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Open Music Theory 1688414869
Open Music Theory 1688414869
Version 2
Authors
Mark Gotham; Kyle Gullings; Chelsey Hamm; Bryn Hughes; Brian Jarvis;
Megan Lavengood; and John Peterson
Contributors
John Kocur; Samuel Brady; Brian Moseley; Kris Shaffer; Levi Langolf; and
Scott Hanenberg
OPEN MUSIC THEORY by Mark Gotham; Kyle Gullings; Chelsey Hamm; Bryn Hughes; Brian Jarvis; Megan Lavengood; and John
Peterson is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License, except where otherwise noted.
CONTENTS
I. FUNDAMENTALS
III. FORM
V. CHROMATICISM
X. ORCHESTRATION
ANTHOLOGY
WORKBOOK
This book is designed web-first. Much of the content (especially music examples) is accessible only on the
web. While we provide a PDF for those who would like it, we do not prioritize optimization for PDF. We
highly recommend viewing on the web whenever possible.
1 | INTRODUCTION
INTRODUCTION
Open Music Theory (OMT) is an open educational resource intended to serve as the primary text and
workbook for undergraduate music theory courses.
Features
Diverse topics
NO COST
Unlike textbooks from big name publishers which cost hundreds of dollars,
OMT is completely free to use.
MOBILE-FRIENDLY
The whole textbook is natively online and responsive to mobile devices,
which means students can comfortably use the textbook on their
smartphones.
Interactive content
DIVERSE TOPICS
OMT provides not only the material for a complete traditional core
undergraduate music theory sequence (fundamentals, diatonic harmony,
chromatic harmony, form, 20th-century techniques), but also several other
units for instructors who have diversified their curriculum, such as jazz,
popular music, counterpoint, and orchestration. This was made possible
through collaboration between many different music theorists with
expertise in these subfields.
Assignments for each
chapter
FLEXIBLE CURRICULUM DESIGN
This book covers all the topics in a traditionally-conceived theory sequence,
but the sections in OMT need not be taught in a specific order. Most sections are written so that a
student only needs familiarity with music fundamentals before studying a given approach or
repertoire, which makes this book an excellent choice for schools with modular curricula. Each
section’s introduction clearly states what prerequisite knowledge is assumed for that section.
INCLUSIVE
The authors of OMT carefully selected music examples to represent people of diverse races and
genders.
MULTIMEDIA
OMT takes full advantage of the online and web-based format and includes audio and video examples
throughout. Where traditional textbooks instead create a roadblock for students by requiring them to
navigate to a separate website or perform the examples themselves, OMT has embedded these things
directly alongside the text for easy access.
INTERACTIVE
Many chapters include interactive content that allow students to easily test their knowledge on a
concept and immediately find the correct answer, facilitating self-teaching.
3 | INTRODUCTION
WORKBOOK
Each chapter (with a few exceptions) features at least one accompanying worksheet intended to serve
as a homework assignment on the topic. Worksheets are always given as PDFs and as an editable
format (MuseScore or Word document). This allows flexibility for students to complete the
assignment on paper or on their devices, and for instructors to edit the assignments to better fit their
own goals. Many chapters also collect links to other online resources for studying music theory.
Version 2
Version 2 of this textbook is collaboratively authored by Mark Gotham, Kyle Gullings, Chelsey Hamm,
Bryn Hughes, Brian Jarvis, Megan Lavengood, and John Peterson.
Each author led certain parts of the textbook. Dr. Hamm led fundamentals and co-led Post-tonal; Dr.
Gotham led the Anthology, 12-tone Serialism, and Orchestration sections; Dr. Gullings led the
assignments and workbook for all chapters; Dr. Hughes co-led Pop and Post-tonal; Drs. Jarvis and
Peterson led Harmony and Form; Dr. Lavengood led Jazz and co-led Pop and edited many of the chapters
of the book. Furthermore, each chapter individually lists the authors that wrote that chapter.
While the majority of our chapters are entirely new to OMT v. 2, we are indebted to the vision of Version
1. Version 1 was built on resources authored by Kris Shaffer, Bryn Hughes, and Brian Moseley, edited by
Kris Shaffer and Robin Wharton, and is published by Hybrid Pedagogy Publishing. Version 1 will
continue to live at http://openmusictheory.github.io.
Accessibility
We are committed to the principles of accessibility on the web.
• We use some less-standard terminology to help readers who use screen readers; in particular, we
never use a capital/lowercase letter M to distinguish major and minor qualities, and instead use the
abbreviations “ma” and “mi.” Hopefully this nomenclature will become more common over time.
• While capital and lowercase do reflect quality in Roman numerals, quality can also be inferred from
context and is thus not essential information for screen readers.
INTRODUCTION | 4
If you notice something that we can do better, please let us know through Suggestions and Feedback.
Updates
We do not make major changes to the content or organization of the book during the school year
(September–May) to avoid disrupting classroom instruction. We will, however, continue to fix small
mistakes and improve aesthetics between versions, as this is one of the benefits of our open access
format. Use Suggestions and Feedback to report any typos, broken links, or anything else you might come
across that needs fixing, as well as ideas for new content. Any time we have a major update, we will list it
in the changelog.
Media Attributions
table-of-contents © Megan Lavengood is licensed under a CC BY-SA (Attribution ShareAlike) license
ACKNOWLEDGMENTS
Authorship
The authorship of OMT is not quite like other textbooks. This was a collaborative venture that brought
together many people. The authors listed on our front cover wrote the majority of the chapters, but we
have additional contributors that wrote some chapters as well. For this reason, each chapter of the book is
attributed to the specific people who primarily authored that chapter.
The primary authors of the book were each responsible for leading the writing and editing of certain
sections, as follows:
Contributors
Many people contributed to this text beyond the authors. Their names and contributions are listed below.
Artwork
The cover, logo, and related imagery were designed by Bethany Nistler. All rights reserved.
7 | ACKNOWLEDGMENTS
Financial Support
Version 2
Funding for Version 2 came primarily from a Course Redesign grant from Virginia’s Academic Library
Consortium (VIVA).
Version 1
Major funding and technological support (including the building of the technology behind the interactive
music notation modules found in Version 1) came from the team at Trinket.
The first major edition of OMT was made possible financially by a crowdfunding campaign in the
summer of 2014. Many thanks to the donors who supported the project (listed on the about page of
Version 1).
STATEMENT ON SPOTIFY USAGE | 8
To keep this resource accessible and low-cost, we have opted to use Spotify links for audio examples for
tracks which otherwise would cause OMT to incur considerable copyright costs. This book is best
accessed if the user has a Spotify Premium account. Student accounts are half the cost of normal
premium accounts, so we are hopeful that this does not dissuade many users. Sign up for Spotify
Premium for Students here.
We also state that Spotify is well-known to be bad for artists because of its pay scheme. We encourage
readers to support artists directly by purchasing music when they can.
9 | STATEMENT ON SPOTIFY USAGE
Media Attributions
twitter-screenshot © Zoë Keating
INSTRUCTOR RESOURCES | 10
INSTRUCTOR RESOURCES
We have set up a community for instructors on Humanities Commons so that anyone using OMT can
share material with other instructors. The community also has a discussion board.
• Course calendars and syllabi for core theory classes and electives
• Answer keys for worksheets
• Additional assignments and projects
• Sample exams
• Discussion board
One or more interactive elements has been excluded from this version of the text. You can view
them online here: https://viva.pressbooks.pub/openmusictheory/?p=6517
11 | CHANGELOG
CHANGELOG
Below is a list of major edits and improvements to OMT. Minor edits (fixing typos, adding worksheets,
aesthetic changes, etc.) are not necessarily listed.
We will not make major changes to the textbook during the school year (September–May).
Summer 2022
• All chapters are line-edited for improved clarity, consistency, and accuracy. Thanks to Erin K.
Maher for editing OMT!
• The chapter “Half- and Whole-Steps and Accidentals” is now titled “Half Steps, Whole Steps, and
Accidentals.” The URL is unchanged.
• The chapter “Mi (scale degree 3) in the bass at beginnings” is now titled “The mediant harmonizing
mi (scale-degree 3) in the bass.” The URL is now https://viva.pressbooks.pub/
openmusictheory/chapter/the-mediant.
• Added Chapters in Development section, where authors will soft-launch new material to be added to
OMT in future years.
• Replaced M/m abbreviations for quality (major/minor) with ma/mi, which are more accessible for
people using screen readers.
FÜR DEUTSCHSPRACHIGE | 12
FÜR DEUTSCHSPRACHIGE
View in English
Natürlich sind die Musikbeispiele für all diejenigen, die mit westlicher Musiknotation vertraut sind,
gleichermaßen lesbar und zu verstehen; zudem sind Menschen auf der ganzen Welt zunehmend mit der
englischen Sprache vertraut und automatische Übersetzungsprogramme gewinnen an Qualität und werden
immer präziser.
… Doch leider stoßen automatische Übersetzungen immer wieder an ihre Grenzen und sollten daher mit
Vorsicht genossen werden, insbesondere bei fachsprachlichen Texten mit entsprechenden
musikspezifischen Termini. Und selbst bei Übersetzungen durch den Menschen zeigen sich
weiterführende Probleme, die in unterschiedlichen pädagogischen Konventionen und Traditionen des
Faches begründet sind.
In einer kurzen Einführung werden wir (als sowohl englische als auch deutsche Muttersprachler/-innen)
drei besonders schwierige Aspekte beleuchten:
1. Es gibt englische sowie deutsche Fachbegriffe, für die es keine Entsprechung in der jeweils anderen
Sprache gibt. Also kann in solchen Fällen keine korrekte Übersetzung erstellt werden und wir
müssen darauf hoffen, dass das Englische ausreichende Klarheit bringt und die Bedeutung
verstanden wird.
2. Selbst bei ganz grundlegenden Begriffen kann es sein, dass eine direkte Übersetzung womöglich
nicht alle Bedeutungsebenen abbildet. Glücklicherweise sind sich das Deutsche und das
13 | FÜR DEUTSCHSPRACHIGE
amerikanische Englisch in dieser Hinsicht relativ nahe. Man denke dabei an die direkte
Entsprechung der Begriffe „quarter note“ und „Viertelnote“ – eine Entsprechung, die es im
britischen Englisch oder aber im Französischen nicht gibt.
3. Hinzu kommen noch einige besondere Fälle, in denen Begriffe, die auf den ersten Blick scheinbar
wie Entsprechungen aussehen, in Wahrheit unterschiedlich verwendet werden. Ein Begriff, der
womöglich die größte Verwirrung mit sich bringt und zudem auch noch äußerst häufig verwendet
wird, ist „parallel“. In der modernen deutschen Theoriesprache wird der Begriff verwendet, um die
Beziehung von Dur- und Moll-Tonarten, die sich dieselben Vorzeichen teilen (z. B. C-Dur und
a-Moll), sowie die Beziehung dieser Akkorde selbst zueinander zu beschreiben. Im (britischen wie
auch amerikanischen) Englischen wird diese Beziehung als „relativ“ bezeichnet; der Begriff
„parallel“ hingegen meint die Beziehung von Dur- und Moll-Akkorden auf demselben Grundton (z.
B. die Varianttonarten C-Dur und c-Moll). Auch wenn es sich hierbei natürlich lediglich um ein
einzelnes Beispiel handelt, so ist es doch neben weiteren vermutlich der verwirrendste Fall.
Wir hoffen, dass diese kurzen Hinweise hilfreich für Sie sind und Ihnen dabei helfen, von der OMT
profitieren zu können.
But beware automatic translation, especially for specialist language like the music-specific terminology
used here. And with machine or human translation, there are confusing differences between different
languages pedagogical conventions that go beyond simple translation. In this brief introduction, we shine a
light on three particularly difficult aspects.
1. There are terms which exist in German for which there is no English equivalent and vice versa. In
that case, there is no correct translation, and we have to hope that the meaning is clear enough from
the English.
2. Even basic terminology can be structured in a different way that defies direct translation. Fortunately,
FÜR DEUTSCHSPRACHIGE | 14
German and American English are relatively close to one another in this respect. Note, for example,
the very direct translation between “quarter note” and “Viertelnote”. The same is not true of British
English or French.
3. Finally, there are some special pitfalls where what looks like the same terms is actually used
differently. Perhaps the most confusing and commonly used term here is “parallel.” Modern German
music theory pedagogy uses “Parallel” to describe the relationship between two keys with the same
key signature (e.g., C major and a minor) and for the same relationship between triads. English
(British and American) music theory use “relative” for this and “parallel” for keys and triads on the
same root (e.g., C major and c minor, “Varianttonarten” in German). This is just one term, but a
particularly confusing one that percolates through wider differences.
We hope these brief caveats are useful and you will be able to benefit from OMT.
—Mark Gotham
15 | POUR LES FRANCOPHONES
View in English
• les exemples musicaux sont compréhensibles pour quiconque est familier avec la notation musicale
occidentale,
• de plus en plus d’habitants du monde parlent de mieux en mieux anglais, et
• la qualité de la traduction automatique s’améliore également tout le temps.
Premièrement, il existe des termes qui existent en français mais pour lesquels il n’existe pas d’équivalent
en anglais et vice versa. Dans ce cas, il n’y a pas de traduction correcte, et nous devons espérer que le sens
soit suffisamment clair à partir de l’anglais.
Deuxièmement, même la terminologie de base peut être structurée d’une manière différente qui défie la
traduction directe. Par exemple, la « ronde » est appelée « whole » en anglais américain, remplissant une
mesure 4/4, et les « blanches » et « noires » sont nommées « half » et « quarter », représentant à chaque
fois la moitié de la durée précédente. L’allemand aborde cela d’une manière très similaire, mais le français
ne le fait pas. (Soit dit en passant, l’anglais britannique est encore plus compliqué!)
POUR LES FRANCOPHONES | 16
Enfin, la pédagogie française utilise généralement le système dit de « solfège fixe » (« fixed-do » en
anglais). Un « ré » est toujours un « ré », ce qui se note « pitch D » pour les américains. Le Gloria de
Vivaldi, en Ré majeur, est ainsi en « D major ». Lorsque l’anglais américain utilise les syllabes « Do » ou
« Ré », c’est le plus souvent dans un système de « solfège mobile » (« moveable-do », utilisé aussi par la
méthode Kodály) : « Do » fait référence à la tonique de la gamme, et « Ré » au degré au-dessus. La
première note du Gloria de Vivaldi, un « Ré » en français, est ainsi solfiée… « Do » !
Nous espérons que ces brèves mises en garde vous seront utiles et que vous pourrez profiter de l’OMT.
Merci de nous contacter si vous rencontrez d’autres difficultés qui, selon vous, devraient être énumérées
ici.
… But beware automatic translation, especially for specialist language like the music-specific terminology
used here. And even with machine or human translation, there are confusing differences between different
languages pedagogical conventions that go beyond simply translation. This brief introduction shines a light
on three potentially difficult aspects.
1. First, there are terms which exist in French for which there is no English equivalent and vice versa.
In that case, there is no correct translation, and we must hope that the meaning is clear enough from
the English.
2. Second, even basic terminology can be structured in a different way that defies direct translation. For
example, American English uses a system for note names with “whole” for the note value that fills a
4/4 measure, “half” for half of that duration, and so on. The German language approaches this in a
very similar way, but French does not. (Incidentally, neither does British English which is even more
complicated!)
3. Finally, French pedagogy typically uses what’s called the “fixed-do” system of solfege, with “Do”
always referring to the pitch “C”, “Re” to the pitch “D”, and so on. American English, by contrast,
17 | POUR LES FRANCOPHONES
uses “moveable-do” (cf. the Kodály method), such that “Do” refers to the tonic scale degree of
whatever key we’re in, and “Re” to the scale degree above that. You will never ever see American
English describe a piece as being in “Re Major”.
We hope these brief caveats are useful and you will be able to benefit from OMT. Please let us know if
you come across other big difficulties that you think should be listed here.
— Mark Gotham
HELPFUL DOCUMENTS | 18
HELPFUL DOCUMENTS
Below are links to several PDFs that students may find helpful in their study of music theory.
Staff paper
• Blank staff paper
• Piano staff paper (two staves bracketed together)
• Half staff, half blank horizontal split
• Half staff, half blank vertical split
Set Theory
• Clock faces (letter names)
• Clock faces (integers)
Technology
• MuseScore keyboard shortcuts cheat sheet
19 | I. FUNDAMENTALS
I. FUNDAMENTALS
The Triads and Seventh Chords chapters deliberately do not include inversion or figured bass, as this is
covered as a separate topic (Inversion and Figured Bass). This chapter, along with Roman Numerals and
SATB Chord Construction and Texture, can be used as introductions to part-writing, counterpoint, music
appreciation, or music history courses.
Audience
The Fundamentals section is designed for a wide audience, including high school students (and those
taking AP Music Theory), collegiate non-music majors (and musical theater majors), and collegiate music
majors.
21 | INTRODUCTION TO WESTERN MUSICAL NOTATION
KEY TAKEAWAYS
• The term “Western musical notation” refers to written symbols that are used to communicate musical
sounds.
• Western musical notation is one of many different systems of musical notation that appear across time
spans, places, and cultures.
• Someone who writes down music chooses a musical notation system based on these factors, also known as
their social context or milieu.
Music is an auditory or aural art form that can be represented visually with notation.
Think about what it’s like to translate one language to another. It can be a challenging task—a direct
word-for-word translation isn’t always possible or useful, so a translator needs to think about how best to
communicate to the reader. Similarly, writing down sounds involves making decisions about what needs
to be communicated and how. No system of notation could capture every aspect of sound in full detail
and still be useful or readable, so only some musical elements can be depicted.
Despite this, there are several advantages to written musical notation: a written musical work does not
need to be memorized, and details can be recorded that might otherwise be forgotten. Additionally,
written notation makes musical works accessible to more people, since anyone who knows the notation
system can learn a notated work on their own without the help of a teacher.
