SCALE FORMATIONS IN POST-TONAL MUSIC 19

nonpentatonic or both. In Example 2-5 Bartók harmonizes a pentatonic melody (top

line in the example) with major triads, using the melody note as the root of the triad
in each case. The accompaniment here uses no particular scale, although the tonality
CHORDS AND SIMULTANEITIES 55 is
certainly C. A few measures later, the same melody is harmonized again with major
Exercício 1 - Em qual escala a melodia do trecho musical abaixo é construída?
triads, but (C/F≥time
4ths this ≤/E). As
and Beach melody
long as note is theis 5th
the voicing of its triad.
predominantly The
quartal, as itlast melody
is here, it note is
Disserte sobre as características do acompanhamento dessa melodia no que diz
changedis to
probably
a D, correct to analyze
resulting both chords as altered
in a “half-cadence” on a6 G
× 4chord.
chords, but other voicings
respeito às suas diferenças à prática da musical tonal.
might lead to other analyses. The octatonic scale can serve as the source for the chord
in Example 3-22b. If you turn back to Example 2-18 (p. 27), you will see that this
EXAMPLE 2-5chordBartók: Bluebeard’s
is strongly suggestedCastle (1911)transpositions
in various (piano reduction), mm. 765–770
and voicings in that excerpt.
Béla Bártok: O Castelo do Barba Azul (1911) c. 765-770 – Redução para piano
Ginastera made frequent use of a mostly quartal chord derived from the open strings
Copyright ©of 1921, 1925 inE2–A2–D3–G3–B3–E4.
the guitar: the USA by Boosey & Hawkes,
AnInc. Copyright
example canrenewed.
2
Reprinted
be found at thebybeginning
permission.of
the third movement of his String Quartet No. 1 (1948).

SECUNDAL CHORDS
The third possibility for chord construction is the secundal chord, a sonority built
from major or minor 2nds or from a combination of the two. Such chords may be
voiced as 7ths rather than as 2nds, but this is the exception. More often the notes of a
secundal chord are placed adjacent to each other, an arrangement sometimes referred
52 to by theAND
CHORDS termsSIMULTANEITIES
cluster and tone cluster.
The secundal chord in the second measure of Example 3-21 above is voiced as a
cluster, but thechord
A quartal arpeggiations
can haveobscure
as few this somewhat
as three (the chord
pitch classes F≥–G–A–B–C
(as in isExample 3-17a)≥).or it
Example
can 3-23 provides
have several (Examplea clearer
3-17b).illustration of clusters.
It is sometimes possible to omit a member of a quartal
or quintal chord (the E4 in Example 3-17b, for instance) without losing its character.
Exercício 2- Descreva as características harmônicas dos dois trechos a seguir e
Various voicings and octave duplications are also used (as in Example 3-17c), but some
Other arrangements
versions of the pentatonic
could destroy the scale
quartalare possible—versions
character of the employing minor 2nds and
II sonority. Quintal chords work
disserte sobre como eles se relacionam enquanto concepção.
EXAMPLE 3-23 Charles
major the
3rds—but
Ives: Piano Sonata
occur less
No. 2 (Concord
often in
) (1915),
same way (as in Example 3-17d), but they have a more openOne
they Western music. example
and stable sound is the scale
and,
sometimes
Copyright © 1951 (Renewed) by Associated Music Publishers, Inc. (BMI) International copyright secured. All rights reserved.
of known
course, occupyas
Reprinted by permission. the
more Hirajoshi
vertical pentatonic—as
space per chord member. in A–B–C–E–F—which
Surely a near-record for occurs
range in
Charles Ives: Sonatas para piano nº2 : Concord.
must be held by the ten-note quintal chord that occurs
the closing section of George Rochberg’s Slow Fires of Autumn (1979) and in the second near the end of György Ligeti’s
orchestral Melodien (1971), spanning a range of more than five octaves, from A≤1 to B6.
movement of Janice Giteck’s Om Shanti (1986); another, sometimes called the Kumoi
pentatonic—as in D–E–F–A–B, was used by Ralph Vaughan Williams for the opening
EXAMPLE 3-17 Quartal and Quintal Chords
theme of his Concerto for Bass Tuba (1954) and by Jonathan Kramer in his Moving
Music (1976).

SIX-NOTE SCALES
The only six-note scale to see much use in post-tonal music is the whole-tone scale.
A convenient way to describe quartal and quintal chords is to use, for example,
It is constructed entirely from major 2nds (although one of them has to be notated as
“3 × 4 on B” to mean a three-pitch-class quartal chord with B as the bottom pitch class,
a diminished 3rd). In3-17a.
as in Example termsExample
of pitch-class content,
3-17b would be aonly
“7 × two
4 on whole-tone
C≥.” All of the scales areinpossible;
chords
any other transposition
Example 3-17c would orbe“mode”
“4 × 4 onwill
E,”simply
and “5 ×duplicate
5 on G” would the pitch-class content
describe Example 3- of one
of the scales
17d. Ainstatic
Example 2-6. Whole-tone
6 × 4 chord on A is the basisscales may be 3-18.
for Example labeled according to a convention
that identifies the whole-tone scale that contains C (pitch class 0) as WT–0 and the scale
that contains C≥/D≤ (pitch class 1) as WT–1. Enharmonic spelling of the scales is common.
EXAMPLE 3-18 Howard Hanson: Symphony No. 2, Op. 30 (1930), I, rehearsal J (strings only)
For instance, WT–0 might be spelled as C–D–E–G≤–A≤–B≤–C.
Eastman
Copyright © 1932 by the Eastman School of Music. Copyright renewed. Reprinted by permission of Carl Fischer, Inc., sole agent for the
School of Music Publications.
Howard Hanson: Sinfonia nº 2, Op.30, (1930) - Seção das cordas
EXAMPLE 2-6 Whole-Tone Scales

Exercício 3 - O trecho musical abaixo é construído harmônica e melodicamente
sobre uma escala particular. Identifique essa escala (nomeie) e escreva seus
SCALE FORMATIONS IN POST-TONAL MUSIC 27
graus dentro de uma oitava na pauta em branco.

EXAMPLE 2-18 Alexander Scriabin: Prelude, Op. 74, No. 5 (1914), mm. 14–17
Alexander Scriabin, Prelude, Op. 74 n. 5, 1914. M-14-17
Excerpted from the International Music Co. edition, New York, NY 10018.

In Example 2-19 Messiaen is using OCT(1,2). The passage is headed toward a

cadence on F≥, so these measures may be functioning as a kind of dominant on C≥.


Exercício 4 Vingt
2-19 Messiaen: regards suro l’enfant
- Observe Jésus
título da (1944),
obra “Le
e baiser de l’enfant
descreva Jésus,” mm. 54–57harmônica do
a composição
trecho à seguir:
CHORDS AND SIMULTANEITIES 49

Béla Bártok: Mikrokosmos (1926-37), “Arpegios divididos” c. 6-13.
EXAMPLE 3-13 Bartók: Mikrokosmos (1926–37), No. 143, “Divided Arpeggios,” mm. 6–13

EXAMPLE 3-14 Ravel: Miroirs (1905), “Oiseaux tristes,” m. 15