e
on t h e l o w e r p i t c h e x t r e m i t y ( t h e u p p e r e x t r e m i t y i f t h e l i n e s a r e
a s c e n d i n g ) t h e s e a r e c o n s i d e r e d t o b e , a n d n o t a t e d a s , two s e p a r a t e
p r i n c i p a l p r o g r e s s i o n s o c c u r r i n g over d i f f e r e n t time spans.
^ V o i c e s , remember, a r e l i n e a r c o n t i n u i t i e s c o m p r i s e d o f t o n e s o f
equal position i n successive v e r t i c a l i t i e s (regardless of instrumentation).
18
In t h i s p a r t i c u l a r t y p e o f c o n n e c t i o n , dynamic e x p o s u r e i s o f
primary importance. Compare t h i s w i t h t h e f i r s t t y p e w h e r e mezzoforte
accent i s secondary t o t h easpect o f t i m b r a l consistency.-
Example 59. Two i n s t a n c e s o f t i m b r a l connection
in l a t e r a l voice-crossing events.
mm. 2 3 4 5
mm. 9 10
W'
t
connection:
136
mm.
L connection:
19
"voice" r e p r e s e n t a t i o n a s E x a m p l e 57 ( u s e d to i l l u s t r a t e outer-voice
progressions to C . 4
Of t h e o c c u r r e n c e s of C , 4
a l l a r e approached by a
instances of C 4
which f a i l to i n i t i a t e voice-crossing progressions do n o t
discussion on o u t e r - v o i c e prolongation, a C 4
was l a b e l l e d primary i f i t
19
A l t h o u g h b a r s 13-15 a r e p a r t o f t h e ' a ' - s e c t i o n , i n c r e a s e d
rhythmic a c t i v i t y , slow dynamic f l u c t u a t i o n r e l a t i v e t o p i t c h changes,
and a b s e n c e o f r e s t s p r e c l u d e l i n e a r c o n n e c t i o n s a s d e f i n e d by t h e a s s e r t e d
c r i t e r i a of lateral voice crossing. I t i s i n t e r e s t i n g t h a t , w h i l e b a r s 15-
16 h a v e b e e n d e f i n e d a s t r a n s i t i o n a l , a d i s s o l u t i o n o f p a r a m e t r i c c o n t i n u i t y
i s a l r e a d y e m e r g i n g i n b a r s 13-15 a s s u g g e s t e d b y t h e c h a n g e s n o t e d a b o v e
( i . e . , r h y t h m i c , dynamic, and a r t i c u l a t i v e ) , and by t h e c o n d i t i o n a l changes
regarding outer-voice prolongation described e a r l i e r .
138
mm. 2 3 8
140
as m a n i f e s t i n g a p a r t i c u l a r mode o f r h y t h m i c grouping. To r e c a p i t u l a t e
noting.
each p a i r i sslurred and the first pitch o f each i s notated just prior to
C ),4
the c o n n e c t i o n of p i t c h e s i n t h i s manner r e s u l t s , a t t i m e s , i n low-
preceding chapter.
absence of p i t c h - p a i r s s e p a r a t e d by r e s t s ; r a t h e r , l i n e a r c o n t i n u i t y i n
r a t h e r than o c c u r r i n g c o n t i g u o u s l y , the p a i r s o v e r l a p as a r e s u l t of
C 4
( t h r o u g h a major-minor lower n e i g h b o u r ) i s perhaps the most s i g n i f i c a n t
20
outer-voice prolongation of C 4
illustrated earlier.
Summary
In t h e f i r s t of these, and C — t h e
4
pitch e x t r e m i t i e s of t h e ' a ' - s e c t i o n —
and C .
4
Outer-voice p r o l o n g a t i o n s and l a t e r a l v o i c e - c r o s s i n g s were said
rests was s e e n t o e x p a n d from minor and major seconds in the first ten
Harmonic Details
20
G i v e n t h a t o n l y t h e p r o l o n g a t i o n o f D^ a n d n o t c 4 i s c o n t i n u e d i n
the subsequent t r a n s i t i o n (measures 15-16), t h i s f i n a l maintenance o f C 4
first twelve measures (already noted), that portion of the 'a'-section will
will t h e n be examined.
