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Straus Chapter 3
Straus Chapter 3
a. (0123)
(0124)
(0135)
(0235)
(0247)
(0248)
(0257)
(0268)
b. (01458)
(02468)
(02479)
c. (012678)
(013679)
(02468T)
2.
a. 2, 0, 0
b. 0, 2, 4
c. 3, 6, 0
d. 1,1, 2
3.
a. No
b. No
c. Yes, 6
d. Yes, T4
II. 1.
a. 7 at I2, 0 and 4 at I4, 5 and 4 at I9
4 5 7 8 0
4 8 9 11 0 4
5 9 10 0 1 5
7 11 0 2 3 7
8 0 1 3 4 8
0 4 5 7 8 0
b. 6, 8, 1 at I2. 8, 10, 6 at I4. 1, 8, 10, 11 at I9
6 8 9 10 11 1
6 0 2 3 4 5 7
8 2 4 5 6 7 9
9 3 5 6 7 8 10
10 4 6 7 8 9 11
11 5 7 8 9 10 0
1 7 9 10 11 0 2
c. 1, 7 at I2. 1, 3, 8 at I4. 1, 8 at I9
1 3 7 8
1 2 4 8 9
3 4 6 10 11
7 8 10 2 3
8 9 11 3 4
d. 1 at I2, 5, 11, 8 at I4, 8, 1, at I9
5 8 11 1
5 10 1 4 6
8 1 4 7 9
11 4 7 10 0
1 6 9 0 2
3.
IV. 1.
a. 0137
b. 01348
c. 012378
2.
a. (01247), (01356)
b. (0137), (0146)
c. ?
d. ?
V. 1. 767763
B. 546553
C. 012111
D. 222121
2.
a. 0147
b. 0247
c. 02479
d. 027
VI. 1.
a. 016, 167, 670, 701 (016)
b. 014, 148 (037), 480 (048), 801 (015)
c. 013, 136, 369 (036), 690, 901 (014), 036, 069, 139 (026), 169 (037), 360 (036)
d. 024, 247 (025), 479, 790, 902, 027, 029, 047 (037), 049, 279 (027)
2.
a. 4
b. (027)
c. ?
VII.
2.
a. (08) (15)
b. (01) (34)
c. (013) (679)
VIII.
a. ??
b. 013679
012457, 012358
P and Q are related by Z-class. Their IC vectors are identical.
Flute 1 TBb/F, Fl 2 (0257) is subset of P, Cl. 1 and Flutes are (012345679), superset of P, Cl 2
(0123457) superset of P. Clarinets play Q
The contour of wide intervals between clarinets are reminiscent of the earlier Bassoon ostinato,
but interval content is different.
The movement is a kind of ternary form, which is articulated both by the different
instrumentation of the set motives as well as their characteristic rhythms. The middle treatment
of P is the closest we get to any kind of development. The clarinets usher in Q beginning with a
less rigid rhythm. The strongest indicator of the different sections is the instrumentation, ordered
pitch content and their individual rhythmic treatment.
The constant castanet rhythm deliberately becomes out of phase with the meter. The
realignment in measures 4, 7, 9, and so on confirm this. The Clarinet introduction that ushers in
Q is completely aligned with the beginning of a castanet measure, further confirming the
deliberate use of the juxtaposition.