Overall analysis of Webern Op.7 No.1 for Violin and Piano.

An important example from the works of Webern is given. It is the first of the pieces for violin and
piano, Op. 7. The tonal structure is of truly compelling drat. There can be no insistent suggestion of
conscious creative intent, although Webern is said to have affirmed the importance of tonal relation
in his works, the tendencies which seem unequivocal in this piece (and it is representative of many)
may well be intuitive. The important concern of analysis is experiential effect as plausibly described
and underscored in objective evidence. Such evidence of course requires interpretation, and
verification in experience (i. e., listening), with such experience conditioned by the uncles-standing
which follows from analysis.

That sketches will illuminate tonal functions of different kinds, all of them oriented toward a primary
tonic Eb. The 'tonal system' of the piece is simple (suggestive secondary tonicizations of the leading-
tone D could be inferred, but the primary Eb is virtually without enrichment of expanding secondary
systems in this very brief, concentrated work). Indeed, that is no significant fluctuation: no real
deviation from insistent references to Eb at a number of levels. Descent front structural
manifestations of the 3 Eb. "root" of the final chord. The first of these pitches is simply held as a
violin harmonic, "establishing. the tonic PC. The second is reiterated, and preceded by a succession
derived from a chromatic set (illustrated) which significantly avoids Eb. The repeated figure
containing the eb is released, significantly, on c#. and creating an intense expectancy of return of the
established Eb.

In summary, Opus 7, number 1 is a “tonal” piece in which Eb becomes “tonic” by overcoming the
[0,3,4,8] chord of m. 2. Eb splits apart the chord, forms independent relations which each of the pcs
in it, and forms additional relationships based on the intervallic content of the chord itself. This
rhetorical strategy of creating a synthesis out of an opposition is quite different from that found in
most of Webern’s later compositions. There, unity is achieved not by process (unity emerging out of
initial confusion) but by rheiteration and repositioning; the truths of the later works are revealed,
rather than emerging truths. In this sense, Opus 7, number 1 is atypical of Webern’s output; the
piece may thus be practice-period tonality before the emphatic adoption of thoroughly different
pitch—organizational procedures.