Imagine inventing a way to write down a favorite song or musical work so that a musician could perform
INTRODUCTION TO WESTERN MUSICAL NOTATION | 22
it without ever having heard it before. In the assignment below (“Inventing a Notation System”), you’ll
have the opportunity to do this for a specific musical work or song of your choice. Here are some
questions to consider as you think about creating your own musical notation system:
1. What are the most important musical features of the work? What are the less important musical
features?
2. What are the musical features that you would write down? Are there any that you would leave out?
3. Would your answers to questions 1 and 2 change if you were writing down a different song or work?
4. How would you explain your notation system to someone else?
Online Resources
• “How was Musical Notation Invented? A Brief History.” (WQXR)
• “How did Music Notation Actually Begin?” (Classic FM)
Assignments
1. Inventing a Notation System (.pdf, .docx); Rubric (.pdf, .docx)
23 | NOTATION OF NOTES, CLEFS, AND LEDGER LINES
KEY TAKEAWAYS
Western musical notation privileges two musical features: pitch and rhythm. Pitches are notated vertically
(on the y-axis), while rhythms are notated horizontally (on the x-axis). Western musical notation is read
left-to-right and top-to-bottom, like the page of a book in written English.
NOTATION OF NOTES, CLEFS, AND LEDGER LINES | 24
Notation of Notes
A note indicates both pitch and rhythm. Each written note consists of a notehead (either empty or filled
in) and may also have a stem and a beam or flag (see Rhythmic and Rest Values). Example 1 shows an
illustration of noteheads, stems, beams, and flags:
Staff Notation
A staff (plural “staves”) is essential for conveying pitch. A staff consists of five horizontal lines, evenly
spaced, and each note is placed on the line or space that corresponds to its pitch (see Clefs below).
Example 2 depicts a staff:
Example 2. A staff.
Example 3. Correct noteheads, open (white) and filled in (black), both on lines and in
spaces.
Noteheads should be oval (not round), and they are tilted slightly upward toward the right. Example 4
shows incorrect noteheads. As you can see, noteheads can be drawn too small, too big, or the wrong
shape.
Stemming directions and beaming conventions are discussed more in Simple Meter and Time Signatures
and Compound Meter and Time Signatures. When hand-drawing stems, their length is equal to four lines
of the staff. Beams are about four times thicker than stems.
NOTATION OF NOTES, CLEFS, AND LEDGER LINES | 26
Drawing Seconds
When notes at the interval of a second (see the Generic Intervals section of The Keyboard and the Grand
Staff) occur harmonically, they are on an adjacent line and space of the staff, so one note needs to be
displaced to the left or right of the stem. The lower note always goes on the left, regardless of whether the
stem points up or down. Example 6 shows the correct way to draw seconds:
Seconds should not be stacked on top of one another, nor should the lower note be on the right, as seen in
Example 7:
Clefs
The notes drawn on the lines and spaces of a staff represent pitches. Musicians use spatial metaphors to
describe notes placed on a staff: notes appearing toward the top of the staff are said to be “higher” than
those toward the bottom, which are said to be “lower.” Higher pitches are produced by sound waves with
a shorter wavelength (and consequently a higher frequency); sound waves with a longer wavelength (lower
27 | NOTATION OF NOTES, CLEFS, AND LEDGER LINES
frequency) produce lower pitches. Such spatial metaphors vary with milieu—i.e. across cultures and time
periods. For example, for some music theorists in ancient Greece, higher-sounding notes were visually
placed below lower-sounding notes.1 As Example 8 demonstrates, this is because these theorists were
likely most familiar with string instruments that functioned similarly to the violins, guitars, and harps we
know today.
One or more interactive elements has been excluded from this version of the text. You can view
them online here: https://viva.pressbooks.pub/openmusictheory/?p=29#oembed-1
Example 8. Dr. Jacob Tews (Christopher Newport University) explains more about ancient Greek musical
notation.
For notes to convey pitch information beyond “higher” and “lower,” the staff on which they appear must
include a clef. A clef indicates which pitches are assigned to the lines and spaces on a staff (see also
Reading Clefs). The two most commonly used clefs today are the treble clef and bass clef. Two other
clefs that you may encounter are the alto clef and the tenor clef. Example 9 shows the same pitch placed
after the treble, bass, alto, and tenor clefs:
Example 9. The same pitch placed after a treble, bass, alto, and
tenor clef.
Higher notes, such as those played by a flute or sung by a soprano, are usually written in treble clef, and
lower notes, such as those played by a trombone or sung by a bass, are usually written in bass clef. Alto
and tenor clefs are relatively rare compared to treble and bass. But in some cases, alto clef is used for
medium-high notes, and tenor clef is used for medium-low notes.
1. For one example, see André Barbera, The Euclidean Division of the Canon: Greek and Latin Sources. New Critical Texts and Translations on
Facing Pages, with an Introduction, Annotations, and Indices Verborum and Nominum et Rerum (Lincoln: University of Nebraska Press,
1991), 276–9.
NOTATION OF NOTES, CLEFS, AND LEDGER LINES | 28
Drawing Clefs
One can draw a treble clef in three simple steps, as demonstrated in Example 10:
1. Draw a slanted vertical line that extends slightly above and below the staff.
2. Draw a half circle that intersects with your slanted line at the second staff line from the top.
3. Circle around the second staff line from the bottom.
Likewise, one can also draw a bass clef in three steps, as shown in Example 11:
As seen in Example 13, the tenor clef is drawn the same way as the alto clef, just shifted up one line of
the staff higher. The vertical lines in steps 1 and 2 begin on the second staff line from the bottom and
extend slightly above the staff. The first backward C extends slightly above the top half of the staff, and
the second takes up slightly less than the middle two spaces of the staff. The point connecting them rests
on the second staff line from the top.
Sometimes when musicians draw the alto or tenor clef, they do so by writing the letter “K” as a form of
shorthand. Example 14 shows this:
Example 16 shows notes (with stems and beams) drawn on ledger lines, above and below a staff.
Example 16. Notes (with stems and beams) on ledger lines, above and below a staff with a treble clef.
When writing ledger lines, be sure not to put in an extra ledger line above or below the note you are
writing. Example 17 first shows the correct way of writing notes on ledger lines, followed by the
incorrect way, with extra ledger lines above and below the notes:
Online Resources
• Pitch and Frequency (the Physics of Sound) (physicsclassroom.com)
• The Music Staff (essential-music-theory.com)
• Drawing Notes (YouTube)
• Clefs (Music Notes Now)
• Drawing Treble and Bass Clefs (YouTube)
• Drawing C Clefs (Ultimate Music Theory)
• The Staff, Clefs, and Ledger Lines (musictheory.net)
• Music Notation Style Guide (Indiana University)
Assignments
1. Writing Noteheads, Clefs, and Ledger Lines (.pdf, .docx)
Media Attributions
Noteheads, Stem, Beam, Flag © Bryn Hughes is licensed under a CC BY-SA (Attribution ShareAlike) license
Correct Noteheads © Megan Lavengood (adopted from Straus) is licensed under a CC BY-SA (Attribution ShareAlike) license
Incorrect Noteheads © Megan Lavengood (adopted from Straus) is licensed under a CC BY-SA (Attribution ShareAlike) license
Stemming Directions © Chelsey Hamm is licensed under a CC BY-SA (Attribution ShareAlike) license
Correct Seconds © Megan Lavengood (adopted from Straus) is licensed under a CC BY-SA (Attribution ShareAlike) license
Incorrect Seconds © Megan Lavengood (adopted from Straus) is licensed under a CC BY-SA (Attribution ShareAlike) license
Four Clefs and Notes © Kris Shaffer (OMT) is licensed under a CC BY-SA (Attribution ShareAlike) license
Draw Treble Clef © Chelsey Hamm is licensed under a CC BY-SA (Attribution ShareAlike) license
NOTATION OF NOTES, CLEFS, AND LEDGER LINES | 32
Draw Bass Clef © Chelsey Hamm is licensed under a CC BY-SA (Attribution ShareAlike) license
Draw Alto Clef © Chelsey Hamm is licensed under a CC BY-SA (Attribution ShareAlike) license
Draw Tenor Clef © Chelsey Hamm is licensed under a CC BY-SA (Attribution ShareAlike) license
Ledger Lines without Notes © Megan Lavengood is licensed under a CC BY-SA (Attribution ShareAlike) license
Ledger Lines with Notes © Chelsey Hamm is licensed under a CC BY-SA (Attribution ShareAlike) license
Correct Incorrect Ledger Lines © Sarah Louden is licensed under a CC BY-SA (Attribution ShareAlike) license
Footnotes
33 | READING CLEFS
READING CLEFS
Chelsey Hamm
KEY TAKEAWAYS
• Pitch in Western musical notation is designated by the letters A, B, C, D, E, F, and G, which repeat in
a loop.
• Different clefs make reading different ranges easier.
• Each clef indicates how the lines and spaces of the staff correspond to pitch.
In Western musical notation, pitches are designated by the first seven letters of the Latin alphabet: A, B,
C, D, E, F, and G. After G these letter names repeat in a loop: A, B, C, D, E, F, G, A, B, C, D, E, F, G,
A, B, C, etc. This loop of letter names exists because musicians and music theorists today accept what is
called octave equivalence, or the assumption that pitches separated by an octave should have the same
letter name. More information about this concept can be found in the next chapter, The Keyboard and the
Grand Staff.
This assumption varies with milieu. For example, some ancient Greek music theorists did not accept
octave equivalence. These theorists used more than seven letters of the Greek alphabet to name pitches.
bassoon, cello, trombone, or bass voice. The alto clef is primarily used for the viola, a mid-ranged
instrument, while the tenor clef is sometimes employed in cello, bassoon, and trombone music (although
the principal clef used for these instruments is the bass clef).
Each clef indicates how the lines and spaces of the staff correspond to pitch. Memorizing the patterns for
each clef will help you read music written for different voices and instruments.
Example 1. The letter names for the lines with a treble clef.
Example 2 shows the letter names used for the spaces of a staff with a treble clef. Remembering that
these letter names spell the word “face” may make identifying these spaces easier.
Example 2. The letter names for the spaces with a treble clef.
“Good Bikes Don’t Fall Apart” (G, B, D, F, A). The bass clef is sometimes called the “F clef”; as seen in
Example 3, the dot of the bass clef begins on the F line (the second line from the top).
Example 3. The letter names for the lines with a bass clef.
Example 4 shows the letter names used for the spaces of a staff with a bass clef. The mnemonic device
“All Cows Eat Grass” (A, C, E, G) may make identifying these spaces easier.
Example 4. The letter names for the spaces with a bass clef.
Example 5. The letter names for the lines with an alto clef.
Example 6 shows the letter names used for the spaces of a staff with an alto clef, which can be
remembered with the mnemonic device “Grand Boats Drift Flamboyantly” (G, B, D, F).
READING CLEFS | 36
Example 6. The letter names for the spaces with an alto clef.
Example 7. The letter names for the lines with a tenor clef.
Example 8 shows the letter names used for the spaces of a staff with a tenor clef. The mnemonic device
“Elvis’s Guitar Broke Down” (E, G, B, D) may make identifying these spaces easier.
Example 8. The letter names for the spaces with a tenor clef.
Ledger Lines
When notes are too high or low to be written on a staff, small lines are drawn to extend the staff. You may
recall from the previous chapter that these extra lines are called ledger lines. Ledger lines can be used to
extend a staff with any clef. Example 9 shows ledger lines above a staff with a treble clef:
37 | READING CLEFS
Notice that each space and line above the staff gets a letter name with ledger lines, as if the staff were
simply continuing upwards. The same is true for ledger lines below a staff, as shown in Example 10:
Notice that each space and line below the staff gets a letter name with ledger lines, as if the staff were
simply continuing downwards.
Online Resources
• The Staff, Clefs, and Ledger Lines (musictheory.net)
• Flashcards for Treble, Bass, Alto, and Tenor Clefs (Richman Music School)
• Printable Treble Clef Flash Cards (Samuel Stokes Music) (pages 3 to 5)
• Printable Bass Clef Flash Cards (Samuel Stokes Music) (pages 1 to 3)
• Printable Alto Clef Flash Cards (Samuel Stokes Music)
• Printable Tenor Clef Flash Cards (Samuel Stokes Music)
• Paced Game: Treble Clef (Tone Savvy)
• Paced Game: Bass Clef (Tone Savvy)
• Paced Game: Alto Clef (Tone Savvy)
• Paced Game: Tenor Clef (Tone Savvy)
READING CLEFS | 38
Easy
Medium
Advanced
Assignments
1. Writing and Identifying Notes Assignment #1 (.pdf, .mscx)
2. Writing and Identifying Notes Assignment #2 (.pdf, .mscx)
Media Attributions
Treble Clef Line Letters © Chelsey Hamm is licensed under a CC BY-SA (Attribution ShareAlike) license
Treble Clef Spaces Letter Names © Chelsey Hamm is licensed under a CC BY-SA (Attribution ShareAlike) license
39 | READING CLEFS
Bass Clef Lines Letter Names © Chelsey Hamm is licensed under a CC BY-SA (Attribution ShareAlike) license
Bass Clef Spaces Letter Names © Chelsey Hamm is licensed under a CC BY-SA (Attribution ShareAlike) license
Alto Clef Line Letter Names © Chelsey Hamm is licensed under a CC BY-SA (Attribution ShareAlike) license
Alto Clef Spaces Letter Names © Chelsey Hamm is licensed under a CC BY-SA (Attribution ShareAlike) license
Tenor Clef Lines Letter Names © Chelsey Hamm is licensed under a CC BY-SA (Attribution ShareAlike) license
Tenor Clef Spaces Letter Names © Chelsey Hamm is licensed under a CC BY-SA (Attribution ShareAlike) license
Ledger Lines Above Treble Clef © Chelsey Hamm is licensed under a CC BY-SA (Attribution ShareAlike) license
Ledger Lines Below Bass Clef © Chelsey Hamm is licensed under a CC BY-SA (Attribution ShareAlike) license
THE KEYBOARD AND THE GRAND STAFF | 40
KEY TAKEAWAYS
• Playing the piano will help you in your music theoretical studies by allowing you to engage kinesthetically
with music.
• A pattern of black keys grouped into twos and threes repeats on the piano keyboard for seven octaves.
• The white note C is to the immediate left of the two-note black key pattern, while the white note F is to
the immediate left of the three-note black key pattern.
• Piano players, also called pianists, read music on the grand staff.
• Middle C is the note that appears on the line between the two staves in a grand staff.
• When counting intervals on a piano keyboard, always count the first note as “one.”
Many students find studying music theory easier when they engage with music kinesthetically. In other
words, physically creating sounds by playing a musical instrument (such as the piano) helps you to better
visualize and audiate the music you are writing down or studying. This allows students to understand the
relationship between different pitches more quickly.
In Example 1, notice that the keyboard has both white keys and black keys. The black keys are grouped
41 | THE KEYBOARD AND THE GRAND STAFF
into sets of either three or two. In Example 2, notice that the sets of three and two black keys alternate
throughout the entire length of a piano keyboard, repeating the pattern for each octave.
One or more interactive elements has been excluded from this version of the text. You can view
them online here: https://viva.pressbooks.pub/openmusictheory/?p=1285#oembed-1
Example 3. Dr. Benjamin Corbin (Christopher Newport University) demonstrates proper piano posture.
Example 4. The letter names of the white key pitches are labeled.
On the piano keyboard, when the black keys appear as a set of two, the note to their immediate left is C.
With a set of three black keys, the note to their immediate left is F.
two staves are connected on the left side with a line and a brace. Typically, the pianist plays the lower
notes (in the bass clef) with their left hand and the higher notes (in the treble clef) with their right hand.
Example 6 shows the lines and spaces on the grand staff labeled with letter names. As you can see, the
letter names of the lines and spaces of the treble and bass clefs match what was discussed in the prior
chapter (Reading Clefs).
Example 6. A grand staff with the lines and spaces labeled with pitch names.
Let’s take a closer look at the ledger-line notes that might appear below the treble staff and above the bass
clef staff. Example 7 shows some of these notes, labeled with letter names. Each vertical pair of notes is
the same pitch, even though the notes are notated in two different clefs. (The notes with upward-pointing
stems belong to the treble clef staff, while the notes with downward-pointing stems belong to the bass clef
staff.)
THE KEYBOARD AND THE GRAND STAFF | 44
Example 7. Pitches below the treble clef staff and above the bass
clef staff, labeled with letter names.
Example 8 shows the staves of Example 7 vertically condensed—how these notes would appear if
there were not so much space in between the treble clef and bass clef staves of a grand staff. The letter
names are the same in Example 8 as they were in Example 7.
Example 8. The staves of Example 7 have been vertically condensed and the two notes combined into one
(with two stems).
Example 9 shows a vertically condensed grand staff with the note C boxed. This boxed C is
called middle C, so named because in the vertically condensed grand staff shown in Example 9, it
appears in the middle of the treble and bass clef staves. Additionally, middle C is the note that appears to
be around the middle of a piano keyboard, usually underneath the brand name.
45 | THE KEYBOARD AND THE GRAND STAFF
Example 10 shows Example 9 vertically expanded to its regular spacing, with middle C still boxed.
Though it now appears in both the treble clef and bass clef staves, this note would still sound as the same
pitch.
