Atonal Embellishment: An Application of Subaggregate Chains

Wayne Slawson

Perspectives of New Music, Vol. 35, No. 2. (Summer, 1997), pp. 201-235.

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 requires a slowing of the compositional action, an
S OMETIMES A PIECE
expansion or extension from within of a particular moment. Consider
Example 1.1.

Vla. 2

Vcl.

EXAMPLE 1.1
202 Perspectives of N e w Music

Whatever the process that got me to this place, let us say that I want to
stay where I am for a whle, maintaining some essential characteristics of
the music. One way of doing so is exemplified in Example 1.2. Elabora-
tion of this sort is common in early twelve-tone music of Schoenberg and
others and in other twentieth-century music. The process is well suited to
post-tonal contexts that are derived from some sort of compositional
design of pitch classes. Both the original and Example 1.2 can be con-
strued simply as different realizations of the design. If they were to
appear consecutively in a composition, one would hear the music of
Example 1.2 as an elaboration of 1.1 that has the desired effect of delay-
ing forward motion to the next element of the design.

Vln. 2

EXAMPLE 1.2: E X T E N S I O N 1 OF EXAMPLE 1.1

Another method is shown in Example 1.3. Here the original pitches

are embellished by neighbor notes. For the most part it is the pitch
classes not in the original that are assigned an embellishing role. Here,
too, some essential characteristics of the original are maintained, but the
new pitch classes represent a departure from the original. If the music of
Example 1.3 were to follow some significant expansion of the original-
perhaps by means of the technique of Example 1.2, if not by the actual
music-then the novelty of the new pitch classes might lead a listener to
hear them as inherently "nonharmonic" in some sense. The distinction is
weakened when there are too few new neighboring pitch classes available
and one or more of the original must be used as embellishment-for
example, the ~ b inb the 'cello. Few pitch-class set types larger than hexa-
chords-excluding, incidentally, the set class of whch Example 1.1 is a
realization-can be completely embellished by neighbor notes drawn
entirely from their complements.' In the stylistic language suggested by
Example 1.1, this second method of extension cannot depend on inher-
ent "nonharmonicity." In fact the introduction of new pitches might
cause the listener to hear the music "moving on to something else"
rather than "staying where it is for a while." Some other means must be
employed if the embellishing notes are to sound convincingly subordi-
nate. In Example 1.3 they are kept relatively brief, they are placed mostly
 Atonal Embellishment

at rhythmically unemphasized points, and incomplete neighboring

motion is mostly avoided. In comparison to the tonal case, where the eas-
ily heard dissonance of embellishing notes permits them to be extended
and themselves embellished, embellishment by neighbor notes in atonal
or serial contexts is a pale imitation. It can be made to sound convincing
at all only with very stringent restrictions in realization.

Vln. 2

v*. 1
II
Vla. 2

Vcl

Presumably one could try to extend Example 1.1 by means of other,

more elaborate procedures borrowed from the tonal system-say, some
analogy to linear intervallic patterning.2 But no matter how they might
actually be implemented, we can expect to encounter difficulties of prin-
ciple at least as serious as those that arise in the neighbor-note case and
resultant strong constraints on the surface of the music.
Few theories of post-tonal music have directly addressed embellish-
ment or the kind of structural precedence, analogous to the tonal con-
cepts of scale degree and membership in a locally controlling triad, that
would make something analogous to tonal prolongation p ~ s s i b l e . ~
Joseph Straus has commented perceptively on this issue. He concludes
that, although post-tonal music may exhibit vestiges of tonal practice,
prolongation "plays a negligible role in the music most characteristic of
this ~ e n t u r y . " ~
Example 1.2-like elaboration is common in post-tonal music, but it is
not embellishment in the usual sense of the term because there are no
embellishing notes. Extension by neighbor-note as exemplified in
Example 1.3 may have some limited viability in certain circumstances,
but the full implications of such embellishment, and those of other
 Perspect~vesof New Musrc

techniques of tonal prolongation, can be applied only awkwardly and

superficially in post-tonal music.
This paper, the first of two that address the situation I have outlined, is
mainly concerned with a suggestion for the use of Robert Morris's chains
as embellishments in atonal music.' I shall provide a detailed tutorial
review of the concept of chains and their generation, propose some mod-
est extensions to Morris's work, and then illustrate various compositional
uses of chains. I shall close with a description of the computer program
that I use to analyze the chaining potential of set classes and to aid in
constructing chains.
First an example: A third attempt to embellish Example 1.1 is shown in
schematic form in Example 2.1. Behind the music is the chain in
Example 2.2 and the matrix in Example 2.3, both shown in numeric
pitch-class n ~ t a t i o n . ~

SC3-11 In=)

EXAMPLE 2.1: E M B E L L I S H M E N T WITH A CHAIN

Norm: sc 8-20
To T4 Tx To
link 11nk - etc.

lrnk
The names of the set classes to which each partition element belongs are lndlcated as 3-1 1, 5-22, etc.

EXAMPLE 2.2: A TRICHORD/PENTACHORD CHAIN ON

sc 8-20 [01245789]

[3-11 5-22] [3-11 5-22] [3-11 5-22]

[049 2378Bl [148 0367Bl [058 347ABl
1358Al [16A 025791 [25A 1469Bl [269 (1358Al)
5-35] [3-11 5-35] [3-11 5-35] [3-11 (5-351)
Brackets Indicate the horizontal Ilnks.

EXAMPLE 2.3: A C O M B I N A T O R I A L MATRIX G E N E R A T E D FROM

EXAMPLE 2.2

 Atonal Embellishment

The sequence of pitch classes in Example 2.2 is a chain because all the
successive pairs of trichords and pentachords combine to make up some
transposition or inversion of the same eight pitch classes. That is to say,
each pair, taken together, is a representative of the same set class, sc 8-20,
whose normal form is [01245789]. In my terminology the norm of the
chain is sc 8-20, and the links in the chain are the literal representatives of
that partitioned set ~1as.s.~ The first link in Example 2.2 is a three-pitch-
class set and then a five-pitch-class set; the second, a five-pitch-class set
and then a three-pitch-class set; and so o n (see the labeled horizontal
lines). Since the end of the chain-the { 1358AJ-can connect with its
beginning-the (0491-to form a link, the chain is complete in the termi-
nology of Morris (1982-83).
The pitches in Example 2.1 can be traced to the chain, but they are
more directly related to the matrix in Example 2.3. Let us call the top
row of the matrix "row zero," the bottom row "row one," and analo-
gously the left-most column "column zero," the next column "column
one," and so on. The matrix is derived by placing successive links from
the chain alternately into rows and columns of the matrix. The first link is
in row zero, columns zero and one; the second in column one, rows zero
and one; the third in row one, columns one and two, and so forth. Each
column contains a link, and each row is filled with disjunct links offset
from each other by one column. The left-over pentachord at the end is
used t o fill out row one of column zero; in this way the twelve-link chain
is turned into a two-row, six-column matrix.
Let us reflect now on how Example 2.1 serves as an embellishment of
Example 1.1.Although literal pitch classes not in the original are intro-
duced by this third h n d of embellishment, at least one characteristic of
the original is better maintained than in the neighbor-note embellish-
ment (Example 1.3). Since the norm of the chain is the set class to which
the collective pitches of the original belong, Example 2.1 can be heard as
preserving the harmonic type of the original throughout. Furthermore,
in this partition of sc 8-20, every link contains a transposition or inver-
sion of the diatonic triad, sc 3-1 1 [037], a prominent characteristic of the
original. The rather straightforward realization of the chain in Example
2.1 sounds an easily audible process that is sequence-like in its effect; as
in a tonal sequence, a logical span is traversed and there is a regularity to
the process itself. If a listener is led initially by the new pitches introduced
soon after the beginning of the chain to hear the music to be "moving
on," the regularity of the chain's transformations-the T4 cycle indicated
above Example 2.2-and its completion back to the original link suggest
rather the intended "staying awhile."
Before leaving this example, let us observe that arrays of greater than
two rows can be constructed from chains. To generate a three-row array
 Perspectives of N e w Music

from the chain in Example 2.2, for example, one simply continues the
succession of vertical and horizontal links on to a third row before
returning to the first (see Example 3.1). The twelve links in the chain are
still distributed over six columns, but now empty positions in the array
make it easy to swap pitch classes among adjacent cells to make arrays of
many different distributions. If we regard the contents of the cells as
unordered sets,' the possibilities for swapping across columns are greater
than they would be in combinatorial structures made up of ordered seg-
ments (see Example 3.2).9

