Some Aspects of Organization in Schoenberg's "Book of The Hanging Gardens", Opus 15

Some Aspects of Organization in Schoenberg's "Book of the Hanging Gardens", Opus 15
Author(s): Richard Domek

Source: College Music Symposium, Vol. 19, No. 2 (Fall, 1979), pp. 111-128
Published by: College Music Society
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Historical and Fresh Approaches to Analysis
Some Aspects of
Organization in
Schoenberg's Book of the
Hanging Gardens, Opus 15
Richard Domek
The University of Kentucky
stuckenschmidt, writing of Schoenberg's Book of the Han

Gardens, characterizes thus the impact of this song cycle: "An
vocable step has been taken; with the Georgelieder the whole of mod
sic has entered upon a new phase of development."1 Certainly these
representative of the early part of Schoenberg's second, or atonal,
attest to a notable departure from the sound, compositional tec
harmonic language, and vocal style of late romanticism. Such a de
did not occur without creating consequent analytical difficulties.
ing again from Stuckenschmidt, "chord-osmosis," "unanalyzab
nance," and "a strange force of suction inherent in these sound
phrases that illustrate the degree of frustration experienced by ana
approaching not only these songs, but also other atonal music of t
riod.
There have been thoughtful approaches to the analysis of aton
sic, to be sure. Not to be ignored is the literature that has emerged
Allen Forte and like-minded analysts.3 These offerings perform
mirable service in outlining systems which might be used in t
compositional" phase of atonal music composition. They also uncov
teresting facts and correspondences which illuminate practices in
'H. H. Stuckenschmidt, Arnold Schoenberg, trans, by Edith Temple Roberts a

phrey Searle (London: John Caulder Ltd., 1959), p. 48.
2 Ibid., p. 46.
See notably Allen Forte, The Structure of Atonal Music (New Haven and London: Yale
University Press, 1973).
1 12 COLLEGE MUSIC SYMPOSIUM
the use of pitch materials in atonal works. Howev

literature, due to its novel terminology and its de
mathematical operations (albeit simple operation
acquaintance with these operations by the reader
unlikely to be of practical accessibility to those who
sic theorists or composers with related interests.
tion in the Opus 15 songs, however, lend thems
standard terminology and with no invocation of m
the purpose of this paper to list some of the org
song cycle. Various unifying factors and contro
coherence to melodic, harmonic, motivic, and fo
will be considered.
One of the first items in Opus 15 that confronts the listener is the har-
monic vocabulary Schoenberg has used. To those accustomed to twentieth-
century music, the impression is of a harmonic style that employs disso-
nance freely, yet in a comparatively mild way. Also, after several hearings a
feeling of harmonic unity becomes evident, although the precise nature of
the sounds perceived may continue to be elusive. In fact, Schoenberg has
been consistent with several types of harmonic constructions; these are
shown in example 1 .
al a2 bl Song I Song XIV b2 Augmented Quartal

triad chord
Ex. 1. Unifying Sonorities.
These sonorities are well-used in the cycle as a whole

discrete element in at least five different songs. In certa
these harmonic types tend to dominate either the entir
therein. For example, sonority a2 is used repeatedly on
levels within one section of Song VIII and within anoth
XII, while the b2 sonority and the augmented triad, and
bl, dominate the entirety of Song VII. The prominence o
ties contributes to a general condition of harmonic unit
condition is aided by the identical spacing utilized for m
these chords (an exception is the bl chord, as noted in
in Songs I and XIV). That these constructions are all thre
must also be conducive to homogeneity of sound.
Beyond these factors, certain intervallic characte
sonorities should be noted. The al and a2 chords are inter
versions of one another, as are bl and b2. (The augment
ingly, is a sonority incapable of mirror inversion; it w
SCHOENBERG'S BOOK OF THE HANGING GARDENS 1 1 3
because of its unvarying intervallic construction, whether it is constructe