Online Resources
• Piano Posture Tips (Liberty Park Music)
• Naming White Keys Practice (musictheory.net)
• The Grand Staff (musictheory.net)
• Grand Staff Note Reading Game (readmusicfree.com)
• Generic Intervals (musictheory.net)
• Blank Keyboards for Students or Teachers
Assignments
1. White Keys on the Piano and the Grand Staff (.pdf, .docx)
2. The Piano Keyboard and the Grand Staff with Ledger Lines (.pdf, .docx)
3. Generic Intervals (.pdf, .docx)
4. Grand Staff Note Names with Ledger Lines (.pdf, .docx)
47 | THE KEYBOARD AND THE GRAND STAFF
Media Attributions
Piano Keyboard © Wiki Commons is licensed under a Public Domain license
Full Piano Keyboard © Wiki Commons is licensed under a Public Domain license
Keyboard White Keys © Sarah Louden is licensed under a CC BY-SA (Attribution ShareAlike) license
Grand Staff Brace Line © Sarah Louden is licensed under a CC BY-SA (Attribution ShareAlike) license
Grand Staff Notes Labelled © Sarah Louden is licensed under a CC BY-SA (Attribution ShareAlike) license
Ledger Lines Grand Staff Same Notes 2 © Chelsey Hamm is licensed under a CC BY-SA (Attribution ShareAlike) license
Ledger Lines Below Staff Same Notes 2 © Chelsey Hamm is licensed under a CC BY-SA (Attribution ShareAlike) license
Middle C Staff Close Together © Sarah Louden is licensed under a CC BY-SA (Attribution ShareAlike) license
Vertically Expanded Grand Staff C Boxed © Sarah Louden is licensed under a CC BY-SA (Attribution ShareAlike) license
Generic Fifth © Sarah Louden is licensed under a CC BY-SA (Attribution ShareAlike) license
HALF STEPS, WHOLE STEPS, AND ACCIDENTALS | 48
KEY TAKEAWAYS
• A half step above a key on the piano is the key to its immediate right, while a half step below a key on the
piano is the key to its immediate left.
• A whole step is two half steps. A whole step above is two keys to its right, while a whole step below is two
keys to its left.
• An accidental changes the pitch of a note. A sharp raises a note by a half step, while a flat lowers a note by
a half step. A natural cancels a previous accidental.
• A double sharp raises a note by a whole step, while a double flat lowers a note by a whole step.
• Be sure to write accidentals to the left of a note, directly across the line or space on which a note appears.
• Notes have enharmonic equivalence when they are spelled differently but sound the same.
In the last chapter, The Keyboard and the Grand Staff, we discussed the letter names of the white keys on
the piano keyboard and noted that the black keys are grouped into alternating sets of two or three. Before
we discuss the names of the black keys, however, we must first learn about half steps and whole steps.
would say that this black key is a half step above G and a half step below A. Two pairs of white
keys—E/F and B/C—do not have black keys in between them (see Example 1). This is because E–F
and B–C are both half steps. Having the black keys grouped into sets of either two or three makes it
easier for a keyboardist to see and feel them more quickly.
A whole step is the equivalent of two half steps. Example 2 shows a piano keyboard with the letter
names of the white key pitches labeled, and some whole steps bracketed. Pairs of white keys with a black
key in between them (A and B, C and D, D and E, F and G, and G and A) are a whole step apart. To find
a whole step above the notes E or B, simply count two keys to the right: a whole step above E is the black
key to the right of the note F, while a whole step above B is the black key to the right of the note C.
Likewise, count two keys to the left to find a whole step below the notes C or F: the black keys to the left
of the notes B and E, respectively. To find a whole step from a black key you will want to count two keys
to the right or left. For example, a whole step above the black key to the right of C is the black key to the
right of the note D. A whole step below the black key to the left of B is the black key to the left of the
note A.
HALF STEPS, WHOLE STEPS, AND ACCIDENTALS | 50
Example 2. A piano keyboard with letter names on the white keys; some whole
steps are labeled.
What do half steps and whole steps sound like? The short video shown in Example 3 demonstrates:
One or more interactive elements has been excluded from this version of the text. You can view
them online here: https://viva.pressbooks.pub/openmusictheory/?p=1384#oembed-1
Example 3. Dr. Chelsey Hamm (Christopher Newport University) demonstrates the sound of a half step and
a whole step.
A double sharp (or 𝄪) raises a note by two half steps (i.e., a whole step). A double flat (𝄫) lowers a note by
two half steps (i.e., a whole step). Accidentals are always written to the left of a note, regardless of stem
direction. An accidental should be written directly across the line or space on which a note appears.
Example 4 shows both correct and incorrect ways to notate sharps, flats, and naturals:
F is also known as E♯, and E is also known as F♭. C is also known as B♯, and B is also known as C♭.
Example 6 also shows some of the double-sharp and double-flat accidentals. A double sharp is two half
steps above a note. For example, D𝄪 is also E; E𝄪 is also F♯ (or G♭). A double flat is two half steps below
a note. For example, A𝄫 is also G; C𝄫 is also B♭ or A♯.
53 | HALF STEPS, WHOLE STEPS, AND ACCIDENTALS
Enharmonic equivalence
You will have noticed by now that each key on the piano keyboard has more than one name. Notes have
enharmonic equivalence when they are spelled differently but sound the same. For example, you can see
that C♯ and D♭ are enharmonically equivalent, as seen in Examples 5 and 6. Example 6 also shows
that the note D is enharmonically equivalent with the notes C𝄪 and E𝄫. In other words, playing a D, C𝄪,
or E𝄫 will result in the same pitch.
Online Resources
• Tutorial on Half and Whole Steps (Music Theory Fundamentals)
• Tutorial on Half Steps, Whole Steps, and Accidentals (musictheory.net)
• Game to Practice Half Steps, Whole Steps, and Accidentals (drawmusic.com)
• Tutorial on Accidentals (mymusictheory.com)
• Tutorial on the Black Keys on the Piano (musicradar.com)
• Practicing the Piano Keyboard (musictheory.net)
• Matching Game for Piano Key Notes (quizlet.com)
• Labeling Game for Piano Key Notes (quizlet.com)
• Tutorial on Enharmonic Equivalence (The Music Notation Project)
HALF STEPS, WHOLE STEPS, AND ACCIDENTALS | 54
Assignments
1. Black Keys on the Piano (.pdf, .docx)
2. Half and Whole Steps on the Piano Keyboard (.pdf, .docx)
3. Writing Accidentals (.pdf, .docx)
4. Writing and Identifying Accidentals (.pdf, .docx)
5. Half and Whole Steps in Staff Notation (.pdf, .docx)
6. Enharmonic Equivalence (.pdf, .docx)
Media Attributions
Piano Half Steps © Sarah Louden is licensed under a CC BY-SA (Attribution ShareAlike) license
Piano Whole Steps © Sarah Louden is licensed under a CC BY-SA (Attribution ShareAlike) license
Correct and Incorrect Accidentals © Sarah Louden is licensed under a CC BY-SA (Attribution ShareAlike) license
Piano Black Keys © Sarah Louden is licensed under a CC BY-SA (Attribution ShareAlike) license
Piano Double Accidentals © Sarah Louden is licensed under a CC BY-SA (Attribution ShareAlike) license
55 | AMERICAN STANDARD PITCH NOTATION (ASPN)
KEY TAKEAWAYS
• American Standard Pitch Notation (ASPN) provides labels for specific musical frequencies by combining
a note name (such as C) with a subscript octave designation (such as 4).
• A pitch is a discrete tone with an individual frequency (e.g. C4), while a pitch class is less specific (e.g., C
in general).
• ASPN differentiates between octaves, from C to B. The octaves are labeled from lowest to highest,
beginning with 0 and continuing in ascending numerical order (1, 2, etc.).
• A piano keyboard primarily uses the ASPN octave designations 1 through 7, although small portions of
octaves 0 and 8 are included.
• Middle C is C4 in ASPN. It is helpful to memorize the ASPN label of this note as a starting point.
The Reading Clefs chapter introduced octave equivalence, the concept that explains why notes one or
AMERICAN STANDARD PITCH NOTATION (ASPN) | 56
more octaves apart have the same letter name. Music theorists distinguish between a pitch, a discrete tone
with an individual frequency (e.g. C4 using ASPN), versus a pitch class, which is less specific (e.g., C in
general). A pitch class includes all the pitches with the same letter name, in any octave, along with their
enharmonic equivalents. For example, all Cs are the same pitch class, and the enharmonically equivalent
notes D𝄫 and B♯ are also part of the C pitch class. In this chapter we are naming specific pitches with
ASPN.
All letter names within an octave (below the C of the next octave) receive the same octave designation.
For example, all of the notes in Example 2 would be designated in the 4 octave, because they are above
C4 but below C5. Accidentals applied to a note do not have an effect on its ASPN number. For example,
B♯3 and C4 have different octave numbers despite being enharmonically equivalent, because the B♯ is still
considered part of the lower octave.
57 | AMERICAN STANDARD PITCH NOTATION (ASPN)
Example 2. The notes C4, D4, E4, F4, G4, A4, and B4.
Example 3. A piano keyboard with ASPN octave designations labeled; both colored notes (blue and
yellow) fall into the octave 4 designation.
One or more interactive elements has been excluded from this version of the text. You can view
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AMERICAN STANDARD PITCH NOTATION (ASPN) | 58
Online Resources
• “Pitches, Pitch Classes, Octave Designation, Enharmonic Equivalence” (YouTube)
• Tutorial on ASPN Octave Labels (liveabout.com)
• Tutorial on ASPN Octave Labels (flutopedia.com)
• Helpful Graphic with ASPN Labels on the Grand Staff and Piano (Music Theory Tips)
• Flash Cards with ASPN Labels in Treble and Bass Clefs (quizlet.com)
Assignments
1. Writing and Identifying ASPN Labels (.pdf, .docx)
Media Attributions
Octave Designations © Wiki Commons is licensed under a Public Domain license
Octave 4 ASPN Labels © Chelsey Hamm is licensed under a CC BY-SA (Attribution ShareAlike) license
Piano ASPN Labels © AlwaysAngry adapted by Megan Lavengood is licensed under a Public Domain license
59 | OTHER ASPECTS OF NOTATION
KEY TAKEAWAYS
• Dynamics indicate the loudness of music. Musicians use a variety of Italian words to specify dynamics in
Western musical notation.
• A crescendo indicates an increase in loudness, while a decrescendo or diminuendo indicates a decrease in
loudness.
• The term articulation refers to the connection or separation between notes, as well as the accent level at the
beginning of a note (its attack).
• A tempo indication tells a musician how fast or slow to play or sing a composition.
• Musicians periodize music into historical eras, which are useful to memorize. Works within these
historical periods tend to share similar style characteristics.
• Structural features divide up a work or movement into smaller sections.
In this chapter we will explore other elements of music besides pitch (discussed in previous chapters) and
duration (discussed in following chapters). These elements include dynamics, articulations, tempi, stylistic
periods, and structural markers.
Dynamics
Dynamics indicate the loudness of music. In Western musical notation, we often use italicized Italian
words, which can be abbreviated, to describe dynamics. The dynamic marking forte means loud, while
piano means quiet. In sheet music, these words are written either above or below the staff.
Several Italian words and suffixes can modify piano and forte to create a range of dynamics from very
quiet to very loud (Example 1). The Italian word mezzo means “moderately.” Musicians say mezzo forte
OTHER ASPECTS OF NOTATION | 60
to mean moderately loud and mezzo piano to mean moderately quiet. The Italian suffix -issimo means
“very” or “extremely.” Musicians say pianissimo to mean “very quiet” and fortissimo to mean “very loud.”
This suffix can be stacked; for example, one can say pianississimo to mean “very, very quietly,” or
fortississimo to mean “very, very loudly.”
• fff = fortississimo
• ff = fortissimo
• f = forte
• mf = mezzo forte
• mp = mezzo piano
• p = piano
• pp = pianissimo
• ppp = pianississimo
Some composers add even more “-issimo“s, but this is rare. However, you might one day spot a pppppp or
an ffffff in music that you play or sing!
There are three other Italian words that are commonly used to indicate a change in dynamic level.
Crescendo (cresc.) means to get louder, while decrescendo (decresc.) and diminuendo (dim.) both mean to
get quieter. Crescendos and decrescendos are indicated two different ways: either by writing out the
abbreviation cresc. or decresc., possibly followed by dots, or by drawing hairpins. The term “hairpin”
refers to the following symbols, which roughly approximate the shape of a bobby pin (or “hairpin”), as
seen in Example 2.
61 | OTHER ASPECTS OF NOTATION
Articulations
The term articulation refers to the connection or separation between notes and to the accent level at the
beginning of a note (its attack). Several articulations are demonstrated in Examples 3–7. Percussion
instruments, plucked strings, bowed strings, winds, brass, and voices all have different methods of
carrying out particular attacks and articulations. You will want to consult with a private teacher or
ensemble director for help with applying different articulations to your instrument or voice.
Example 3: Legato means to play or sing smoothly or connected. This articulation is indicated by a
curved slur marking.
Example 4: Another way to indicate smooth, connected playing is with tenuto markings, which look
like a small line above or below notes.
Example 5: Staccato means to play or sing notes more separated, leaving space between notes. This
articulation is usually indicated by a dot placed above or below notes.
Example 6: An accent (a sideways V) means to play or sing a note with extra stress or emphasis.
Example 7: A marcato marking (an upside-down V) means to play or sing a note with a more forceful
accent.
OTHER ASPECTS OF NOTATION | 62
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Accented notes can also be indicated by the italicized abbreviations sfz, sf, or fz (sforzando, forzando,
or forzato). These accents are usually interpreted to be slightly more forceful (i.e., louder) than regular
accents. These symbols work like dynamics and are placed directly above or below the note to which they
apply.
Tempo
Tempo (plural tempi) is the term for how fast or slow a composition is performed. Tempi are usually
indicated either specifically, by a metronome marking, or less specifically, by a textual indication. A
metronome marking is usually indicated in beats per minute (bpm). A work that is marked ♩ = 60 would
contain 60 quarter notes in one minute (one quarter note per second). With a free metronome application
(such as Pro Metronome) on your phone, you can easily check the tempo of a work you’re playing or
singing.
OTHER ASPECTS OF NOTATION | 64
Like dynamics, most tempo markings are written in Italian. They often appear at the beginning of a work,
movement, or section, at the top left of the first staff or system. The most common tempi are as follows:
• Fast tempi: vivace, presto, allegro, allegretto (-etto is an Italian suffix meaning “little”)
• Medium tempi: moderato, andante
• Slow tempi: adagio, largo, lento, grave
Composers sometimes use additional Italian words, especially emotive expressions, to modify a tempo
marking. Words like assai (“very” or “rather”), espressivo (“expressively”), or cantabile (“singingly”)
frequently appear after tempo markings, especially in works written after the year 1800. For example, one
might come across tempo markings like “allegro assai” (“very fast”), “andante cantabile” (“a moderate
tempo, singingly”), or “adagio espressivo” (“slow and expressive”). Always be sure to look up the
definition of any words that you do not know in your music.
Two other Italian words are commonly used to indicate changes in tempo: ritardando (rit.) for a gradual
decrease and accelerando (accel.) for a gradual increase. Both words are generally italicized, and they are
often abbreviated (rit. and accel. respectively). When these directions are meant to apply to several
measures, they are often followed by dots. The dots continue as long as the direction is meant to be
followed.
Structural Features
The following words and symbols indicate structural features in compositions. Structural features divide
up a work or movement into smaller sections.
• Example 9: A fermata indicates that a note should be held longer than its regular duration.
Fermatas often appear at the start or end of a musical section.
• Example 10: A caesura indicates a break or a musical cutoff.
• Example 11: A breath mark indicates a breath for a wind instrumentalist or a vocalist. For
percussionists, keyboardists, or string players, it indicates a pause similar in length to a breath.
65 | OTHER ASPECTS OF NOTATION
One or more
Example 11. A note in alto clef with
a breath mark after it. interactive
elements
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Example 13. A repeat sign with a first and second ending in treble clef.
Occasionally you may come across music that has more than two endings. Repeated sections with a third
or even a fourth ending are common in some styles of music, such as Broadway musicals. These work like
a first and second ending: the third ending is performed after the third time the section is repeated, the
fourth ending is performed after the fourth time, and so on.
OTHER ASPECTS OF NOTATION | 66
Stylistic Periods
As you begin to study music theory, it will be helpful to have a basic familiarity with the ways in which
music theorists and musicologists historically periodize Western classical music. Time periods in the
history of this music are flexible, but having a general framework to group musical compositions with
certain stylistic similarities can be useful for musicians.
The following time periods, depicted in Example 14, are generally agreed upon by most musicologists:
• Medieval: c. 600–1400
• Renaissance: c. 1400–1600
• Baroque: c. 1600–1750
• Classical: c. 1750–1820
• Romantic: c. 1800–1910
• Post-tonal: c. 1900–present
Example 14. A timeline depicting commonly accepted years for musical stylistic periods.
Online Resources
• Tutorial on Dynamics (Music Theory Academy)
• Tutorial on Dynamics (Lumen’s Music Appreciation)
• Dynamics Quiz (quizizz.com)
• Articulations (BBC)
• Articulations (libretexts.org)
• Tempo (BBC)
• Tempo (Music Theory Academy)
• Notes on Periodization in Musicology (Oxford History of Western Music)
• Historical Eras in Musicology (Naxos)
• Music Notation Style Guide (Indiana University)
67 | OTHER ASPECTS OF NOTATION
Assignments
1. Dynamics, Articulations, Tempi, Stylistic Periods, Structural Features (.pdf, .docx)
Media Attributions
Dynamics Scale © Nathaniel Mitchell is licensed under a CC BY-SA (Attribution ShareAlike) license
Crescendo and Decrescendo © Chelsey Hamm is licensed under a CC BY-SA (Attribution ShareAlike) license
Stylistic Periods Timeline © Nathaniel Mitchell is licensed under a CC BY-SA (Attribution ShareAlike) license
RHYTHMIC AND REST VALUES | 68
KEY TAKEAWAYS
• Notes consist of several different components, including a notehead, stem, beam, and flag.
• Common note values include the whole note, half note, quarter note, eighth note, and sixteenth note.
• Common rest values include the whole rest, half rest, quarter rest, eighth rest, and sixteenth rest.
• British terms for note and rest values are different from American terms.
• A dot increases the duration of a note by half. Subsequent dots add half the duration of the previous dot.
• A tie connects two or more notes of the same pitch. Do not rearticulate any “tied to” notes.
Music is a temporal art—in other words, time is one of its components—so organizing time is essential
for Western musical notation. The next several chapters will focus on the temporal facets of rhythm and
meter, starting in this chapter with the basic note and rest values in this notation system.