EXAMPLE 3.1: A THREE-ROW COMBINATORIAL MATRIX GENERATED FROM

T H E C H A I N OF E X A M P L E 2.2

[904
[1
358.4 1 1 17B3
26A
I ] 18
281
57901
14
[A25B6

037
9141
[580B
6 1 1 347Al
B] 1269 (1351.41)
Where horizontal link boundaries occur within a single cell of the matrix (i.e. row 2,
columns 1 and 5), the order of occurrence should be as indicated by the brackets
(i.e., pc 1 before pc 8, and pc B before pcs 269).

For the benefit of readers not familiar with Morris's methods, I turn now
to a review of the construction of chains, using my own minor variants of
Morris's methods.1° Suppose I have chosen a norm and the cardinalities
of the two components into which the norm is to be partitioned. To find
an appropriate chain I carry out three preliminary steps: I compile an
abstract partition list, I construct an abstract partitiongraph, and I com-
pile a literal partition list.

The abstract partition list consists of pairs of set classes having the chosen
cardinalities." A pair of set classes is on the list if and only if some repre-
sentative of the first set class can be combined with some representative
 Atonal Ernbell~shrnent

of the second to make up a representative of the norm. Any duplicates

among these set-class pairs are eliminated. Example 4.1 is an abstract par-
tition list for the trichord-pentachord partition of sc 8-20 [01245789].
In each column the entries are one to a line. They consist of the set-class
name of a trichord separated by a colon from a literal representative of
that trichord, a vertical bar representing the partition divider, and a literal
representative of a pentachord separated by a colon from the set-class
name of the pentachord. Three copies of the list are shown. The left
column, which is in the order in which the partitions are derived, indi-
cates how all partitions are found by systematically permuting the pitch
classes in some representative of the norm (in this case, the normal form
of the set class). The middle column is in trichord-name order; the right
column, in pentachord-name order.12

Derivation order Trichord order Pentachord order

 Perspect~vesof N e w M U S I C

Abstract partition lists provide us with much usehl information. This

one tells us, for example, that some trichords combine with more than
one pentachord and some pentachords with more than one trichord:
within the sc 8-20 norm, sc 3-11 combines with four different penta-
chords and sc 5-21 combines with three different trichords. Sc 8-20 has
relatively few such multiple combinations. Other norms have many, and
some also have successions of partition pairs that lead away from a given
combination of set classes and then loop back. The trichord/pentachord
abstract partition list for sc 8-1 9 [01245689] (see Example 4.2) reveals
many such loops. Among the paired set classes are sc 3-3 and sc 5-13, sc
5-13 and sc 3-4, sc 3-4 and sc 5-9, and finally sc 5-9 and sc 3-3, which
complete the loop.13 The abstract partition list for the trichord/
pentachord partitions of sc 8-19 is the maximum of fifty-four two-
partitions in length because there are n o duplicates to be eliminated.

Derivation order Trichord order Pentachord order

 Atonal Embellishment

It is hard to find loops or other multiple connections between set classes

by scanning an abstract partition list; much easier is a graphical form of
these lists called an abstract partition graph. In these graphs all the set-
class pairs appearing in an entry of the abstract partition list are con-
nected by lines. The abstract partition graph for the trichord/pentachord
partition of sc 8-20 is shown in Example 5.1. Interpretation of the graph
is straightforward. For example, in the subgraph of Example 5.1 labeled
G2, the line joining sc 3-2 to sc 5-11 asserts that, for some representative
of sc 3-2-say (2351-there is at least one representative of sc 5-11-it is
(1689AJ-that combines with the first to make up a link-specifically,
(235)(1689Al.
 Perspectives of N e w Music

"' -g 5-23 G5

The disjunction of sc 8-20 is eight.

Abstract partition graphs of different norms can be strongly contrast-

ing, even if the norms in question are similar in other respects. Take, for
example, sc 8-20 [01245789] and sc 8-19 [01245689]. The first is inver-
sionally invariant and the second is not, but otherwise they are quite sim-
ilar. They are "maximally similar" in Forte's sense; the intervals between
consecutive pitch classes in the normal forms of set classes, Chrisman's
CINT1, are similar-each has two three-pitch-class clusters and one two-
pitch-class cluster; Lewin's EMB, a measure of the number of times a
given set class is abstractly included in another set, is quite high for the
major/minor triads-there are nine in sc 8-19, the octachord with the
highest EMB of [037], and eight in sc 8-20, an EMB shared with only
five other octachords.14 But Example 5.1 and Example 5.2, the abstract
partition graph of sc 8-19 [01245689], are strikingly different. The tri-
chord/pentachord graph of sc 8-20 has eight cfisjunct components; that
of sc 8-19 has only a single component. The contrast in the graphs of the
two norms reflect their differing chaining possibilities. With sc 8-20 as a
norm, it is impossible to involve both the major/minor triad, sc 3-1 1
[037], and the "fifths" trichord, sc 3-9 [027], in the same chain because
they belong to separate disjunct components (G8 and G4) of the parti-
tion graph. With sc 8-19 as a norm, on the other hand, all trichords
could conceivably be represented in the same chain; as we can see from
the single graph, any trichord is within a few trichord/pentachord links
of all the others.
 Atonal Embellishment

The disjunction of sc 8-19 is one

SPECIAL PARTITIONS

The abstract partition graphs are good places to take note of special
partitions, one or both of whose components belong to an invariant set
class. For all representatives of invariant set classes there is an operation-
either a T,,I or a T, other than To-that transforms that representative
into itself. The operation is said to hold that pitch-class set invariant.
Take for example sc 3-9 [027], which is inversionally invariant, and take a
literal representative of that set class, (1381. It turns out that T,I of (1381
yields (1381, literally the same set. In the abstract partition graphs these
special partitions are indicated with dots on the lines next to the set-class
names (e.g., sc 5-37 [03458] in Example 5.2). Circled dots indicate par-
titions that involve multiply invariant set classes (e.g., see sc 3-12 [048],
 Perspectives of New Music

the augmented triad). As we shall see presently, partitions with invariant

set classes are particularly useful for generating patterned chains that
"progress" like the one in Example 2.2.

DRAWING ABSTRACT PARTITION GRAPHS

Abstract partition graphs are derived from abstract partition lists, but it
is not always easy to arrange the graph in a way that reveals partial sym-
metries and reduces the crossing of connection lines to a minimum. It
took me several tries before I arrived at Example 5.2. I know n o general
algorithm that will produce this kind of well-formed graph from an
abstract partition list. Morris suggested a rule-of-thumb to me that works
sometimes: try to place Ms-related and Zrelated set classes symmetrically
in the graph. Sc 3-2 [013] becomes sc 3-7 [025] under the M5 transfor-
mation, so I tried placing these sc's symmetrically in Example 5.2. Sym-
metrical places were found for the M5-related sc 3-1 and sc 3-9, sc 3-3
and sc 3-11, sc 5-18 and sc 5-38, sc 5-6 and sc 5-20, and so forth. An
option in the computer program I shall describe near the end of this
paper provides fbrther aids in the form of "connection" matrices and
submatrices, but large, strongly connected graphs are still tricky t o draw.