Measures 1-12
from one aggregate to the next o n l y one pitch i s changed, harmonic quality
mm.2 3 4 8
IO 12 13 14 15 16 17 20 21 22
C-D
factors: 7 10 1b 10 9 7 7 9 11 11 14 10 9 13 9 [5 5\ 13 11 6 9 13 PlO 10 1ol 9 13 6
1 J 1 1 1 1 1 1 «i 1 1J 1 . 7
ii i i U l ! J i T i 1 T T 11 t J M
[
? tT T ^ V ? T ! [? r ? Ir ? v. DP ti& 3T T I ? **
148
m. 12
4,3 19
(Diss.)
15 f 0,1,2,3,4 ******
1 m. i i
3,3 15 14 0,1,2,3,5
m. 3
j
3,2 14 0,1,2,4,5
13
m. 9
7-**-*-
3,1 13 12 0,1,2,6,7
m. 4
2,3 11 11 0,2,3,4,6 • »T' *
m. 7
2,2 10 10 0,2,3,4,7
m. 8
2,1 9 9 0,1,4,5,7
m. 9
2,0 8 8 0,1,4,7,8
m. 4
£ s *
1,3 7 7 0,2,3,5,7 m
m. 6
1,2 6 6 0,2,3,6,8
m. 5
it**
1,1 5 5 0,1,3,6,9
m. 8
0,4 4 4 0,2,4,6,8
| m. 12
0,3 3 3 0,2,4,7,9
1 m. 12 V-
0,1 1 2 | 0,2,5,8
1 m. 12
1
0,0 0 0,3,6,9
(Cons.)
1
150
c o n t e n t , t h e n , o n l y a f f e c t s harmonic q u a l i t y of s e t s w i t h e q u a l semitone
r e s p e c t to t h e f r e q u e n c y of t h e v a r i o u s f a c t o r s , a t l e a s t t h r e e statistical
Regarding s p e c i f i c l o c a t i o n s of t h e v a r i o u s s o n o r i t i e s of a g i v e n
c o n n e c t i o n s a r e i n d i c a t e d by t h e l i n e , -, above each s t a f f
which r e p r e s e n t v e r t i c a l i t i e s i n v o l v e d i n t h i s i n t e r a c t i o n a r e b r a c k e t e d
some c o n t i g u o u s m e z z o f o r t e p a i r s w i t h i n a g i v e n group o c c u r i n v e r t i c a l
structure.
i n t o t h e subsequent t r a n s i t i o n , t h e l a t t e r f e a t u r i n g f u r t h e r rhythmic
i n t e n s i f i c a t i o n a s w e l l a s a r e d u c t i o n i n t e x t u r a l - d e n s i t y to. t h r e e
| I I I | I I I | I I t | I I I | II I | I 1 I | I I I | I I I | 1 I 1 | I I I | I I I | I I I | I I I | 1 I I |
7 8 9 10 11 12 13 14 15
measure no.
154
22
the most frequent of those i n the 'a'-section (most of which contain five
verticality B-C/Z-D-E^ . 7
In this sense i t i s suggestive of the " c a d e n t i a l "
Summary
22
In t h e ' a ' - s e c t i o n , harmonic rhythm i s t i e d t o r h y t h m i c a c t i v i t y
i n g e n e r a l b e c a u s e e a c h a r t i c u l a t i o n s o u n d s a new v e r t i c a l i t y . I n t h e 'b'-
s e c t i o n , t h e h a r m o n i c r h y t h m i s most o f t e n s l o w e r t h a n t h e l e v e l o f i m p u l s e -
d e n s i t y because o f t h e r e i t e r a t i o n o f p i t c h e s .
155
will be i l l u s t r a t e d shortly.)
