'Linking' and 'Morphing': Harmonic Flow in Elliott Carter's 'Con Leggerezza Pensosa'

Author(s): Marguerite Boland

Source: Tempo , Jul., 2006, Vol. 60, No. 237 (Jul., 2006), pp. 33-43
Published by: Cambridge University Press

Stable URL: https://www.jstor.org/stable/3878707

REFERENCES
Linked references are available on JSTOR for this article:
https://www.jstor.org/stable/3878707?seq=1&cid=pdf-
reference#references_tab_contents
You may need to log in to JSTOR to access the linked references.

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide
range of content in a trusted digital archive. We use information technology and tools to increase productivity and
facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at
https://about.jstor.org/terms

Cambridge University Press is collaborating with JSTOR to digitize, preserve and extend access
to Tempo

This content downloaded from

114.246.236.210 on Wed, 10 Apr 2024 12:04:55 +00:00
All use subject to https://about.jstor.org/terms
 Tempo 60 (237) 33-43 C 2006 Cambridge University Press 33
DOI: 10.1017/S0040298206000209 Printed in the United Kingdom

'LINKING' AND 'MORPHING':

co
HARMONIC FLOW IN ELLIOTT
CARTER'S 'CON LEGGEREZZA
PENSOSA"

i.,

Marguerite Boland
U ;

Elliott Carter's harmonic practices have thus far successfull

universalizing theories of pitch organization. While Carter
works within a pitch 'universe' that encompasses the total ch
his approach to pitch organization has avoided systems
temporal ordering of the aggregate.1 Instead, Carter has em
number of techniques for organizing pitch, which engage in
ways with other structures in his music, such as structural poly
and formal designs.2 One pitch technique involves the use of a
key chord3 or referential sonority which provides points of ha
unification throughout the piece. A key chord, however, is not
set4 used to generate all the pitch material, or to derive prin
harmonic progression in a piece. These aspects of pitch gener
harmonic progression present interesting challenges to an analy
seeks to understand the unifying pitch patterns in Carter's mu
Con Leggerezza Pensosa, a trio for clarinet, violin, and 'cel
Carter wrote in 1990, is one such piece that makes use of a k
This key chord is the set type 6-z17 [0 1 2 4 7 8], otherwise kno
All-Trichord Hexachord (ATH).5 The ATH is the most predo
and consistently appearing sonority in Con Leggerezza Pensos
function as a referential sonority is clearly evident in homo
tranquil sections of the piece where it receives the most intens
However, in other sections the ATH alternates with quite a
pitch materials. These materials often form sonorities that
interval and pitch features with the ATHs surrounding them a
that sense integrated rather than contrasted with the ATH s

1 See Andrew Mead, 'Twelve-Tone Composition and the Music of Elliott Cart
Marvin and Hermann (eds.), Concert Music, Rock, and Jazz since 1945: Essays and A
Studies (New York, Univeristy of Rochester Press, 1995), pp. 67-102, for a dis
Carter's approach to the aggregate compared with 'twelve-tone' approaches.
2 In the dissertation 'The All-Trichord Hexachord: Compositional Strategies in Ell
Con Leggerezza Pensosa and Gra.' (diss., La Trobe University Melbourne, 1999)
ways in which specific pitch structuring techniques interact with other structu
Leggerezza Pensosa and Gra for solo clarinet. See also John Link, 'Long-range Polyr
Elliott Carter's Recent Music.' (diss., City University of New York, 1994) for a c
sive study of Carter's polyrhythmic techniques and David Schiff, The Music of Elli
(London: Eulenburg, 1983) on formal designs in Carter's music.
3 Else Stone and Kurt Stone (eds), Writings of Elliott Carter. (Bloomington: Indiana U
Press, 1977), pp. 204-205. Carter refers here to 'a "key" four-note chord' in his F
Quartet within a discussion of the harmonic plan in this music. I have adopted the
chord' here and in Boland (1999).
4 as defined in Donald Martino, 'The Source Set and Its Aggregate Formations',
Music Theory 5 (1961): 224-273.
' The All-Trichord Hexachord has the unique property of containing all twelve tr
types. However this property is not a primary feature in Carter's use of the hexac

This content downloaded from

114.246.236.210 on Wed, 10 Apr 2024 12:04:55 +00:00
All use subject to https://about.jstor.org/terms
34 TEMPO