The final preliminary step in finding chains is to make an expanded form

of the abstract partition list that shows all the literal pitch-class represen-
tatives of the set-class pairs. This is called the literal partition list.
Although it is perfectly possible t o d o so, it is generally unwise to skip
directly to compilation of the literal partition list without drawing an
abstract partition graph. Such important properties of a norm as uncon-
nected subgraphs, loops, and so on, can be spotted easily in the graph,
but they are not at all obvious in abstract or literal partition lists. The
graphs help one to focus in on potential chains before looking up the
actual pitch-class sets in the literal partition list." Example 6 shows two
excerpts from the very long literal partition list for the trichord/
pentachord partitions of sc 8-20. For each pair of distinct abstract two-
partitions, there are four rows containing all the literal representatives of
those partitions; two rows, labelled "TO" and "T6," contain the twelve
transpositions, and two, labelled "VO" and "V6," contain the twelve
transpositions of the inversions. The set-class names are shown at the
beginning of the rows.
 Atonal Embellishment

(a) 3-11: 5-22:TO:0371258AB 148138780 259147801 36A158912 47BI89A23 680176834

3-11: 5-22:T6:69118B045 7A2190158 8B31A1287 904182378 A16103489 B2811469A

3-11: 5-22:VO:047112589 158I2389A 2691347AB 37A1458B0 48B168901 690187A12

3-11: 5-22:V8:6Al178B23 7B2189034 80319A146 9141AB268 A261BO387 B38101478

EXAMPLE 6: E X C E R P T S FROM T H E LITERAL P A R T I T I O N LIST O F T H E T R I -

CHORD/PENTACHORD PARTITIONS O F sc 8-20 [01245789] F O R T H E sc
3-ll/sc 5-22 PARTITION (a) A N D THE sc 3-ll/sc 5-35 P A R T I T I O N (b)

To illustrate the process of finding and constructing chains, I shall trace

the generation of the chain of Example 2.2.16

Norm: sc 8 - 2 0
To T4 T8 To
link link etc.

link link - etc.

The names of the set classes to which each partition element belongs are indicated as 3-11, 5-22, etc.

R E P R O D U C T I O N O F EXAMPLE 2.2

I start the chain with the A-minor triad from the top line of Example
1.1 as one component of the partition, and the E b-D-B-G-A b from the
other two lines, as the other. These initial decisions define the norm as sc
8-20 101245789], the cardinalities of the partition elements as trichord/
pentachord, and the initial link as the (0491 from sc 3-11 [037] and the
(2378Bl from sc 5-22 [01478]. The abstract partition list and graph are
generated (Examples 4.1 and 5.1). From the graph I notice that these
two set classes are connected together in the G8 subgraph along with sc
5-19 [01367], sc 5-29 1013681, and sc 5-35 [02479]. The first link
appears in the literal partition list (Example 6a) for "3-11: 5-22" in the
fourth column of the second row-as "9041B2378." Now because sc
5-22 is inversionally invariant (indicated by the dot on the graph), I
know that some transposition of its inversion is literally the same set and
 Perspectives of N e w Music

that (2378B) will appear somewhere among the inversions in the literal
partition list. I find that set (in the order "78B23") in the first column of
the fourth row, now paired with "6A1." This pair, (2378B){16AJ,then
forms the second link of the chain. At this point I have traced a path on
the abstract partition graph (Example 5.1, subgraph G8) from sc 3-11 to
the left into sc 5-22 and back again to sc 3-11, now represented by a
major diatonic triad.
I have a choice now of the three remaining pentachords that combine
with sc 3-11 in the G8 subgraph to use for the third link. If I pick sc 5-19
or sc 5-29, my chain would not continue its "progression" on to new
representatives of sc 3-11 because neither of those set classes is inversion-
ally invariant. An excursion to either of those pentachords would be a
kind of neighboring motion (albeit one more "harmonically" consistent
than those in Example 1.3) that returns immediately to the ~b major
chord at the end of the second link.
In the interest of carrying on to a fresh diatonic triad, I pick the other
inversionally invariant pentachord in subgraph G8, sc 5-35 [02479]. I
search for (16AJin the four rows of the literal partition list for the "3-1 1:
5-35" partition (Example 6b), I find it in the first column of the fourth
row-as "6A1179025," and I write out the third link: {16A]{02579).
The fourth link 102579 ]{148)is found by seeking the invariant inversion
of (02579) among the transpositions; it is the "148(25790n from the top
row of Example 6b. The chain of Example 2.2 moves back and forth
between sc 5-22, sc 3-11, and sc 5-35 in this manner, until it is com-
pleted by a return to the literal A-minor triad with which it began.

Embellishment of a pre-existing texture is not the only compositional use

for chains; they can take on more independent roles in compositional
design. In such cases the norm and cardinalities of the partitions may be a
matter of independent compositional choice. The paper to this point has
reviewed Morris's previous work; I take up now some considerations of
my own that can help guide the choice of a norm.

DISJUNCTION

We have seen how the form of the abstract partition graph reflects the
chaining potential of a norm. Graphs with many disjunct components,
such as the one for the trichord/pentachord partition of sc 8-20, often
imply that any particular chain will be restricted to only a few set classes.
 Atonal Embellishment

This aspect of a set class's potential for chaining is indicated by a measure

I call disjunction.

DEFINITION 1 . Let M be a set class that is abstractly and exhaustively

partitioned into two disjunct set classes containing pitch-class sets of
cardinalities p and q, p s q and p + q equal to the cardinality of M.
Then the p/q disjunction of M is the number of disjunct subgraphs in
the p/q abstract partitiongraph of M.

Locutions such as "the trichord/pentachord disjunction of sc 8-20,"

or "the 4/4 disjunction of 8-19," are suggested by this definition. The
Appendix lists the disjunctions of set classes of cardinalities six through
nine, with two-partitions of cardinalities two, three, four, or five, as
appropriate. As we have seen, the 3/5 disjunction of sc 8-20 is eight, and
that of sc 8-19 is one. Of all the 3/5 partitioned octachords, sc 8-25
[0124678A] has the largest disjunction, 11. Norms that are invariant
under transposition or inversion (indicated by asterisks in the Appendix)
tend to have relatively high disjunctions. There are many exceptions,
however-among hexachords, in particular, but also among norms of
higher cardinality. For example, the 3/4 disjunctions of sc 7-35
[013568A] and sc 7-36 [0123568] are 4 and 5, respectively, but sc 7-35
is inversionally invariant and sc 7-36 is not.

REPRESENTATION

Another aspect of the potential for chaining with a given norm is the
variety of set classes represented in the norm's partitions. Lewin's
EMBedding number is not exactly the issue here. Depending on the
location of a set class in a given abstract partition graph, even a single
partition involving that set class may permit its inclusion in a chain. A
summary measure indicating the availability of the set classes of a given
cardinality among the (abstract) partition elements of a norm is the repre-
sentation of that cardinality in that norm.