Note Values
Broadly speaking, rhythm refers to the duration of musical sounds and rests in time. As you’ll recall in the
chapter titled Notation of Notes, Clefs, and Ledger Lines, notes may contain several different
components, as seen in Example 1:
69 | RHYTHMIC AND REST VALUES
There are many common note values in Western musical notation. Note values are hierarchical; in other
words, their lengths are defined relative to one another. Each note value can be divided into two smaller
values, as seen in Example 2. Just as a whole pizza divides into two halves, four quarters, eight eighths,
etc., a whole note divides into two half notes, four quarter notes, eight eighth notes, and so on.
• Noteheads can be filled in (black) or unfilled (white); quarter notes and shorter durations are filled
in.
• Unfilled noteheads may or may not have a stem, but filled noteheads always have stems.
• Flags are only added to the stems of filled noteheads.
Open Music Theory privileges the North American names for note values, but it’s worth being familiar
with the British names as well (indicated in parentheses below). See Example 2 for a visual of each note
value.
• Whole note (semibreve in British English): this thick, unfilled oval shape has no stem. In many
compositions today, this is the longest note value used.
• Half note (minim in British English): also an oval, drawn with a slightly thinner line, and has a
stem. This note is half as long as the whole note (i.e., two half notes make up one whole note).
• Quarter note (crotchet in British English): looks like the half note, except that the notehead has
been filled in. This note is half as long as a half note (i.e., two quarter notes make up one half note)
and a quarter as long as a whole note (i.e., four quarter notes make up one whole note).
• Eighth note (quaver in British English): looks like the quarter note, except that a flag has been
added to its stem. This note is half as long as a quarter note (i.e., two eighth notes make up one
quarter note) and an eighth as long as a whole note (i.e., eight eighth notes make up one whole note).
• Sixteenth note (semiquaver in British English): looks like an eighth note, except that it has an
extra flag. This note is half as long as an eighth note (i.e., two sixteenth notes make up one eighth
note) and one sixteenth as long as a whole note (i.e., sixteen sixteenth notes make up one whole
note).
71 | RHYTHMIC AND REST VALUES
Note values shorter than the sixteenth note (thirty-second note, sixty-fourth note, etc.) are created by
adding extra flags. You may run into one additional, less common note value called the double whole note
(breve in British English; Example 3). Double whole notes are sometimes notated with only one line on
either side of the notehead. In older musical notation styles, the notehead appears more square than oval.
Double whole notes divide into whole notes (i.e., two whole notes make up one double whole note).
Rest Values
Broadly speaking, rests refer to the duration of silences in music. Each hierarchical note value has a
corresponding rest value, as seen in Example 4. Like note values, each rest value can be divided into
two smaller values. Several additional aspects of Example 4 should be noted:
• Notice that a whole rest hangs down from a line while a half rest sits on top of a line. It may be
helpful to think of a whole rest as “heavier” than a half rest to remember that it hangs down;
likewise, a half rest resembles a top hat, so you can think of it as sitting on top of a line as if on a
person’s head.
• Practice drawing quarter rests carefully; many students find them difficult to draw.
• Adding a flag to a rest (i.e., eighth to sixteenth) decreases a rest’s duration by half.
RHYTHMIC AND REST VALUES | 72
Although rare, you may run across a breve rest (Example 5). A breve rest is equivalent in length to two
whole rests. It looks like a filled-in box and appears on the second space from the top.
A tie is a curved line that connects two or more notes with the same pitch. Tied-to notes are not
rearticulated. In other words, ties are used to combine the durations of multiple notes. The tie connecting
the first two notes in Example 7 indicates that, when these half and quarter notes are played or sung, the
quarter note should not be articulated; in other words, the first note should be held for the duration of
three quarter notes instead of two. Another way to write this duration is as a dotted half note.
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RHYTHMIC AND REST VALUES | 74
You would be correct to think that a tie looks like a slur (see Other Aspects of Notation). The difference
between the two is that slurs connect notes of different pitches and indicate to play or sing the notes
tenuto, while ties connect notes of the same pitch to create a note with a longer duration.
Online Resources
• Note Durations (musictheory.net)
• Rhythmic Values (learnmusictheory.net)
• Note Values (Essentials of Harmony)
• Dots and Ties (YouTube)
• Dots and Ties (musictheory.net)
Assignments
1. Note and Rest Values (.pdf, .docx)
2. Dots and Ties (.pdf, .docx)
75 | RHYTHMIC AND REST VALUES
Media Attributions
Noteheads, Stem, Beam, Flag © Bryn Hughes is licensed under a CC BY-SA (Attribution ShareAlike) license
Rhythmic Values © OMT 1st Edition is licensed under a CC BY-SA (Attribution ShareAlike) license
A Double Whole Note © Chelsey Hamm is licensed under a CC BY-SA (Attribution ShareAlike) license
Rest Values © OMT 1st Edition is licensed under a CC BY-SA (Attribution ShareAlike) license
Breve Rest © Chelsey Hamm is licensed under a CC BY-SA (Attribution ShareAlike) license
Dotted Note Values © OMT 1st Edition is licensed under a CC BY-SA (Attribution ShareAlike) license
SIMPLE METER AND TIME SIGNATURES | 76
KEY TAKEAWAYS
CHAPTER PLAYLIST
In Rhythmic and Rest Values, we discussed the different rhythmic values of notes and rests. Musicians
organize rhythmic values into various meters, which are—broadly speaking—formed as the result of
recurrent patterns of accents in musical performances.
77 | SIMPLE METER AND TIME SIGNATURES
Terminology
Listen to the following performance by the contemporary musical group Postmodern Jukebox (
Example 1). They are performing a cover of the song “Wannabe” by the Spice Girls (originally released
in 1996). Beginning at 0:11, it is easy to tap or clap along to this recording. What you are tapping along to
is called a beat—a pulse in music that regularly recurs.
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Example 1 is in a simple meter: a meter in which the beat divides into two, and then further subdivides
into four. You can feel this yourself by tapping your beat twice as fast; you might also think of this as
dividing your beat into two smaller beats.
Different numbers of beats group into different meters. Duple meters contain beats that are grouped into
twos, while Triple meters contain beats that are grouped into threes, and Quadruple meters contain beats
that are grouped into fours.
Listen to Example 2, and tap along, feeling how the beats group into sets of two:
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Example 2. “The Stars and Stripes Forever” played by the Dallas Winds.
SIMPLE METER AND TIME SIGNATURES | 78
A simple triple meter contains three beats, each of which divides into two (and further subdivides into
four). Wolfgang Amadeus Mozart’s “Minuet in F major,” K.2 (1774) is in a simple triple meter. Listen to
Example 3, and tap along, feeling how the beats group into sets of three:
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Finally, a simple quadruple meter contains four beats, each of which divides into two (and further
subdivides into four). The song “Cake” (2017) by Flo Rida is in a simple quadruple meter. Listen to
Example 4 starting at 0:45 and tap along, feeling how the beats group into sets of four:
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As you can hear and feel (by tapping along), musical compositions in a wide variety of styles are governed
by meter. You might practice identifying the meters of some of your favorite songs or musical
compositions as simple duple, simple triple, or simple quadruple; listening carefully and tapping along is
the best way to do this. Note that simple quadruple meters feel similar to simple duple meters, since four
beats can be divided into two groups of two beats. It may not always be immediately apparent if a work is
in a simple duple or simple quadruple meter by listening alone.
Conducting Patterns
If you have ever sung in a choir or played an instrument in a band or orchestra, then you have likely had
experience with a conductor. Conductors have many jobs. One of these jobs is to provide conducting
patterns for the musicians in their choir, band, or orchestra. Conducting patterns serve two main purposes:
first, they establish a tempo, and second, they establish a meter.
The three most common conducting patterns outline duple, triple, and quadruple meters. Duple meters
79 | SIMPLE METER AND TIME SIGNATURES
are conducted with a downward/outward motion (step 1), followed by an upward motion (step 2), as seen
in Example 5. Triple meters are conducted with a downward motion (step 1), an outward motion (step
2), and an upward motion (step 3), as seen in Example 6. Quadruple meters are conducted with a
downward motion (step 1), an inward motion (step 2), an outward motion (step 3), and an upward motion
(step 4), as seen in Example 7:
Time Signatures
Example 7. A quadruple
conducting pattern. In Western musical notation, beat groupings (duple, triple,
quadruple, etc.) are shown using bar lines, which separate music into measures (also called bars), as
shown in Example 8. Each measure is equivalent to one beat grouping.
In simple meters, time signatures (also called meter signatures) express two things: 1) how many beats are
contained in each measure, and 2) the beat unit (which note value gets the beat). Time signatures are
expressed by two numbers, one above the other, placed after the clef (Example 9).
SIMPLE METER AND TIME SIGNATURES | 80
You may also see the bottom number 16 (the sixteenth note gets the beat) or 1 (the whole note gets the
beat) in simple meter time signatures.
There are two additional simple meter time signatures, which are 𝄴 (common time) and 𝄵 (cut time).
Common time is the equivalent of (simple quadruple—four beats per measure), while cut time is the
equivalent of (simple duple—two beats per measure).
Example 10 shows a rhythm in a time signature, which is a simple quadruple meter. This time
signature means that there are four beats per measure (the top 4) and that the quarter note gets the beat
(the bottom 4).
• In each measure, each quarter note gets a count, expressed with Arabic numerals—”1, 2, 3, 4.”
• When notes last longer than one beat (such as a half or whole note in this example), the count is held
over multiple beats. Beats that are not counted out loud are written in parentheses.
81 | SIMPLE METER AND TIME SIGNATURES
• When the beat in a simple meter is divided into two, the divisions are counted aloud with the syllable
“and,” which is usually notated with the plus sign (+). So, if the quarter note gets the beat, the
second eighth note in each beat would be counted as “and.”
• Further subdivisions at the sixteenth-note level are counted as “e” (pronounced as a long vowel, as in
the word “see”) and “a” (pronounced “uh”). At the thirty-second-note level, further subdivisions add
the syllable “ta” in between each of the previous syllables.
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Simple duple meters have only two beats and simple triple meters have only three, but the subdivisions
are counted the same way (Example 11).
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Example 11. Simple duple meters have two beats per measure; simple triple meters have three.
Like with notes that last for two or more beats, beats that are not articulated because of rests, ties, and
dots are also not counted out loud. These beats are usually written in parentheses, as shown in Example
12:
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Example 12. Beats that are not counted out loud are put in parentheses.
SIMPLE METER AND TIME SIGNATURES | 82
When an example begins with a pickup note (anacrusis), your count will not begin on “1,” as shown in
Example 13. An anacrusis is counted as the last note(s) of an imaginary measure. When a work begins
with an anacrusis, the last measure is usually shortened by the length of the anacrusis. This is
demonstrated in Example 13: the anacrusis is one quarter note in length, so the last measure is only
three beats long (i.e., it is missing one quarter note).
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Example 14. The same counted rhythm, as written in a meter with (a) a quarter-note beat, (b) a half-note
beat, (c) an eighth-note beat, and (d) a sixteenth-note beat.
however, sixteenth notes are grouped into sets of two, because one beat in a time signature is only
equivalent to two sixteenth notes.
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Example 16. Beaming makes rhythms easier to read by showing the beat unit.
Note that in vocal music, beaming is sometimes only used to connect notes sung on the same syllable. If
you are accustomed to music without beaming, you may need to pay special attention to beaming
conventions until you have mastered them. In the top staff of Example 16, the eighth notes are not
grouped with beams, making it difficult to see where beats 2 and 3 in the triple meter begin. The bottom
staff shows that if we re-notate the rhythm so that the notes that fall within the same beat are grouped
together with a beam, it makes the music much easier to read. Note that these two rhythms sound the
same, even though they are beamed differently. The ability to group events according to a hierarchy is an
important part of human perception, which is why beaming helps us visually parse notated musical
rhythms—the metrical structure provides a hierarchy that we show using notational tools like beaming.
Example 17 shows several different note values beamed together to show the beat unit. The first line
does not require beams because quarter notes are never beamed, but all subsequent lines do need beams
to clarify beats.
SIMPLE METER AND TIME SIGNATURES | 84
Example 17. Note values can be beamed together to show the beat unit. In
[latex]\mathit{^3_4}[/latex], eighth and sixteenth notes can be beamed together to show a
quarter-note beat.
The second measure of Example 18 shows that when notes are grouped together with beams, the stem
direction is determined by the note farthest from the middle line. On beat 1 of measure 2, this note is E5,
which is above the middle line, so down-stems are used. Beat 2 uses up-stems because the note farthest
from the middle line is the E4 below it.
85 | SIMPLE METER AND TIME SIGNATURES
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Example 20. Partial beams are used for some mixed rhythmic groupings.
Online Resources
• Simple Meter Tutorial (musictheory.net)
• Video Tutorial on Simple Meter, Beats, and Beaming (YouTube)
• Conducting Patterns (YouTube)
• Simple Meter Time Signatures (liveabout.com)
• Video Tutorial on Counting Simple Meters (One Minute Music Lessons)
• Simple Meter Counting (YouTube)
• Beaming Rules (Music Notes Now)
• Beaming Examples (Dr. Sebastian Anthony Birch)
Assignments
1. Notes, Rests, Bar Lines (.pdf, .docx)
87 | SIMPLE METER AND TIME SIGNATURES
Media Attributions
Measures and Bar Lines © Nathaniel Mitchell is licensed under a CC BY-SA (Attribution ShareAlike) license
Time Signature © Chelsey Hamm is licensed under a CC BY-SA (Attribution ShareAlike) license
Pickup Notes © Megan Lavengood is licensed under a CC BY-SA (Attribution ShareAlike) license
Notes Without Beams © Mark Gotham is licensed under a CC BY-SA (Attribution ShareAlike) license
Flag Direction © Chelsey Hamm is licensed under a CC BY-SA (Attribution ShareAlike) license
Multi-Measure Rest © Chelsey Hamm is licensed under a CC BY-SA (Attribution ShareAlike) license
KEY TAKEAWAYS
• Compound meters are meters in which the beat divides into three and then further subdivides into six.
• Duple meters have groupings of two beats, triple meters have groupings of three beats, and
quadruple meters have groupings of four beats. You can determine these groupings aurally by listening
carefully and tapping along to the beat.
• There are different conducting patterns for duple, triple, and quadruple meters; these are the same in both
compound and simple meters.
• Time signatures in compound meters express two things: how many divisions are contained in each
measure (the top number), and the division unit—which note gets the division (the bottom number).
• Rhythms in compound meters get different counts based upon their division unit. Beats that are not
articulated (because they contain more than one beat or because of ties, rests, or dots) receive parentheses
around their counts.
CHAPTER PLAYLIST
In the previous chapter, Simple Meter and Time Signatures, we explored rhythm and time signatures in
simple meters—meters in which the beat divides into two and further subdivides into four. In this chapter,
we will learn about compound meters—meters in which the beat divides into three and further subdivides
into six.
89 | COMPOUND METER AND TIME SIGNATURES
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• “End of the Road” (1992) by Boyz II Men is in a duple meter—the beats group into a two pattern.
Tap along to the beat and notice how it divides into three parts instead of two. If you further divide
the beat (by tapping twice as fast), you will feel that the beat subdivides into six parts.
• The second movement (Minuet) of Franz Joseph Haydn’s Sonata no. 42 in G Major (1784) is in a
compound triple meter. Listen for the groupings of three beats, each of which divides into three.
• Finally, a compound quadruple meter contains four beats, each of which divides into three. Listen to
“Exogenesis Symphony Part III” (2010) by the alternative rock band Muse. This is in a compound
quadruple meter; in other words, the beats are grouped into a four pattern.
In general, it is less common for music to be written in compound meters. Nonetheless, you must learn
how to read music and perform in these meters in order to master Western musical notation.
Review the conducting patterns for simple meters in the previous chapter, as they are the same for
compound meters.
Time Signatures
Measures in compound meters are equivalent to one beat grouping (duple, triple, or quadruple), just as
they are in simple meters. However, the two numbers in the time signature express different information
for compound meters. The top number of a time signature in compound meter expresses the number of
divisions in a measure, while the bottom number expresses the division unit—which note value is the
division. Example 1 shows a common compound-meter time signature.
COMPOUND METER AND TIME SIGNATURES | 90
In compound meters, the top number is always a multiple of three. Divide this number by three to find the
corresponding number of beats in simple meter: top numbers of 6, 9, and 12 correspond to duple, triple,
and quadruple meters respectively. In compound meters, the bottom number is usually one of the
following:
The following table summarizes the six categories of meters that we have covered so far:
[latex]\mathbf{^{12}_{\:8}} \quad
Compound Quadruple 4 3 \mathbf{^{12}_{\:4}} \quad
\mathbf{^{12}_{16}}[/latex]
• If 8 is the bottom number, the beat is a dotted quarter note (equivalent to three eighth notes).
• If 4 is the bottom number, the beat is a dotted half note (equivalent to three quarter notes).
• If 16 is the bottom number, the beat is a dotted eighth note (equivalent to three sixteenth notes).
In simple meters, the beat divides into two parts, the first accented and the second non-accented. In
compound meters, the beat divides into three parts, the first accented and the second and third
non-accented. The counts for compound meter are different from simple meter, as demonstrated in
Example 3, which is in .
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In this time signature, each measure has two beats (6÷3=2), indicating duple meter. Each dotted quarter
note (the beat) gets a count, which is expressed in Arabic numerals, like in simple meter. For notes that
are longer than one beat (such as the dotted half note in the fourth measure of Example 3), the beats
that are not counted out loud are still written in parentheses. Divisions are counted using the syllables “la”
(first division) and “li” (second division). As the final measure of Example 3 shows, further subdivisions
at the sixteenth-note level are counted as “ta,” with the “la” and “li” syllables on the eighth-note
subdivisions remaining consistent.
The third measure of Example 3 presents two of the most common compound-meter rhythms with
divisions, so make sure to review this measure carefully if you are not familiar with compound meter.
Please note that your instructor may employ a different counting system. Open Music Theory privileges
American traditional counting, but this is not the only method.
