3 8 Ordered Segments | and Serialism Nae SS Assignment 38.1 I Identifying serial operations on ordered pitch segments FFor each of the given ordered pitch segments A and B, the segments (1), (2), and (3) are transpositions of the prime (P), inversion (1), retrograde (R), or retrograde inversion (RI). : + First write the ordered pitch intervals below each segment (using + and - signs). : ‘¢ Then use the information from the interval succession to label the segments as P, I, R, oF RI. A. Based on Stravinsky’ “Full Fadom Five," from Three Songe from William Shakespeare Prime segment:BA Prime segment: (2) Relation: BB “3 Ss = so) eae + (9) Relation: 1 ee & = =a: be- “be eae Esl s II. Writing serial operations on ordered pitch segments ‘Taking the following pitch segment as a starting point, transform the segment in the following ways. (Reminder: You are working with pitches, not pitch classes, inthis exercise. Use ordered pitch intervals to ‘complete the tasks.) é = A. Transpose up ten semitones. = B, Invert with the same starting pitch as the original, = = G. Retrograde the original series of pitches. & = be: = bom D. Transpose the original down three semitones and retrograde. 6 o = —o =x “47% Part IV. The Twentieth Century and BeyondAssignment 38.2 1 Identifying serial operations on ordered pitch-clase segments Foreach ofthe ordered pitch-clas teime P),inversion(D, egments A and B, segments (1), (2), and (9) are transpositions of the retrograde (),or retrograde inversion (RD. + Write the ordered pitch-lass intervals (0 to, ealeulated clockwise around the lock face) under each segment, then compare the segments, «+ Use the information from the interval succession to label the segments as P, I,R, or RI. ForP or I segments include the pe integer of the frst note inthe label (e.g I) for Ro RI, include the Pe integer of the last note in the label, ‘A. From Stravinsky, “Full Fadom Prime segment: P = = 5 i 5 SS 1 1 1 1 its b i ss = 1 maa shes = be : mn 5 1 IL, Analysis A. ‘Tavener, “The Lamb” (] (anthology) Listen again to this piece while following the score in your anthology, and examine measures 13-16. Find ‘one example of the work's prime segment in each ofits four forms (F, I, R, and RI). On the staves provided. on page 480, write each form, and give its location (measure number and voice part) and its label (for example, I). Chapter 38 Onder Segments and Seis ARB vSATB LaAneL, Seoment MEASURE NUMBER (nv. 15-10) Sor Py A ia SorA R Rly There are other possible answers. P: measure 13 (T or B, an octave lower), measure 15 (S or T, octave lower). |: measure 15 (B, octave lower). R: measure 14 (T or B, octave lower), measure 16 (S or T; octave lower). Rl: measure 16 (B, octave lower). B, Stravinsky, “Four Duos’ from Agon, mm. 1-7 (score on p. 481) (Q) How are the pitches organized? The following questions will help you discover the answer, (2) Consider the intervals between instruments. What isthe relationship between the three parts? They are playing in unison (atring bass traneposes down an octave). () List the first twelve pes that sound in this excerpt: < 098 et! 254367 > (© List the second twelve pes that sound inthis excerpt: <_56987te21430 > (@) Whats the relationship ofthe pitch classes in measures 1-3 to those of 4-7? Examine the ordered pe intervals to answer this question. ‘The ordered pe intervals ofthe frst row aro: <9 e303 1 3e@3 1>. Those of the second row are: <132.6313e3e9>. The two rows are Al-related. (© Isthis row symmetrical? While the row itself is not completely symmetrical, it does contain a lang symmetrical segment, in order numbers 4-9, (O) Ifthe first twelve pes are labeled Po, what isthe label fr the second 12 pes? lp (2) List two metrical practices that are illustrated in this example, (a) changing meter, rom ftofftot tof tof tod (b) asymmetrical meter (9) The passage ineludes only quarter notes, and could have been notated in (or some other meter with a quarter-note beat) throughout. What effect might Stravinsky's metric choices make in performance? While there is little durational variety n these measures, the changing meter creates downbeat accents that add rhythmic interest Part IV ‘Tho Twentieth Century and Beyond= NAME, _—___— score: Stravinsky, “Four