DEFINITION 2. As in Dejnition 1, let M be a set class that is abstractly

and exhaustively partitioned into two disjunct set classes containing
pitch-class sets of cardinalities p and q, p s q and p + q equal to the
cardinality of M. Then the p-representation of M is the number of dis-
tinct set classes of cardinality p represented at least once among the
abstract partitions of M, and the q-representation of M is the number
of distinct set classes of cardinality q represented at least once among the
abstract partitions of M.
 Perspectives of New Music

Locutions such as the "trichord representation of set class 6-20" are

suggested by Definition 2. The abstract partition lists of the trichord/
pentachord partitions of sc 8-20 and of sc 8-19 (Examples 4.1 and 4.2)
indicate that all twelve trichords occur at least once among the 3/5 parti-
tions of both of those norms. So we can say that the trichord representa-
tion of both sc 8-20 and sc 8-19 is twelve. The two norms differ only
slightly in their pentachord representations: twenty-three of the total of
thirty-eight pentachords are represented in the 3/5 partitions of sc 8-20;
twenty-four of the thirty-eight, in those of sc 8-19. Set classes 8-15
[01234689] and 8-29 101235679], the complements of the all-interval
tetrachords, have pentachord representations of thirty-five, the highest of
all 3/5 partitioned octachords. The pentachord representation of the
octatonic collection, sc 8-28 [0134679A], is seven, the lowest of all the
octachords. The representations of certain partitions of the larger set
classes are among the statistics included in the Appendix.
If the disjunction of a candidate for a norm is high, then even if the
representation in one of the partitions is high, it will be impossible to
include all the represented set classes in a single chain. A potential norm
with high representations and low disjunction promises more flexibility in
chain construction. Neither of these measures can substitute for the
detailed information contained in the abstract partition graphs and the
abstract and literal partition lists, but they are handy guides in choosing
set classes to analyze further.

With these techniques and concepts in hand I shall move on now t o dis-
cuss how chains, and the matrices derived from them, can meet a variety
of compositional needs.

MULTIPLE NORMS A N D H E T E R O G E N E O U S CHAINS

If one has chosen a high-disjunction norm that precludes a composi-

tionally desired set class in a given chain, that precluded set class may be
reached by means of a visitation to a second norm. As I observed above,
the norm of sc 8-20 [01245789] provides n o way of including both the
major/minor diatonic triads, sc 3-11 [037], and the "fifths" trichord, sc
3-9 [027], in the same chain. This is because sc 3-9 and sc 3-11 are in
different components of the 3/5 abstract partition graph of sc 8-20. In a
 Atonal Embellishment

norm of sc 8-19 [01245689], however, the trichord representation is

twelve and the disjunction is one. From these facts, and the relatively
high representations of the pentachords in both norms, we can presume
in advance that sc 3-9 is likely to be linkable by a short path to one of the
pentachords in the chain of Example 2.2. If there is such a path-and I
am willing to accept the sound of another norm in my chain-then I can
interpolate links spanning both norms that include the desired sonority.
Study of the trichord/pentachord abstract partition graph of sc 8-19
(Example 5.2) shows that indeed there is a way of linking sc 3-11 to sc
3-9 by way of sc 5-27 [01358]. Example 7.1 shows portions of the com-
bined partition graphs of sc 8-20 and sc 8-19, with sc 3-11 [037] appear-
ing in the intersection of the two graphs. An excerpt from the literal
partition list of sc 8-19 is shown in Example 7.2.

The chain I generated on the basis of this multi-norm partition graph

is shown in Example 7.3. The representative of sc 3-9 is set off by a box
and the original chain on sc 8-20 alone is shown below for comparison.
Because it has two norms the new chain can be said to be heterogeneous,
the single-norm chains in all the previous examples are h ~ r n ~ e n e o u s . ' ~
 Perspectives of New MUSIC

3-11 5-22
019 123788 1 1
3-11
16A 02579
5-35
/ 1 1 1 1
3-11 5-22
148 03678
The chain from Example 2.2 is shown below the line for comparison.
3-11
251
5-35
14698
3-11
058

EXAMPLE 7.3: AN EXCERPT FROM A H E T E R O G E N E O U S C H A I N O F

T R I C H O R D / P E N T A C H O R D P A R T I T I O N S W I T H NORMS:

sc 8-20 [01245789] A N D sc 8-19 [01245689]

Like the original, the new chain starts with two links involving sc 3- 11
and sc 5-22. The new third link {16A]{02459]has sc 8-19 as a norm and
includes representatives of sc 3-11 and sc 5-27 [01358] found by refer-
ence to Example 7.2. The sc 5-27/sc 3-9 combination is then traversed
(literally (02459)( 1681) and then retraversed in the inversion that holds
11681 invariant (literally (168)(0259A1). Then the chain goes back
through sc 5-27 to the representative of 3- 11, (148 ), that was in the
original and-now with sc 8-20 as a norm-the new chain continues
exactly as before. The excursion into sc 8-19 is made up of four links that
substitute for the single sc 5-35/sc 3-11 link, (02579](148],in the orig-
inal chain. We might say that the (02579) in the original chain "medi-
ates" between an F# major triad and a C # minor triad. The four-link
interpolation in the new chain does precisely the same thing, but with an
embellishing extension. The disjunction value of one for sc 8-19 com-
bined with the trichord representations of twelve for both sc 8-19 and sc
8-20 guarantees that a heterogeneous chain can be generated that
involves any of the trichords. The combined pentachord representation of
the two norms is 31-still not all 38 pentachords, but about a third more
than either alone.

HIERARCHIES O F CHAINS

The next two examples demonstrate some ways chains can form
embellishment hierarchies comparable to those well known in the tonal
system. The interpolation from the sc 8-19 norm in the chain of Example
 Atonal Embellishment

7.3 may be hearable as lying at a lower level of structural hierarchy. But

the texture remains octachordal and the norm of the interpolation is sim-
ilar to sc 8-20: the hierarchical shift is inherently somewhat disguised.
The two-row combinatorial matrix in Example 8.1 exhibits two hierar-
chical levels that are more apparent. Here too there is an interpolation,
but in this case the interpolated norm is a pentachord, sc 5-22 [01478].
The interpolated chain has links from the augmented triad, sc 3-12, and
the tritone, sc 2-6, which partition the (0367B) in the original matrix
(reproduced below in Example 8.1). The ( 1591 in the second row at the
end of the interpolation combines with the (061 from the pentachord in
the first row of the resumed original chain. Since the interpolation
returns to its beginning, it is itself a complete chain. It follows that the
interpolated chain has the same transformational effect as the original
(0367B) representative of sc 5-22 alone. In both cases the (0367Bj
mediates between a ~b major triad and an F minor triad, the interpola-
tion providing an embellished and extended version of the mediating
pitch-class set.

[ 3-11 5-22] [3-11 Interpolation on 5-22 5-22] [3-11 5-22]

[049 2378Bl 1148 [37B 061 [37B 281 0367Bl 1058 347Al31
1358Al [16A 025791 061 [159 4A] 1159 [25A 1469Bl 1269 1358A
5-35] [3-11 5-35] [3-11 5-35] [3-11 5-35]

13-11 5-22] [3-11 5-22] 13-11 5-22]

[049 2378Bl 1148 0367Bl 1058 347Al31
1358Al [16A 025791 [25A 1469Bl 1269 1358A
5-35] 13-11 5-35] 13-11 5-35] 13-11 5-35]
The original matnx from Example 2 . 3 is shown below the line for comparison

EXAMPLE 8.1: A T W O - R O W COMBINATORIAL MATRIX WITH AN

I N T E R P O L A T E D C H A I N O N sc 5-22

Now let us consider the situation in Example 8.2. Here the interpo-
lated chain on sc 5-22 is ended before it is complete. Now the excursion
into sc 5-22 results in an ~b major triad. Comparison with the original
chain (shown below in Example 8.2) suggests that the brief interpolation
here has acted analogously to a modulation in tonal music. One could
complete the sc 5-22 chain with a later interpolation that acts like a
return modulation.
 Perspectives of New MUSIC

[ 3-11 5-22] [3-11 Interpolation 5-22] [3-11 5-22]

[049 2378Bl [148 [37B 061 4k159 [36A 125891 etc.
1358Al [16A 025791 061 [159 [038 2479Bl [047 etc.
5-35] [3-11 5-35] [3-11 5-35] [3-11

[3-11 5-22] [3-11 5-22] [3-11 5-22]

[049 2378Bl [148 B03671 [058 347ABl etc.
1358Al [16A 025791 [25A 1469Bl [269 etc.
5-35] [3-11 5-35] [3-11 5-35] [3-11
The original matrix of Example 2.3 is shown below the line for comparison.

