D’un matin de printemps*

Piece on E - central note that occurs

- tonal and cyclic qualities - hybrid

E minor/E phrygian

But also cyclic: opening chord - 5 cycle

Reh 2: on B - traditional ‘dominant’ arrival

Reh 4: modal dominant (B min)

5 - transition

6: new section B in Db

Tonal sense: Pedal Db - C# as ^6 in E,

Intervallic: minor third motion

8: transition on Eb

Db-Eb-E - gradually moving back up to E

9: melody back to theme on E but accomp texture is wrong

10: A’ everything lines up, we have the opening again

11: return of the B section with Db

12: back to A’

14: Bb appearance: cyclic dominant

E->Bb - symmetrical dominant

^ instead of a traditional V-I

7 notes of white notes can make 5-cycle (P4s) - diatonic collection

Any mode is a diatonic collection

*Using diatonic collection in two senses:

- in E phrygian
- in Cycle 5
Then: moves to F#

From diatonic field of no sharps, to dia field of 6 sharps

Stacked thirds

Dramatic contrast

Then: back to E with 1 sharp

0 -> 6 sharps - very far

0 -> 1 - not as far - many common tones

At gracieux:

Stacked thirds: D9 to F9

changing quality of sound:

from C5 chords to tertian

Dia fields:

No sharps - tonic field

6 sharps : contrasting field

1 sharp: dominant field

At B section:

C2 - whole tone collection

Poco accel: focusing on intervals of P4 and P5

At Reh 6: pedal Db

inversional balance: Ab and Db, out in a wedge

Any diatonic collection can be created from a 5-cycle (stacked 4ths)

- ex: major scale, minor scale, modes
- (all white notes) + transpositions

~~~~

Webern op. 5 no 4

Sets of 3-4 notes.. up to 5/6 (unless it’s clearly symmetrical)

m1-2:

Grouping: upper and lower strings

Lower: Eb E F# [013]

Upper: [0156] and [0167] share 016, common tones B-C-F

im tempo:

B-C-F-F# [0167]

Bb-B-E-F [0167]

C#-D-E#-F# [0167]

1st section: int 5, int 6 sounds

Middle section:

Violas playing [048] aug triad

Violins: Mm triad (3s and 4s)

Cellos: artificial harmonics: E 2 octaves above (when you touch string a P4 above)

Ascending gesture from m.6 in m.10: T5

Analysis: how does content support the form?

Surface transposition vs normal order transposition

at ‘im tempo’ - can relate either as T5 (surface T) or when you put in normal order, as T1
- choose surface transposition when you can!

~~~~

Stravinsky Rite of Spring

Stratified blocks:

every block/motive has its own timbre (groups instruments)

He takes ideas from motives and moves them around (instead of changing intervallic content,
changes setting)

Opening: diatonic collection

Add C#: makes it a D-tonic (LT)

Switch from cycles to sets at m.6

Back and forth between sets and cyclic

Triadic+ = triadic sound with added note

ex: 0347 (Major and minor triad), 0137 (E major plus A#)

Intervallic field p.3: combining interval 5s in different ways

~~~~

Schoenberg op.11

Rounded binary or ternary?

1st A section: 1-33

Two phrases with interlude in the middle

Augmenting his intervals into cycles m.25

Many 3-part sentence ideas - this rhetoric is characteristic of older music

Measuring contour:

Relative placement (order) of notes, not necessary intervals between notes

Are notes higher or lower than the others

Assign numbers to ascending scale:

A Bb C D F# G#

0. 1 2 3 4 5

So m.9:

Contour numbers are 4 3 2 5 0 1

vs m.1:

Contour numbers are 532410 (comes back throughout)

Shape composition (traditional shape motive): keep the same counter number, but change
intervals in between notes

- contour numbers stay the same

Set class motive: changing shape but same set class, keeping intervals (harder to hear)

ex: Opening:

Also can think of it as 3 sets of int4 (M3), comes back in m.51

Ex: [014568] permeates piece in different shapes

Aug triad plus major 3rd plus added note - set class motive

Hybrid piece:

- use set class and cyclic theory

- shape vs set class motive