Duos” from Agon, mm. 1-7 : SSS] Bes srombone viola allo mare inp haser 98 Orr Seen and Serio 4 iAssignment 88,3 Analysis: Milton Babbitt, “Play on Notes, rhs composition, written fora childrens ‘ices and bells. Sing and play this piece to measures ofthe "mm. 1-16 ;muitetook was intend fr perfomance iret lass or with a friend playing the other par, Consider the fist voice part to be the segment Py. The remaining segments are also two measures each. rt Re be 2 Rls a Bells Po Hear, play, and’ note the sound; sound and play the note here. 5 Pe ‘ 11 Here note the play and sound; sound the note, and play here, Hie, play, =n smote the sound; sound and play the note_—here. 1 Pe » 6 le a Pile Rs Hae mote the play and sound; sound the note, amd play here. A. Label each segment on the score (€ Po, Ro); then copy the row labels onto the table. 78 Part] = mmr2 34 56 Bells: Ry Alls aa Voice: Po I are Patil == mm.g10 2114 Balls: Re. na Bee Voice: Po by me noneeesB. Compare the first hexachord in each part. (Q) List the pe collection for each part in measures 1-2 in normal order, then calculate the ordered pitch- clas interval sequence for each. Bells: { 68tet3 } — prisequence: 22123) Voice: { 024679} peisequence: 22122 (2) What property does the pei sequence display? ‘The patter of interv symmetrical. (8) Ifyou consider each hexachord as a seale, played from its lowest pitch, to which keys do they belong? Bells scale type: _ Gh major Voice scale ype: ___C major . Consider the pes of measures 1-2 when both parts are combined. (@) What type of collection results? Chromatic collection or aggregate (2) Compare this collection with that of measures 5-6. They are the same (enharmonically). (3) Whereis this collection found elsewhere inthe piece? expresses an aggregate. Each two-measure ur D. Babbitt divides th piece into tw parts. What musical features support this division? Consider phrase structure, rhythms, and patterns of repeated segments. Each four measure unit (or phrase) starts with consistent row pairs: Ag and Po in measures 1 and 9 and ln measures & and 13. The first phrase of each pat has the bells and voice in the same thythm, mostly quarter notes. Inthe second phase ofeach part, the voice begins and bells follow after a beet, introducing @ new rhythmic pattern (4) E, List each word of the text with its particular pitch class (in measure 1 “hear” = pe 0, “play” = pe 4, and soon). () hearorhere pes: _0_and_6_ (2) play: pes: #85 and ts (8) and pes: 5 and_e @ note pes: 3 and 8 © the pes: 7 and 1 © sound pes: 9 and_9 (7) Use these pitch classes to describe the structure ofthe song’ Iyics ‘Words are chosen so that they will make sense when reordered serially to correspond with pitch segment transformations. Each word has two pc associations that are tritone related. 484) Part IV Te Twenseth Contury and BeyondAssignment 38.4 Analysis: Stravinsky, “Full Fadom Five” score to this song is given on pages 489-90 ofthis workbook. Find a recording online; listen to the sovernent and then answer the fllowing questions «Following the initial introductory measure, this passage i based on a seven-tone row and its serial transformations. The row is first presented in the voice part in measures 2-3. + Important to your analysis is the fact that Stravinsky was a self-taught serialist who did not follow Sucre comerion riveree - ¢ Stravinsky used IR (inversion of the retrograde), rather than RI (retrograde of the inversion). To analyze these row forms, write ot the retrograde first, then invert it A. Analysis of measure 1 (2) The pitches of the vocal melody are drawn from what scale type? (Hint: On your own paper, write the pitches of the melody as a scale, beginning with the lst pitch class) Scale type: _dlatonic (Gb major) (2) The pitehes of the viola line are drawn from what scale type? Seale type:___penttatonic (a) How are the flute and clarinet lines related? ‘The flute and clarinet play the same pitches, except that the last pitch in the clarinet line is written down en octave. (4) By what serial operation do the flute/clarinet lines relate to the voeal line? What invariant pitches do they share with the voice as a result of this operation? The flute and clarinet parts are a transposition up Ty ofthe first seven