Example 4 gives examples of rhythms in (a) duple, (b) triple, and (c) quadruple meter. Just as with
COMPOUND METER AND TIME SIGNATURES | 92
simple meters, compound duple meters have only two beats, compound triple meters have three beats,
and compound quadruple meters have four beats.
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Example 4. (a) Compound duple has two beats, (b) compound triple has three beats, and (c) compound
quadruple has four beats.
Like in simple meters, beats that are not articulated because of rests and ties are written in parentheses
and not counted out loud, as shown in Example 5. However, because dotted notes receive the beat in
compound meters, dotted rhythms do not cause beats to be written in parentheses the way they do in
simple meters.
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Example 5. Beats that are not counted out loud are put in parentheses.
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Example 6. The same rhythm written with three different beat units: (a) dotted quarter, (b) dotted half, and (c)
dotted eighth.
93 | COMPOUND METER AND TIME SIGNATURES
Each of these rhythms sounds the same and is counted the same. They are also all considered compound
triple meters. The difference in each example is the bottom number—which note gets the division unit
(eighth, quarter, or sixteenth), which then determines the beat unit.
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When the music involves note values smaller than a quarter note, you should always clarify the meter with
beams, regardless of whether the time signature is simple or compound. Example 8 shows twelve
sixteenth notes beamed properly in two different meters. The first measure is in simple meter, so the notes
are grouped by beat into sets of four; in the second measure, the compound meter requires the notes to be
grouped by beat into sets of six.
The same rules of stemming and flagging that applied in simple meter still apply in compound meter. For
notes above the middle line, stems and flags point downward on the left side of the note, and for notes
below the middle line, stems and flags point upward on the right side of the note. Stems and flags on notes
on the middle line can point in either direction, depending on the surrounding notes.
Like in simple meters, partial beams can be used for mixed rhythmic groupings. If you aren’t yet familiar
with these conventions, pay special attention to how the notes in Example 9 are beamed.
COMPOUND METER AND TIME SIGNATURES | 94
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Example 9. The most common partially beamed variations with a division unit of the eighth note.
Online Resources
• Compound Meter Tutorial (musictheory.net) (compound meter starts about halfway through)
• Video Tutorial on Compound Meters and Beats (YouTube) (start at 1:49 for compound meter)
• Compound Meter Counting and Time Signatures (John Ellinger)
• Compound Meter Counting (YouTube)
• Compound Meter Rhythmic Practice (YouTube)
• Compound Meter Beaming (Michael Sult)
Assignments
1. Notes, Rests, Bar Lines (.pdf, .docx)
2. Re-beaming (.pdf, .musx)
95 | COMPOUND METER AND TIME SIGNATURES
Media Attributions
Compound Meter Time Signature © Chelsey Hamm is licensed under a CC BY-SA (Attribution ShareAlike) license
Simple and Compound Beaming © Mark Gotham is licensed under a CC BY-SA (Attribution ShareAlike) license
OTHER RHYTHMIC ESSENTIALS | 96
KEY TAKEAWAYS
• A triplet is a type of tuplet in which a beat (or subdivision, or multiple beats) in simple meter is divided
into three parts. Notate a triplet by writing a 3 above the triplet rhythm.
• A duplet is a tuplet in which a beat (or subdivision) in compound meter is divided into two parts. Notate a
duplet by writing a 2 above the duplet rhythm.
• Hypermeter refers to the patterns of accentuation at the metrical level.
• Syncopation happens when there are off-beat rhythmic accents, which can be created by ties, dots, rests,
and/or dynamics.
Borrowed Divisions
Typically, a meter is defined by the presence of a consistent beat division: division by two in simple meter,
and by three in compound meter. Sometimes composers will use a triple division of the beat in a simple
meter, or a duple division of the beat in a compound meter; these rhythms are called tuplets. Triplets are a
type of tuplet in which a beat (or subdivision, or multiple beats) in simple meter is divided into three
parts. Triplets are sometimes thought of as “borrowed” from compound meter, because the beat in
compound meter is usually divided into three parts. A triplet is notated by writing the number 3 on top of
the triplet rhythm.
Triplets may occur at both any metric level, as seen in Example 1. In Example 1a, the triplet is at the
beat level—this is the most common use of a triplet. Example 1b shows a sixteenth-note triplet, which
is equivalent to one eighth note (the division in this time signature). Triplets also may occur across
97 | OTHER RHYTHMIC ESSENTIALS
multiple beats, as seen in Example 1c. This triplet (notated with three quarter notes) takes up the space
of one half note.
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Example 1. Triplets at (a) the beat level, (b) the subdivision level, and (c) the multi-beat level.
A duplet is a tuplet in which a beat (or subdivision) in compound meter is divided into two parts. Duplets
are notated by writing the number 2 on top of the duplet rhythm, as seen in Example 2.
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Counting for tuplet rhythms is usually “borrowed” as well. For example, triplets are usually counted
1-la-li, while duplets are usually counted 1-and, 2-and, etc.
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Example 3. Eight measures of the “Scherzo” of Ludwig van Beethoven’s Symphony no. 9 (1824) with
hypermetric counts.
Syncopation
Syncopation happens when there are off-beat rhythmic accents (see Rhythm and Meter in Pop Music for
more information), and as Example 4 shows, it can be created by ties, dots, rests, and/or dynamics. In
measure 1, the ties create the syncopation, while in measure 2, the rhythm is syncopated because of both
a dot and a tie. The sense of syncopation in measure 3 is created by the rests at the beginning of each
beat. In measure 4, while there is an eighth note on each division, the off-beat accents (dynamics) produce
syncopation.
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Online Resources
• Triplets and Duplets (YouTube)
• Triplets (Hello Music Theory)
• Duplets (Hello Music Theory)
• Syncopation (Music Theory Academy)
• Syncopated Rhythm Practice (YouTube)
99 | OTHER RHYTHMIC ESSENTIALS
Assignments
1. Triplets and Duplets, Hypermeter, Syncopation (.pdf, .docx) Worksheet playlist
MAJOR SCALES, SCALE DEGREES, AND KEY SIGNATURES | 100
KEY TAKEAWAYS
• A major scale is an ordered collection of half and whole steps with the ascending succession
W‑W‑H‑W‑W‑W‑H.
• Major scales are named for their first note (which is also their last note), including any accidental that
applies to the note.
• Scale degrees are solmization syllables notated by Arabic numerals with carets above them. The scale
degrees are .
• Solfège solmization syllables are another method of naming notes in a major scale. The syllables are do,
re, mi, fa, sol, la, and ti.
• Each note of a major scale is also named with scale-degree names: tonic, supertonic, mediant,
subdominant, dominant, submediant, and leading tone.
• A key signature, consisting of either sharps or flats, appears at the beginning of a composition, after a clef
but before a time signature.
• The order of sharps in key signatures is F, C, G, D, A, E, B, while the order of flats is the opposite: B, E,
A, D, G, C, F. In sharp key signatures, the last sharp is a half step below the tonic (the first note of a
scale). In flat key signatures, the second-to-last flat is the tonic.
• The circle of fifths is a convenient visual for remembering major key signatures. All of the major key
signatures are placed on a circle in order of number of accidentals.
A scale is an ordered collection of half and whole steps (see Half and Whole Steps and Accidentals to
review).
101 | MAJOR SCALES, SCALE DEGREES, AND KEY SIGNATURES
Major Scales
A major scale is an ordered collection of half- (abbreviated H) and whole steps (abbreviated W) in the
following ascending succession: W-W-H-W-W-W-H. Listen to Example 1 to hear an ascending major
scale. Each whole step is labeled with a square bracket and “W,” and each half step is labeled with an
angled bracket and “H.”
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A major scale always starts and ends on notes of the same letter name, one octave apart, and this starting
and ending note determines the name of the scale. Therefore, Example 1 depicts a C major scale
because its first and last note is a C.
The name of a scale includes any accidental that applies to the first and last note. Example 2 shows a B♭
(B-flat) major scale—not a B major scale, which would use a different collection of pitches. Note that the
pattern of half and whole steps is the same in every major scale, as shown in Example 1 and Example
2.
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Below the scale degrees, Example 3 also shows another method of naming notes in a major scale: solfège
solmization syllables. Solfège (a system of solmization syllables) are another method of naming notes in a
major scale. The syllables do, re, mi, fa, sol, la, and ti can be applied to the first seven notes of any major
scale; these are analogous to the scale degrees , , , , , , and . The last note is do ( ) because it is
a repetition of the first note. Because do ( ) changes depending on what the first note of a major scale is,
this method of solfège is called movable do. This is in contrast to a fixed do solmization system, in which
do ( ) is always the pitch class C.
Each note of a major scale is also named with scale-degree names: tonic, supertonic, mediant,
subdominant, dominant, submediant, leading tone, and then tonic again. Example 4 shows how these
names align with the scale-degree number and solfège systems described above.
[latex]\hat{1}[/latex] do Tonic
[latex]\hat{2}[/latex] re Supertonic
[latex]\hat{3}[/latex] mi Mediant
[latex]\hat{4}[/latex] fa Subdominant
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Example 6 shows the notes and scale-degree names of the A♭ major scale in an order that shows how
the names of the scale degrees were derived. The curved lines above the staff show the intervallic distance
between each scale degree and the tonic.
• The word dominant is inherited from medieval music theory, and refers to the importance of the
fifth above the tonic in diatonic music.
• The word mediant means “middle,” and refers to the fact that the mediant is in the middle of the
tonic and dominant pitches.
• The Latin prefix super means “above,” so the supertonic is a second above the tonic. This is the only
“super-” interval.
• The Latin prefix sub means “below”; the subtonic, submediant, and subdominant are the inverted
versions (i.e., below the tonic) of the supertonic, mediant, and dominant respectively. (Note that in
this text, we prefer the term leading tone instead of “subtonic” when referring to the scale-degree
that is a half step below tonic, so named because it is often thought of as “leading” toward the tonic.)
Example 6. The notes of the A♭ major scale arranged to show the derivation of scale-degree names.
Key Signatures
A key signature, consisting of either sharps or flats, appears at the beginning of a composition, after a clef
MAJOR SCALES, SCALE DEGREES, AND KEY SIGNATURES | 104
but before a time signature. You can remember this order because it is alphabetical: clef, key, time.
Example 7 shows a key signature in between a bass clef and a time signature.
Key signatures collect the accidentals in a scale and place them at the beginning of a composition so that
it is easier to keep track of which notes have accidentals applied to them. In Example 7, there are flats
on the lines and spaces that indicate the notes B, E, and A (reading left to right). Therefore, every B, E,
and A in a composition with this key signature will be flat, regardless of octave. In Example 8 both of
these Bs will be flat because B♭ is in the key signature.
Flat key signatures have a specific order in which flats are added, and the same is true of the sharps in
sharp key signatures. These orders apply regardless of clef. Example 9 shows the order of sharps and
flats in all four clefs that we have learned:
Example 9. The order of sharps and flats in treble, bass, alto, and tenor clefs.
The order of sharps is always F, C, G, D, A, E, B. This can be remembered with the mnemonic “Fat Cats
105 | MAJOR SCALES, SCALE DEGREES, AND KEY SIGNATURES
Go Down Alleys (to) Eat Birds.” The sharps form a zig-zag pattern, alternating going down and up. In the
treble, bass, and alto clefs, this pattern “breaks” after D♯ and then resumes. In the tenor clef, there is no
break, but F♯ and G♯ appear in the lower octave instead of the upper octave.
The order of the flats is the opposite of the order of the sharps: B, E, A, D, G, C, F. This makes the order
of flats and sharps palindromes. The order of flats can be remembered with this mnemonic: “Birds Eat
And Dive Going Copiously Far.” The flats always make a perfect zig-zag pattern, alternating going up and
down, regardless of clef, as seen in Example 9.
There are easy ways to remember which key signature belongs to which major scale. In sharp key
signatures, the last sharp is a half step below the tonic (the first note of a scale). Example 10 shows
three sharp key signatures in different clefs. Here’s how to identify each with this method:
Example 10. Three different sharp key signatures in treble, bass, and alto
clefs.
1. The last sharp (in this case the only sharp), F♯, is a half step below the note G. Therefore, this is the
key signature of G major.
2. The last sharp, G♯, is a half step below the note A. Therefore, this is the key signature of A major.
3. The last sharp, E♯, is a half step below the note F♯. Therefore, this is the key signature of F♯ major.
In flat key signatures, the second-to-last flat is the tonic (the first note of a scale). Example 11 shows
three flat key signatures in different clefs. Here’s how to identify each with this method:
Example 11. Three different flat key signatures in bass, treble, and tenor
clefs.
1. The second-to-last flat in this key signature is B♭. Therefore, this is the key signature of B♭ major.
2. The second-to-last flat is A♭. Therefore, this is the key signature of A♭ major.
3. The second-to-last flat is G♭. Therefore, this is the key signature of G♭ major.
MAJOR SCALES, SCALE DEGREES, AND KEY SIGNATURES | 106
There are two key signatures that have no “tricks” that you will simply have to memorize. These are C
major, which has nothing in its key signature (no sharps or flats), and F major, which has one flat: B♭
(Example 12).
Example 13 shows the key signature for C major (no sharps or flats) followed by all of the sharp key
signatures in order in all four clefs: G, D, A, E, B, F♯, and C♯ major.
107 | MAJOR SCALES, SCALE DEGREES, AND KEY SIGNATURES
Example 13. The key signatures of C, G, D, A, E, B, F♯, and C♯ in all four clefs.
Example 14 first shows the key signature for C major (no sharps or flats), then all of the flat key
signatures in order in all four clefs: F, B♭, E♭, A♭, D♭, G♭, and C♭ major.
Example 14. The key signatures of C, F, B♭, E♭, A♭, D♭, G♭, and C♭ in all
four clefs.
Example 14 first shows the key signature of C major (with no sharps or flats), and then the key
signatures of F, B♭, E♭, A♭, D♭, G♭, and C♭ in all four clefs.
There is one other “trick” that might make memorization of the key signatures easier: C major is the key
signature with no sharps or flats, C♭ major is the key signature with every note flat (7 flats total), and C♯
major is the key signature with every note sharp (7 sharps total).
Major keys are said to be “real” if they correspond to one of the key signatures in Examples 13 or 14.
If a double sharp or double flat would be needed for a key signature, then that key signature would be
“imaginary.” Occasionally, you may encounter music in an imaginary key. Example 15 shows an F♭
major scale; an F♭ major key signature is imaginary because it would need a B𝄫.
MAJOR SCALES, SCALE DEGREES, AND KEY SIGNATURES | 108
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If you start at the top of the circle (12 o’clock), the key signature of C major appears, which has no sharps
or flats. If you continue clockwise, sharp key signatures appear, each subsequent key signature adding one
more sharp. If you continue counter-clockwise from C major, flat key signatures appear, each subsequent
key signature adding one more flat. The bottom three key signatures (at 7, 6, and 5 o’clock) in Example
16 are enharmonically equivalent. For example, the B major and C♭ major scales have different key
signatures—five sharps and seven flats, respectively—but they sound the same because the notes B and C♭
are enharmonically equivalent.
Online Resources
• Major Scales Tutorial (musictheory.net)
• Major Scales (Practical Chords and Harmonies)
• Major Scales (YouTube)
• Scale Degree Names (musictheoryfundamentals.com)
• Scale Degree Names (musictheory.net)
• Solfège History and Tutorial (Earlham College)
• Scale Degrees, Solfège, and Scale-degree Names (YouTube)
• Major Key Signatures (musictheory.net)
• Sharp Key Signatures (YouTube)
• Flat Key Signatures (YouTube)
• Major Key Signature Flashcards (music-theory-practice.com)
• The Circle of Fifths (YouTube)
• The Circle of Fifths (Classic FM)
Assignments
1. Writing Major Scales (.pdf, .mscx)
2. Key Signatures: Major (.pdf, .mscx)
Media Attributions
scale degree names derivation © Megan Lavengood is licensed under a CC BY-SA (Attribution ShareAlike) license
Key Signature © Chelsey Hamm is licensed under a CC BY-SA (Attribution ShareAlike) license
Key Signature Application © Chelsey Hamm is licensed under a CC BY-SA (Attribution ShareAlike) license
Order of Sharps and Flats © Chelsey Hamm is licensed under a CC BY-SA (Attribution ShareAlike) license
Sharp Key Signatures © Chelsey Hamm is licensed under a CC BY-SA (Attribution ShareAlike) license
All Flat Key Signatures © Chelsey Hamm is licensed under a CC BY-SA (Attribution ShareAlike) license
Circle of Fifths © Bryn Hughes is licensed under a CC BY-SA (Attribution ShareAlike) license
111 | MINOR SCALES, SCALE DEGREES, AND KEY SIGNATURES
KEY TAKEAWAYS
• A minor scale's third note is always a half step lower than the third note of the major scale with the same
name.
• There are three variations on the minor scale: natural minor, harmonic minor, and melodic minor.
• Each minor scale is an ordered collection of half and whole steps, as follows:
◦ Natural minor: W‑H‑W‑W‑H‑W‑W (ascending)
◦ Harmonic minor: W‑H‑W‑W‑H‑3Hs‑H (ascending)
◦ Melodic minor: W‑H‑W‑W‑W‑W‑H (ascending) and W‑W‑H‑W‑W‑H‑W (descending).
• While there are three minor scales, minor keys and minor key signatures are always identified as simply
“minor” (“A minor,” “D minor,” etc.) and are based on the natural minor scale.
• Scale degrees in minor are the same as those in major. There are a few new solfège syllables in minor
including me ( ), le ( ), and te ( ).
• Each note of a minor scale is also named with scale-degree names. These are largely the same in minor as
they are in major, except for the subtonic (te or ).
• Major and minor keys share two different relationships. The parallel relationship is when a major and
minor key share a tonic note, while the relative relationship is when a major and minor key share a key
signature.
• Each major key signature has a corresponding relative minor key signature whose tonic is three half steps
below the relative major’s tonic. The orders of sharps and flats in major and minor key signatures are the
same.
MINOR SCALES, SCALE DEGREES, AND KEY SIGNATURES | 112
CHAPTER PLAYLIST
The three different types of minor scales are useful categories primarily for instrumental performers.
