PITCH CENTRICITY

1 AND COMPOSITION
WITH MOTIVIC CELLS

As a result of the progressive weakening and dissolution of functional tonality in late-

nineteenth-century music, some composers in the early twentieth century started inves-
tigating new methods of pitch organization. The experimentation with pitch organization
often came paired with new approaches to rhythm, texture, form and formal growth, and
orchestration. In Chapters 1 and 2 we will focus on some composers, such as Claude
!"#$$%& '()*+,(-()./& 0123& 4536789$:%& '())+,(-;(./& 69<& =>?6& =635@:& '())(,(-AB./&
who did not necessarily seek to give up the concept of tonal center but in whose music
C!& 923D6??%& E9<& 6& $%$5!D658F& 6728<69F!& 2G& G#9F58296?& 5296?85%& 69<& 2G& 5H!& 536<858296?&
D!5H2<$&2G&5296?&F!9538F85%&6$$2F865!<&52&G#9F58296?&5296?85%I&J!&C8??&6?$2&#$!&5H8$&898586?&
chapter of the book to review some general concepts and procedures in the areas of form,
formal processes, rhythm, and meter.

PITCH CENTRICITY

09&5H!&09532<#F5829&C!&<!E9!<&pitch centricity as the organization of pitch structures

around one or more pitch centers, although not necessarily through a system of pitch
hierarchies around a tonic. Nonfunctional pitch centricity may be achieved through a
variety of means. These means are contextual rather than systematic. That is, there are
no such things as “systems” of nonfunctional pitch centricity, and to determine a center
6FH8!7!<& "%& 929G#9F58296?& D!69$& C!& 9!!<& 52& !K6D89!& 69<& 895!3L3!5& $L!F8EF& D#$8F6?&
contexts.

Pedals
A sense of pitch centricity, for instance, may result from the use of pedals&'<329!$&23&
$#$5689!<& 529!$.& 23& ostinatos& 'D!?2<8F& G361D!95$& 3!L!65!<& D69%& 58D!$./& 5C2& D#$8F6?&
!?!D!95$&2G5!9&G2#9<&89&5H!&D#$8F&C!&C8??&$5#<%&89&5H8$&FH6L5!3I&J!&H!63&5H!&L6$$61!&
G32D&MN6&$283>!&<69$&O3!96<!P&'(-QR.&"%& !"#$$%&3!L32<#F!<&89&Example 1.1 as cen-
5!3!<&29&ST&"!F6#$!&2G&5H!&ST&"6$$&L!<6?/&<!$L85!&5H!&7!3%&FH32D658F&69<&929G#9F58296?&
pitch content of the right hand, organized as chromatic triads moving in parallel motion.

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Example 1.1 Claude Debussy, “La soirée dans Grenade,” from

Estampes, II, mm. 33–36

Scalar Collections
Nonfunctional pitch centricity may also result from the use of scalar collections that are
!"#$%&'%(&)%*+'% ,%),-,)),.%$&/%+%0"$*1%*,'$,)2%3!*1%+3%4&.+#2%0,'$+$&'"*2%51&#,6$&',2%&)%
&*$+$&'"*%3*+#,3%+'.%*&##,*$"&'3%(5,%5"##%3$!.7%4&.+#%+'.%0,'$+$&'"*%3*+#,3%"'%$1"3%*1+0-
ter and whole-tone and octatonic scales in Chapter 2/8%9&'3".,)%$1,%01)+3,% 7%:+)$;<%"'%
Example 1.2. Because the two voices move in octaves, no harmony or counterpoint is
involved in this phrase. Yet we have a clear sense of pitch centricity on G because the
0+33+=,%"3% !"#$%&'%+%."+$&'"*%*&##,*$"&'%*,'$,),.%&'%>%($1,%0+33+=,% ,="'3%+'.%,'.3%&'%
G, the melody keeps returning to a lowest pitch G, and there is frequent motion between
G and D, scale degrees 1 and 5%"'%+%>%3*+#,/8%?)&4%$1,%0"$*1,3%0),3,'$%"'%$1"3%01)+3,2%5,%
*+'%"'-,)%+%4"'&)%3*+#,%&'%>%5"$1%+'%@%'+$!)+#%(+%)+"3,.%6 /8%A1"3%"32%$1,'%+%4,#&.7%"'%$1,%
Dorian mode transposed to G.