On a l a r g e r s c a l e , p i e c e s 1 and 3, t a k e n as an u n i n t e r r u p t e d c o n t i n u i t y ,
f i r s t p i e c e i s the g o l d e n s e c t i o n of t h e t o t a l f o r t y - o n e b a r s of b o t h
pieces.
p o i n t of t h e t h i r d p i e c e , p r o v i d e s a degree o f l a r g e - s c a l e c l o s u r e from
the f i r s t piece.
c h a r a c t e r i z i n g of t h e second p i e c e as an i n t e r r u p t i o n . First, i t is a
23
I n p i e c e No. 1 the f i f t h r e p r e s e n t s the p i t c h e x t r e m i t i e s of the
i n i t i a l s o n o r i t y . In p i e c e No, 3 t h e l i n e a r i z e d f i f t h o c c u r s i n t h e
a s c e n d i n g t r i l l of t h e c l a r i n e t i n b a r s 12-16.
158
..24
Summary
1 a n d 3.
Summary
24 T. .
Ligetx, Ten Pieces, p. 11.
159
Introduction
a r e as f o l l o w s :
D e l i n e a t i n g F a c t o r s of Formal Segmentation
A s p e c t s of T e x t u r a l S t r u c t u r e
P r i n c i p l e s of Rhythmic and M e t r i c D e s i g n
Modes of P i t c h O r g a n i z a t i o n
Linear D e t a i l s
Harmonic D e t a i l s
Summary.
a p p l i c a t i o n s of those i n t r o d u c e d i n Chapter I I , w h i l e o t h e r s a r e p a r t i c u l a r
to t h e t e n t h p i e c e .
D e l i n e a t i n g F a c t o r s o f Formal Segmentation
U n l i k e o t h e r s o l o i s t i c p i e c e s i n t h e q u i n t e t ( e . g . , Nos. 2, 6, and
a continuous stream, t h e t e n t h p i e c e f e a t u r e s f o r m a l s e g m e n t a t i o n w h i c h i s
160
161
chapter.
written ritardando), and a tempo and ex abrupto indications i n bar 13. The
at p, while i n the 'b'-section these are replaced by fff and pp. In short,
the loud part of the 'b'-section gets louder and the soft part gets softer,
The piccolo, silent during the disjunct portion of each section, enters in
Summary
Aspects of T e x t u r a l S t r u c t u r e
2
the bassoon i s featured in a nearly continuous, disjunct linear event
'''The l a t t e r d e s i g n a t i o n r e f e r s t o t h e t e x t u r a l q u a l i t y o f i n t e r -
a c t i o n between t h e b a s s o o n and o t h e r i n s t r u m e n t s . For example, c o n t r a p u n t a l
f r a g m e n t s were n o t e d as b e i n g b r i e f , r h y t h m i c a l l y independent p a s s a g e s w h i c h
appear s u p e r i m p o s e d on t h e f e a t u r e d i n s t r u m e n t ' s p a r t . This results in
p e r i o d i c fragments of polyphony. D o u b l i n g s a n d c o l o r a t i o n s , on t h e o t h e r
hand, a r e c h a r a c t e r i z e d by r h y t h m i c i n t e r d e p e n d e n c e ; t h e i r v e r t i c a l
a l i g n m e n t r e s u l t s i n b r i e f i n s t a n c e s o f homophony.
2
The d i s j u n c t d i s p o s i t i o n o f t h e b a s s o o n l i n e , f e a t u r i n g a b r u p t and
e x t r e m e r e g i s t e r c h a n g e s , s u g g e s t s an i m p l i e d m u l t i - v o i c e d l i n e a r . s t r u c t u r e —
one w h i c h w i l l be i l l u s t r a t e d l a t e r i n t h e c h a p t e r .
3
Semitone c o l o r a t i o n s refer to a p i t c h ( i n an accompanying instrument)
vertically aligned w i t h , and a semitone above or below, a p a r t i c u l a r bassoon
°note. That d e s i g n a t e d as a whole-tone coloration o c c u r s a w h o l e - t o n e away.
163
examined here a r e f o r m a l s t r u c t u r e as d e f i n e d by t h e t h r e e t e x t u r a l
d o u b l i n g and c o l o r a t i o n s p e c i f i c a l l y .
Formal S t r u c t u r e as D e f i n e d
by T e x t u r a l C o n d i t i o n s
on pacing.)
4
In t h a t t h e use and e f f e c t s o f r e s t s concern r h y t h m i c p r o g r e s s i o n
and r e c e s s i o n , they w i l l be examined i n t h e next s e c t i o n , on r h y t h m i c
design.
