Table 1: Harold Gramatges (1918-2008): Diálogo para violín y piano (1981)

Section Description Key Center Quotation Traditional Form

or tone row and Extended
Techniques
A Aleatoric Indetermined
10¨ improvisation, pitch A
30¨ Tone clusters,
15¨ chromaticism,
30¨ Dynamic
diversity
B Irregular C-C#-B-A#- Pizzicato,
30¨ patterns, G#-D-G-D#-E- ponticello, B
20¨ textural F-F#-A dettaché,
contrast, double stops
accents,
introduction
of tone row
C Development Quater tones,
10¨ of tone row glissando A-1
1.00´
D Transition Brahms Pedal notes in
with some violin C
motivic
material
similar to
Brahms
E-1.00¨ Return to D Brahms
chromatic A-2
pattern in A
Intervallic
relationship
with Brahms
F Direct D-Major Brahms:
quotation Sonata, Op. D
with cluster 108, Adagio
chord at the
end
G Introduces C-D-E-flat-D- Indetermined
25¨ new tone row flat-E-B-B- tones, E
2.00´ flowed by flat-F-G-flat- tremolo,
improvisatory A-A-flat-G chromatic
section in the clusters
piano and
violin, return
 of tone row
from section
B
H Row chords
30¨ development, F
aleatoric
sequences
I Echo of Brahms
1.15¨ Brahms G
15¨ opening
J Rhythmic Triadic Double stops,
2:00´ Section, arpeggios, H
20¨ development syncopations
of piano
arpeggios
from section I
K Direct F-Major Beethoven:
quotation, Sonata, Op. I
melody uses 24, Rondo,
many Allegro ma
chromatic non troppo
non-harmonic
tones
L Return of Triadic Glissando,
material in I harmony in large range H-1
(15¨), piano piano part
arpeggios
M Same motivic Transposition Harmonics,
25¨ material as G of tone row trills, pizzicato E-1
1.00´ heard at G in piano

N Introducing Restatement harmonics

new tone of original E-2
center of A tone row
from G
O Direct A-Major Schubert: J
quotation of Sonata duo,
Schubert Op. 162,
Allegro
moderato