Example 1.2 Béla Bartók, “Little Study,” no. 77 from Mikrokosmos,

III, mm. 1–4

Motivic Unity
Besides exploring alternative methods of creating pitch-centered compositions, compos-
ers in the early twentieth century were also concerned with providing unity to their com-
positions through motivic means. This could take the form of literal motivic relationships

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 n n n n PITCH CENTRICITY AND MOTIVIC CELLS

at the surface level or of more abstract motivic relationships provided by some basic
intervallic cells. In the absence of the unifying force of functional tonality, motivic rela-
tionships, coupled with nonfunctional methods of pitch centricity, provided strong and
!"#$%&'(%)%*%&' (+,()+&-./0&-%(#+1% $+&(,+/('1% %(#+*2+ %/ 3(*! $#4(5&('1%(6/ '('7+(
chapters of this book we will examine in some detail some of their music.
Our analytical focus will not only be on pitch centricity and motivic relationships
but also on any other musical elements that may be representative of either a particular
composer’s style or of a more general approach to composition in the early twentieth
century. Our general questions as we face the analysis of twentieth century music will
'1! (8%9(:;+7(#0&(7%(8% '(!&<%/ '0&<('1$ (*! $#=(>10'(<+(7%(&%%<('+(?&+7('+(!&<%/-
'0&<('1$ (*! $#@(0&<(710'( 2%#$6#(0&0)A'$#0)(*%'1+< (<+(7%(&%%<('+(022)A=(;+7(#0&('1%(
knowledge of the particular stylistic and compositional idiosyncrasies of this music help
! ('+(8%''%/()$ '%&('+($'(0&<@($,(7%(#0&(2%/,+/*($'@('+(8%''%/(2%/,+/*($'=B

DIATONIC COLLECTIONS

A collection of pitches that contains seven basic, unaltered pitches that are adjacent to
+&%( 0&+'1%/( +&( '1%( #$/#)%( +,( 6,'1 ( C0 ( /%2/% %&'%<( 8A( '1%( 71$'%( ?%A ( +,( '1%( 2$0&+D( $ (
known as a diatonic collection( C+/( 0( <$0'+&$#( #0)%@( 71%&( +/<%/%<( $&( 0 #%&<$&-( +/(
<% #%&<$&-(+/<%/D4(E1%(*0F+/(0&<(&0'!/0)(*$&+/( #0)% (#+& '$'!'%('1%('7+(*+ '(,0*$)$0/(
diatonic collections. Because major and minor scales, however, are usually found in
functional contexts, we will not consider them in our present discussion. Twentieth-
century post-tonal composers have been more interested in nonfunctional diatonic col-
lections such as the modes.

The Modes
The basic historical modes are Ionian, Dorian, Phrygian, Lydian, Mixolydian, and
Aeolian, to which we can add the modern mode Locrian. If we think of the white keys
of the piano and of the octave C–C, each of the seven modes begins on one of the pitches
of the octave in such a way that the seven modes result from a complete rotation of the
diatonic collections, as illustrated in Example 1.3. Thus, Ionian is represented by the
+#'0G%(HIH@(J+/$0&(8A('1%(+#'0G%(JIJ@(K1/A-$0&(8A(LIL@(MA<$0&(8A(NIN@(O$P+)A<$0&(
8A(QIQ@(R%+)$0&(8A(RIR@(0&<(M+#/$0&(8A(SIS4

TONES AND SEMITONES IN THE MODES

T+'%('10'(0)'1+!-1('1%(2$'#1(#+))%#'$+&($&(%0#1(+,('1% %( #0)% ($ ('1%( 0*%(C'1%(<$0'+&$#(

71$'%.?%A(#+))%#'$+&D@('1%($&'%/G0))$#( '/!#'!/%($ (&+'4(E1%(<$0'+&$#(#+))%#'$+&($ (*0<%(!2(
+,(6G%('+&% (0&<('7+( %*$'+&% 4(E1%(2)0#%*%&'(+,('1%('7+( %*$'+&% (7$'1$&('1%(+#'0G%(
varies in each of the seven modes and contributes to each mode’s characteristic sound.
E1%( +!&<( +,( 5+&$0&( C'1%( *0F+/( #0)%D@( ,+/( $& '0&#%@( $ ( #10/0#'%/$ '$#( 8%#0! %( +,( '1%(

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PITCH CENTRICITY AND MOTIVIC CELLS nnnn

Example 1.3 The modal scales

semitones between scale degrees 3–4 and 7 –1, whereas Phrygian is easily recognizable
because of the semitones between degrees 1–2 and 5–6 .