164
'f
f«A = semitone or whole-tone
coloration
|
|
i
166
and does not appear to conclude w i t h a cadenza (at l e a s t not one which
i n s p e c t i o n , however, a b r i e f ,
:
disjunct fragment may be h e a r d to separate
apart f r o m A^, these are the opening PC's of the f i r s t cadenza ( c f . bars
cadenzas).
A s e n s e o f t e x t u r a l p r o g r e s s i o n m i g h t be c o n s i d e r e d t o a r i s e
from the i n c r e a s i n g "urgency" of the phrases ( i . e . , the tendency from a
t e x t u r e o f m u l t i - f r a g m e n t e d p h r a s e s t o one o f c o n t i n u i t y ) .
167
c o n t r i b u t e t o t h e c h a r a c t e r i z a t i o n o f t h e D-> i n bar 15 a s a c u l m i n a t i o n
for p a r t i c u l a r q u a l i t i e s of progression, t o be d i s c l o s e d n e x t .
T e x t u r a l P r o g r e s s i o n as M a n i f e s t i n
D e n s i t y and S p a t i a l F l u c t u a t i o n s
c o l o r a t i o n s i n f l u e n c e s m a l l - s c a l e s p a t i a l f l u c t u a t i o n and, w i t h o c t a v e and
be d i s c u s s e d i n greater detail.
Textural-dens i t y
R e f e r r i n g a g a i n t o Example 68, i n s t a n c e s of c o l o r a t i o n a r e
(octave) (unison) X) o
instrumentation-density doubling-density doubling-density coloration-density p. Jo
rt cn rt- cu
n rt
o co
M M M i l l M i l l 1 1 1 1 1
D" O
(T> o
CO 3
n>
cn
o
3
J \
/ /
IK.
\ 1
<
\ 7
4m
-4
J
S \ 4W
2. — < 1 4U
% HI
<, — »
• r a t e
4_
^
—< (
—4 t
•!1
/ t Ii-
x -f-
i
\
I \ 5
\
•4*
l
Z. ^ A
\, w
<
•
171
Textural space
9
featuring a f o u r t h box at the v e r y end). These represent "spatial fields,"
the temporal spans of which are roughly coincident with formal subdivisions,
pitch boundary of the first two spatial fields i s B ^ l and, were i t n o t for
octave doublings i n the second phrase, the upper boundary would increase by
register) i s one of ascent. For example, n o t only i s the end of the 'a'-
"half-cadence."
9
" S p a t i a l f i e l d s " a r e r e g i s t r a l s p a c e s d e f i n e d by p i t c h e x t r e m i t i e s
of p a r t i c u l a r formal s e c t i o n s or, i n t h i s case, s u b d i v i s i o n s of such
sections.
172
the middle spatial fields of each section exhibits this ascent from F#-* to
Summary
^ C o n c e r n i n g t h e s e two c a d e n z a s , i t i s i n t e r e s t i n g t h a t t h e p a t t e r n
o f s p a t i a l d e f i n i t i o n i n m e a s u r e s 9-11 i s o n e o f t a p e r e d c o n t r a c t i o n , w h i l e
t h a t o f b a r s 16-19 i s e x t r e m e l y s t a t i c . A l t h o u g h g e n e r a l l y a p p a r e n t on t h e
g r a p h , t h e r h y t h m i c a c t i v i t y o f t h e s e c a d e n z a s w i l l l a t e r b e shown t o
complement t h e s e p a t t e r n s . o f s p a t i a l f l u c t u a t i o n .
^ I n terms of l i n e a r p i t c h o r g a n i z a t i o n , a d d i t i o n a l r e i n f o r c e m e n t
f o r the a s s e r t i o n of openness i s o f f e r e d ; d e t a i l s appear l a t e r i n the
chapter.