EMBELLISHMENT IN A TWELVE-TONE DESIGN

Subaggregate chaining can also be applied to embellishment in twelve-

tone music to satisfy a desire to emphasize and extend a particular subset
of a twelve-tone aggregate. Suppose one is composing a twelve-tone
combinatorid matrix. The rows of such a matrix--often called lyne+
contain transformations of the twelve-tone series partitioned into seg-
ments. The segments within a single column of the matrix-the verti-
cals-add up to the twelve pitch-class aggregate without duplicate pitch
c~asses.'~ The matrix in its standard interpretation is realized in time, left-
to-right. At one instant, or over some given duration, only a subset of the
aggregate may be sounding. Any one of these subaggregate sets may be
chosen to act as a norm for a chain.
As a case in point, consider Example 9. Here we have a portion of a
compositional design that in t o t o is a four-row, all-partition, twelve-tone
combinatorid matrix.19 The excerpt from the original design is on the
top of the figure; an interpolated chain with sc 7-4 [0123467] as a norm
is shown below. The first link of the chain, {657){A349),is drawn from
the four-voice texture of the third aggregate: the F# from the top row;
the ~k and ~k from the second row; the B b, E b, and ~k from the third
row; and the Ah from the fourth row. The chain is shown distributed
across all four rows of the original design. At the end of the chain I have
indicated (in parentheses) how a repetition of the first link fits in with a
resumption of the twelve-tone texture. The result is an expansion from
 Atonal Embellishment

within of the chosen subset of the aggregate. The effect might be a kind
of relaxation into a patterned subaggregate texture whose individual
units may be treated as unordered. It would be interesting to explore
interpolation of an incomplete subaggregate chain, in the manner of
Example 8.2, into a twelve-tone structure. Such interpolations might be
used to effect far-reaching transformations of the twelve-tone structure.

Interpolation on sc 7-4
T31: 3A9 OB6 [576 A3491 (6) 518247
T,I: 610 32984B 57 [BOl 23891 (57) A
ToIMR 857 12A34 [456 23891 (A34) 96B0
T3R: B24 A51076 9- A3491 [BOl (9)-8 3
The original array s above the line; the expanded array, below.

EXAMPLE 9: AN EXPANSION O F A FOUR-ROW, TWELVE-TONE

C O M B I N A T O R I A L D E S I G N BY MEANS O F A C O M B I N A T O R I A L MATRIX O N
sc 7-4 [0123467]

These examples suggest some of the many ways that subaggregate

chains may be used to expand nontonal pitch designs in a logical manner.
The details of the chains depend on the particular norm chosen, and on
the choices of paths through the abstract partition graph of that norm.
Most norms, particularly of larger cardnalities, provide a rich variety of
chains.

Straus holds the concept of prolongation to be the primary defining char-

acteristic of tonal music.20 I can see reason to agree, and that has led me
to avoid the term in this paper. I have felt free, however, to speak of
embellishment because I think the atonal procedures discussed above
share many features with tonal embellishment. If there is a certain impro-
priety in thls usage, it is because Straus rightly includes a "principle of
embellishment" among his four related and mutually dependent criteria
 Perspectives of New Music

for tonal prolongation. His remark, "prolongation exists precisely when

the prolonged object is not literally present," is cogent here. What I have
called embellishment with chains in, say, Example 7.3 involves departures
where, to paraphrase Straus, the embellished object is not literally
present. Ifwe decide to reserve the term "prolongation" for tonal music,
we need nevertheless to recognize the extent to which the expansion-
from-within suggested in this paper can serve many of the same ends in
post-tonal music that prolongation serves in tonal music. It remains to be
heard to what extent, and with the application ofwhat additional criteria,
hierarchies of chains may figure decisively in the composition of post-
tonal musical structures.

Compilation of the lists and construction of the graphs described in this

paper are routine, time-consuming tasks that can be aided by use of a
computer program. I have integrated a number of these tasks into a C-
language program called Chainer, which can be used optionally to pro-
duce abstract partition lists, literal partition lists, connection matrices,
connection submatrices (see Examples 10, 11. l , and 11.2), and the sta-
tistics in the Appendix.
Chainer takes as input some literal representative of a norm and an
indicator of the cardinalities of the desired two-partition. The partition
lists, both abstract and literal, are constructed by a recursive process that
runs efficiently through all possible partitions. Chainer was used to pro-
duce the abstract and literal partition lists in this paper.
The connection matrices are generated by two mutually recursive func-
tions that trace systematically the pairs of set classes that combine
(abstractly) to make up a representative of the norm. The matrix shown
in Example 10 is for the trichord/pentachord partition of sc 8-20. The
twelve trichords are shown in name order in the rows of the matrix, (e.g.
the third row pertains to sc 3-3 [014], the ninth to sc 3-9 10271). The
thirty-eight pentachords are shown in name order in the columns (e.g.,
sc 5-11 1023471 is in the eleventh column). The vertical bars in the
matrix indicate set-class pairs having representatives that combine to
make up a representative of the norm (the dots are space holders). There
are two legends across the top of the matrix and down its left side. The
outer legends-the topmost and leftmost-indicate the number of trans-
positional or inversional invariances (beyond the trivial To invariance) of
the corresponding set class. For example, sc 3-1 [012] is invariant under
 Atonal Embellishment

inversion, hence the "1,"and sc 3-2 [013] has n o nontrivial invariances,

hence the "0"; sc 5-8 1023461 is invariant under inversion, hence the
"1." The inner legends indicate how many distinct connections a given
set class makes. The "3" for sc 5-21 [01458] indicates that that set class
connects with three trichords; a glance down its column identifies the
three as sc 3-5 [016], sc 3-7 [025], and sc 3-9 [027]. Below the matrix
are statistics about the partitioned norm. The representations of each
component of the norm are shown as fractions, with the numerators con-
taining the number of set classes represented and the denominators con-
taining the total number of set classes of the indicated cardinality. A
summary of the invariances found among the connections is given in
three ways: first is shown the total number of connections that involve
invariant set classes (four pentachords and six trichords in sc 8-20);
second is shown the number of invariant set classes that are directly con-
nected to each other (i.e., "paired"); finally is shown the number of pairs,
such as sc 3-12 [048], that involve multiply invariant set classes (i.e.,
"paired multiples"). Both the latter statistics are zero in Example 10. The
last statistic indicates a disjunction of eight for this norm.

The 3/ 5 Connect ions for SC: 8-20 [01245789] .

invs 1000000100 0100101000 0100000000 00111010

tot:0010011001 1012011111 3110011012 01001111

I: I: .. I....... . . . . . . . . . . . . . . . . . . . . . . . . . . . .
0: 2: ..... I.... I......... . . . . . . . . . . . . . . . . . .
0: 4: ......... 1 ... I...... . . . . . . . . . . . . . . . II.
0: 4: ...... I... ... 1..1... .. I....... ........
0: 3: . . . . . . . . . . . . . . . . . 1.. 1.....1... ........
I: I: . . . . . . . . . . . . I....... . . . . . . . . . . . . . . . . . .
0: 3: . . . . . . . . . . . . . . . I.... I......... ....... I
0: 2: . . . . . . . . . . . . . . . . . . . . . . . . . 1...1 ........
1: 2: . . . . . . . . . . . . . . . . . . . I I......... ........
1: 1: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .I......