N The diatonic collection is symmetrical, as you can verify in the D–D rotation in
O Example 1.3 ! "#$! %&''$%%()*! )+! ,)*$%! -".! /*0! %$1(,)*$%! -2.! (*! ,#(%! 3),/,()*! (%!
T "424"4"4"424"5!6#$3$!,#$!'$*,3/7!"!-8$,6$$*!9!/*0!:.!+&*',()*%!/%!,#$!/;(%!)+!
E symmetry. You can read this succession of intervals forward or backward, and it’s
the same.

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The Modal Scales

It is particularly useful to think of the modes in relation to the familiar major and natural
!"#$%&'()*&%("+%$* * ,*$%-.!'.%&'()*%+*/$**%!&%+!0*$*"1%!"%*('.%#2%1.*% #+*&%-!1.%
respect to the major and minor scales, as shown in the following list:

34% 5#"!("%67879%!&%1.*%&( *%(&% (:#$

;4% <#$!("%6<8<9%!&%(%"(1=$()% !"#$%&'()*%-!1.%(%$(!&*+%6 %6>6 , or B 9
?4% @.$A/!("%6B8B9%!&%(%"(1=$()% !"#$%&'()*%-!1.%(%)#-*$*+%2 %6!2 , or F 9
C4% DA+!("%6E8E9%!&%(% (:#$%&'()*%-!1.%(%$(!&*+%4 %6>4 , or B 9
F4% G!H#)A+!("%6I8I9%!&%(% (:#$%&'()*%-!1.%(%)#-*$*+%7 %6!7 , or F 9
J4% K*#)!("%6K8K9%!&%1.*%&( *%(&%"(1=$()% !"#$
L4% D#'$!("%6M8M9%!&%(%"(1=$()% !"#$%&'()*%-!1.%(%)#-*$*+%2 %6!2 , or C 9%("+%(%)#-*$*+%
5%6!5, or F 9

Transposing the Modes

Each of the modes can be transposed to begin on any note. A transposition will usually
!" #!$!%&!'" ()" &*!" +!," -(.)/&0#!1" /2&*30.*" &*!" %3453-!#" 4/," /2-3" 6#(&!" -34!" 37" &*!"
/%%('!)&/2-"()"&*!"40-(%8"9:!#,"$/&"/''!'"&3"/"+!,"-(.)/&0#!"-(.)(;!-"/"&#/)-53-(&(3)"05"
/"5!#7!%&"730#&*"<3#"'36)"/"5!#7!%&";7&*=8">*0-1"6!"%/)1"73#"()-&/)%!"&#/)-53-!"?3#(/)"&3"
@"6(&*"3)!"$/&1"&3"A"6(&*"&63"$/&-1"&3"B"6(&*"&*#!!"$/&-1"!&%8"C)'1"-(4(2/#2,1"D(E32,'(/)"
3)"A"6(22"%/##,"3)!"$/&"()"&*!"-(.)/&0#!1"D(E32,'(/)"3)"B"6(22"%/##,"&63"$/&-1"/)'"-3"3)8
Every sharp added to the signature, on the other hand, will transpose a mode down
/"730#&*"<3#"05"/";7&*=8"?3#(/)"%/)" !"&#/)-53-!'"&3"C"6(&*"3)!"-*/#51"&3"9"6(&*"&63"
sharps, for example, and Mixolydian can be transposed to D with one sharp, to A with
two sharps, and so on. Some of these transpositions are shown in Example 1.4.

Example 1.4 Examples of modal transpositions

Identifying the Modes

To identify the mode of a passage in a transposed mode, we can proceed as follows:

n" F!"%/)"!E/4()!"&*!"+!,"-(.)/&0#!"/)'"'!&!#4()!"&*!"&3)/2"%!)&!#"!-&/ 2(-*!'" ,"

the particular musical context of the passage. In Example 1.21"6!"*/:!")3"'(G%02&,"

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PITCH CENTRICITY AND MOTIVIC CELLS nnnn

!"#$ %& #'( )( *+( $,"( $-#*.( /"#$"0( 1$,"( 2".-!&( 3"' #+( *#!( "#!+( -#( )45( *#!( 6"(
*.0"*!&(7#-6($,*$(*(7"&(+ '#*$80"(-%(-#"(9*$( #(*(2".-!&( #()( +(*(/."*0( #! /*$ -#(
of G Dorian.
n( :0(6"(/*#(*.+-(;'80"(-8$($,"(+/*."(*#!($,"#( !"#$ %&($,"( #$"0<*.. /(=*$$"0#(/,*0*/-
teristic of a particular mode. In Example 1.2, the intervallic pattern we identify is
$,"( =*$$"0#( %-0( $,"( >-0 *#( 2-!"( 1*( 2 #-0( +/*."5( #( $, +( /*+"( #/-2=."$"5( 6 $,( *(
raised 6 4?