pitches of the vocal line except that the last pitch of the clarinet partis dropped an octave. The transposition allows these lines to end on Gi, just as the melody does, and It also results in an Ab sounding at the same time that the voice has an Ab, (5) Write out the vocal melody of measure 1, without rhythm, on the staff provided. Then label the ordered. pitch intervals and interval lasses between adjacent pitches, as shown. What observations can you make about the construction of this melody? (Hint: Look for symmetries or repetitions of interval patterns.) SSS ——S Pitch imervals: _45: 7, HHO Interval classes: _5 5 a Observations about melodic constructio ‘Answers may vary. The pattern of pitch intervals between pitches 2 and § ls repeated for pitches -8. ‘The patter of interval classes includes two overlapping statements of 5-5-2-5. After the first interval class, there is a repeated symmetrical patter: 5-2-5, then 5-2-5, Chanter 38 Overt Semen and Seaton [ABST ‘]B. Supply the following information for the seven-note row (voice part, mm. 2-3), which you will use to complete the analysis. (Remember Stravinsky’ idiosyncratic “IR) Row form Pitch classes Ordered pe intervals @) Prime row (P,) ogg sive 2Uese8 18 (2) Retrograde of prime (Rs) gets61a 307172 (8) 1, (inversion of P, beginning with pe 3) _asoie7t 271763 (4) IR (inversion of R, beginning with its first pitch lass) _856et91 _ __915e5t (5) List the pitch classes of line (9) in retrograde order, and compare them with line (4). RQ,)=line (9) retrograded: 1781053 TR,—Hine (4) aséet3! (6) Is the inversion of the retrograde (IR,) the same as the retrograde inversion (Rg) of the prime row? ves (0) C. Now write out the pitch classes of other row forms that will be helpful in this analysis. You may transpose the basic forms above, or use the ordered pe interval to generate the elements. (@) Po _0ts2785 (2) Ry 143te6s @R, 6983404 (4) Py _ 860t341 (®R __365018t D. Analyze the row forms for measures 2-15 by marking them in your score. Enter all the completed row forms from your score into the chart on page 487, in the order that the rows appear in the rmusic. The first three row labels are given. Hints: «Some rows may be completed in a diferent instrumental part from the one in which they began. ‘e-‘The first two pitches of the flute part complete the clarinet row of measures 2-3. ‘+ ‘Throughout, pairs of row pitches may be repeated before going on. row is completed, check the next series of pitch classes to seeifit ‘@ Some rows are elided. When a that is, whether the last ‘matches one of the rows listed above. Ifnot, back up to check for row eision ( pitches] of one row also serve as the first ofthe next). Finally, the rows break off (wherever they were in the series) as soon as the voice sings “knell” at the ‘end of measure 15, For this analysis, label both the R and IR forms with order numbers going forward. This is beeause the IR is not the same as the retrograde of I. In the Comments column, note any relationships among the voices. Indicate ifa row form is completed in different part from the one in which it began, ifnotes are added or left out, oi there are serial connections ‘between rows in two different parts (eg, same row form but different durations or contour). 486) Pact IV The Twontieth Contury and Beyondwexsun | van Saas [viola | Py ae * Same row as voice down an octave = clarinet | TR, Order no, 6 in fate also; order no. 7 only in flute voice Ly Retrogrades pitches and durations crenrst Note held over from m. 3 (order no, 6) becomes first pe of ew ‘ow: m. 6 not part of a row wales {Last three notes of m. 5 ere not in row; imitation of previous ‘motive up a step flute |, fute Ps Same contour as initial voice part (mm. 2-3), up an octaves durations are different voice | ly Inversion of mm. 2-3, similar durations viola | Ps Measure 9 imitates ending motive twice, each time down a step: inversion of voice with similar durations clarinet | Ig ‘Same pitches as voice row: durations changed fute | Ry viola_| Ry Fw start with tied nate: same row as voice down an octave {nd similar durations | voice [Rs Last two order numbers elide with PS; same row as vila, up an octave clarinet | Po ‘Contrasts with rows used so far voice | Ps