In fact, the pitch and interval invariances between ATH

material are central contributors to the sense of musica
across the highly active rhythmic and textural musical su
This article aims to develop an understanding of the ro
ATH materials play in Con Leggerezza Pensosa. While from
tive these pitch groups might seem to present an incons
pitch organization of the music, from another perspective
a key to understanding the sense of harmonic continuity
Con Leggerezza Pensosa. The analysis will start by illus
'linking' role of non-ATH sets, examining the use of pitch
invariance to create linking gestures between ATH har
first examples will illustrate small scale linking gestur
passages of contrasting textures. The discussion will th
more extended passage and elaborate on the idea of 'mo
discussion shows how a series of gestures characterized
pitch and interval invariance morph into and out of AT
creating harmonic flow across a passage of rapidly chang
The final example is an illustration of how the same p
invariance and morphing are used to create a sense of ha
even where the larger harmonic blocks remain static.
Before turning to the analysis, however, it is helpful
brief outline of the relationship between the harm
textural/formal designs of the piece, as well as the sig
harmonic flow to Carter's compositional aesthetic.
Con Leggerezza Pensosa is a continuous piece of music an
of his pieces, Carter employs techniques for differenti
materials (such as allocating unique intervals and rhythm
to each instrumental line) to create varying degrees of s
tinuity: independent melodic trajectories, juxtapositions of
textural ideas and dense rhythmic construction alternate w
enous textures where the instruments clearly project co
rial. The All-Trichord hexachord harmony plays a signif
articulating the formal design, which can be described as
and out of two contrasting sonic experiences: one the
contemplation of a single harmonic colour, the other a m
of rapidly-changing musical shapes in varied harmonic e
The ATH surfaces as the primary sonority in the slow
tive sections of the work. The harmonic clarity of these s
they form easy reference points and help delineate the un
music. The focus on this single sonority is coordinated w
projection of other musical elements and results in still,
textures where the intervallic features of the ATH harmo
main musical interest. By contrast, the more rhythmica
texturally varied sections are also harmonically more
formal design resulting from the alternation of these b
types is outlined in the graph below.

Bars: 1 3 8 33 48 60 68 89

SI A1 S2 Aa2 S3 A 3

Example 1:
Formal overview of
S=sustained, slow
A=active
Con Leggerezza Pensosa

This content downloaded from

114.246.236.210 on Wed, 10 Apr 2024 12:04:55 +00:00
All use subject to https://about.jstor.org/terms
 'LINKING' AND 'MORPHING': HARMONIC FLOW IN 'CON LEGGEREZZA PENSOSA' 35

The grey shaded areas in the graph above indicate the sl

sections (referred to as S-material, denoting sustained, slow,
where the ATH is the harmonic focus. A single transposi
ATH is often repeated numerous times in these sections
moments of harmonic stasis. The textural elements incl
sustained notes in all three voices, soft dynamics, static h
confined registral space. The projection of these elemen
mized so that the harmony becomes the primary interest
rate of harmonic and rhythmic change elongates the experi
of these sections; while they only total to 30% of the clock t
piece, it could be said that they are experientially elongated
of their relative inactivity.
This material is contrasted by the rapid succession of
variety of textural ideas (the white areas on the graph, refer
material, denoting active), each with relatively high rhythm
and greater rate of harmonic change: local textural and rhy
last between one to four bars, compared to the 5 bars, 8
bars of the S-sections. It is the harmonic flow primarily
between these A-sections that will be the focus of this prese
The fluidity of motion between the contrasting textures
and gestural shapes in Con Leggerezza Pensosa is remarkable
the high frequency with which they change. The motion
nuity of musical ideas has always been a matter central
compositional thinking, as Carter himself has clearly expres
I must say that the one issue that I am, and have been, very concern
is making the flow of music be the most significant thing; the '
given point to me is only as significant as how it came to be 'now
happens afterwards.6