Two melodies by Debussy will illustrate transposed modes in which the acciden-
tals are written into the music rather than in the signature. The melody in Example 1.5
+(/."*0.&(/"#$"0"!(-#(@?(A"(="0/" <"( $(*+(+8/,(3"/*8+"(3-$,($,"(;0+$(=,0*+"(*#!($,"(
whole melody begin and end on C, and because it spells out a C major scale with one
accidental, B ?(A"(7#-6($,*$(B in a C scale is a lowered 7 5($,"(!"'0""($,*$(!";#"+($,"(
Mixolydian mode, so this melody is in C Mixolydian.

Example 1.5 Debussy, “La cathédrale engloutie,” from Preludes,

book I, mm. 28–41 (melody only)

Finally, examine the violin part for the opening measures of Debussy’s String
C8*0$"$(#-?(D(1DEFG45(+,-6#( #(HI*2=."(D?J. The key signature seems to indicate the key
-%()2?(K,"(/"#$0*.(0-."(-%()( +(/-#;02"!(3&($,"(-="# #'(= $/,()(*#!(3&($,"(+$0"++(-#()(
13&(0"="$ $ -#(*#!(3&(*//"#$4( #(22?(DLM?(N+(6"(=.*&($,"(2".-!&5(,-6"<"05(6"(#-$ /"($,"(
*3+"#/"(-%(OP+(*#!($,"(9*$$"# #'(-%(*..(N+(16, /,("Q"/$ <".&(*!!+(-#"(9*$($-($,"(+/*."4?(
A,*$( +($,"()(2-!"(6 $,($,0""(9*$+(*#!(#-(OPR(K, #7(-%(*()(+/*."(6 $,($,0""(9*$+S(6,*$(
/,*0*/$"0 +$ /(+/*."(!"'0""( !"#$ ;"+($,"(2-!"(-%($, +(+/*."R

PENTATONIC COLLECTIONS

A pentatonic collection(/-#$* #+(-#.&(;<"(! Q"0"#$(= $/,"+?(K,"(2-+$(/-22-#(="#$*-

$-# /(/-.."/$ -#( #(A"+$"0#(28+ /( +(+,-6#( #(Example 1.7. You can easily think of it as
being made up of scale degrees 1–2 –3–5–6 of a CM scale, and we call it an anhemi-
tonic scale because it contains no semitones. Because there are no half-step tendencies
in this scale, however, it is tonally ambiguous: any of its pitches can function as a tonal
center. Example 1.7 illustrates that by rotating what was originally presented as

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 n n n n PITCH CENTRICITY AND MOTIVIC CELLS

Example 1.6 !"#$$%&'()*+,-'.#/*)!)',01'2&'3&'441'2526'78*$)'9+0:+,'

part)

Example 1.7 The rotations of C-pentatonic

white-key C-pentatonic, we arrive at four other forms of the same pitch collection, which
!"#$%"&!$'"$("#!%)!'!*"+%",-".-"/-"$%*"0-"'!(1!#)23!456"7+"*!)!'82%!" &2#&"+9")&!":3!"
pitches of this collection functions as a center in a particular passage, we will need to
examine the particular musical context in which the collection appears.
A pentatonic fragment by Debussy appears in Example 1.86";&$)"2(")&!"#+814!)!"
1!%)$)+%2#"#+44!#)2+%"+%" &2#&")&2("1$(($<!"2("=$(!*>"?+)2#!")&$)"=+)&"8!4+*5"$%*"&$'-
8+%5"$'!"<!%!'$)!*"=5")&!"($8!"1!%)$)+%2#"#+44!#)2+%6";&$)"2("2)(")+%$4"#!%)!'>";&$)"
!4!8!%)("2%")&2("1$')2#@4$'"1$(($<!"4!$*"5+@")+"*!#2*!"+%"$"1$')2#@4$'"12)#&"$("$"#!%)!'>

Example 1.8 Debussy, “Pagodes,” from Estampes, mm. 1–4

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N The pentatonic collection is symmetrical, as is the diatonic collection. If you

O examine the last rotation in Example 1.7 !"#$%&&%&$ '& () *'+ ,%-- .## /0# .*1-
T metrical intervallic pattern m3–T–T–m3, symmetrical around D.
E