Learning to play the different types of minor scales on instruments allows performers to become familiar
with the minor patterns most commonly used in Western classical music. Just like major scales, minor
scales are named for their first note (including the accidental, if any), which is also their last note.
Natural Minor
The natural minor form of the minor scale consists of an ordered collection of half and whole steps with
the ascending succession W‑H‑W‑W‑H‑W‑W, as shown in Example 1. Each whole step is labeled with
a square bracket and “W,” and each half step is labeled with an angled bracket and “H.” Listen carefully
to Example 1 and notice that the half and whole step pattern of the natural minor form of the minor
scale is the same ascending and descending.
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Harmonic Minor
The harmonic minor form of the minor scale consists of an ordered collection of half and whole steps in
the ascending succession W‑H‑W‑W‑H‑3Hs‑H (“3Hs” = 3 half steps), as shown in Example 2. The
curved bracket represents a distance of three half steps (or a whole step plus a half step). Listen carefully
to Example 2 and notice that the half and whole step pattern of the harmonic minor form of the minor
scale is the same ascending and descending.
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Melodic Minor
The melodic minor form of the minor scale consists of an ordered collection of half and whole steps in
the ascending succession W‑H‑W‑W‑W‑W‑H and the descending succession W‑W‑H‑W‑W‑H‑W, as
shown in Example 3. When you listen to Example 3, notice that the melodic minor form has different
ascending and descending patterns: the ascending pattern is unique to the melodic minor form, while the
descending pattern is the same as the natural form.
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Example 4 shows four versions of a C scale—major, natural minor, harmonic minor, and melodic
minor—with the scale degrees indicated (see below). Listen to this example carefully, noting the aural
differences between the scales.
MINOR SCALES, SCALE DEGREES, AND KEY SIGNATURES | 114
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Example 4. Major, natural minor, harmonic minor, and melodic minor scales, all starting on C.
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Example 5. Scale degrees and solfege for all three types of minor scales: a) natural minor; b) harmonic
minor, and c) melodic minor.
As noted above, the melodic minor scale has different ascending and descending patterns (Example
5c). In the ascending form of melodic minor, mi ( ) becomes me ( ), but the rest of the solfège
syllables are the same as in major. In the descending form of melodic minor, mi ( ) becomes me ( ), la
( ) becomes le ( ), and ti ( ) becomes te ( ), like natural minor. Therefore, the ascending version of
115 | MINOR SCALES, SCALE DEGREES, AND KEY SIGNATURES
melodic minor has the sense of closure associated with the major scale, while the descending version
follows the pattern of the natural minor scale.
As in major scales, each note of a minor scale is also named with scale-degree names. Example 6 shows
the scale-degree names used in minor scales alongside the corresponding scale-degree numbers and
solfège syllables.
[latex]\hat1[/latex] do Tonic
[latex]\hat2[/latex] re Supertonic
[latex]\downarrow\hat3[/latex] me Mediant
[latex]\hat4[/latex] fa Subdominant
[latex]\hat5[/latex] sol Dominant
[latex]\downarrow\hat6[/latex] le Submediant
[latex]\downarrow\hat7[/latex] te Subtonic
As the chapter on major scales discussed, the Latin prefix sub means “under”—the submediant is a third
below the tonic, and the subdominant is a fifth below. To this, we can now add one new scale degree
name: the subtonic, for lowered . The supertonic is one whole step above the tonic, while the subtonic
is one whole step below the tonic.
Example 7 shows a B melodic minor scale, ascending and descending, with scale-degree names labeled.
As you can see, the melodic minor scale utilizes the leading tone in its ascending form, and the subtonic
in its descending form.
MINOR SCALES, SCALE DEGREES, AND KEY SIGNATURES | 116
Example 8 is a helpful visual for learning about the three forms of the minor scale. The order reflects
the number of lowered scale degrees (compared to a major scale starting on the same note).
Harmonic [latex]\downarrow\hat{3},\downarrow\hat{6}[/latex]
As you can see, natural minor scales have three lowered scale degrees, harmonic minor scales have two,
and melodic minor scales have one in the ascending version. Remember, the descending version of
melodic minor is the same as natural minor, with three lowered scale degrees.
The relative relationship is when a major key shares a key signature with a minor key. For example, C
117 | MINOR SCALES, SCALE DEGREES, AND KEY SIGNATURES
major does not have any sharps or flats in its key signature, and neither does A minor. We use the terms
“relative minor” and “relative major” to describe this relationship: C major is the relative major of A
minor, and A minor is the relative minor of C major. The tonic of a minor key is always three half steps
below the tonic of its relative major: if you count three half steps below C, you will get A (C–B, B–B♭,
B♭–A). Likewise, to find the relative major key of a given minor key, count three half steps up.
When counting half steps to determine the relative major or minor of a given key, keep in mind that
relative keys have the same key signature. A sharp key cannot share a relative relationship with a flat key
(and vice versa), which means you need to select the correct enharmonic key. For example, although the
pitch three half steps down from D♭ could be written as either B♭ or A♯, only B♭ minor (five flats) is the
relative minor of D♭ major (also five flats), because A♯ minor has a different key signature (seven sharps).
As previously mentioned, if you know the major key associated with a given key signature, you can go
down three half steps from the tonic to find the minor key for that key signature. Example 10 shows all
of the sharp minor key signatures in order, and Example 11 depicts all of the flat minor key signatures
in order.
MINOR SCALES, SCALE DEGREES, AND KEY SIGNATURES | 118
Example 10. The key signatures of A, E, B, F♯, C♯, The circle of fifths can be used as a visual for
G♯, D♯, and A♯ minor. minor key signatures as well as major key
signatures. Each key signature is placed
alongside the corresponding major and minor
keys. Example 12 shows the circle of fifths
for minor and major keys:
Example 12. The circle of fifths for major and minor keys.
In Example 12, major keys are in blue uppercase letters around the outside of the circle, while minor
keys are in red lowercase letters around the inside of the circle. Once again, key signatures appear in order
of their number of accidentals. If you start at the top of the circle (12 o’clock) and continue clockwise,
key signatures add sharps, while if you start at the top of the circle and continue counterclockwise, they
add flats. The bottom three key signatures can be written in sharps or flats, and so are enharmonic.
Major or Minor?
When you are given a piece of music to play or sing, the notation will often include a key signature, which
will help you to narrow down the key of the work to two options: a major key and its relative minor.1 But
1. The vast majority of Western classical works from 1700–1900 are in either major or minor. But outside of this time period and cultural
MINOR SCALES, SCALE DEGREES, AND KEY SIGNATURES | 120
how can you tell which one the work is in? One thing that can help is to listen to and look at the first and
last notes of the work—pieces often start and end on the tonic, so this can help you determine whether a
work is major or minor.
Example 13 shows the first three measures of a song by Louise Reichardt (1779–1826) titled “Durch
die bunten Rosenhecken” (“Through the colorful rose hedges”):
Example 13. The first three measures of “Durch die bunten Rosenhecken.”
This example shows a vocal line (the top staff) and a piano part (the grand staff underneath the vocal
part). The key signature contains four flats, which means we can narrow down the key of this work to A♭
major or F minor. In Example 13, the first note that is circled in the highest part (the vocalist) is is F, as
is the first note that is circled in the lowest part (the lowest note played by the piano). Therefore, it is
likely that the key of this work is F minor instead of A♭ major.
Online Resources
• Minor Scales Tutorial (musictheory.net)
• Minor Scales (Practical Chords and Harmonies)
• Minor Scales (YouTube)
• Scale Degree Names in Major and Minor (musictheory.net)
• Solfège History and Tutorial (Earlham College)
• Minor and Major Key Signatures (musictheory.net)
context, you should also consider if the piece may be in a diatonic mode. This would expand the number of possible tonics indicated by a key
signature.
121 | MINOR SCALES, SCALE DEGREES, AND KEY SIGNATURES
Assignments
1. Writing Minor Scales (.pdf, .mscx)
2. Key Signatures: Minor (.pdf, .mscx)
Media Attributions
Scale-degree Names Minor © Chelsey Hamm is licensed under a CC BY-SA (Attribution ShareAlike) license
Sharps and Flats in Different Clefs © Chelsey Hamm is licensed under a CC BY-SA (Attribution ShareAlike) license
Minor Circle of Fifths © Wiki Commons adapted by Bryn Hughes is licensed under a CC BY-SA (Attribution ShareAlike) license
Durch die bunten Rosenhecken © Louise Reichardt is licensed under a CC BY-NC-SA (Attribution NonCommercial ShareAlike)
license
MINOR SCALES, SCALE DEGREES, AND KEY SIGNATURES | 122
Footnotes
123 | INTRODUCTION TO DIATONIC MODES AND THE CHROMATIC "SCALE"
KEY TAKEAWAYS
• The diatonic modes are scale-like collections of notes with patterns of half and whole steps.
• Modes can be described within a continuum of modal brightness: brighter modes sound more like a major
scale, while darker modes sound more like a minor scale.
• The three bright modes, which contain mi ( ) instead of me ( ), are lydian, ionian, and mixolydian.
• The four dark modes, which contain me ( ) instead of mi ( ) are dorian, aeolian, phrygian, and locrian.
• A chromatic "scale", also known as the chromatic collection, consists of twelve adjacent half steps.
Chromatic scales are often (but not always) written with sharps while ascending and with flats while
descending.
This book covers modes from many different angles. For more information on modes, check Chord-Scale Theory
(jazz), Modal Schemas (pop), Diatonic Modes (20th/21st-c.), and Analyzing with Modes, Scales, and Collections
(20th-/21st-c.).
Example 1 ranks the seven diatonic modes in terms of relative brightness and darkness. It also
summarizes which scale degrees are altered in relation to the ionian (major) mode, which will be
explained in more detail below.
The brightest mode is the lydian mode. The ascending pattern of half and whole steps in this mode is
W‑W‑W‑H‑W‑W‑H. Another way to think of this mode is as a major scale but with raised , whose
solfège is fi . Example 2 shows C lydian with solfège.
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The next brightest mode is the ionian mode. This mode consists of an ascending pattern of half and whole
steps that is the same as a major scale: W-W-H-W-W-W-H. Example 3 shows C ionian with solfège.
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The next brightest mode is the mixolydian mode, with W-W-H-W-W-H-W as the ascending pattern of
half and whole steps. Another way to think of this mode is as a major scale but with lowered .
Example 4 shows C mixolydian with solfège.
125 | INTRODUCTION TO DIATONIC MODES AND THE CHROMATIC "SCALE"
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The lydian, ionian, and mixolydian modes are usually considered the brighter (or more major) modes
because they contain mi instead of me (unaltered instead of lowered ). The dorian, aeolian, phrygian,
and locrian modes are usually considered darker (or more minor) modes because they contain me instead
of mi ( instead of unaltered ).
The dorian mode is the first darker (or more minor) mode. This mode’s ascending pattern of half and
whole steps is W-H-W-W-W-H-W. Another way to think of this mode is as a minor scale but with raised
(la). Example 5 shows C dorian with solfège:
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The next darkest mode is the aeolian mode. The aeolian mode’s ascending pattern of half and whole steps
is the same as a natural minor scale: W-H-W-W-H-W-W. Example 6 shows C aeolian with solfège.
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The next darkest mode is the phrygian mode. The ascending pattern of half and whole steps in the
phrygian mode is H-W-W-W-H-W-W. This is the same pattern as a natural minor scale, but with
lowered , whose solfège is ra. Example 7 shows C phrygian with solfège:
INTRODUCTION TO DIATONIC MODES AND THE CHROMATIC "SCALE" | 126
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The darkest mode is the locrian mode. The locrian mode’s ascending pattern of half and whole steps is
H-W-W-H-W-W-W. This is the same pattern as a natural minor scale, but with lowered (ra) and
lowered , whose solfège is se. Example 8 shows C locrian with solfège:
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Each mode can start on any note. For example, one could build a mixolydian collection starting on D♭, an
aeolian collection starting on G♭, or a lydian collection starting on F♯. When writing modal collections, be
sure to think about your accidentals carefully.
Example 9 shows all of the different modes with scale degrees and solfège, ordered from brightest to
darkest (lydian to locrian):
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Example 9. The modes from brightest to darkest, starting on C, with scale degrees.
Chromatic “Scales”
A chromatic "scale" consists of twelve adjacent half steps. Because it lacks a pattern of half and whole
steps, music theorists generally refer to it as a chromatic collection, which is why “scale” is in scare quotes
here. Example 10 shows two chromatic collections, the first starting on A and the second starting on E♭:
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As you can see in Example 10, chromatic collections are often (but not always) written with sharps
while ascending and with flats while descending; the first line of this example demonstrates this. A
chromatic collection that begins with a flat note (such as the second line in Example 10) is usually
written with naturals while ascending and with flats while descending. When you write chromatic
collections, don’t forget that two pairs of white keys on the keyboard are half steps: B/C and E/F.
Online Resources
• Overview of the Modes and History (Classic FM)
• Modes from a Relative Conception (Learning Music)
• Modes Tutorial and Quiz (musictheoryfundamentals.com)
• Modes with Examples (fretello.com)
• Modes Identification Quiz (music-theory-practice.com)
• Chromatic Scales (Hello Music Theory)
Assignments
1. Writing Modes Assignment #1 (.pdf, .mscx)
2. Writing Modes Assignment #2 (.pdf, .mscx)
3. Writing Chromatic “Scales” Assignment #1 (.pdf, .mscx)
4. Writing Chromatic “Scales” Assignment #2 (.pdf, .mscx)
Media Attributions
Brightness and Darkness of Modes © Nathaniel Mitchell is licensed under a CC BY-SA (Attribution ShareAlike) license
129 | THE BASICS OF SIGHT-SINGING AND DICTATION
KEY TAKEAWAYS
• Sight-singing means to sing at sight, having never before heard or seen what you are singing.
Sight-counting is counting a rhythm you have never before heard or seen.
• Always practice sight-singing with the rhythmic and melodic solmization systems your instructor taught
you. The more you practice, the easier solmization will be!
• Practice sight-singing and sight-counting while conducting when possible. If you’re having trouble,
practice at a slower tempo.
• Dictation involves translating rhythms, melodies, chord progressions, or other aural sounds that you’ve
never before seen, played, or sung into staff notation.
• Strategies for rhythmic dictation include dot grids, slash notation, and protonotation. Conducting and/or
tapping while taking dictation can also help.
• Strategies for melodic dictation include contour lines, writing down solmization syllables, and
protonotation. Conducting and/or tapping while taking dictation can also help.
Regardless of whether you are a vocalist or instrumentalist (or both!), you will likely study sight-singing.
Sight-singing means to sing at sight, having never before heard or seen what you are singing. A related
skill is sight-counting, which is counting a rhythm you have never before heard or seen. There are many
strategies that will help you learn how to sight-sing and sight-count.
skills sitting down. When you sight-sing or sight-count, it is important to make sure you have good
posture. You will want to sit up straight, at the edge of your chair, with your thighs parallel to the ground.
Breathe from your diaphragm (not your chest!) and articulate your singing and counting syllables as
clearly as possible.
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When sight-counting, it is helpful to use a rhythmic solmization system. Open Music Theory prioritizes
American standard counting, but there are many other great counting systems available. Here are some
other strategies for sight-counting:
• Do not write your counts on your music. This will save you time and will help you to learn to count
at sight.
• When you first look at a rhythm to sight-count, note the time signature. How many beats are in each
measure, and what note value gets the beat?
• Conduct while you sight-count. This will help you to keep a steady tempo and to remember which
beat you are counting.
• If you are not conducting, try tapping a steady beat while sight-counting. This will help you to keep a
steady tempo.
• If you are still having trouble keeping a steady tempo, practice with a metronome app.
• If you’re having trouble with a rhythm or with solmization syllables, practice at a slower tempo or
break the rhythm down into smaller chunks.
When sight-singing, it is extremely helpful to use a melodic solmization system, such as scale degrees or
solfège (see both Major Scales, Scale Degrees, and Key Signatures and Minor Scales, Scale Degrees, and
Key Signatures.) Both systems are valid; what is important is that you practice consistently, as solmization
will become easier the more you practice it. Here are some other strategies for sight-singing:
• Do not write your solfège or scale degrees on your music. This will save you time and will help you
to learn to sing at sight.
• When you first look at a melody to sight-sing, note the clef, time signature, and key signature. What
131 | THE BASICS OF SIGHT-SINGING AND DICTATION
is the clef? How many beats are in each measure, and what note value gets the beat? What key is the
work in?
• Notice the contour of the melody you are about to sight-sing. Singing the correct direction (up,
down, or the same note) is half the battle!
• Conduct while you sight-sing. This will help you to keep a steady tempo and to remember which
beat your singing.
• If you are not conducting, try tapping a steady beat while sight-singing. This will help you to keep a
steady tempo.
• If you are having trouble sight-singing with a steady tempo, practice with a metronome app.
• If you’re having trouble with a melody, practice at a slower tempo or break the melody down into
smaller chunks.
• If you’re having trouble with rhythm, take the pitches out and just practice the rhythm.
• If you’re having trouble with pitches, take the rhythm out and sing the pitches on a singular rhythm.
Learning to sight-sing and to sight-count is rewarding, but it takes many years to master these skills. This
is why many undergraduate music curricula have four full classes dedicated to these skills (often called
“Aural Skills”). Remember to be patient with yourself and to meet with your instructor for help early on
if you are struggling.
Rhythmic Dictation
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Listen to Example 2, which is a recording of a rhythm for dictation. One strategy for taking rhythmic
THE BASICS OF SIGHT-SINGING AND DICTATION | 132
dictation is to construct a dot grid. A dot grid is a series of dots that represent beats and measures.
Example 3 shows a dot grid for four measures in common time:
Once a dot grid is constructed, you can place slashes to indicate where you hear articulations, dashes
(horizontal lines) to indicate sustained notes, and circles to indicate rests. This is called
slash notation. Next, you will want to translate your slash notation to staff notation. Example 4 shows
slash notation, followed by staff notation.