173
t y p e s of instrument i n t e r a c t i o n be i t i n t h e form o f d o u b l i n g o r c o l o r a t i o n .
textural-density. F i n a l l y , t e x t u r a l space, a f f e c t e d by o c t a v e d o u b l i n g s i n
throughout t h e p i e c e .
p r i n c i p l e s w i l l be d i s c u s s e d : t h e f u n c t i o n of n o t a t e d b a r l i n e s and their
r o l e i n a r r i v a l p o i n t d e f i n i t i o n , impulse-number p r o p o r t i o n s of phrase
fragments, and d i r e c t e d p a t t e r n s of i m p u l s e - d e n s i t y f l u c t u a t i o n . In
t h a t n o t a t e d b a r l i n e s a r e l a r g e l y f o r ease of r e a d i n g — a convenience o f
n o t a t i o n a l o r g a n i z a t i o n r a t h e r than an i n d i c a t o r of a c c e n t - d e f i n e d m e t r i c
of t h e s e a s s e r t i o n s ; i t a l s o f e a t u r e s a c l e a r l y f e l t a r r i v a l p o i n t , but
on t h e f i n a l s i x t e e n t h - n o t e of measure 15 i s t h e j u n c t u r e i n q u e s t i o n and
sound a t once). As w i l l be e x p l a i n e d l a t e r , l i n e a r c o n t i n u i t i e s a l s o
c u l m i n a t e a t t h i s p o i n t and i m p l i c a t i o n s o f PC c e n t r i c i t y (on D) a r e r e a l i z e d
entire piece and, yet, the barline i s indicated just after i t . The
13
ensuing cadenza.
and " a c t i v e " beats i n each segment), disjunct portions of the 'a'-section
13
The r h y t h m i c " s t e a d i n e s s " o f t h e c a d e n z a ( t o be commented o n l a t e r )
and a b r u p t t e r m i n a t i o n of a c t i v i t y ( a l l u d e d t o e a r l i e r ) r e s u l t i n t h e
r e t e n t i o n of a c e r t a i n degree of i n t e n s i t y . My own v i e w i s t h a t o n l y a f t e r
the piece i s a c t u a l l y f i n i s h e d i s the i n t e n s i t y f u l l y d i s s i p a t e d .
14
The l a r g e u n i t s of s i l e n c e have n o t been i n c l u d e d i n t h e i m p u l s e
c a l c u l a t i o n of a c t i v e beats. A l s o , because of the rhythmic interdependence
o f t h e d o u b l i n g s and c o l o r a t i o n s , t h e y h a v e n o t been c o u n t e d as separate
impulses.
175
two phrases.
"''"'Regarding t h e c a d e n z a i n b a r s 8-11, t h e b a s s o o n p o r t i o n ( c u r i o u s l y
t h a t w h i c h i s r h y t h m i c a l l y i d e n t i c a l t o t h e f i r s t c a d e n z a , i . e . , | | | | F^ n
| | | | ]
s | | | | | 3I J ) i s a l s o roughly balanced with the other phrase
portions.
16
T h i s p a r t i c u l a r p i t c h d e p a r t u r e m a r k s an i m p o r t a n t p o i n t i n the
s t r u c t u r e o f l i n e a r p i t c h o r g a n i z a t i o n , one w h i c h w i l l be e x p o s e d later
in the chapter.
178
and extended length (e.g., longer than the preceding p o r t i o n of the 'b'-
end of the piece as a whole. The inactivity of bars 19-21 may be heard as
piece.
level (a) below the graph i n E x a m p l e 70, phrase fragments of the 'a'-section
19-21.
Summary
Linear Details
Other factors such as dynamic exposure (No. 7), and unison transfer (No. 3)
r e g i s t e r s simultaneously: i ,
i l l u s t r a t e d i n t h e f i r s t e i g h t n o t e s o f t h e bassoon p a r t as shown i n
s c o r e ; each o f t h e lower s t a v e s r e v e a l s a f o u r - n o t e m o t i v e , t h e l o w e s t
which c o n t i n u e s up to E J
by measure 11.
f o r e g r o u n d l e v e l o f p i t c h o r g a n i z a t i o n i n which t h e f u n c t i o n s of a l l p i t c h e s
a r e s t r a i g h t f o r w a r d , s e v e r a l f a c t o r s of p i t c h exposure a r e noteworthy.