First two order numbers elided with previous row viola | Pe Contrasts with rows used so fer: breaks off after voice sings “knell” fute | Ps ‘Same row a voice, different durations and contour voice | Is Last note of vocal melody (second note of "krell") is beyond fend of row clarinet | Rs ute | Pe ‘Samo row as clarinet, but different contour and durations; frst note elided with previous row Chapter 88 Ordered Segments and SevialismFor class discussion: Are measures 16 and 17 of the song serial? Discuss their pitch structure in, Setnpsrigon with the previous portions ofthe song you have already analyzed. How do the piteh and rhythmic materials here invoke the images of the text? ‘After the rows conclude in measures 15-16, there are no more appearances of complete rows. The instrumental interlude in measures 16-17 features melodic and harmonic intervals that may be Intended to invoke discordant ringing of bell: ict (F-Cb, Bb-Cy, A-BH,ic2 (EF, h-Al), and le (Bb F). The rhythmic alternation between repeated pitches and use of larger intervals (PS and m7) may also be a bell reference. Part IV The Twentieth Century and BeyondScore: Stravinsky, “Full Fadom Five,” mm. 1-17 1, dena = Voie Se: $e = == => = =i all ta-dom fe thy Ba = ther Bek he — SS We Pa Ee be nm $- bie ovr (Oe Pe (sound as written) tf a i Viola —— be Q Sp im. - Poco meno ¢)=100 Pa, = ig Par? 8h 36 8 5 Bs 2 2 Chapter 38 Ordered Segments and Seritiam — [G88wo Ia 4 a 2 are Am That doth fade, a =. Rt [HBB] mace rv: Te Tome Conary al BayoAssignment 38.5 Making and reading a row matrix Make row matrix foreach ofthe fol represent the pitch classes, lowing twelve-tone rows on the grids provided, using integers to ‘+ Begin by writing the pitch clases below the staf foreach pitch 1 Transpose the row to begin with 0, re # Write the integer representat inversion down the first column, ‘+ Complete the rest ofthe mat We suggest thet you discuss this ass nmont in class, so that students can retaln these matrices to use 98 analyze compositions in Assignments 86.6 and 38,7. Se ae ee ee ee A. Webern, “Das dunkle Herz” ("The Dark Heart”), Op. 23, No. 1, mm. 2-6 (row) 1 P, 3 * 5 of the series beginning with 0 on the top row of the matrix, and the Ses ‘Das dunk - le Herz, das in sich lanscht, er-schaut den Frith - [ling] ‘ansation Te dr heer, which tnt to eo rng ps SERA een: Pr fee URIS @ Is <__5367es0at192 > @R < _273604859tte > @)P, < 79651408203 > @) Rig < _ 3t2e51908746 > B. Webern, Symphonie, Op. 21, mvt. 2, mm. 12-17 (ello) 1 ies 8 Eee 25 Jes ist i ee eee Fe | (OMBSREH ja gee aL Hep By ae ‘As discussed in the chapter, this row has symmetric properties that make two row labels possible for each labels that correctly identify each of these rows. row: Using the matrix in part D, provide two Rowform: __Pp_or_Re @ <___ 20019437658 > @< t10e32895674 > Rowform: or Pla @s t7g560es2t4 > Rowform: __P;_or__Fa > —-Rowform: __Is_or_Ri @ <__sa7ergsaotze > ee | i“Das dunkle Herz” a } a | |e ele lela Sle lee ele me 5/2 Aste 1s z slolololn Sle z * St |e Fr | # zlololole ela 2 = wlio ° alo z gz & 6 ‘ele z * S18 sie iP [2 = slololnlo aie 2 3 ale alelela = Maleate ais = = Sic ale ls ee slalolelo Se z a | =e [s/6 a =le|et~lo els 2 a vs led =e hel z =lx|-[ele ab 5 = elo Blele|4 z BT otclaie a 7 7 1 Ne I | z =|~|-le[e ale s o “1% a a Z slalole|-~ Io 2 slel-[-|«[elo|-[e[olelslelg] 2 2 _ [elelsfa|- aisle hats afer) ae] ofc fatale lar | altar lelalalelelelele af D. Symphonie, Op. 21, mvt. 2 at tra Part IV ‘The Twentieth Cantu and Bayond -Assignment 38.6 Analysis: Webern “Das dunkle Herz,’ isten to the passage twice: the score. Using the matrix you constructed ”” Op. 28, No. 1, mm. 1-110 (once while following the text and translation, and again while following cate ‘in Assignment 38.5, lal yw forms, then answer the questions Begin with the voeal lin: vite the ows name et apate Aime ‘then label row members with order numbers (1 to 12 for Pand I forms, and 12 to 1 for R and Rl forms), Analysis of the keyboard part takes some detective work because ofits chords. As you identify row forms and trace them through, write order numbers to show the correspondence of row ondering to chord pitches. There are several row elisions, where the end of one row shares pitches with