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It is also helpful to conduct or tap while taking rhythmic dictation. Tapping allows you to hear if a note
happens on a beat or not—or if there is a rest on a beat. Conducting can help you to identify which beats
have articulations, sustains, and rests.
Melodic Dictation
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Listen to Example 4, which adds pitches to the rhythmic dictation from Example 2 above. The first
step for taking melodic dictation is to write down the melody’s rhythm (see the previous section on
rhythmic dictation), then add pitch to your rhythm. There are several strategies for this. The first strategy
is to use contour lines, which indicate whether a note moves up, down, or stays the same (Example 5).
133 | THE BASICS OF SIGHT-SINGING AND DICTATION
You can also use stars (or another symbol) to indicate where you hear a leap. Another strategy is to write
down the syllables you hear using your melodic solmization system (Example 6).
The next step is to translate your contour lines and solmization syllables into staff notation (Example 7).
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It is also helpful to conduct or tap while taking melodic dictation, for the same reasons that it is helpful for
rhythmic dictation.
Protonotation
Protonotation is a basic system of musical notation that is drawn from the book Manual for Ear Training
and Sight Singing by Gary Karpinski (2007, 1–28). This system can also be used to take rhythmic and
melodic dictation, and many find it very helpful. Example 8 shows a melody in protonotation and in
staff notation:
THE BASICS OF SIGHT-SINGING AND DICTATION | 134
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Protonotation does not contain information about beat duration or key. It only represents basic pitch and
rhythmic elements (discussed further below).
Elements of Protonotation
Examples 9–11 shows blank protonotation grids for duple, triple, and quadruple meters:
In duple and triple meter, downbeats are represented by longer vertical lines, and non-accented beats are
represented by shorter vertical lines. In quadruple meter, the third beat of each bar is of medium accent,
so it is represented by a medium-length line.
In protonotation, notes are notated by using horizontal lines for rhythmic duration and moveable-do
solfège syllables (although scale degrees can be substituted). Arrows are used to denote the direction of
any melodic leaps. Rests are represented by the absence of a horizontal line in a given beat or part of a
beat. It can also be helpful to use an X instead of a blank, so you can distinguish a rest you are sure about
from a part of the protonotation you haven’t yet completed.
135 | THE BASICS OF SIGHT-SINGING AND DICTATION
If the clef, tonic pitch, and/or time signature of the melody have not been specified, the same
protonotation can be realized into staff notation in several different ways. Example 12 shows a melody
in protonotation that is realized in two different clefs, compound meters, and key signatures. The first
realization is in bass clef in the key of G major, and the bottom number of its time signature is 8. The
second realization is in alto clef in the key of B♭ major, and the bottom number of its time signature is 4.
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Example 13 shows a melody in protonotation that is realized in three different clefs, compound meters,
and key signatures. The first realization is in treble clef in the key of E♭ major, and the bottom number of
its time signature is 4. The second realization is in tenor clef in the key of C♯ major, and the bottom
number of its time signature is 8. The third realization is in bass clef in the key of F major, and the
bottom number of its time signature is 1.
THE BASICS OF SIGHT-SINGING AND DICTATION | 136
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Like sight-singing and sight-counting, rhythmic and melodic dictation take many years to master. If you
are an undergraduate music major, you will likely practice these skills throughout many classes, over
many years. Again, be patient with yourself and meet with your instructor for help early on if you are
struggling.
Further Reading
• Karpinsky, Gary. 2007. Manual for Ear Training and Sight Singing. New York: Norton.
Online Resources
• Melodies for Sight Singing with Recordings (How to Sing Smarter)
• Melodies for Sight Singing (Chorale Tech)
• Melodies for Sight Singing (Ronnie Sanders)
• Rhythms for Sight Counting (Blue Sky Music)
• Sight Singing by Level (YouTube)
• Melodic and Rhythmic Dictations (James Woodward, Youtube)
• Rhythmic and Melodic Dictations (freemusicdictations.net)
• Rhythmic Dictation (teoria)
• Rhythmic Dictation (Tone Savvy)
• Melodic Dictation (teoria)
• Melodic Dictation (Tone Savvy)
Assignments
1. Solfège and Scale Degree Identification (.pdf, .docx)
2. Solfège and Scale Degree Identification in a Melodic Context (.pdf, .docx) Worksheet playlist
Media Attributions
Dot Grid © Chelsey Hamm is licensed under a CC BY-SA (Attribution ShareAlike) license
Contour Lines © Chelsey Hamm is licensed under a CC BY-SA (Attribution ShareAlike) license
Slash Notation and Solfège © Chelsey Hamm is licensed under a CC BY-SA (Attribution ShareAlike) license
INTERVALS | 138
INTERVALS
Chelsey Hamm and Bryn Hughes
KEY TAKEAWAYS
• Two pitches form an interval, which is usually defined as the distance between two notes.
• Melodic intervals are played or sung separately, while harmonic intervals are played or sung together.
• Every interval has a size and a quality. An interval’s size is the distance between two notes on a staff—i.e.,
it is a measurement of the number of lines and spaces between two notes.
• Size is considered generic. In other words, it doesn’t matter what accidentals you apply to the notes, the
size is always the same.
• A quality makes an interval specific when used in combination with a size. Unisons, fourths, fifths, and
octaves form perfect intervals, while seconds, thirds, sixths, and sevenths form major and minor intervals.
• Any interval can be augmented or diminished. Augmented intervals are one half step larger than a perfect
or major interval. Diminished intervals are one half step smaller than a perfect or minor interval.
• Intervals between a unison and an octave are called simple intervals. Any interval larger than an octave is a
compound interval.
• Intervallic inversion occurs when two notes are “flipped.” When you need to identify an interval where the
lower note is the tonic of a difficult or imaginary major key, inverting the interval can help.
• Consonant intervals are intervals that are considered more stable, as if they do not need to resolve, while
dissonant intervals are considered less stable, as if they do need to resolve.
Two pitches form an interval, which is usually defined as the distance between two notes. But what does
an interval measure? Physical distance on the staff? Difference in wavelength between pitches? Something
else? Music theorists have had contradictory ideas on the definition of “interval,” and these definitions
have varied greatly with milieu. This chapter will focus on intervals as a measure of two things: written
distance between two notes on a staff, and an aural “distance” (or space) between two sounding pitches. It
139 | INTERVALS
will be important to keep in mind at all times that intervals are both written and aural, so that you are
thinking of them musically (and not simply as an abstract concept that you are writing and reading).
Size
Intervals can be melodic (played or sung separately) or harmonic (played or sung together). In Example
1, the notes in the first measure sound together (harmonically), while in the second measure, they sound
separately (melodically).
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Every interval has a size and a quality. A size is the distance between two notes on a staff—i.e., it is a
measurement of the number of lines and spaces between two notes. Sizes are written with Arabic
numbers (2, 3, 4, etc.); however, they are spoken with ordinal numbers (second, third, fourth, fifth, sixth,
seventh, etc.). Always begin with “one” when counting size. Example 2 shows the eight sizes within a C
major scale. As you can see, the sizes are labeled with ordinal numbers, with two exceptions: the interval
between two notes on the same line or space is called a “unison,” not a “first,” and notes eight lines and
spaces apart are said to be an “octave,” not an “eighth.”
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Size is considered generic. In other words, it doesn’t matter what accidentals you apply to the notes—the
size is always the same. Example 3 demonstrates this: despite the different accidentals, each of these
intervals is a third (or “generic third”) because there are three lines/spaces between the two notes.
INTERVALS | 140
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• Augmented (designated as A or +)
• Major (ma)
• Perfect (P)
• Minor (mi)
• Diminished (d or o)
The quality comes before the size when saying or writing an interval. For example, an interval could be
described as a “perfect fourth” (abbreviated P4), a “minor third” (abbreviated mi3), or an “augmented
second” (abbreviated +2 or A2).
For now, we will only discuss three qualities: perfect, major, and minor. Different theorists (in different
locations and time periods) have applied these qualities to different sizes of intervals, depending
on milieu. Example 4 shows how these qualities are applied today. The left column shows that seconds,
thirds, sixths, and sevenths are major and/or minor, while the right column shows that unisons, fourths,
fifths, and octaves are perfect intervals.
141 | INTERVALS
Major/Minor Perfect
2nds Unisons
3rds 4ths
6ths 5ths
7ths Octaves
To identify an interval (size and quality) using this method, complete the following steps:
1. Determine size (by counting lines and spaces between the notes).
2. Imagine that the bottom note of the interval is the tonic of a major scale.
3. Determine whether or not the top note is in the bottom note’s major scale (imagined in step 2) and
assign the corresponding quality.
4. If it is: the interval is perfect (if it is a unison, fourth, fifth, or octave) or major (if it is a second,
third, sixth, or seventh). If it is not: the interval could be minor (a lowered second, third, sixth, or
seventh), or it could be augmented or diminished, which will be covered in the next section.
Example 5 shows two intervals. Try identifying their size and quality:
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In Example 5a, the notes are F and C in treble clef. Here is how you would use the “Major Scale”
method to identify the interval:
Let’s now use this process for Example 5b. The notes in this example are E♭ and C♭ in treble clef. Let’s
go through the same process again:
• Augmented (designated as A or +)
• Major (ma)
• Perfect (P)
• Minor (mi)
• Diminished (d or o)
Augmented intervals are one half step larger than a perfect or major interval. The first measure of
Example 6a first shows the notes F and C, which form a perfect fifth (because C is in the key of F
major). The top note of this interval is then raised by a half step to a C♯, making the interval one half step
larger. The interval from F to C♯ is therefore an augmented fifth (abbreviated as either A5 or +5). In the
second measure of Example 6a, the first interval is a major sixth between G and E (because E is in the
key of G major). The top note is then raised by a half step to E♯, making the interval into an augmented
sixth (A6 or +6). The bottom note of an interval can be altered as well. In the first measure of Example
6b, the perfect fifth F–C is turned into an augmented fifth by lowering the F by a half step to F♭, which
makes the interval one half step larger than a perfect fifth. In the second measure of Example 6b, the
major sixth G–E is turned into an augmented sixth by lowering the G by a half step to G♭.
143 | INTERVALS
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Example 6. Augmented intervals created by (a) raising the top note and (b) lowering the bottom note.
Diminished intervals are one half step smaller than a perfect or minor interval. In the first measure of
Example 7a, the perfect fifth F–C is made a half step smaller by lowering the top note to C♭, forming a
diminished fifth (also called a tritone, usually abbreviated as d5 or o5). In the second measure, G–E form
a major sixth, which becomes a minor sixth when the top note is lowered by a half step. The minor sixth
then becomes a diminished sixth when the top note is lowered again to E𝄫. Note that contracting an
interval by one half step turns perfect and minor intervals into diminished intervals, but it turns major
intervals into minor intervals. Again, it is not always the top note that is altered. In Example 7b, the
perfect fifth F–C becomes diminished when the bottom note moves up a half step to F♯. In the second
measure, the major sixth G–E first becomes a minor sixth when the G moves up a half step to G♯. This
minor interval then becomes diminished when the G♯ moves to G𝄪 in the third measure, further
contracting the interval by another half step.
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Example 7. Diminished intervals created by (a) lowering the top note and (b) raising the bottom note.
Example 8 again demonstrates and summarizes the relative size of intervals. Each bracket in this
example is one half step larger or smaller than the brackets to its right and left. In Example 8a, the
interval quality is changed by altering the top note with accidentals. As you can see, intervals one half
step larger than perfect or major intervals are augmented; intervals one half step smaller than major
intervals are minor; and intervals one half step smaller than perfect or minor intervals are diminished.
Example 8b outlines the same qualities as 10a, only with the bottom note altered by accidentals instead
of the top note.
INTERVALS | 144
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Example 8. Relative size of intervals with (a) the top note altered and (b) the bottom note altered.
Compound Intervals
The intervals discussed above, from unison to octave, are simple intervals, which have a size of an octave
or smaller. Any interval larger than an octave is a compound interval. In Example 9, the notes A and C
first form a minor third (a simple interval). When the C is brought up an octave in the second pair of
notes, the interval becomes a minor tenth (a compound interval). Quality remains the same for simple
intervals and their corresponding compound intervals.
These are the most common compound intervals that you will encounter in your music studies.
Remember that octaves, 11ths, and 12ths are perfect like their simple counterparts, while 9ths, 10ths, and
13ths are major/minor.
Intervallic Inversion
Intervallic inversion occurs when two notes are “flipped.” In Example 10, for instance, an interval with
C on the bottom and E on the top is inverted by moving the C up by an octave. You might be wondering:
why is this important? There are two reasons: first, because inverted pairs of notes share many interesting
properties (which are sometimes exploited by composers), and second, because inverting a pair of notes
can help you to identify or write an interval when you do not want to work from the given bottom note.
With that information, you can now calculate the inversions of intervals without even looking at staff
paper. For example: a major seventh inverts to a minor second, an augmented sixth inverts to a
diminished third, and a perfect fourth inverts to a perfect fifth.
INTERVALS | 146
Now that we know the inversion of the first interval is a d5, we can calculate the original interval. A
diminished fifth inverts to an augmented fourth (because diminished intervals invert to augmented
intervals and because five plus four equals nine). Thus, the first interval is an augmented fourth (A4).
ma6, mi6
ma7, mi7
P4
The implications of consonant and dissonant intervals are discussed further in the Introduction to Species
Counterpoint.
This method requires you to memorize all of the intervals found between the white keys on the piano (or
simply all of the intervals in the key of C major). Once you’ve learned these, any interval can be
calculated as an alteration of a white-key interval. For example, we can figure out the interval for the
notes D and F♯ if we know that the interval D to F is a minor third and this interval has been made one
semitone larger: a major third.
Conveniently, there is a lot of repetition of interval size and quality among white-key intervals,
summarized in Example 14. Memorize the most frequent type and the exceptions.
• All of the seconds are major except for two: E–F and B–C.
• All of the thirds are minor except for three: C–E, F–A, and G–B, which are major.
• All of the fourths are perfect except for one: F–B, which is an augmented fourth (a tritone).
INTERVALS | 148
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Believe it or not, you now know all of the white-key intervals, as long as you understand the concept of
intervallic inversion, which was previously explained. For example, if you know that all seconds are major
except for E–F and B–C (which are minor), then you know that all sevenths are minor except for F–E and
C–B (which are major), as seen in Example 15.
Once you’ve mastered the white-key intervals, you can figure out any other interval by taking into account
any accidentals applied to the notes.
number
of unis. 2nd 3rd 4th 5th 6th 7th oct.
semitones
0 P1 d2
1 A1 mi2
2 ma2 d3
3 A2 mi3
4 ma3 d4
5 A3 P4
6 A4 d5
7 P5 d6
8 A5 mi6
9 ma6 d7
10 A6 mi7
11 ma7 d8
12 A7 P8
Online Resources
INTERVALS | 150
Assignments
1. Writing and Identifying Intervals Assignment #1 (.pdf, .mcsz)
2. Writing and Identifying Intervals Assignment #2 (.pdf, .mcsz)
3. Writing and Identifying Intervals Assignment #3 (.pdf, .mcsz)
Media Attributions
Simple Versus Compound © Megan Lavengood is licensed under a CC BY-SA (Attribution ShareAlike) license
151 | INTERVALS
Enharmonic Equivalence © Megan Lavengood is licensed under a CC BY-SA (Attribution ShareAlike) license
TRIADS | 152
TRIADS
Chelsey Hamm
KEY TAKEAWAYS
• A triad is a three-note chord whose notes can be arranged in thirds. A triad can always be “stacked” so
that its notes are either on all lines or all spaces.
• When a triad is stacked in its most compact form in thirds, the lowest note is called the root, the middle
note is called the third, and the highest note is called the fifth.
• There are four qualities of triad. A major triad's third is major and its fifth is perfect, while a minor triad's
third is minor and its fifth is perfect. A diminished triad's third is minor and its fifth is diminished, while
an augmented triad's third is major and its fifth is augmented.
• In chord symbols, major triads are represented with capital letters that correspond to the triad’s root.
Minor triads have a lowercase “mi” after the letter, diminished triads have a superscript circle (o), and
augmented triads have a plus sign (+). You may see other abbreviations in other contexts (a more
exhaustive list is given in the Chord Symbols chapter).
• Within major and minor keys, triads have particular qualities that correspond to scale degree. These are
the same in every major and minor key, which makes memorizing them useful.
• Triads are identified by their root, quality, and inversion.
A chord is any combination of three or more pitch classes that sound simultaneously. This chapter focuses
on triads—three-note chords whose notes can be stacked into thirds.
Triads
The three notes of a triad can always be arranged in thirds. Example 1 shows two triads, each written
both melodically and harmonically. The first triad is on three adjacent spaces, while the second triad is on
153 | TRIADS
three adjacent lines. A triad can always be “stacked” so that its notes are either on all lines or all spaces.
When a triad is stacked in its most compact form (measures 2 and 4 of Example 1), it looks like a
snowperson (see Example 2). Just as a snowperson consists of a bottom, middle, and head, a triad
consists of lowest, middle, and upper notes.
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Example 2. A snowperson.
Note that triads are named for certain important intervals they contain:
• Major and minor triads are named for the quality of their third. (Both have perfect fifths.)
• Diminished and augmented triads are named for the quality of their fifth:
◦ A diminished triad’s fifth is diminished. (Its third is minor.)
◦ An augmented triad’s fifth is augmented. (Its third is major.)
Listen carefully to the different qualities of triad in Example 4. It is common to pair expressive qualities
with triads when learning what they sound like. You might think of major triads as sounding “happy,”
minor triads as “sad,” diminished triads as “scary,” and augmented triads as having a “fantasy” or
“mystical” sound.
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Chord Symbols
Chord symbols for triads include the letter name of the root and an indication of the triad’s quality, and
sometimes the pitch class of the bass voice (meaning the lowest note in the chord, not any particular
instrument or voice type).