upward or downward in major thirds from a given pitch.) More specifi-
cally, the al and a2 sonorities possess the same interval content4 as one
another, as do also bl and b2. This identity of interval content and the pre
ence of the mirror inversion relationship in these chords guarantee an
aural impression of close harmonic kinship. Harmonic unity, then,
served not only by the somewhat simple device of employing six interm
tently-recurring sonorities throughout the song cycle, but also by the more
complex procedure of devising four of these six sonorities as two sets o
closely-related pairs.
The quartal chord and the augmented triad are of course not related
by identical, or even similar, interval content. One might speculate that
perhaps these two sounds are a bit more distinctive or easily recognizab
than the other four. The augmented triad is a familiar sound to trained
ears, and the quartal chord is an easily-recalled sonority. Perhaps Schoen
berg wanted to extend the listener a greater opportunity to become fam
liar with the four other sounds, which are possibly not as distinguishable
upon the first hearing.
One other harmonic factor must be mentioned, and that is
Schoenberg's fondness for using the interval of the third, both major and
minor, as a distinct harmonic unit in these songs. Thirds of course are con-
stituents of harmonies al and a2, and also of the augmented triad. When
presented as separate units, as shown in examples 2a and 2b (and below in
example 21, in various measures of Song VII), they become another har-
monically unifying factor.
=7- *-'-* =5-
Ex. 2a. Song XIII, meas. 6-
4The interval content of a sonority is an e

interval present in that sonority. Interval
number of intervals contained in each of six "interval classes." The first interval class em-
braces the m2 and its inversion the M7. Class two embraces the M2 and m7, class three the
m3 and M6, class four the M3 and m6, class five the P4 and P5, and class six the augmented
4th and diminished 5th. Other augmented or diminished intervals are equated to their ma-
jor, minor, or perfect enharmonic equivalents. Thus sonorities a 1 and a2 both have an inter-
val content of one class one, one class three, and one class four interval, while b 1 and b2 have
an interval content of one class one, one class five, and one class six interval. See Forte, The
Structure of Atonal Music, pp. 13-15.
Ex. 2b. Song XIV, meas. 4-5.
Harmonic succession is in many styles a point of

and several observations may be made concerning
in this regard. First, Schoenberg occasionally emplo
passage in which one sonority is used exclusively or
Ex. 3a. Song III, meas. 16-19.
As shown in example 3a, Schoenberg has employed

in the upper staff of the accompaniment, while th
largely of dyads in thirds. Example 3b illustrates a
nated in a harmonic sense by the al and a2 chords.
mo/o rit.
Ex. 3b. Song XI

Schoenberg sometim
of harmonic norm i
good example of th
are, with only one e
In a somewhat simil
5For a discussion of wh
and Syntax: An Introdu
Winter 1974, pp. 22-23.
harmonic normals in Sc
half-step, characterizes Song XIII.6 More specifically, the succession or a

ternation of the particular thirds G-b, G-flat-B-flat and G-b, A-flat-C is im-
portant, and acts as a norm of harmonic motion. (See example 4.) Note als
the use of the bl and al chords in measure 11.
> >
3 __ - - j - -^ 3
< ) 3 PP i - = - =
< 3 i , - 3\ 3\
Ex. 4. Song XI
The idea of nor
songs, and becom
ments or "round
such form-influ
one-half measure
influence of the
shown in examp
tit
'
Ex. 5. Song III,
6For a related discussion
In Song III, the opening harmonies, varied somewh

piece. In example 6, the use of this technique is som
3 5 mit zartem ausdruck
r^2 - I |~i - I a2 .
1 3 ^- -- i '" w i
/ ' - Mf etwas drngend verlaufend
Ex. 6. Song V, meas. 1-6, 13-16.
Measure 13 features harmonies used in measure 5, measure 14 is basic