For example, c e r t a i n r h y t h m i c d e t a i l s s e r v e t o h i g h l i g h t s t r u c t u r a l p i t c h e s
of l i n e a r p r o g r e s s i o n s , p a r t i c u l a r l y the a s c e n d i n g f o u r t h , E ^ 4
t o A^ 4
(bars
A^ 4
a d e l a y of p r o g r e s s i o n r e p l a c e s the r e s t . I t s approach, in fact, i s
r h y t h m i c a l l y s i m i l a r to t h a t of F# 4
i n bar 3 ( c f . " f j ^ and | | | | | ).
3 3
"secondary" prolongation
(see text for criteria of "secondary" designation)
in measure 15).
. 21
where t h e r e i t e r a t e d E -> i s u l t i m a t e l y reinterpreted and e n h a r m o n i c a l l y
20
That i s , i t i s r e i n t e r p r e t e d from i t sinitial o c c u r r e n c e where i t
f u n c t i o n s as a goal o f motion.
21 \lK
The i n i t i a l E - a l s o s t a n d s a s a l o c a l
9 3
arrival point, i . e . , the
g o a l o f m o t i o n o f t h e a s c e n t f r o m A^ i n b a r 7.
185
o 22
r e g i s t e r i i where D J
i s reached i n bar 3 and prolonged u n t i l bar 1 5 .
i t s r e s p e c t i v e D, hence t h e p a s s i n g - t o n e d e s i g n a t i o n o f C# 4
and C# 2
in
of l i n e a r s t r u c t u r e . Each r e v e a l s t h e f i v e e s s e n t i a l l i n e a r progressions
n o t e m o t i v e , B ^ - B - C - D ^ — o n l y i n r e g i s t e r i i i s the m o t i v e c o n t i n u e d to D;
s t r u c t u r e , a l r e a d y d i s c u s s e d t o some e x t e n t . Example 7 4 i l l u s t r a t e s
As was n o t e d e a r l i e r , t h i s c u l m i n a t i o n p o i n t i s a l s o t h e c l i m a x
of i n s t r u m e n t a t i o n - d e n s i t y ( i . e . , i t i s the o n l y p o i n t where a l l f i v e
i n s t r u m e n t s sound a t once) and (unison) d o u b l i n g - d e n s i t y ( i . e . , i t i s
the o n l y PC doubled i n f o u r p a r t s ) . The C//5 w h i c h accompanies i t w i l l be
d e a l t w i t h i n the s e c t i o n on harmonic d e t a i l s .
186
immuri
00
188
PC unfolding
applied i n the tenth piece as, say, the fifth, No. 10 does e x h i b i t a
25
the third staff of E x a m p l e 75) resembles that of the bassoon part and
linearization.
24
C o n c e r n i n g t h e t h i r d s t a f f , t o t a l PC c o n t e n t o f e a c h segment i s
arranged i n "normal form" i n the d i r e c t i o n i n d i c a t i v e of the a c t u a l p i t c h
u n f o l d i n g i n the music. T h a t i s , i n a l l s e g m e n t s b u t n o s . 4, 9, 11, and
13 PC's a r e o r d e r e d i n a n a s c e n d i n g p a t t e r n w i t h t h e s m a l l e s t i n t e r v a l s
to t h e l e f t . The o t h e r f o u r s e g m e n t s a r e " r e v e r s e d " v e r s i o n s o f t h e
normal form o r d e r i n g , i . e . , descending from l e f t to r i g h t w i t h the
s m a l l e s t i n t e r v a l s to the r i g h t , again arranged to r e f l e c t the d i r e c t i o n
of u n f o l d i n g i n the a c t u a l music.
25
S e g m e n t s w i t h m o r e t h a n s e v e n PC's w i l l n a t u r a l l y r e v e a l s t e p w i s e
orderings. S m a l l e r s e t s , however, s t i l l e x h i b i t p r e d o m i n a n t l y chromatic
u n f o l d i n g s r a t h e r t h a n c o l l e c t i o n s i n v o l v i n g n u m e r o u s w h o l e - t o n e s and
small leaps.
