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Tempo58 (228)32-40
32
C2004CambridgeUniversityPress
12
-3 -2 -4 -2 (-3)
14-15
24-25
-3 -2 -4 -2 -3
32-36
+3 +2 +4 +2 +3
+3 +2 +4 +2 +3
dp
11
Example 1:
PrincipalPitch Collections in
George Crumb's Nightof the
FourMoons,La luna estdmuerta,
muerta...
"
I -
I,
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_3
1/5/1
1-2-1
- 2-
1-2-1
(b)
Example 2:
Motivic Variationsin Bart6k's
Mikrokosmos, Vol IV,no. 94,
FromtheIslandof Bali
A
x
i
s
3The form of the movement also engages the notion of symmetry; the themes in the expo-
sition, that is, are presented in reverse order in the recapitulation, thus producing an arch
form.
4 In this paper, I will use parentheses to denote axis pitches that do not occur in the symmetrical pitch collection.
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34
TEMPO
(reordering
1
I
truncation
I
,-.
10
7- 6 , o--.
II
- --
8IFao
t-
1213
-"---,-,----
14
(d) (d)
.5
(G4)
--
---Ow
Example 2 (continued)
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Combined
Chords
_61
12
11
w
> Asymmetry
Symmetry
110
6
1610
6
18
IMr
-6
> Asymmetry
Symmetry
(a)
4
firstentry-
+6-2 +1 -
4
secondentry
:-
+2-6
.-6 +2 +-
-2 +6
(b)
> Symmetry
Asymmetry
1 L-i
firstentry
Example 3:
1t
4
secondentryr
(c)
14
combinedentries
1-4
4A
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35
36 TEMPO
occursin the firstviolin part.Likethe trombonemelody at the beginning of the piece, the principalmelodic idea in this section forms an
asymmetricalcollection in pitch space. As the passage continues,
however,the first violin part graduallyfills in the symmetricalarray
shown in Ex.4b. Similararraysoccurin the other stringparts.
*)gllss.
(a)
Jf
fffintense.
1-1-
2 - 1-
1-1
-3-2-5
-----------------------
Example 4:
Symmetrical Pitch Collection in the
First Violin Part of George Crumb's
FrozenTime
A
x
i
s
The pitchesof all the partscombinednearlyfill a five-octavechromatic span. This process of 'fillingin' constitutesanother means for
generatingmotion in the piece. In this case, a uniformpitch collection
- the chromatic scale - representsthe most stable element in the
passage. For the purposesof this discussion,I will define a uniform
arrayas a collectionof pitcheswhose adjacentmembersalwaysspan
the same pitch interval. Examples of uniform collections include
whole-tone scales and cycles of diminishedand augmentedthirdsin
additionto the chromaticscale.
In some instances, uniform collections, while strongly implied,
contain gaps. These gaps, like those in Leonard Meyer's gap-fill
schema,may generate 'implicativerelationships.'7
Hence, the musical
texture remains active, incomplete, until the gap is filled. This
phenomenoncanbe observedin Crumb'sMeheperdidomuchasvecespor
el mar from Ancient Voicesof Children.The piece begins with a three-
note melodic idea expressedby the pitches A5, G#5, and E#5. This
asymmetricalfragment- which, incidentally,belongs to set-class3-3,
(0, 1, 4) - overlapswith itself as the piece continues,forminga symmetrical pitch collection. The final soprano gesture articulates two
symmetricalgroupings,both of which consistof overlapping(0, 1, 4)s,
as shown in Ex. 5a. These two collections fill in each other's gaps,
completingthe chromaticfragmentshown in Ex. 5b.
OverlappingTrichordsin
(0, 1,4)
(a)
.-
(0, 1,4)
- -,
(0.1.4)
A.
. ,
(0. 1.4)
1 - 1 - 1 - 1 - 1 - 1
(b)
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(a)-
accel. - -
(B2/C2)
rit. - --
(b)
Vibraphone
6
P
PPPP01
4-
(B4)
1-
(c)
Cnas
Contrabass
Example 6:
inLosmuertos
lievan
Collections
alas de musgo
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38 TEMPO
Five-Note Motive
I
A
Three-Note
Motive
I 1
TT
25
I-I
(a)
,(b)
3
1- 2- 2-224-27
1-2
- 2 - 2- 1-2-2-
(2- 1)
A
x
G#6
F#6
Example 7:
Motivic Variationand Symmetry in
bb. 1-82 of Bart6k'sSonata for Two
Pianos and Percussion, mvt. 3
(d)
piano I
(e)
(C#4) ----Axis
G# 1
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91
Retrograde
<-1 -4>
1
I
#
1
<-5 +3>
<-5 +3>
99
102 -
1
13
103
1
1
1
(a)
<+3 +2>
Rotation
A
x
S
1- 1-1-
2- 1- 1- 1- 1 - 1 -
336-345
1-1-1-
2- 1 - 1-(1)
(b)
A
x
sS
Example8:
andFinal
MotivicProgression
Collectionin
Near-Symmetrical
Bart6k'sSonataforTwo Pianos
mvt.3
andPercussion,
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