In his article 'Elliott Carter and the Modern Meaning o

Jonathan Bernard has illustrated how ideas of motion and co
literature, film and ballet influenced Carter's way of thin
the flow of events. Not only did these other arts represent w
wanted to do with music, they also provided metaphors f
about what Carter was achieving in his own music.8 A con
metaphor that might not be too far-fetched in relation to Ca
nique of using linking gestures is that of 'morphing' - a mo
graphics effect where one image is turned into a differen
the transitional phases of this transformation are shown as
occurs. By maintaining some of the old image and gradu
ducing some of the new image, independent transitio
emerge. However, these transitional shapes acquire their mea
through references to the initial image (where they came fr
final image (where they are heading).
Elliott Carter's linking gestures between harmonies an
blocks in Con Leggerezza Pensosa can be seen as functioning
way to the graphic morphing process. These linking gestu
some pitch and interval material that has just been heard
some material that is about to be heard in the next event or
emerge as independent shapes or passages that can be unders
amalgam of material from their surroundings. In Con L
Pensosa, linking gestures appear often in a single instrumen
a solo gesture and are relatively bold but fleeting figures.
6 Allen Edwards, Flawed Words and Stubborn Sounds: a conversation w1tth Elliot
York: Norton, 1971), p. 98.
7 Jonathan Bernard, 'Elliott Carter and the Modern Meaning of Time', The M
79.4 (1995): 644-682.
s For example, Bernard (1995); also Edwards (1971), pp. 98-104.

This content downloaded from

114.246.236.210 on Wed, 10 Apr 2024 12:04:55 +00:00
All use subject to https://about.jstor.org/terms
36 TEMPO

and rhythmically, they could be thought of more as small p

in the musical unfolding, rather than part of a seamless flow
harmonically, the linking gestures ensure that the pitch and
content undergo a more gradual progression, while othe
parameters (especially rhythm and articulation) are chan
abruptly.

The first linking gesture in Con Leggerezza Pensosa is introduced at

bar 8 in the cello, linking the preceding S-1 section with the following
A-1 texture shown in Ex.2. This 5-note figure contains two pitches that
are part of the vertically ordered aggregate in S-1: the Eb has just been
heard as a sustained note in the clarinet line and the B is one of the four
repeated pitches played by the cello in the previous section. The other
three pitches are part of the Tt ATH harmony that follows. The
gesture receives a certain amount of emphasis by the climbing
crescendo shape and the fact that it is played solo. Carter's intention to
highlight this gesture is evident in the hauptstimme in the score (square
brackets over the phrase).
(S-1) 12-tone chord (A-1) Tt ATH

Amf

Example 2:
Linking gesture, Con Leggerezza fM f
Pensosa bar 8

If the gesture is considered in isola

[0,1,3,4,7], its relationship to the sur
particular is far from obvious.' How
gesture, it becomes clear that the gestu
phrase some of the past pitch conten
pitch content. The fact that these con
pitches - and not pitch classes - is signi
tion of the same registrally positioned
effect of these gestures.

9 For example, 5-16 [01347] is not a subset of the A

Leggerezza Pensosa has been undertaken by Guy Cap
Means and Their Technical Ends in the Music o
Rochester, 1999). I am grateful to Guy Capuzzo f
Capuzzo notes associations between the contour an
ture in bar 8 (with the addition of the cello's previo
where Y2=<9B3526>, contour <012345>, INT(Y2)=
2 in the cello line - which he calls Y1 where Y1=<6A75>, contour <0132>,
INT(Y1)=<49A> (p.166). This comparison of contour and interval succession is a usef
way of showing similanty of gesture. An association along the same lines can also mad
between the bar 8 linking gesture and another cello gesture, this time in bar 3: if we let th
quintuplet semiquaver segment in bar 3 be Y3, then Y3=<B83B90>, INT(Y3)= <95429> and
contour <054321>. Y3 has primarily a descending contour which leads into the first slow
section (S-i), while the linking gesture in bar 8 (Y2) has the reversed ascending contou
which leads out of section S-1. In addition, the bar 8 linking gesture and Y3 have the sam
quintuplet semiquaver note values and are both members of 5-16[01347], at T6I and T8
respectively. These connexions between cello gestures undoubtedly create a strong sense
unity and progression within the cello line and show a kind of varied repetition of gesture
that is common in Carter's music. However, pc set connexions between these gestures an
the predominant surrounding ATH harmonies remain less obvious.

This content downloaded from

114.246.236.210 on Wed, 10 Apr 2024 12:04:55 +00:00
All use subject to https://about.jstor.org/terms
 'LINKING' AND 'MORPHING': HARMONIC FLOW IN 'CON LEGGEREZZA PENSOSA' 37

The end of the second slow section (S-2) similarly move

following active section (A-2) by way of a linking gesture sho
In bar 48, a fleeting semiquaver triplet figure in the clarinet
amalgam of pitches and intervals from the ATHs on either s
is drawn from Te ATH, the B is common to both ATHs and t
are taken from T6I ATH. The pitches in this linking gestur
held in the same register as the flanking ATHs. In both ATH
the clarinet leaps up by interval eleven, and this also becomes
vallic feature of the linking gesture where the clarinet li
together two climbing interval elevens in quick succession.
intervals in cl.line: e e 3 e

cl.

vn.