the same as measure 6 but transposed a major sixth higher, measure 15
restatement of measure 3, and measure 16 is a partial restatemen
measure 4. Notice also the use of the a2, bl, and b2 chords here.
Many portions of these songs do not have a strong harmonic feelin
but rather a sense of linear or contrapuntal progression in which the m
ment of voices is governed by a certain motivic concern. Example 7 i
trates an instance in which three different types of motives prescribe a co
trapuntal, primarily melodic, and only incidentally (if harmony may
be said to be incidental) a harmonic type of movement.
| bl |
espressi
Ex. 7. Song XI, meas. 14-15.
A motive which involves a linearization of both the bl and b2 chords is pres-
ent in the voice, another which outlines a minor triad can be heard in t
piano, and still another, also in the piano, composed of sequential melo
outlinings of perfect fourths and quartal chords, is apparent.
An interesting instance of the use of a motive in contrapuntal fashi
combined with excessively accurate harmonic control, occurs briefly in
piano part of Song IX (see example 8).
/ etwaTfUJchtigg
P8 - - - niT^ m7 M6 M6 P8 - - m7 m7 M6
Ex. 8. Song IX, meas. 1 1-12, 20-21.
Here Schoenberg, while giving expression to a strictly sequ

pattern, has tightly controlled his harmonic materials. Ver
produced by simultaneously-struck pitches in the piano are
taves, minor sevenths, and major sixths (or their enharmoni
in that order of succession. The vocal part features a few
pitches used in the piano, but is otherwise oblivious to congr
strictions.
Later in the piano part of the same song an even more ing
harmonic control is seen.
*J v poco accel.
Cl :
^ Jig, # t** =
C2:
ff ywi
^'9-
Wtf' y?
Ex. 9. Song IX, meas. 15
The motive in the previous example again appear

outlines an augmented triad through the initial p
the sequence. In the lowest staff, tri-tone dyads
Schoenberg has controlled the harmony such that
simultaneously-struck pitches in the piano (those
id lines in the example) is harmonically identical.
these chords is arranged via harmonic inversion s
ble intervallic distance between the outer pitche
gous to placing triads in root position for purpo
same harmonic structure is evident in each.7 The sonorities reached at the
end of each statement of the short melodic motive (those chords enclosed
by broken lines in the example) are also of identical harmonic structure
with respect to one another. The reduction at the bottom of example 9 illus-
trates the harmonically identical quality of each of these two types of
sonorities. (These chords will be called cl and c2.) Schoenberg has thus
produced the same set of sonorities on three different pitch levels while
maintaining a strict melodic sequence, a compositional feat of some intri-
cacy. The compliance of the governing melodic and harmonic elements in
this passage with the whole tone scale (the augmented triad, the interval of
the tritone, the whole tone descending motion of the tritone dyads, and the
sonorities cl and c2 are all contained in the same whole tone scale) partially
facilitates the rigorous structure observed here. Again however, the vocal
part is not included in the scheme of harmonic control, although the d-
sharp, f, and g in measures 15 and 16 are elements of the prevailing whole
tone scale.
Finally, further inspection of cl and c2, the governing sonorities of
the passage in example 9, reveals that these chords share the same interval
content, and are also in a mirror inversion relationship. (See example 10.)
o; i
Cl C2
Ex. 10. Interval C

of cl andc2.
These two conditions, interestingly, are precisely the same for the al-a2
and bl-b2 sonority pairs discussed earlier.
7The operation of placing sonorities into an arrangement such that their outer pitchr
es are maximally close facilitates comparison of harmonic properties. This maximally-close
spacing is called "normal order" by Allen Forte. For further explanation, see his The Struc-
ture of Atonal Music y pp. 3-5. Although some analytic procedures outlined in Forte's book are
used in this study, the reader is cautioned that the present paper is not a reflection of strict
adherence to nor consistent application of methodologies presented in The Structure of
Atonal Music,
A final type of harmonic succession which Schoenberg uses in these

pieces is that controlled by linear stepwise motion. Although some type o
harmonic control may be in force, the vehicle for harmonic connection, the
moving stepwise line, tends to establish itself as the normal means of pr
gression. Example 1 1 provides an illustration.
y ni* Hin ' ^^

b.
r qqpp **w tTt'ffr

c.
Ex. 11. Song I, meas. 13-14, and reduction.
As is shown on staff "a" of the reduction, a three-voice stepwise movement,

featuring contrary motion in the outer voices, takes place in the upper staff
of measures 15 and 16. Activity in the lower staff of the same measures is
represented on staves "b" and "c" of the reduction as two streams of four-
voice harmony proceeding in contrary motion. These harmonic units are
all connected by half- and whole-step motion, except for the second and
third harmonies shown on staff "b." Notice the use of the now-familiar al
chord as a temporary harmonic goal in the upper staff of measure 16.
Example 12 shows another linearly-influenced harmonic progres-
sion.
- - n==- - JrP , ~ - ==== ~