5: I: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I ........

Representation: 3-chd: 12/12 = 1.000; 5-chd: 24/38 = 0.632

Invariances : Total = 10, Paired = 0, Paired Multiples = 0
3/ 5 disjunction of SC 8-20[01245789] = 8.
 Perspectrves of New Music

Example 11.1 shows the trichord/trichord connection matrix of sc 6-

28 [013569]. In partitions whose components are of equal cardinality
the matrix is symmetrical around its main diagonal, so only the upper-
right half of the matrix is shown and the diagonal is marked by backslash
(\) characters as space holders. No trichords belonging to the same set
class partition sc 6-28 so no vertical bars or other indicators appear on
the diagonal in place of the backslashes. Two pairs of invariant set classes
are directly connected in this norm: sc 3-6 [024] with sc 3-9 [027], and
sc 3-10 10361 with sc 3-12 [048]. The first of these is marked with a "p"
(for "pair") in the matrix; the second, with an "m" because sc 3-12 is
multiply invariant. The inner legends show the total number of connec-
tions, including those in the missing lower-left portion of the matrix.
The trichord/trichord partition of sc 6-28 has a disjunction of 4, as
indicated in the statistics below Example 11.1. These four disjunct com-
ponents of the abstract partition graph are shown separately as "Connec-
tion Submatrices" in Example 11.2. The legends are the same as in the
complete matrix. The clear separation of disjunct subgraphs in the con-
nection submatrices make construction of the corresponding abstract
partition graph fairly straightforward.

The 3/ 3 Connections for SC: 6-28C0136691.

invs 1000010011 05

tot:0111111103 I1

I: 0: \......... ..
0: I: \ I . . . . . . . . .
0: I: \.........
0: I: \.....I ..
0: I: \ . . I . . ..
I: I: \...p ..
0: I: \... I .
0: I: \.. ..
I: 0: \ . ..
I: 3: \ .m

0: I: \.
5: I: \
Representation: 3-chord: 10/12 = 0.833
Invariances: Total = 6, Paired = 2, Paired Multiples = I
3/ 3 disjunction of SC 6-28C0135691 = 4.
 Atonal Embellishment

3/ 3 Connection Sub-matrices: SC 6-28[013569] .

invs I O O O O i O O I l 05 invs 1000010011 05
tot:0111111103 I 1 tot:0111111103 11
I: 0: I: 0:
0: ..
I: I . . . . . . . .. 0: I:

0: I:. I . . . . . . . . .. 0: I:

0: I: 0: I:
0: I: 0: I: .......
1.. ..

I: 1: I: I:
0: I: 0: I:
0: 1: 0: I: ....
I..... ..
1: 0: I: 0 :
I: 3: 1: 3:

invs 1000010011 05 invs 1000010011 05

tot:0111111103 11 tot:0111111103 I 1
I: 0: 1: 0:
0: 1: 0: 1:
0: 1: 0: I:
0: I: ......... .. I 0: 1:

0: I: 0: I:
I: I:. . . . . . . . . p .. I: I:

0: I: 0: I: ..........1.

0: 1: 0: I:
I: 0: 1: 0:
I: 3: ...
1.p .... .m I: 3:

3/ 3 d i s j u n c t i o n o f SC 6-28[013569] = 4.

At present Chainer is designed to be run under a UNIX operating

system; various standard features of UNIX are exploited, including
command-line specifications of options and the sort command. The pro-
gram is available for downloading by anonymous fip on charles.ucdavis.
edu. From your UNIX-based system execute ftp charles.ucdavis.edu to
 Perspect~vesof N e w M U S I C

connect to this computer. Then login as anonymous and give your own
Email address as the password. Go to pub/SetTheoryPrograms
(cd pub/SetTheoryPrograms) and execute get chainer.~;the source of
the C-language program, chainer.~,will appear in the directory of your
own computer. If your C-compiler has trouble compiling the program,
try using the Gnu Foundation compiler, usually called gcc. Instructions
for running the program are given, with examples, before the beginning
of the program proper in the source, chainer.~.Versions of Chainer for
Macintosh and Windows computer systems are under development. The
website

may be checked from time-to-time for progress.

I am grateful to Robert Morris for his criticisms and suggestions during

the preparation of this paper and to Joseph Dubiel and three anonymous
readers whose criticisms and suggestions helped to strengthen the final
version.
 Atonal Embellishment

The following tables present statistics about selected (abstract) two-

partitions of the setclasses of cardinalities six, seven, eight, and nine. Set
classes that are themselves invariant under transposition or inversion are
indicated by an * in the left-most columns after their normal forms. The
columns labeled 2R, 3R, 4% and so forth, contain the representations of
the intervals, trichords, tetrachords, and so on. The columns labeled Iv
contain the total number of invariant set classes among the elements of
the (abstract) two-partitions. The columns labeled P2 contain the num-
ber of (abstract) two-partitions made up of pairs of set classes, each of
which is invariant (or equivalently, the number of invariant set classes that
are connected in the abstract partition graph by a single line to another
invariant set class). The columns labeled Pm contain the number of these
pairs that involve multiply invariant set classes. The columns labeled D
contain the disjunctions of the abstract partition graphs. Consider, for
example, the interval/tetrachord partitions of sc 6 - 1 [012345] in the
first table. The * indicates that sc 6-1 is itself (inversionally) invariant.
Among these 2/4 two-partitions are represented five of the six intervals
and seven of the twenty-eight tetrachords. A total of fourteen invariant
set classes are represented among the elements of the partitions. Five of
these are paired, but none involve multiply invariant set classes. The dis-
junction is three.
 Perspectives of New MUSIC

Partitions of Cardinality-Six Set Classes

Set-Class 214 Partition 313 Partition
Norms 2R 4R Iv P2 P m D 3R Iv P2 Pm D
6-01[012345]* 5 7 14 5 0 3 6 3 2 0 3
6-02[012346] 6 11 20 5 1 3 9 6 0 0 2
6-03[012356] 6 12 20 5 0 3 9 4 0 0 2
6-04[012456]* 6 9 13 4 1 6 8 2 1 0 5
6-05[012367] 6 14 20 5 1 5 10 4 0 0 3
6-06[012567]* 6 9 14 5 1 6 7 2 1 0 4
6-07[012678]* 5 6 10 4 2 5 5 2 2 0 4
6-08[023457]* 5 9 13 4 0 5 8 3 2 0 5
6-09[012357] 6 14 20 5 1 5 10 6 3 0 4
6-10[013457] 6 13 19 4 0 4 11 5 0 0 4
6-11[012457] 6 15 20 5 0 6 11 5 0 0 2
6-12[012467] 6 13 19 4 2 4 11 4 0 0 2
6-13[013467]* 6 9 13 4 1 6 7 1 1 0 4
6-14[013458] 5 11 19 5 0 3 9 4 1 1 3
6-15[012458] 6 14 20 5 1 5 11 4 0 0 1
6-l6[014568] 6 14 20 5 1 5 11 4 0 0 2
6-17[012478] 6 13 19 4 2 4 12 5 0 0 2
6-18[012578] 6 14 20 5 1 5 10 4 0 0 3
6-19[013478] 6 11 20 5 0 3 9 3 0 0 3
6-20[014589]* 4 4 7 3 0 4 4 1 1 1 4
6-21[023468] 6 11 20 5 1 2 11 6 0 0 1
6-22[012468] 6 11 20 5 1 4 11 6 2 0 2
6-23[023568]* 6 9 13 4 1 6 7 1 1 0 4
6-24[013468] 6 13 19 4 0 4 11 5 0 0 1
6-25[013568] 6 12 20 5 0 3 9 4 0 0 2
6-26[013578]* 6 9 13 4 1 6 8 2 1 0 5
6-27[013469] 6 11 20 5 1 4 7 4 0 0 3
6-28[013569]* 6 9 12 3 3 6 10 5 2 1 4
6-29[023679]* 6 9 12 3 1 6 9 3 1 0 6
6-30[013679] 6 9 12 3 3 6 7 2 0 0 5
6-31[014579] 6 14 20 5 1 5 11 4 0 0 1
6-32[024579]* 5 7 14 5 0 3 6 3 2 0 3
6-33[023579] 6 11 20 5 1 3 9 6 0 0 2
6-34[013579] 6 11 20 5 1 2 11 6 0 0 1
6-35[02468A]* 3 3 6 3 1 3 3 2 2 1 3
6-36[012347] 6 13 20 5 0 4 11 6 0 0 2
6-37[012348]* 6 9 13 4 1 6 10 5 2 1 4
6-38[012378]* 6 9 14 5 1 6 7 2 1 0 4
6-39[023458] 6 13 19 4 0 4 11 5 0 0 1
6-40[012358] 6 15 20 5 0 6 11 5 0 0 2
6-41[012368] 6 13 19 4 2 4 10 5 5 0 3
 Atonal Embellishment