Example 3:
vc.
Linking gesture between
S-2 and A-2, bars 46-48

Te ATH linking gesture T61 ATH

Tt[0,1,4,5]

As in the previous example, the pc collection in this linking gesture is

not a subset of the ATH, but rather mixes pitches from the ATHs
either side, creating a kind of harmonic transitioning between the two
harmonies.
Linking gestures do not always manifest themselves merely as repe-
titions of selected pitches from 'before' and 'after'. In the ascending
semiquaver figure of the violin in bar 10 (Ex.4), it is both the intervallic
sequence and the pitch content of the gesture which are responsible for
the linking effect. Again the pc set TOI [0,2,3,4,7] formed by this gesture
is not a subset of the ATH. This time, the first three pitches are drawn
from the preceding Tt ATH. Of the next two pitches, only the A will be
heard in the following T4I ATH harmony. The A is the top note and the
last note of both the linking gesture and the following T4I ATH phrase
(see Ex.5), the common end pitch further enhancing the sense of
linkage between the two.

Tll [0,3,7] T3I [0,3,7]

Tt ATH T4I ATH

n.10-11

Tr T

lhnkimg gesture T4I ATH

chord transposed by T2

Example 4: Example 5:
Linking gesture, Con Leggerezza Pensosa bar 10 Interval connexions between link and ATH chord, bar 10-11

This content downloaded from

114.246.236.210 on Wed, 10 Apr 2024 12:04:55 +00:00
All use subject to https://about.jstor.org/terms
38 TEMPO

The C# initially appears to have no connexion to

However, a closer look at the T4I ATH phrases reveals an
connexion with the linking gesture, illustrated in Ex.5: t
harmonies unfold a klangfarbenmelodie where each i
contributes four pitches to the melody, alternating attack
three, G#, Eb and C (grouped together by forte dynam
accents), form a [037] trichord with vertically ordered in
Similarly, in the violin's linking gesture we also find the [0
formed by the pitches A#, F# and C#, also with ascendi
{8,7}. While the C# is not a part of the ATH pitch-collec
side, its inclusion in the gesture creates a harmonic link wit
follow. The linking gesture can be heard as a transit
morphing from one harmony to another. This type of link
while seemingly subtle, is at the heart of the sense of fluidi
nuity that appears to be so elusive in Carter's music.
The harmonic and melodic similarities and differences between
these fleeting linking gestures and the phrases that precede and follow
them provide a flow to the music, not unlike what other composers
have achieved through the use of subset invariance between transposi-
tions of the same pitch-class set. The difference in Carter's music is the
use of an expanded pitch-class set vocabulary and the creation of link-
ages that are unique to that particular moment in the music, rather
than linkages that are generic to the set type. This approach creates a
heightened relationship between the 'before' and 'after' of, in Carter's
words, 'the "now" of any given point'.1?
Pitch invariance can also be found reaching across the span of a
number of textures and providing a unifying thread through subtly
shifting harmonies and changing textural ideas. Example 6 shows one
such a passage. A slow arching three-note phrase in the clarinet begins
at bar 19 and is joined by a counterpoint of pizzicato strings. At bar 21,
the strings abruptly change their material from pizzicato to sustained
double-stop chords. The sudden change of texture is smoothed over by
the clarinet line, which continues its sustained phrase, completing the
arch from G to F# and back down to G in bar 22. At this point, the
combined pitches of the clarinet and the strings form a T8I ATH
harmony. A solo staccato gesture by the clarinet emerges from this T8I
ATH chord, functioning both as a conclusion to its arching phrase and
a link to the following sparse pizzicato / staccato klangfarbenmelodie
spread between all three instruments. The 6-note staccato clarinet
gesture also forms an ATH at TO. The two ATH transpositions (T8I
and TO) at the centre of this passage share five of their six pitch-classes
and the invariant pitch-classes are held in the same registral position in
the two harmonies. By choosing ATH transpositions with maximal
pitch-class overlap, Carter ensures a strong pitch correspondence
between the gestures, while still varying the material. In fact, these five
pitch-classes remain in the same registral placement throughout this
entire section of music (bars 19-27) and play an important role in its
harmonic flow. It is towards these two central ATH transpositions that
the harmony of the passage 'morphs' and out of which it again
morphs' towards the harmony of the next textural block.
Let us look more closely at the harmonic progression across this
passage. In example 6 the passage is segmented into primarily six-note
groups, according to rhythmic patterns and gestural shapes. The chord
reduction below the score shows the pitch collection for each segment.