28 29 30 tL |
Ex. 12
120 COLLEGE MUSIC SYMPOSIUM
Here, linear motion characterizes movement in

three measures of the example. The octave displ
of measure 30 does not destroy the feeling of st
31 and 32, stepwise motion still connects most o
staff.
In discussing chord connection in the last two examples, the focus has
actually been upon somewhat contrapuntal, rather than purely harmonic,
considerations. Let us now transfer completely from harmony to a discus-
sion that deals with melodic organizational aspects; by way of continuity, an
item of contrapuntal interest will introduce this topic.
Schoenberg's melody is often characterized as disjunct, proceeding in
irregular contours, and employing dissonant intervallic progressions.
These characterizations are to a certain extent accurate. In some cases,
however, a more conjunct method of melodic organization can be seen,
and heard, just beneath the surface of the music. Example 13 illustrates
such a melodic passage.
(ohne rit.)
-^>
J ' ' .l| || ||
l J=
Ex. 13
These m
duced t
The irr
compou
melodic
tion; th
Examp
nique.
Ex. 14. Song VII, meas. 1-2, and reduction.
Here two different sets of contrapuntal lines are apparent. One involves a
C-C-flat and A-A-flat progression, and the other a D-E-flat-F-flat and G-
flat-F-flat-E-flat progression in contrary motion. Schoenberg by no m

uses this implicitly contrapuntal type of melodic activity in a thoroug
ing way, but there are numerous vocal passages, and even more melo
cally-oriented accompanimental passages that reveal this sort of subsur
linear motion.
Schoenberg's vocal melodic motion is irregular, to be sure, but it is
usually a controlled type of irregularity. In many cases the traditional mel-
odic axiom of using predominantly conjunct motion and reserving disjunct
motion for contrast or to call attention to climactic passages is followed.
Song I offers an illustration; in the first nine of a total of thirteen measures
of vocal writing (see example 15a) Schoenberg uses only four intervals
larger than a major third, or its various enharmonic equivalents. (The
larger intervals consist of a perfect fourth, a minor seventh, an augmented
fourth, and an augmented fifth.) These wider intervals are employed,
seemingly, to add a bit of strategic contrast to a melodic line which is
otherwise characterized by seconds, thirds, and an arching contour that
gradually rises an octave and then even more gradually falls to a point one-
half step below the pitch on which it began.
fit.
Ex. 15a. Song I, meas. 8-16.
To throw into relief the song's coming climax, Schoenberg follows the
above melodic passage with the largest leap in the piece. Even so, the effect
of this large interval, an augmented eleventh, is mitigated because it occurs
between two different phrases. After the climax on the high G-sharp in
measure 1 7, Schoenberg employs a melodic line which is only slightly more
disjunct than the one used in the first portion of the piece. From measure
18 onward (see example 15b), this line contains only two intervals larger
than a major third or its enharmonic equivalents.
etwas dringend __________ weider beruhigend
Ex. 15b. Song I, meas. 16-20.
Schoenberg's melodic style throughout the cyc

aforementioned treatement. The majority of so
onds and thirds, with larger intervals for occasio
songs are characterized by a more pronounced
widely disjunct motion, and in a few of these, a
confined to a particular place within the song. O
be classified as primarily disjunct.
In every song in the cycle, there is at least some
melodic element characterized by flexible cont
motion in small intervals. Schoenberg was at th
was perhaps always, a writer of melodies of an
ture.
Motivic use is another aspect of organization. Schoenberg often use