the beginning of the next. 2 ems 1 2 Psp “Gar Gureh dae Leuch-ten_bliht, wb ay - Chapter 88 Ordered Segments and Serialism5 ger Pls lecon't. 2 12 thence, om es fake fim an dem —dunk-len Wor toa ‘Translation; The dark hac, which sens totaly, eeagniaes sping not only by the breeze and sent thar bloom trough ie lows els spring the ‘ark real of oes that reach down tothe dead, Circled order numbers in measures 10-11 identify the notes of the second row in this pessage. te |A. Consider the harmonie dimension, Which intervals or harmonies are featured as chords? Name them ‘with set-class or pitch-class interval names. {0.367} in measure 1, {9.47 t} in measures 2 and 7, and {9 t 14} in measure 9, all members of ‘SC 4-18; and {9 0} in measures 3 and 11, SC 3-2. There are others, including possible arpeggiated chords. B. Consider the singer's strategies for finding and tuning pitehes with the accompaniment. Cite atleast three places where the piano part provides a pitch in advance, doubles pitch in the vocal line, or plays ‘vocal pitch immediately after itis sung. m.__ 1-2 _: Féin piano occurs immediately before first vocal entrance m.___4 + Gb4 in voice (“lauscht") is immediately followed by Gi4 in plano arpeagio m,___ 5 __: O5-Adiin voice is answered by A4-C5 in piano Other possibilities include: measure 7, FS in voice (“Duft*) followed by F4 in piano, and measure 10, 4 in voice (“dunklen") is followed by E4 in piano. ©. Identify atleast two examples of text painting inthe vocal part. (It may help to write the translation ‘below the German text in your score.) ‘Measures German text English translation Describe setting 23 dunkle Herz dark heart low register half steps " Toten dod very low register; A2 interval n das en die Toten rihrt” reach down descending contour, wide leaps down V494) Part Tv The Twentieth Century and BeyondAssignment 38.7 I. Analysis: Wobern, Symphonie, Op. 21, mvt. 20 ‘score with excerpts from this movement i given on pages 497-499 ofthis workbook. This is aC sore: transposing instruments sound as notated, Listen tothe movement, and then answer the following questions ‘A. Theme, winds and harp, mam.1-11 () (2) Begin by labeling the row forms, referring to the row matrix you constructed in Assignment 38.5 + Because of special properties ofthis row, each Ris identical to P form, and each RI is identical to. an | form. When labeling rows, use the P and [labels (rather than the retrograde labels). ‘The clarinet melody has one row form, the accompaniment has another. Identify these forms. Clarinet row: I Homn/Harp row: If students write the Al form, the answers are VHarprow: Ia end ls respectively (2) Label the row members on the score. Then take a close look at the ways the pes are realized in terms of pitch register. What registral technique discussed in the chapter is used here? Explain. ‘Technique used: _registral invariance or “frozen” register Explanation Many pes of the row are associated with a particular pitch register: Registral invariance occurs with 4, €4, E55, Ad, BI, Fa, (Note: Students may be unaware that harp harmonics sound an octave. higher: B4, not BS.) (8) Look at the pitches, rhythm, and contour centered around measures 5-7 and extending in either direction. What compositional technique characterizes the structure centered around these measures? (Hint: The symmetry of the row is reflected in other types of symmetries.) Pitch: The pitches in measures 5-7 exchange places from the accompaniment to the melody—making a kind cof mircoring or palindrome around the middle of measure 6. Rhythm: The rhythmic strueture carries the palindrome even further: the rhythms of measures 7-11 area retrograde of measures 1-5, Contour: The contour of measures 7-11 is an inversion of measures 1-5. Variation I, string parts, mm. 1-28 0 ‘Use the row matrix you constructed in Assignment 98.5 to label the row forms in measures 1-23 (using P and labels, then answer the following questions. (0) tothis passage the instraments are paired, Look dosely atthe pitch nteras rhythms, and anteulation to determine the piting. Which instruments are paired? violin 1 and cello are paired, violin 2 and viola are paired ‘How are the paired instruments related to each other? _The paired instruments