10 Allen Edwards, p.98.

This content downloaded from

114.246.236.210 on Wed, 10 Apr 2024 12:04:55 +00:00
All use subject to https://about.jstor.org/terms
 'LINKING' AND 'MORPHING': HARMONIC FLOW IN 'CON LEGGEREZZA PENSOSA' 39

The five pitches common to T8I and TO ATH are notated in ope
heads. While the surrounding pitch groups do not form ATHs,1
T8I and To invariant pitch classes do remain in a single registral p
ment across the different pitch collections. These pitches (Db, E
and G#) are introduced one at a time at the beginning of the pas
the D? in the violin, E in the cello and C in the violin, all the
accompanied by the clarinet's held G. The fifth pitch, G#, is in
in the string chord at bar 21. All five pitches are finally heard sim
neously at bar 22 with the clarinet's return to the G to comple
T8I ATH. The clarinet's staccato phrase repeats the five invar
pitches and then these pitches reduce their appearances again i
following phrases: from four pitches (C,C#,E,Ab) in hexachord
to three pitches (C,C#,E) in hexachord 6-21, to two pitches (C,
hexachord 6-15 at the end of the passage. The motion of the p
can be heard as a 'morphing' of harmonic material into and out
ATH pair as the sonorities gradually accumulate and then 'shed'
features of the central ATHs. 12
In privileging the central ATH harmonies, the discussion ab
gives prominence only to the five pitches common to the
harmonies. However, it is worth noting that all twelve pitch-c
come into play in this passage with nine of the twelve held in a s
octave position as illustrated in Ex.6a. Fixed-pitch aggregate circu
is a common way for Carter to delineate sections in his music.
passage, other fixed-register notes play a significant role in articu
pitch continuity and linking across the textures, in particular the
pitches of the passage, A and D. The lowest pitch of bars 19-21
low A in the violin line. The violin repeats this note three time
kind of pedal tone at the start of three of its gestures. In the mid
the passage, the lowest pitch then becomes the D above A, rep
four times alternating between the clarinet and cello (bars 23
Finally, towards the end of the passage, this 'bass line' moves
down via an upper neighbour tone Bk to the final low A, tracing
line arch' across the passage (indicated by the slurs in the redu
stave in Ex. 6). The pitches D, Bk and A are retained in the passag
follows, continuing the harmonic 'morphing' across textures:
and A become the pedal notes in the violin's next rapid, revving p
(Ex. 6 bar 28), while the clarinet picks up the D as sustained-
accompaniment to the violin. Though neither the A, B? nor D are
of the five ATH-invariant pitches, their progression no doubt pr
a sense of continuity across the passage and importantly creates s
icant pitch links to the following passage.

" It is interesting to note that all the hexachordal set-types in this passage differ by only
from the ATH set-type. In other words, they are almost ATHs. However, Carter has c
deliberately not chosen ATHs, thereby giving particular significance to the ATHs
appear in the middle of the passage.
12 Guy Cappuzzo presents a different analysis of this same passage that does not give an
cial emphasis to the ATHs. He construes the passage from bar 21-27 as a sequence in
three different hexachordal set-types (6-31, 6-z17, 6-15) with ' "all-but-one" pitch inte
tions' between successive hexachords. The exception is the final two 6-15 hexachor
have only three common pitches. Capuzzo explains this: '(t)he decrease in held pitch
bines with the lengthening pauses to create the sense of thinning out that reduces the
tion to its submitting close'. (Capuzzo (1999), p. 173). Texturally the section does 'clo
the 'thinning out' applies equally to the ATH common note as it does to the attack
Harmonically, however, the 'morphing' metaphor enables me to construct an understa
of the continuity (rather than closure) across the section as well as from one section t
next.