26
A " s u b s e t " i n t h i s context r e f e r s to a group of p i t c h e s ( w i t h i n
a segment) w h i c h u n f o l d i n a c h r o m a t i c f a s h i o n i n t h e p i e c e . I n segment
No. 2 f o r e x a m p l e , two s u b s e t s may be d i s c e r n e d : D^^ down c h r o m a t i c a l l y
to A ^ S and up t o F#3 ( t h e F b e i n g a n o t e o f c o l o r a t i o n ) . (See s t a v e s
i and i i . ) When t h e s e two s u b s e t s a r e c o n j o i n e d and a r r a n g e d i n t o n o r m a l
f o r m , a l l PC's e x c e p t G a r e p r e s e n t .
190
'a'-section
measure: 1
segment: 1
1
phrase I phrase II
b'-section
i • coloration p-c's
ii = b s n . p - c ' s
iii= t o t a l p - c content
^disjunct fragments ^ -
phrase divider disj. fr. cadenza
phrase I phrase H
192
In a d d i t i o n t o t h e c h a r a c t e r i s t i c o f c h r o m a t i c o r d e r i n g , PC c o n t e n t
i s i t s e l f an i m p o r t a n t a s p e c t of l i n e a r o r g a n i z a t i o n . It i s , in fact,
s e g m e n t s — r e l a t i o n s h i p s such as e x p a n s i o n , i n c l u s i o n , o v e r l a p p i n g , and
c o m p l e t i o n of t h e t o t a l aggregate i s a l s o i n d i c a t e d i n Example 75 by a
c o n t i n u o u s d i s j u n c t fragment. I t i s a l s o u n p a r a l l e l e d i n terms of i t s
T h i s sense of c o m p l e t i o n i s complemented by t h e c u l m i n a t i o n of t e x t u r a l
n o t e , " D, p r o v i d e d by the p i c c o l o . I n t h i s s e n s e — o n e p u r e l y of PC
content, i r r e s p e c t i v e of t h e a c t u a l o r d e r of a r t i c u l a t i o n — s e g m e n t no. 13
Summary
28
The s i g n i f i c a n c e of t h i s c o m p l e t i o n l i e s i n t h e f a c t t h a t the
composed o r d e r i n g c l o s e l y resembles t h a t of t h e "normal form," and the D#
i n i t i a t e s the second " s u b s e t " of the segment.
194
actually occurs; B^ 2
t o C//^ a n d u p t o D^; and B ^ t o C// 2
tending towards,
Harmonic D e t a i l s
Consonance-dissonance quality of c o l o r a t i o n s
of 4 ) . Example 76 i l l u s t r a t e s a l l i n s t a n c e s o f i n s t r u m e n t i n t e r a c t i o n be
c o r r e s p o n d i n g C-D f a c t o r s a r e i n d i c a t e d below t h e v a r i o u s i n s t a n c e s of
coloration.
'a'-section
phrase I phrase I I
measure n o s . :
ir
coloration
pitches:
bassoon
pitches:
C-D f a c t o r s : 3 1 2 4 1 2 2 2
b -section
phrase I phrase I I
ir
measure nos.: 13 14 15
a—1
*
coloration
pitches: j 1
1 rHH 1 n. ,
-/•—
/ w
bassoon M •a
1
ft- ^
pitches:
set-types:
m
[0,1]
^ [0,1][0,1] [0,2]
s
[0,1,2,4] [0,l][0,2] [0,l]
C-D f a c t o r s : 2 2 2 1 5 2 1 2
L7 Li 29
progression, E to A 4 (as noted earlier).
30
different). The l a s t two c o l o r a t i o n s i n the 'a'-section harmonize the
29 bA
It i s the arrival point of this progression, A i n b a r 5, w h i c h
has t h e C-D factor 4 harmonization, t h e most dissonant of t h e 'a'-section.
Its articulation i s highly accented on t h e one hand, b u t somewhat
"disguised" by t h e d i s s o n a n t harmony on t h e o t h e r .
30
T h e s e two f r a g m e n t s , e a c h t e r m i n a t e d w i t h a c o l o r a t i o n , a r e
t r a n s p o s i t i o n a l l y r e l a t e d as explained e a r l i e r . The p a r a l l e l i s m o f t h e
two p h r a s e s i n t h e ' a ' - s e c t i o n , a l s o n o t e d e a r l i e r , i s h e i g h t e n e d b y
this relationship.