melodic-rhythmic motives in standard ways to achieve a sense of c
herence, or even of recognizable melodic development. Examples 7 and
previously referred to for other purposes, illustrate the use of such re
ognizable motives allied with the technique of sequence. Another instan
of prominent motivic employment is shown in example 16. A distinct me
dic-rhythmic motive appears in the voice and in the right-hand accompan
mental part. The motive in the left-hand part is pronounced enough to
begin to assume the role of an ostinato before it breaks off in measure 3
Ex. 16. Song III, meas. 1-3.
An interesting use of a motive more as a basic shape than as a melod

rhythmic entity is shown in example 17.
(Piano)
(Voice) m3 ni. m3 M3 m3
Ex. 17. Song I, mea
SCHOENBERG'S BOOK OF THE HANGING GARDENS 1 23
This motive, involving the successive presentation and contrast of

and minor third in the opening measures, is referred to in subseq
tions of the piece, as shown above. These references are not litera
voke the motive's general contour. The original motive returns inta
very end of the piece.
Pitch alteration is another of Schoenberg's techniques of
usage. Example 18 provides an instance of this procedure.
1
fj L
mti
J *p fr T '
I
motive alteration
Ex. 18. Song XV, meas.
Here, the motive introduced i

rhythmically, and several pitc
motive is slightly larger the sec
One other important asp
Schoenberg's consistency in p
tions horizontally, as melodic
Chord bl is presented melodic
shown in example 19.
Ex. 19. Song VII, meas
Chord b2 is presented harm

shown in example 20.
fly rr
Ex. 20. Song X, meas. 1
It is likely that the technique of

horizontally is a foreshadowin
concerning the serial technique;
ble of producing harmonic as
The four previous examples could all be used

may be termed Schoenberg's technique of "p
term which can be taken to mean simply not re
the same way. Development or variation can occ
rhythmic alterations, by interpolation of new m
basic shape, or by stating a pitch entity both m
In spite of the fact that many motivic and othe
literally, as some of the previous examples have
perpetual development technique is employed r
pieces. Certainly the state of flux caused by the
development with the more stable technique of
sponsible for some amount of tension and dram
the achievement of degree of variety.
A comment about form may now be in orde
realized that it was the form-building force of
single movements and complete pieces of music
Having virtually abandoned traditional tonality
of harmonic organization in these pieces, Sch
challenged at the prospect of writing a fairly len
of Opus 15 indicate a certain mastery of problem
cycle comprises a great deal of musical material.
own sense of progression from one song to the
pos and characters, with the climax of the entir
eighth song, which is the fastest and most virt
and more telling with respect to Schoenberg's
point in his output is the manner in which he
individually. It is quite apparent, since all of th
longest is the last song, at 51 measures), that Sc
overly confident in attempting an extended mo
plication of the type of writing style discussed her
That Schoenberg restricts himself to short,
within the cycle means that he is free to concen
form-producing aspects which heretofore wo
subtle, too subtle for an extended piece of musi
able for a short work. "Subtle form-producing
niques as those already discussed concerning m
variations of motives, use of motives as basic shape
8See Ren Leibowitz, Schoenberg and His School, trans, b

Philosophical Library, Inc., 1949), pp. 57-59. Schoenberg h
nique of motivic development with the term "developing
Leon Stein, editor, trans, by Leo Black (New York: St. Ma
Also see a related discussion on pp. 102-104.
SCHOENBERG'S BOOK OF THE HANGING GARDENS 1 25
pitch constructions horizontally and vertically, restatements of charac