This content downloaded from

114.246.236.210 on Wed, 10 Apr 2024 12:04:55 +00:00
All use subject to https://about.jstor.org/terms
40 TEMPO

19 3 3

3p f z3

pIzznarco pz

p zz pizz 5 5

mf 5 mf 5 f

-1~

5-30[014681 6-16[014568] 6-9[0123571 6-31[0145791 T8I ATH TO ATH 6-15[012458]

6-z17[012478] 6-z17[012478]

5 -3
3 3 3 3

--------------------

Example 6:
Linking by pitch repetition,
bars 19-28
19-27

Example 6a:
Fixed octave placement of pitches in
aggregate, bars 19-27 *

clarinet staccato
gesture vn cl vc cl vc vn cl
22-24

Example 6b:
Trichordal similarity in bars 22-24 T8[014] TO[s 19-2812] TO[12] T4[14] TO[014]
6-19-277 6-15
(ATH)

It is not, however, only pitch invariance

harmonic flow in the passage in Ex.6; pitch
play. The six notes of the pizzicato/staccat
23-24 do not form an ATH. However the
does create connexions with the clarinet's
phrase, as illustrated in Ex.6b. Carter or
(6-15) so that the trichordal partitions are

This content downloaded from

114.246.236.210 on Wed, 10 Apr 2024 12:04:55 +00:00
All use subject to https://about.jstor.org/terms
 'LINKING' AND 'MORPHING': HARMONIC FLOW IN 'CON LEGGEREZZA PENSOSA' 41

trichordal partitions: [014]/[012] becomes [012]/[014]. The conti

is further reinforced by the repetition of identical [012] trichords
the reiteration of the high C by the violin creating the ob
common tone link across the hexachordal boundary. The [
trichords share two of the three pitches, and the following tric
which is also a [014], has then only one pc in common wit
previous two [014] trichords. From here on the trichords and dy
the passage introduce new combinations of pitches and intervals
fewer connexions to preceding material; instead, the harmony i
morphing' into the harmonies of the next textural idea. Thus,
again, the further the music moves away from the two central
the less its material resembles these collections and the more it takes
on the features of the musical shapes to follow, creating a continuous
flow to the harmony.
One of the interesting things about these four illustrations so far is
that the music, on the surface, appears to be an almost unconnected
mix of rhythms, textures, articulation and pitch configurations - and
yet the lines are integrated and the juxtaposition of materials combine
into a clear musical continuity. Pitch and interval invariance are impor-
tant strategies for creating continuity across the rapidly-changing
textures and rhythms. Considered in isolation as abstracted pitch-class
sets, many gestures and harmonies create analytical challenges: they
appear almost to form ATH harmonies, but are often out by one pitch
or interval. When these passages are interpreted as having a 'linking'
or 'morphing' role, their pitch and interval content can be understood
as an amalgam of ATH and surrounding materials. Such gestures and
passages deliberately do not make use of ATHs, as that would alter

new by Elliott Carter

7 Latest publications in
Carter's ongoing series of
instrumental miniatures

Photo: Jeff Herman

Au Quai bassoon and viola ?6.99

Figment No.2 cello solo ?6.99
Hiyoku two clarinets ?6.99
Retracing bassoon solo ?6.99
Retrouvailles piano solo ?6.99
Steep Steps bass clarinet solo ?6.99
Two Diversions piano solo ?7.99

BOOSEY HAWKES

To purchase music by Elliott Carter visit www.boos

This content downloaded from

114.246.236.210 on Wed, 10 Apr 2024 12:04:55 +00:00
All use subject to https://about.jstor.org/terms
42 TEMPO

their role in the musical design. Thus a perspective

approach to harmonic unity and progression begins to em
The principles of 'morphing' between musical shap
extended to the harmonic motion between subsets of long
of repeated ATH harmony. The continuity between repeti
ATH is especially relevant to the harmonic motion acro
S-sections in Con Leggerezza Pensosa.1" Yet the same strateg
found in the active A-sections. In the passage from bars 10
touched on at Ex.4), the T4I ATH harmony occurs twice
octave placement. The instruments alternately play (an
pitch of the hexachord resulting in a klangfarbernmelodie (
second occurrence of the T41 ATH the pitch order is ch
creates an audible variation to the trichordal harmonies.
the trichordal subsets, we see a rather subtle internal 'morp
hexachord occurring through the motion from one subset
Important in creating the sense of motion within the pa
pitch A, at the end of both T4I ATHs as well as at the e
preceding linking gesture (which was discussed in examp
The A, being the highest and last note of these three risi
comes to signal the closure of each gesture. However, the
of this pitch A in the last T4I hexachord has been arrang
presents a deceptive closure: instead of leaping down m
octave to begin a new ascending phrase as previously, this l
A moves down only a tritone to E6 to complete the ATH ha
E6 is shown in example 7 in the dotted box.