Partitions of Cardinality-Seven Set Classes

Set-Class 314 Partition

Norms 4R Iv P2 P m
13 14 4 0
20 22 4 0
21 21 3 0
21 19 3 1
21 20 2 0
21 20 2 0
18 20 3 1
17 13 4 2
21 21 4 0
21 20 1 0
23 19 2 0
19 13 3 1
21 19 2 1
21 20 2 0
16 13 4 2
21 18 1 0
17 12 3 1
24 18 2 0
19 17 2 0
21 20 2 0
20 19 4 1
17 11 3 1
20 22 4 0
21 21 4 0
21 20 1 0
21 19 4 1
21 21 3 0
19 18 2 0
 Perspect~vesof N e w M U S I C

Partitions of Cardinality-Eight Set Classes

Set-Class 315 Partition 414 Partition

Norms 3R 5R Iv P2 Pm D 4R Iv P2 Pm D
8-01[01234567]* 11 19 11 1 0 4 22 15 7 1 7
8-02[01234568] 12 31 24 2 0 1 27 23 0 0 1
8-03[01234569]* 12 25 18 6 1 7 25 14 5 1 8
8-04[01234578] 12 31 21 1 0 3 27 23 5 0 3
8-05[01234678] 12 31 21 1 0 1 27 22 0 0 1
8-06[01235678]* 11 22 8 1 0 5 25 15 9 1 10
8-07[01234589]* 12 24 10 0 0 8 25 15 6 1 10
8-08[01234789]* 12 24 16 6 1 5 25 15 5 1 6
8-09[01236789]* 10 13 4 0 0 9 19 10 7 3 14
8-10[02345679]* 11 23 12 2 0 7 24 14 8 1 12
8-11[01234579] 12 31 25 3 0 2 26 23 0 0 1
8-12[01345679] 12 31 21 1 0 1 28 21 0 0 1
8-13[01234679] 11 30 18 1 0 3 27 21 6 2 5
8-14[01245679] 12 31 21 1 0 3 27 23 5 0 3
8-15[01234689] 12 35 22 2 0 2 29 21 0 0 3
8-16[01235789] 12 31 21 1 0 1 27 22 0 0 1
8-17[01345689]* 12 24 10 0 0 8 25 14 8 1 11
8-18[01235689] 12 30 17 1 0 2 28 21 6 2 3
8-19[01245689] 12 23 20 3 1 1 22 21 0 0 1
8-20[01245789]* 12 24 10 0 0 8 25 15 6 1 10
8-21[0123468A]* 12 22 22 6 2 6 22 15 6 1 6
8-22[0123568A] 12 31 24 2 0 1 27 23 0 0 1
8-23[0123578A]* 11 19 11 1 0 4 22 17 7 1 7
8-24[0124568A]* 12 20 13 0 0 7 22 15 6 1 7
8-25[0124678A]* 12 16 14 6 1 11 19 10 4 2 10
8-26[0134578A]* 12 25 18 6 1 7 25 14 5 1 8
8-27[0124578A] 12 31 21 1 0 1 28 21 0 0 1
8-28[0134679A]* 7 7 1 0 0 7 13 7 7 3 12
8-29[01235679] 12 35 22 2 0 2 29 21 0 0 3
 Atonal Embellishment

P a r t i t i o n s of Cardinality-Nine Set Classes

Set-Class 316 Partition 415 Partition

Norms 3R 6R Iv P2 Pm D 4R 5R Iv P2 Pm D
9-01[012345678]* 12 32 24 9 2 4 28 34 36 7 1 5
9-02[012345679] 12 44 43 0 0 1 29 38 59 6 0 1
9-03[012345689] 12 43 39 0 0 1 29 37 59 6 0 1
9-04[012345789] 12 42 37 11 0 3 28 37 61 5 0 3
9-05[012346789] 12 44 42 1 0 1 29 38 55 7 1 1
9-06[01234568A]* 12 32 23 8 1 7 27 34 40 9 1 10
9-07[01234578A] 12 44 43 0 0 1 29 38 59 6 0 1
9-08[01234678A] 12 45 41 1 0 4 29 38 62 3 1 4
9-09[01235678A]* 12 32 24 9 2 4 28 34 36 7 1 5
9-10[01234679A]* 12 34 27 11 1 4 29 38 32 6 2 11
9-11[01235679A] 12 43 39 0 0 1 29 37 59 6 0 1
9-12[01245689A]* 12 17 11 5 2 12 22 23 17 6 1 21
 Perspectives of New MUSIC

1. I mean by complete neighbor-note embellishment of a pitch collec-

tion that each pitch in the collection is embellished by another pitch
an interval one (a half-step) away from the embellished pitch. If all
the embellishing tones are to be drawn from the collection's comple-
ment, then representatives of set classes containing the cluster tri-
chord, sc 3-1 in Forte's list, cannot be so embellished because the
"middle" representative of 3-1 has no neighbor in the original col-
lection's complement. Of set classes of cardinality greater than six,
only sc's 7-31, 7-32, 7-34, 7-35, and 8-28 (the octatonic scale) con-
tain no sc 3-1. I am grateful to an anonymous reader for bringing
this point to my attention.
2. I am referring here to the kinds of voice-leading patterns that figure
so prominently in the analyses of Heinrich Schenker. They are intro-
duced and discussed clearly by Allen Forte toward the end of Chap-
ter 11 in Tonal Harmony i n Theory and Practice (New York: Holt
Reinhardt and Winston, 1979).
3. Studies that could be interpreted as providing theoretical bases for
embellishment in post-tonal music include studies by Robert D.
Morris on which this paper is directly based: "Combinatoriality with-
out the Aggregate," Perspectives of New Music 21, nos. 1 and 2
(1982-83): 432-86; pages 90-100 and 244 in Composition with
Pitch Classes (New Haven, Yale University Press, 1987); "Generaliz-
ing Rotational Arrays," Journal of Music Theory 32, no. 1 (1988):
75-1 32; and "Compositional Spaces and Other Territories," Perspec-
tives of New Music 33, nos. 1 and 2 (1995): 328-58. It may be
possible to develop work by David Lewin and Henry Klumpen-
houwer in the direction of a theory of embellishment: see David
Lewin "Klumpenhouwer Networks and Some Isographies That
Involve Them," Music Theory Spectrum 12, no. 2 (1990): 83-120,
and "A Tutorial on Klumpenhouwer Networks, Using the Choral in
Schoenberg's Opus 11, No. 2," Journal of Music Theory 38, no. 1
(1994): 79-101, and Henry Klumpenhouwer, "An Instance of Para-
praxis in the Gavotte of Schoenberg's Opus 25," Journal of Music
Theory 38, no. 2 (1994): 2 1 7 4 8 . The array of Morris's "Design 111"
on pages 246-51 of Composition with Pitch Classes has a hierarchical
structure somewhat reminiscent of hierarchically embellished struc-
tures in tonal music. Hierarchical structures that may imply embel-
lishment are described in Fred Lerdahl, "Atonal Prolongational
Structure," Contemporary Music Review 4 (1989): 65-87.
 Atonal Embellishment