Pentatonic Ambiguity
The unaccompanied melody by Ravel shown in Example 1.9, on the other hand, illus-
trates the ambiguous character of the pentatonic scale with respect to centricity. Notice
/02/ /0# 1#-'3* "#$%&. '& 45 2&3 #&3. '& 657 8'9#':#9; "'/0 45 2&3 65 29# #1<02.%=#3
/09'+$0'+/ /0# 1#-'3*>. ?'&/'+97 @0%. #1<02.%. %. 9#$%./92- !"'/0 <%/?0#. A+&?/%'& 2. /0#
-', <'%&/ 'A 299%:2- %& <29/%?+-29 1#-'3%? A92$1#&/.) 2&3 90*/01%? !"'/0 <%/?0#. 2<<#29
2. 3'//#3 B+29/#9. %& 117 CDE; /0# -'&$#./ &'/#. %& /0%. 1#-'3%? .#$1#&/)7 F'+-3 *'+ .2*
/02/ /0# <%/?0 ?#&/#9 %. 45 '9 65G H9 <#902<. /02/ /0# 1#-'3* $'#. "2?I 2&3 A'9/0 "#/,##&
/0# /,' ,%/0'+/ ?-#29-* .#//-%&$ '& #%/0#9G

Example 1.9 Maurice Ravel, Trio in A Minor, III, “Passacaille,”

mm. 1–9

F# .0'+-3 2-.' 1#&/%'& /02/ 12&* '/0#9 <#&/2/'&%? ?'--#?/%'&. 29# <'..%"-# 2&3
+.#3 %& &'&JF#./#9& 1+.%?2- /923%/%'&.7 6'+9 'A /0#.#; A'+&3 %& K'+/0 L&3%2& 1+.%?; 29#

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shown in Example 1.10. Notice that, unlike the collection in Example 1.7, all of the col-
lections in Example 1.10 contain semitones.

Example 1.10 Four South Indian pentatonic collections

In Chapter 2 we will discuss other factors that may create pitch centricity, in par-
!"#$%&' ()**+ &)' %&,#-.' %-' %/!(' %-.' , 0+&' )1+(' ,2' ()**+ &!"%$' ( &#" #&+(3' 4+' 5!$$'
now focus on a more detailed study of two compositions by Debussy and Stravinsky,
respectively.

A SUMMARY OF CRITERIA FOR IDENTIFYING

NONFUNCTIONAL PITCH CENTERS

As we have discussed and illustrated so far in this chapter, nonfunctional pitch centricity is
contextual rather than systematic. To determine whether a piece or a fragment is pitch-
"+- +&+.6'%-.'0,5'! '!('(,6'5+'-++.' ,'+/%*!-+'7%-.'$!( +-' ,8' 0+'*#(!"'"$,(+$)6'%-.'5+'-++.'
to interpret what we see and hear in order to make decisions on pitch centricity. The follow-
ing are some of the various factors that may have a bearing on pitch centricity and, hence,
that we should examine to help us interpret pitch centricity in a particular musical context.

1. Pedals, ostinatos, or note repetition. Stress on a note or a group of notes by pedal,

ostinato, or repetition usually creates a sense of pitch centricity.
2. Use of a pitch-centered scalar collection. Pitch-centered collections are scalar col-
$+" !,-('9#!$ ',-'%'1! "0'7 0+'1! "0'"+- +&8'2,$$,5!-:'(,*+'!- +&;%$$!"'1% +&-(3'<0+'
.!% ,-!"' ",$$+" !,-' "%-' 9+' &, % +.' ,' 2,&*' (+;+-' .!=+&+- ' *,.+(3' > 0+&' 1! "0?'
centered collections are the pentatonic, whole-tone, octatonic, and hexatonic scales
7 0+'$% +&' 0&++'5!$$'9+'( #.!+.'!-'Chapter 283
3. In music built on a pitch-centered scalar collection, we need to determine both the
pitch center and the scale built on it. Some of the factors that will help us determine
the pitch center are beginning and ending pitches for the phrase or section we are
examining; important cadential pitches within the section; pitches that are empha-
sized by means of melodic motion, particularly if scale degrees 1 and 5 are empha-
(!@+.A' %-.6' 1,((!9$)6' 1! "0+(' 0% ' 0%;+' %-' !*1,& %- ' &+:!( &%$' &,$+' 72,&' !-( %-"+6'
scale degrees 1 or 5 may often appear as the lowest or highest pitches in the melodic
",- ,#&83

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