103
ci

1 _/3--- nzfe -~ lm--------------pp

mf mf mol
A5 5V ----- -- -5

linking gesture T4I ATH T41 ATH

10-13 vn. link T4I ATH T4I ATH vn

Example 7:
Vaned repetition of ATH harmonies,
Con Leggerezza Pensosa bars 10-13 TI[0,3,7] T31[0,3,7] T2[0,2,7] T21[0,2,6] T3[0,1,6] T31[0,3,7]

Not only does the Eb sound like an unexpected late-comer in the

phrase - since the A has acquired a cadential implication - but the Eb
also forms two intervals not strongly projected in the melody so far:
{-6} with A and {-1} with E. These new elements can be heard as
'dissonant'. They find their resolution in the following violin gesture,

13 Boland (1999), pp. 47-67.

This content downloaded from

114.246.236.210 on Wed, 10 Apr 2024 12:04:55 +00:00
All use subject to https://about.jstor.org/terms
 'LINKING' AND 'MORPHING': HARMONIC FLOW IN 'CON LEGGEREZZA PENSOSA' 43

which returns to the same three pitches of the first T4I hexacho
also resumes the same rhythm as in the linking gesture. Th
trichord-type now frames the passage, appearing in the linking
as the first trichord and the last trichord of T4I ATH harmonies. If
total trichordal progression through the gesture is consider
gradual motion away from the 'consonant' [037] trichord to the
nant' [016] can be seen. The interval content projected by each t
becomes more removed from the intervals 7 and 8 of the fir
trichord and then returns abruptly to them. The internal 'morp
subsets of the ATH has imbued the deceptively simple repetition
ATH harmony with a sense of motion, a sense of closure and
of harmonic flow.

This discussion has intended to tackle an explanation of the

pitch groups in Con Leggerezza Pensosa that seems not to fit w
predominant pitch collections in the piece. The role of thes
groups has been described here in terms of metaphors of tra
('morphing' and 'linking'), emphasizing the local, situated or
tualised' role that the pitch and interval invariances of thes
groups have: they maintain the sense of harmonic continuity
heterogeneous musical materials from one moment to the ne
ATH harmony is always the endpoint or temporary goal of thes
sitions, and as such has the role of referential sonority or 'key c
the piece. These two distinct roles set up a hierarchy between A
'other' pitch materials which has been justified on the b
frequency of occurrence of the ATH and its significant role i
eating the formal/textural contrasts of the piece. However, t
chord itself is also subjected to the morphing process as a strate
maintaining a sense of harmonic motion within relative har
stasis. While other structures are crucial in shaping Con Legg
Pensosa, the principle of interval and pitch invariances between
sive gestures plays a major part in the harmonic flow of the
composition.
With the publication of Elliott Carter's Harmony Book, a
insight has been given into Carter's approach to pitch m
Carter's catalogue of set classes does not contain 'the power to
Carter's harmonic magic', as John Link rightly cautions the r
However, Carter's discussion with John Link on his met
working with his Harmony Book - for example, choosing
successions based on common intervals or subset make-u
'modulating' between harmonies by shifting one interval in a ch
does confirm the deliberateness with which Carter selects his
harmonic material based on varying degrees of pitch and interval
invariance. It is hoped that the present discussion of Con Leggerezza
Pensosa has provided a perspective on pitch and interval invariance that
gives some insights into Carter's deliberate and skilful construction of
harmonic flow across the complex textural and gestural weavings of
his music.

Music Examples ? copyright by Hendon Music Inc., a Boosey & Hawkes Company

14 Elliott Carter, Harmony Book, Hopkins and Link (eds.) (New York: Carl Fischer, 2002), p. 7.
[See Tempo Vol.57 No.224, pp.53-55, for a review by David Schiff - Ed.]
15 Ibid, pp.27-35.

This content downloaded from

114.246.236.210 on Wed, 10 Apr 2024 12:04:55 +00:00
All use subject to https://about.jstor.org/terms