are in canon by inversion. _ Chapter 38. Ordored Sogments and Serialism aos i(2) Beginning in measure 1, for each pair of instruments, one row isan I form and the other is aP form. Write the two row labels for each instrument pair. Pairt: band P, Pair 2: le and Py (3) How are the paired rows related to each other (hint: how are the subscripts oftheir labels related)? Both sum to 10; both pairs of rows are T-rélated, (4) Inwhich measure does the fist set of rows end and the second set begin? measure 17. ‘What happens in this passage when any part gets to the end of ts row? Each part retrogrades the pitches and rhythms when it reaches the end ofits row, to create @ palindrome. How do the rhythms, dynamics, and articulations relate to this change of rows (if at all)? For the most part, the palindrome includes the dynamic and articulation markings as well, That is, Webern set each retrograde with the same pitches and durations as the first presentation of the row. but in reverse. C. Coda, harp and strings, mm. 89-99 ( In this variation, two rows cross back and forth between instruments: as you label the rows in the seore, it ‘might be helpful to circle the numbers of one of the rows to distinguish between them. (®) ‘The harp plays the frst note ofeach row, before the rows begin crossing among instruments. ‘The two rows in this passage are: gen ly (2) Isthere a palindrome herein pitch, contour, and rhythm—as inthe previous sections you analyzed from this movement? Ifso, where is the center of the mirror? ‘Yes. The center's the silent measure 94. () Compare these measures with the opening of this movement (part A)-List at leat two differences and ‘vo similarities. Differences: “The row forms cross between instruments, instead of having one row in the melody and another row in the accompaniment, The texture is thinner here—there is more space and more silence between ‘entrances. The rhythm is less “square” and predictable, Similarities: The two passages use the same rows. Both passages include two: and four-note groups of pitches, as well as palindromes. Both palindromes include rhythms as well as pitches. (a) Is there registral invariance in this passage? Yes. Each pe appears in only one octave, and the placement is consistent each time the pe returns, 496) Part IV The Twentieth Century and Beyondsve score excerpts: Webern, Symphonie, Op. 2f, mvt. 2 We have given both possible row labels, in case students do not fellow directions or in case you Wi to discuss the symmetrical properties ofthe row further in closa, ‘A. Theme, winds and harp, mm. 1-1 (C sore: transposing instruments sound as notated.) igor Fle clarinet 1 2 2 5 ari ore omen Sirti IRVariation 1, string parts, mm, 11-23 Violin Violin Viola Rloorle 12 gee | (468) arstv The Twenties Century and BoydIho, ares A I 6. Coda, harp and strings, mm, 89-99 | | | Lor ls Cnt 98 On Sogn sn Stem [85h weAssignment 38.8 I. Finding combinatorial row pairs ‘A row matrix for Schoenberg’ Vio : ar Or tember Vin concer gh Cire te approach inte ar aoe wi the ene mand Te 42d @) Be Then ws Ga the emblnaoral pan below the Jo he We hy Sh ed Po 6 J PREPS PERE Pra 4 3 t 4 9 | 5 3 aG pf 4 | 5 élelilz|[el2 ° Rg RI; Rig Riz Rly Rly Rly Rly Rh Rle Ris Rls P 2) Po is combinatorial with which I row? _ Is Po: < (OT627934te58 > ‘gs <_S4e3te@17609) > (2) Rg is combinatorial with which RI row? _Rle Ry < G2e7tOe4est9 > Al: <_6994t0670812) > (3) Py is combinatorial with which R row? _ Ry Py < (7erg2dtes6os > Ry: < 3065et@29178) > Craptor 38 Onder Segments and Saito BOE 1II, Integral (or total) serialism nthe following passage, start by identifying the duration ofeach pitch (counted in thirty-second notes) combined with the rest that follows. Write the durations below each pitch in the core, then answer the questions that follow. Pierre Boulez, Structures a, mm. 73-81 (piano 2, let hand) 2PPP -PPPP PREP BPPP PERP zepP » eae 7 adding the durations (counted in thirty-seconds) above and the pe integers () Write out the pitch names, below. Durations: < 45 269123 6111107 > Note names: < rec F G GB CHD & E A & > Peintegers: < 6 o 7 aeewsaa aaa > (2) Name two rhythmic techniques seen here: ‘additive rhythm, serial rhythm, ametric TBO) Pare rv Tho Twentioth Century and Beyond