199
re-established A^ 4
( m e a s u r e 7) of the ascending progression in register
iv and the A 4
(measure 7) to which i t u l t i m a t e l y moves. Notice that,
The colorations of A^ 4
and F#4 i n measure 13 are noteworthy as
fourth-progression, A^ 4
to E ^ , 4
illustrated earlier. Although A is
31
32
"blur" the latter. The four-part unison doubling of and subsequent
31
T h i s p o i n t , as i n d i c a t e d e a r l i e r , i s analogous to t h e c l o s e of
p h r a s e I i n t h e ' a ' - s e c t i o n w h e r e C-D f a c t o r 4 ( t h e m o s t d i s s o n a n t t o
that p o i n t ) i s found.
32
I t i s i n t e r e s t i n g t o compare t h e d i s p o s i t i o n o f p i t c h e s i n t h i s
f i n a l c o l o r a t i o n t o t h o s e o f t h e f i r s t one i n b a r .1. In the e a r l i e r instance
the ( c o l o r a t i o n ) was n o t e d a s a n a n t i c i p a t i o n o f t h e b a s s o o n ' s s t r u c t u r a l
two b a r s l a t e r . In the f i n a l c o l o r a t i o n , i s t h e m a i n n o t e a n d C//^ i s
the c o l o r a t i o n p i t c h ; t h e two PC's h a v e e s s e n t i a l l y t r a d e d f u n c t i o n s .
200
t h e i r c o n t r i b u t i o n to the f l u c t u a t i o n of t e x t u r a l - d e n s i t y . As i n many
f o u r n o t e s c u l m i n a t i n g on the s t r u c t u r a l A 4
a r e doubled i n u n i s o n by the
s i g n i f i c a n c e l i e s i n i t s placement as a peak w i t h i n t h e p r o g r e s s i o n of
(unison)33 d o u b l i n g - d e n s i t y . 9
The bassoon's f i n a l C# , however, may be heard as a s u b t l e
"reminder " o f C// which accompanies
5
i n bar 15.
The f i r s t n o t e o f the t h r e e i s t h e A g o a l o f the i n i t i a l
4
Summary
I n d e a l i n g w i t h t h e harmonic s t r u c t u r e of t h i s p i e c e consonance-
I n s t a n c e s of c o l o r a t i o n were f r e q u e n t l y found t o h i g h l i g h t s t r u c t u r a l
points.
C o n n e c t i v e F a c t o r s Between the
N i n t h and Tenth P i e c e s
35
L i g e t i , Ten Pieces, p. 33.
36
The whole p i e c e , remember, c o n s i s t s of o n l y n i n e PC's i n an o r d e r e d
unfolding.
202
37
3-5). This r e l a t i o n s h i p i s summarized i n Example 77.
37
The i n t e n s i t y o f No. 9, r e s u l t i n g from the upper range of the
i n s t r u m e n t s , i s matched i n the t e n t h p i e c e as the p r o g r e s s i o n i n question
i s at the top of the bassoon's range.
203
Summary
in No. 9.
204
Summary
e x a m i n a t i o n s o f form d e l i n e a t i n g f a c t o r s , t e x t u r a l s t r u c t u r e , r h y t h m i c and
CONCLUSION
Ligeti's Ten Pieces for Wind Quintet, the foregoing s t u d y has presented
205
206
and lateral voice crossing. The 'b'-section also revealed linear directed-
Ibid.
2
207
W h i l e many o f t h e t e c h n i q u e s o u t l i n e d above a r e r e p r e s e n t a t i v e of
Books and P e r i o d i c a l s
Nordwall, Ove. "Ligeti, Gyorgy." The New Grove Dictionary of Music and
Musicians. E d i t e d by S t a n l e y S a d i e . London:' M a c m i l l a n Publishers
L i m i t e d , 1 9 8 0 . V o l . 10, p p . 853-856.'
Music
Requiem. F r a n k f u r t : C. F . P e t e r s M u s i c P u b l i s h e r s , cl966
209
SELECTED BIBLIOGRAPHY
P l a i s t o w , Stephen. " L i g e t i ' s Recent M u s i c . " Musical Times 115 (May 1974):
379-81.
210