r 3 6 Music Analysis with Sets ‘Assignment 36.4 1. Pitch-class sets in integer notation For each peset given, circle the pes on the clock face to determine the most compact form. Then write the peintegers in normal order in the blank provided, @) AEDE @) BFAD @) FEEBLCCE {238601} {tore (®) GEDBACE BD BSCE Yes: { 89ti2} (tere) 147}a IL. Ordered pitch and pitch-class intorvals For the following melody, provide the pe integers, ordered pitch intervals, and ordered pes interval, The excerpt begins in treble clef and changes to bass clef, For the chord in measure 92, provide the (unordered) Ignore octave doublings, harmonic interval; you need not caleuatean interval between measures 3 Schoenberg, Tre Piano Pieces, Op. 1,No, mm 80-39 eft and) Pes: 8 9 iaianaT Ordered pitch intervals BH Ordered pe intervals: 3 II. Transposing pitch and pitch-class sots ‘A. ‘Transpose Segment A as indicated, maintaining the contour, rhythm, and pitch intervals of the original On the right, rewrite in integer notation as a pitch-class set, in normal order. Enharmonic spellings of pitch transpositions are also correct. ‘Segment A (from Webern, String Quartet, Op.5,mvt.4) Pesci {_ _te01467 __} PPP Segment B: Transpose Segment A down seven semitones. Peset: {3456900} es eee ‘Segment C: Transpose Segment A up eight semitones. Peset:{__ 6789023} B. Analysis: Listen to the fourth movement of Webern's String Quartet, Op. 5 in the anthology to locate the segments of part A in the score (chytlms may differ). Provide the measure numbers. Segment A: 6 Segment B: 10. Segment: 1243 4B) Part TV. Tho Twontioth Century and BeyondAssignment 36.2 | Transposing pesets with mod12 arithmetic cach Sven poset, provide integer notation in normal order. Then transpose the peset by the given Pe cra and wee the result. (Fis helpful, use the clock faces on pages 359-460 to determine the normal Poa ‘Integer notation Transpose by Transposed set —s13) __6teb z amy Cy, {06035} (Es802e4 Ts peers * Ea Ts {026 } BADE (weeusat Tt te14s6 } ©acan (iiss Tt, e012 } IL Interval-class vectors ‘White the pe integers in ascending order and most compact form for the following excerpts. Calculate the ie vector for the pentachord from these pes. AL Bartok, Music for Strings, Percussion, and Celesta, mvt. 1, .1 OY emt P peintegers:{ 9801} ieveetor [1432100 B, Webern, “Dies ist ein Lied m. 4 (vocal part) ()

—— PPP) a PP Chapter 36 Music Analysis with Sots 457‘Write an extended essay that analyzes this song, using the following questions as springboards. Organize the essay as you see fit (dont simply answer the questions in alist). Support your ideas with specific examples, citing measure numbers. Turn in an annotated copy of the score with your essay. ‘A. As always when dealing with text, consider the poetry and the relationship of its form and content to the musie. Does the song draw on elements of any standard formal schemes, or isi through-eomposed? ‘Support your answer by discussing pesets used as melodies and harmonies. If appropriate, give instances of imitation or other contrapuntal procedures. B, Several of the important pesets are presented in the opening vocal phrase (the first two and a half ‘measures). Divide the phrase into distinet motives, and identify the pesets for each motive. How do these motives return later in the song? How are they developed? If the pesets return transposed or inverted, label them with letters and give the T, and Tal relationships. C. This song is filled with thirds, which often occur in the context of the split-third chord: a major-minor triad, such as {0 3 4 7}. It also features transpositions and inversions of {01 4}. Find as many examples of these sonorities as possible, including transposed or inverted forms. D. Is this music centric? Is there a focal pitch class? Support your answer, pro or con, with examples from ‘the music. “The song has a rounded form, though It is hard to divide into distinct sections (like A B A). Measures 9-10 are clearly derived from the opening, echoing in pitches the repeated text “Gewitterregen.” Measures 8-11 are canonic between the voice and the piano’s left hand. Recurring motives include the {0 1 4} (and its transformations) with which the melody begins and the “fourth chord” motive of “Gewitterregen,” made of interlocking forms of {0 1 6}. The fourth-chord motive appears in measures 2, 6, and 8-10. Interlocking {0 1 4} statements create the split-third chord: these are especially prominent in the accompaniment in measures 4-5 and 9-10. Students may differ in their opinions on the centric question. There is some emphasis in the bass line con Fa the first low pitch (m. 2), which returns 2s the last pitch of the song, There is some struggle between E and F for prominence, since the *"Gewitterregen” motive ends with a descending fourth to E, lending E some stability. Students might also give the middle section's pedal point Ds some weight as a focal pitch 468) Part IV The Twontieth Century and Beyond