Post-tonal analysis project, MU719 B1

Webern Opus 27 Row matrix, T/I

Much ink has been spilled over this classic of the twelve-
tone literature, but its close examination still reveals
wonders in its strict organization on many levels.
Its row order is found in the first eleven measures of the
3rd movement. The “home” row is T3 in the table below.

         0 8 7 e t 9 3 1 4 2 6 5
4 0 e 3 2 1 7 5 8 6 t 9
5 1 0 4 3 2 8 6 9 7 e t
1 9 8 0 e t 4 2 5 3 7 6
2 t 9 1 0 e 5 3 6 4 8 7
3 e t 2 1 0 6 4 7 5 9 8
9 5 4 8 7 6 0 t 1 e 3 2
e 7 6 t 9 8 2 0 3 1 5 4
8 4 3 7 6 5 e 9 0 t 2 1
t 6 5 9 8 7 1 e 2 0 4 3
6 2 1 5 4 3 9 7 t 8 0 e
7 3 2 6 5 4 t 8 e 9 1 0

After tracing the row forms through the piece, write out
the forms used in a separate table, including both halves
of the piece. (Right hand over left hand, as suggested by
the notation.)
Discuss the following aspects of the piece (answer in
complete sentences in essay form):
1. Its binary form: how does the pitch-class design work
within the binary form? How do other aspects, such as
rhythm and dynamics delineate the form?
2. The work is canonic. How? (I.e., what is the canonic
rule?)
3. What do you make of the E-flat octaves and A4 unisons?
4. Most of the piece is in dyads, except for a few
trichords. What kind of trichords are they? How do they
relate to each other? Why, do you think, does Webern
feature them?
5. How do the dyads between the hands/rows ensure harmonic
consistency? How are they a feature of the canonic
treatment?
6. Common-tone row linkage. What is it, and where can we
find it? How is it possible for Webern to use it here?
7. Consider the issue of pitch (as opposed to pitch-class).
How does it express the idea of symmetry?