tic sonorities in the same voicings and spacings throughout a piece, an
some cases restatements of sonorities on the same, untransposed
level. To these subtle aspects, which would of themselves probably g
noticed as major formal elements in a larger piece, can be added the m
direct form-engendering aspects of simple repetition, restatement,
contrast. These Schoenberg does employ, but not to excess.
Song VII will serve as an example to illustrate concretely some of
techniques just mentioned. Some general comments about formal org
zation in other songs may be made first, however.
Most of the songs feature some sort of return of opening material at
near the end. Sometimes the last few measures reflect exactly what ha
pened in the first measure, as in Song VII; sometimes the first and last
measures share the same material, but in a re-ordered way, as in Song
in otherwise varied restatements, as in Song III. In many songs, ther
internal restatement of material that was employed at the beginning o
the interior of the piece, as in Song V. Each piece contains at least so
elements of restatement, more literal in some, more varied in others,
prominent in some, not as evident in others. This largely unpattern
statement of literal and varied material is at the heart of Schoenber
success with the ambivalent, subtle, initially almost imperceptible and
intuitively felt sense of formal organization in these pieces. Perhaps th
why Schoenberg stated, regarding these songs, that he was "for the f
time successful in coming near an ideal of expression and form which
had in mind for years."9
As a final point of discussion let us consider Song VII, which exem
fies many formal characteristics found in each of these short pieces. In
interest of concise presentation, some overlapping occurs between se
items mentioned below and earlier allusions to this song. Repetition
restatement are important form-producing techniques in Song VI
petition is evident in the accompaniment in measures 2V-3 and 3V-
measures 13V-14 and 14V-16, and rhythmically in measures 7 and
ried restatements of motives or shapes occur in the vocal part; measu
for example, tends to summarize the melodic activity and motion, inc
ing some of the actual pitches used, in measures 1 and 2. Measure 7 re
to and develops the type of motion utilized in measure 3. Measures 9 an
deal with the type of activity found earlier in measures 1,2, and 6. Some u
of contrast i also evident in the vocal part; the largely disjunct motio
measures 1 and 2 contrasts with the combination of stepwise and lea
motion in measures 3 and 4. Variation and developmental activity are
9Stuckenschmidt, Arnold Schoenberg, p. 45.
found in the accompaniment. The second half o

measure 16 is in a sense a development of what is stat
one-half measures of the piece. A shorter internal i
occurs between measures 4Vt and 6, where a short
tive is lengthened and rhythmically altered, and th
material in measure 7. The accompanimental ac
through 13 is texturally and rhythmically a contra
material in the piano part, though some of the ea
shared.
A bit of development also takes place in the accompaniment in
measures 9 through 11. Here, through a technique of interpolation, the
original motive in measure 9 is lengthened in 10 and the first half of 1 1.
Nicht zu rasch (J= 80) |
< J Aug. 6 triad bl ~ A - . ,*ir -

J 1 6 2 3 Aug. A - triad . b2
4 ^ V l-wh i ^ ^ T
/ " jt,1 i- i^^^^i ill I^miJi tfJ ^p< ljllj^r"^ ~i~~^^ t i i ^~ !^zi^ -H^p ""far i^TT li * if m^ n^l JKnf" ^^~
Langsamer ( J= 56) ^
Ex. 21. Song
SCHOENBERG'S BOOK OF THE HANGING GARDENS 127
Notice the melodic outlining of the b 1 chord, and the use of the b2 chord on
the second beat of measures 9 and 1 0. It is also noteworthy that this same b2
chord appears an octave lower, and the end of measure 16, to begin the
accompanimental coda of this song.
Of great importance is that the harmonic-melodic ideas in the initial
two and one-half measures of the accompaniment occur again in the final
six and one-half measures. Also, the last four harmonies in the song are
restatements at the exact pitch level of sonorities which occurred initially in
measures 1 and 3; this is a feature which provides no small amount of for-
mal unity in this short piece.
In addition to these factors, there is one other important unifying fea-
ture which is very perceptible to the ear. This is the focus on the pitches D
t/ bl b2 bl '
10
Seh
(J_J)
/ b2 ^US' *"***
Ex. 21, continued.
and E-flat, including the directional aspect of D mo

strated by the circled pitches in the score in mea
accompaniment), 6, 7, and 9 (in the voice), 16 (bet
and 18-19 (piano only). Also of importance is that t
the song begins on D and ends on E-flat, as does the
song. The emphasis on these two pitches throughou
elements is certainly another point of unity and a
as is the suggestion of the established pitch order of D
Not all of the songs are organized as comparativ
VII, but many of the same formal techniques are e
bination of subtlety and directness in the use of li
ment, plus the judicious use of contrast, is responsible
in this song cycle, a sense which one can perceive ev
In summary, Schoenberg in Opus 15 has written
wherein organization of pitch material, melodic
ment, and formal relationships is quite concentra
presentation of these features in the music is often
sion various organizational aspects have overlapp
considering form we seem to have been considerin
ferent viewpoint, or if, when discussing motives w
cussing form from a different perspective, then the
Schoenberg would want it. Elements of harmonic,
formal organization are very tightly bound togeth
cuss an isolated aspect we become aware that such an
all, but is merely a facet of a larger unit of musica
face is comprised of more than one side. Perhaps th
elements is one of the factors that Schoenberg reca
in the program for the song cycle's first perform
finally embarked upon this path I am conscious th
riers of a past esthetic."10 It is clear that the songs of
Gardens embodied a new, valid, and aurally access
organization.
Quotations from Arnold Schoenberg's Das Buch der h