4. Joseph Straus, "The Problem of Prolongation in Post-Tonal Music,"

Journal of Music Theory 3 1, no. 1 (1987): 1-21. Although citing this

article admiringly, Fred Lerdahl (1989) specifically ignores Straus's

admonition not to water down the concept of prolongation. Lerdahl

means by "atonal prolongation" a kind of hierarchy of perceptually

salient features. Certain effects of musical passages extended by

means of procedures like those in Examples 1.2 and, possibly, 1.3

may be analyzed profitably in his terms.

5. Morris introduced the concept of chains in 1982-83; he developed

the ideas further in 1987, 1988, and 1995 (see footnote 3).

6. Example 2.1 is a reduction of a passage from my composition,

Match, for large orchestra. In this paper, a "fixed zero" system of

numeric pitch-class designation is used: all C ~ andS

their enharmonic
equivalents are represented by 0; all C#Sand D bs, by 1; all C Xs, D ~ S ,
by 2; and so on. I use A for B b s / ~ # sand B for B h / ~ b s .
7. The naming of set classes and the designation of normal-form repre-

sentatives of set classes follows that of Morris (1987), Appendix 1.

My terminology here is a slight departure from that of Morris

(1982-83). I call his norm a link; I find it convenient to use the

former term for the "abstract" set class to which the links belong.

8. It makes sense to admit treatment of the components of the two-

partitions in chains as unordered pitch-class sets because the norm in

a subaggregate chain has an inherent character based on its distinc-

tive interval content that is independent of order. This point has

been made by others: Milton Babbitt in "Twelve-Tone Invariants as

Compositional Determinants," in Paul Henry Lang, ed., Problems in

Modern Music (New York: W. W. Norton, 1960); and Morris (1982-

83).

9. Swapping past the boundaries of the horizontal links causes prob-

lems. Consider the cell in row 2, column 5 in Example 3.2; the pitch

class {B\ may not be further swapped with the other pitch classes in

that cell and should be sounded before them to avoid a departure

from the horizontal link with which the {B] is associated.

10. From Morris, 1982-83 and 1987,90-100.

11. Morris and I use the term "abstract" in this context to refer to lists or
graphs of set classes; "literal" refers to lists (or graphs) that contain
actual pitch-class sets.
 Perspectives of N e w Musrc

12. The literal representatives of the set classes in Example 4.1 are not
part of the abstract partition list proper; I include them as convenient
reminders of the forms of the set classes and to indlcate how the
norm is partitioned in each case.
13. A complete traversal of some loops leads back to the same literal
pitch-class set; in this case, an inversion of the initial representative of
sc 3-3 is produced: the chain is {014}{3789B}{450}{1789B}{O34}.
An additional traversal of this loop returns to the (014).
14. See, respectively, page 48 in Allen Forte, The Structure of Atonal
Music (New Haven: Yale University Press, 1973); R. Chrisman,
"Describing Structural Aspects of Pitch-Sets Using Successive-
Interval Arrays," Journal of Music Theory 21, no. 1 (1977): 1-28;
and David Lewin, Generalized Musical Intervals and Transforma-
tions (New Haven: Yale University Press, 1987). Robert D. Morris
provides a convenient list of EMB embeddings for all set classes in
his Class Notes for Atonal Music Theory (Hanover, N H : Frog Peak
Music, 1991), Appendix 2.
15. In my own compositional designs I have found no need for literal
partition graphs, the graphical forms of literal partition lists. Such
graphs can be useful, however, in indicating the concrete results of
traversing some path in the abstract partition graph. Morris (1995)
has suggested use of literal partition graphs-he calls them "literal
compositional spacesn-in support of improvisation as well as com-
position not in real time. Literal partition graphs are most often use-
ful in small norms; they tend to be large and unwieldy in norms of
higher cardinality.
16. A general algorithm for generating chains is given on page 9 3 of
Morris (1987).
17. Morris (1982-83) gives examples of both homogeneous and hetero-
geneous chains.
18. Combinatorial matrices of this sort lie behind much of the music of
Milton Babbitt, Morris, Mead, Swift, and others. Good explanations
of especially Babbitt's practice can be found in Joseph Dubiel,
"Three Essays on Milton Babbitt," Perspectives of New Music 28, no.
2 (Summer 1990): 216-61, and Chapter 1 of Andrew Mead, The
Music of Milton Babbitt (Princeton: Princeton University Press,
1995). Daniel Starr and Robert Morris, "A General Theory of Com-
binatoriality and the Aggregate," Perspectives of New Music 16, no. 1
(Fall-Winter 1977): 364-89, and 16, no. 2 (Spring-Summer 1978):
50-84 provides a more detailed treatment.
 Atonal Embellishment

19. All-partition arrays are discussed in Milton Babbitt, "Since Schoen-

berg," Perspectives of New Music 12, nos. 1 and 2 (Fall-Winter 1973,
Spring-Summer 1974): 3-28. Morris (1987, 265-70) generalizes
the principle to an array whose controlling pitch-class sequence con-
tains fewer than twelve pitch classes.
20. Straus (1987).
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Atonal Embellishment: An Application of Subaggregate Chains
Wayne Slawson
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Notes

3
Combinatoriality without the Aggregate
Robert Morris
Perspectives of New Music, Vol. 21, No. 1/2. (Autumn, 1982 - Summer, 1983), pp. 432-486.
Stable URL:
http://links.jstor.org/sici?sici=0031-6016%28198223%2F198322%2921%3A1%2F2%3C432%3ACWTA%3E2.0.CO%3B2-4

3
Klumpenhouwer Networks and Some Isographies That Involve Them
David Lewin
Music Theory Spectrum, Vol. 12, No. 1. (Spring, 1990), pp. 83-120.
Stable URL:
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3
An Instance of Parapraxis in the Gavotte of Schoenberg's Opus 25
Henry Klumpenhouwer
Journal of Music Theory, Vol. 38, No. 2. (Autumn, 1994), pp. 217-248.
Stable URL:
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4
The Problem of Prolongation in Post-Tonal Music
Joseph N. Straus
Journal of Music Theory, Vol. 31, No. 1. (Spring, 1987), pp. 1-21.
Stable URL:
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14
Describing Structural Aspects of Pitch-Sets Using Successive-Interval Arrays
Richard Chrisman
Journal of Music Theory, Vol. 21, No. 1. (Spring, 1977), pp. 1-28.
Stable URL:
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18
Three Essays on Milton Babbitt
Joseph Dubiel
Perspectives of New Music, Vol. 28, No. 2. (Summer, 1990), pp. 216-261.
Stable URL:
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18
A General Theory of Combinatoriality and the Aggregate (Part 1)
Daniel Starr; Robert Morris
Perspectives of New Music, Vol. 16, No. 1. (Autumn - Winter, 1977), pp. 3-35.
Stable URL:
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19
Since Schoenberg
Milton Babbitt
Perspectives of New Music, Vol. 12, No. 1/2. (Autumn, 1973 - Summer, 1974), pp. 3-28.
Stable URL:
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