George, Opus 15, used by permission of Belmont Musi
California 90049.
l0Ibid.,p.45.

Some Aspects of Organization in Schoenberg's "Book of The Hanging Gardens", Opus 15

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Some Aspects of Organization in Schoenberg's "Book of The Hanging Gardens", Opus 15

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Some Aspects of Organization in Schoenberg's "Book of the Hanging Gardens", Opus 15

Author(s): Richard Domek

The University of Kentucky

stuckenschmidt, writing of Schoenberg's Book of the Han

'H. H. Stuckenschmidt, Arnold Schoenberg, trans, by Edith Temple Roberts a

the use of pitch materials in atonal works. Howev

al a2 bl Song I Song XIV b2 Augmented Quartal

Ex. 1. Unifying Sonorities.

These sonorities are well-used in the cycle as a whole

because of its unvarying intervallic construction, whether it is constructe

=7- *-'-* =5-

Ex. 2a. Song XIII, meas. 6-

4The interval content of a sonority is an e

Ex. 2b. Song XIV, meas. 4-5.

Harmonic succession is in many styles a point of

Ex. 3a. Song III, meas. 16-19.

As shown in example 3a, Schoenberg has employed

Ex. 3b. Song XI

half-step, characterizes Song XIII.6 More specifically, the succession or a

Ex. 5. Song III,

6For a related discussion

In Song III, the opening harmonies, varied somewh

/ ' - Mf etwas drngend verlaufend

Ex. 6. Song V, meas. 1-6, 13-16.

Measure 13 features harmonies used in measure 5, measure 14 is basic

Ex. 7. Song XI, meas. 14-15.

A motive which involves a linearization of both the bl and b2 chords is pres-

Ex. 8. Song IX, meas. 1 1-12, 20-21.

Here Schoenberg, while giving expression to a strictly sequ

The motive in the previous example again appear

Ex. 10. Interval C

A final type of harmonic succession which Schoenberg uses in these

y ni* Hin ' ^^

r qqpp **w tTt'ffr

Ex. 11. Song I, meas. 13-14, and reduction.

As is shown on staff "a" of the reduction, a three-voice stepwise movement,

- - n==- - JrP , ~ - ==== ~

Here, linear motion characterizes movement in

J ' ' .l| || ||

Ex. 14. Song VII, meas. 1-2, and reduction.

flat-F-flat-E-flat progression in contrary motion. Schoenberg by no m

Ex. 15a. Song I, meas. 8-16.

etwas dringend __________ weider beruhigend

Ex. 15b. Song I, meas. 16-20.

Schoenberg's melodic style throughout the cyc

Motivic use is another aspect of organization. Schoenberg often use

Ex. 16. Song III, meas. 1-3.

An interesting use of a motive more as a basic shape than as a melod

Ex. 17. Song I, mea

This motive, involving the successive presentation and contrast of

Ex. 18. Song XV, meas.

Here, the motive introduced i

Ex. 19. Song VII, meas

Chord b2 is presented harm

It is likely that the technique of

The four previous examples could all be used

8See Ren Leibowitz, Schoenberg and His School, trans, b

pitch constructions horizontally and vertically, restatements of charac

9Stuckenschmidt, Arnold Schoenberg, p. 45.

found in the accompaniment. The second half o

Nicht zu rasch (J= 80) |

< J Aug. 6 triad bl ~ A - . ,*ir -

Ex. 21. Song

=7- -'- =5-