A chord symbol begins with a capital letter (and, if necessary, an accidental) denoting the root of the
155 | TRIADS
chord. That letter is followed by information about a chord’s quality. Open Music Theory will use the
following abbreviations.1
For example, the chord symbols C, Cmi, Co, and C+ mean a C major triad, C minor triad, C diminished
triad, and C augmented triad, respectively. If the root of the chord has an accidental, include it: for
example, B♭mi is the chord symbol for a B♭ minor triad, and F♯o is the chord symbol for an F♯ diminished
triad.
Finally, if a pitch class other than the chord root is the lowest note in the chord, a slash is added, followed
by a capital letter denoting the pitch class in the bass. This topic will be explored more in the chapter
titled Inversion and Figured Bass. Example 5 first shows C major and C minor triads with their chord
symbols (C and Cmi). It then shows how the chord symbol for the C minor triad changes when a note
other than C is on the bottom: when E♭ is the lowest note, the chord symbol is Cmi/E♭, and when G is the
lowest note, the symbol is Cmi/G.
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1. You may see other abbreviations in other contexts (a more exhaustive list is given in the Chord Symbols chapter).
TRIADS | 156
superscript “o” (which you might know as the degree symbol). These triadic qualities do not change in
different keys; in other words, the quality of a triad built on do will always be major in any major key.
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Example 7, in the key of G minor, shows the pattern of triad quality for minor scales. Note that this
example contains two triads built on sol and two built on te/ti / —one without the raised
leading tone (“natural minor”) and one with the raised leading tone (“harmonic minor”). As you can see
in Example 7, triads built on do, fa, and sol and (without the raised leading tone) are minor
(shown with the lowercase “mi”). Triads built on me, le, and te and (without the raised
leading tone) are major. A triad built on sol with the raised leading tone is also major. Triads built on
re and ti and (with the raised leading tone) are diminished (shown with the superscript degree
symbol).
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Spelling Triads
To build a triad from a chord symbol, you need to be aware of the triad’s root and quality. Complete the
following steps:
triad.
5. For a minor, diminished, or augmented triad, add additional accidentals to alter the chord’s third
and/or fifth when appropriate.
Let’s complete this process for an A♭ minor triad (A♭mi), as seen in Example 9.
Don’t forget that diminished triads have a minor third and a diminished fifth, meaning you have to lower
TRIADS | 158
both the third and the fifth by a half step from a major triad. An augmented triad has a major third and an
augmented fifth, so its fifth must be raised by a half step from a major triad.
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1. This triad is written in its most compact form, so the root is the lowest note, D.
2. The key of D major has two sharps, F♯ and C♯; we can use this information to identify the quality of
the triad.
3. In this triad, the F is sharp, matching the major key signature. Therefore, we can correctly identify
this as a D major triad.
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159 | TRIADS
If the bottom note of a triad has an imaginary key signature (because there is a double accidental that
applies to it), use enharmonic equivalence to respell the triad. The process for this will be the same as that
outlined in the last section of Intervals.
Because of the principle of octave equivalence, the doubling or spacing of notes does not affect a triad’s
identification. Example 12 shows several different triads and their chord symbols. As you can see, the
identification of these triads is the same, regardless of octave doublings (Example 12a) or the use
of open spacing with wide intervals (Example 12b). Doublings and open spacing can be combined, as
seen in Example 12c. In order to identify triads with doublings and open spacing, you need to either
imagine or write the notes as a triad in closed spacing without any doublings.
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Online Resources
• Introduction to Chords (musictheory.net)
• Triad Introduction (Robert Hutchinson)
• What is a Triad? (YouTube)
TRIADS | 160
Assignments
1. Triads Assignment #1 (.pdf, .mcsz)
2. Triads Assignment #2 (.pdf, .mcsz)
3. Triads Assignment #3 (.pdf, .mcsz)
Media Attributions
Snowperson © Dustinhart is licensed under a CC BY-NC (Attribution NonCommercial) license
Root, Third, and Fifth © Chelsey Hamm is licensed under a CC BY-SA (Attribution ShareAlike) license
Footnotes
161 | SEVENTH CHORDS
SEVENTH CHORDS
Chelsey Hamm
KEY TAKEAWAYS
• A seventh chord is a four-note chord whose notes can be arranged in thirds. A seventh chord can always
be “stacked” so that its notes are either on all lines or all spaces.
• When a seventh chord is stacked in thirds, the lowest note is called the root, the lower middle note is
called the third, the upper middle note is called the fifth, and the highest note is called the seventh, which
is sometimes called the “chordal” seventh to distinguish it from the seventh scale degree.
• There are five common qualities of seventh chord. These qualities are the major-major seventh chord,
major-minor seventh chord, minor-minor seventh chord, half-diminished seventh chord, and
fully diminished seventh chord.
• There is another common way of naming seventh chords: the major-major seventh chord is also often
called the major seventh chord, the major-minor seventh chord is also often called the
dominant seventh chord, the minor-minor seventh chord is also often called the minor seventh chord, and
the fully diminished seventh chord is also often simply called the diminished seventh chord.
• Within major and minor keys, seventh chords have particular qualities that correspond to scale degrees.
These are the same in every major and minor key, which makes memorizing them useful.
• Seventh chords are identified by their root, quality of triad and seventh, and inversion.
In this chapter, we will focus on seventh chords: four-note chords whose notes can be stacked into thirds.
Seventh Chords
Like triads, the notes of a seventh chord can always be arranged in thirds, on adjacent lines or spaces of
the staff. If a triad in closed spacing looks like a snowperson, then a seventh chord in closed spacing (as in
SEVENTH CHORDS | 162
the second measure of Example 1) looks like an extra-long snowperson, with a bottom, two middles,
and a head.
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1. The quality of the triad created by the root, third, and fifth (shown in the second column)
2. The quality of the seventh from the root to the seventh (shown in the third column)
A chord symbol for a seventh chord begins with the letter name of the triad’s root followed by an
indication of the quality of its triad and seventh. Examples of chord symbols for different seventh chord
qualities are given in the last column of Example 3.1
1. These chord symbols reflect those used in Open Music Theory, but you may come across others in your studies. See Chord Symbols for a
more thorough explanation of these variations.
163 | SEVENTH CHORDS
Seventh chord quality Triad quality Seventh (interval) quality Example chord symbol
For the first three qualities of seventh chord, the first word describes the quality of the triad, and the
second word describes the quality of the seventh:
The other two qualities are both built on diminished triads but differ in the quality of the seventh:
Music theorists often use the names described above, but there is also another common way of naming
these chords, given in parentheses in the first column of Example 3:
• The major-major seventh chord is also often called the major seventh chord.
• The major-minor seventh chord is also often called the dominant seventh chord.
• The minor-minor seventh chord is also often called the minor seventh chord.
• The fully diminished seventh chord is also often simply called the diminished seventh chord.
• The half-diminished seventh chord does not typically have an alternate name.
Your instructor may have you label these chords using one set of terminology or the other, or a mix of
both.
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Example 4. The qualities of sevenths and triads in various seventh chord types.
Don’t forget that when the root of a seventh chord has an accidental, you add that accidental into its name.
For example, B♭mi7 is the chord symbol for a seventh chord with a B♭ minor triad and a minor seventh.
Likewise, a G♯ma7 is the chord symbol for a seventh chord with a G♯ major triad and a major seventh.
In chord-symbol notation, if a pitch class other than the chord’s root is the lowest note in a seventh chord,
then a slash is added, followed by a capital letter denoting the pitch class in the bass (lowest)
voice. Example 5 shows a G half-diminished seventh chord (G∅7). In the first measure, the chord
appears in first position; in the second measure, the chord’s seventh (F) is in the bass voice, so the chord
symbol is written as G∅7/F. This topic will be explored more in the chapter Inversion and Figured Bass.
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the key of G major, seventh chords built on do and fa have a major triad and a major seventh,
while seventh chords built on sol have a a major triad and a minor seventh (a dominant seventh
chord). Seventh chords built on re, mi, and la and have a minor triad and a minor seventh,
while seventh chords built on ti are half-diminished—they have a diminished triad and a minor
seventh. These seventh chord qualities do not change in different keys; consequently, memorizing these
qualities can be very useful.
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Seventh chords can also be built on any note of the minor scale. Example 7, which is in the key of G
minor, contains only one seventh chord built on sol and one on ti . It is common for these seventh
chords to contain the raised leading tone—ti instead of te instead of . In Example 7, seventh
chords built on do and fa and have a minor triad and a minor seventh, while seventh chords build
on sol with the raised leading tone have a major triad and a minor seventh (a dominant seventh
chord). Seventh chords built on me and le and have a major triad and a major seventh, while
those built on re are half-diminished (containing a diminished triad and a minor seventh), and those
built on ti are fully diminished (containing a diminished triad and a diminished seventh).
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For any other quality of seventh chord, add additional accidentals to alter the chord’s third, fifth, and/or
seventh when appropriate.
The quality of the next chord will require us to write additional accidentals, so the process has a couple
more steps. Example 9 shows the process for an A♭ fully diminished seventh chord (A♭o7):
Following these steps is a reliable way for beginners to spell seventh chords, but it’s a time-consuming
167 | SEVENTH CHORDS
process. If you practice playing all of the qualities of seventh chords on an instrument until you are fluent
in them, your knowledge of these notes will become more automatic without using this process.
Example 10 shows a seventh chord in root position for the process of identification.
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1. Because the chord is in root position, the root is the lowest note, C♯.
2. The key of C♯ major has seven sharps (every note is sharp). E and G would be sharp in the key of C♯
major, but we see that both of those notes are natural instead—lowered by a half step—making the
triad diminished.
3. The chord’s seventh, B, would also be sharp in C♯ major, but it is natural here. When a major
seventh is made a half step smaller, it becomes a minor seventh.
4. A diminished triad and a minor seventh form a half-diminished seventh chord; therefore, this is a C♯
half-diminished seventh chord (C♯∅7).
If the bottom note of a seventh chord has an imaginary key signature (because there is a double accidental
that applies to it), use enharmonic equivalence to respell the seventh chord, following the process outlined
in the last section of the Intervals chapter.
SEVENTH CHORDS | 168
Like with triads, a seventh chord’s identification is not affected by the doubling of notes or open spacing
of notes (even across multiple clefs). Example 11 shows two different seventh chords in [pb_glossary
open spacing with doublings. Simply imagine or write the notes of seventh chords in closed spacing
without any doublings to identify these chords, as we did previously.
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Online Resources
• Seventh Chords (musictheory.net)
• Understanding Seventh Chords in Music (Hello Music Theory)
• Introduction to Seventh Chords (Robert Hutchinson)
• Seventh Chords (Kaitlin Bove)
• Seventh Chords (Music Theory Academy)
• Seventh Chords (Carleton College)
• Seventh Chords For Dummies (YouTube)
• Seventh Chords – Music Theory Crash Course (YouTube)
• Seventh Chord Ear Training (teoria)
• Chord Ear Training (musictheory.net)
• Chord Ear Training (Tone Savvy)
Assignments
1. Seventh Chords Assignment #1 (.pdf, .mcsz)
2. Seventh Chords Assignment #2 (.pdf, .mcsz)
3. Seventh Chords Assignment #3 (.pdf, .mcsz)
Media Attributions
Chord members © Megan Lavengood is licensed under a CC BY-NC-SA (Attribution NonCommercial ShareAlike) license
dmaj © Megan Lavengood is licensed under a CC BY-NC-SA (Attribution NonCommercial ShareAlike) license
abdim7 © Megan Lavengood is licensed under a CC BY-NC-SA (Attribution NonCommercial ShareAlike) license
Footnotes
INVERSION AND FIGURED BASS | 170
KEY TAKEAWAYS
• The bass voice of triadic harmonies, often simply called the “bass,” determines inversion.
• Inverted harmonies do not have the root in the bass. When the third appears in the bass, we say the chord
is in first inversion, when the fifth appears in the bass we say the chord is in second inversion, and when
the seventh appears in the bass we say the chord is in third inversion.
• In addition to chord symbols, musicians also use figured bass to indicate inversion. Each triad and seventh
chord is indicated by unique figures, which are often abbreviated.
• Figured bass is not usually added to chord symbols; however, it is added to triadic shorthand notation.
• It is called realizing figured bass when musicians turn figured bass into chords, either on paper or in
performance.
• Triads and seventh chords are identified according to their root, quality, and inversion. Inversion includes
the appropriate figures if applicable.
• In order to denote chromatic alterations to notes, musicians put accidentals (♭, ♯, ♮) before the figure that is
altered. Musicians also use slashes through a figure or a plus sign before a figure, in order to indicate
raising the note by a half step.
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Example 1. An A major triad in root position, first inversion, and second inversion.
An A major triad consists of three notes, the root (A), the third (C♯), and the fifth (E). When a triad is
stacked in thirds (i.e. “snowperson form”), we say the triad is in root position. The bass note in root
position is the root. Chords that do not have the root in the bass are said to be inverted, as summarized in
Example 2:
As seen in Example 2, when the third appears in the bass, we say the triad is in first inversion, and when
the fifth appears in the bass we say the triad is in second inversion.
It is important to note that the bass voice of the chord is NOT the same thing as the chord’s root. The root
of an A major triad is always A, regardless of whether the triad is in root position, first inversion, or
second inversion. However, the bass voice changes between these inversions, from A to C♯ to E, as seen
in Example 1 and Example 2.
You might think of first inversion triads as looking like a snowperson whose feet have been moved above
their head, while a second inversion triad looks like a snow person whose head has been moved to where
their feet would normally appear. Example 3 demonstrates this similarity:
INVERSION AND FIGURED BASS | 172
Sometimes musicians use chord symbols to indicate inversions, as seen in Example 1. However,
musicians also use figured bass to indicate inversion. Figured bass uses Arabic numerals and some
symbols which indicate intervals above the bass (NOT the root) note. These are then interpreted as chords
by musicians.
Example 4 shows the full figured bass for triads underneath their chord symbols:
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As you can see in Example 4, a root position triad has a third and a fifth above the bass. A first
inversion triad has a third and a sixth above the bass, while a second inversion triad has a fourth and a
sixth above the bass. In figured bass, the larger numerals (intervals) always appear above the smaller ones.
Many centuries ago, however, musicians abbreviated the full figured bass for triads and seventh chords in
order to save time and supplies (paper and ink were very expensive before the industrial revolution).
Example 5 shows the abbreviated figured bass for triads that we usually use today underneath their
chord symbols:
173 | INVERSION AND FIGURED BASS
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As you can see, no figure appears for root position. First inversion triads are abbreviated with the
superscript number “6,” while a second inversion triad keeps its full figures, “ ,” to distinguish it from a
first inversion triad.
Figured bass is not usually added to chord symbols; however, it is added to triadic shorthand notation. For
example, the last measure of Example 5 would be notated as “A/E” in chord symbols. Using triadic
shorthand, this chord would be notated as “A .”
When musicians turn figured bass into chords—either on paper or in performance—this is called realizing
the figured bass. Example 6 shows the process of realization for several triads:
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As seen in the first measure of Example 6, an E♭ appears with no figured bass next to it. Therefore, we
can assume that we are realizing an E♭ major triad in root position. This chord is realized (written out
with notes) in the next measure. In measure 3, we see the number “6” below the bass note G. We can
understand that notation to mean that we are realizing an E♭ major triad in first inversion. This chord is
realized in the next measure. In measure 5, we see the figures “ ” below the bass note B♭. This notation
means that we are realizing an E♭ major triad in second inversion, realized in the next measure.
Example 7 shows the process of realization for a triad in first inversion in more detail:
INVERSION AND FIGURED BASS | 174
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As seen in Example 7, we first see the bass note B♭ with the figure “6” underneath. This means that the
third of the triad is in the bass. We can now find the root of the chord, which is G. In the second measure
of Example 7, a G minor triad in root position has been realized in parentheses. In the third measure of
Example 7, the third of the chord (the B♭) is in the bass; now the triad is in first inversion. The last
measure of Example 7 is the correct “answer” or realization of this chord symbol.
Example 8 shows the process of realization for a triad in second inversion in more detail:
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As seen in Example 8, we are realizing a B triad—a B major triad in second inversion. In the first
measure, we see an F# with the figured bass “ “underneath. This means that the fifth of the triad is in
the bass, and we must find the root of the chord, which is B. In the second measure of Example 8, a B
major triad in root position has been realized in parentheses. In the third measure of Example 8, the
fifth of the chord (the F♯) appears in the bass; this chord is now in second inversion. The last measure of
Example 8 is the correct “answer” or realization of this figure.
Identifying Triads
Triads are identified according to their root, quality, and inversion. With the addition of inversion, you
can identify triads in four steps:
Example 9 shows a triad in inversion (measure 1) and root position (measure 2):
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1. In measure 2, the chord has been put into root position. Now we can see the root of the triad is D.
2. This triad is minor.
3. The third of the triad is in the bass; therefore this triad is in first inversion.
4. Using figured bass, we would identify this triad as Dm6. Using chord symbols, we would identify this
triad as Dm/F.
Example 10 shows another triad in inversion (measure 1) and root position (measure 2):
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Example 10. A triad in inversion (measure 1) and root position (measure 2).
1. In measure 2, the chord has been put into root position. Now we can see the root is A.
2. This triad is major.
3. The fifth of the triad in the bass; therefore this triad is in second inversion.
4. Using figured bass, we would identify this triad is A . Using chord symbols, we would identify this
triad as A/E.
INVERSION AND FIGURED BASS | 176
Note that the second measure of Example 9 and Example 10 are in parentheses. It is recommended
that you imagine the chord in root position rather than write it out in order to save time.
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As you can see in Example 11, when a seventh chord has its root in the bass it is in root position. When
the third appears in the bass it is in first inversion, and when the fifth appears in the bass it is in second
inversion. Seventh chords have one more note than triads, so they have one additional inversion. When the
chordal seventh of a seventh chord is in the bass it is in third inversion. Don’t forget that the bass and the
root of the chord are NOT synonymous. In Example 11 the root of the chord is always A, regardless of
its inversion and bass note.
A summary of the different seventh chord inversions can be seen in Example 12:
We also use figured bass to indicate the inversion of seventh chords. Example 13 shows the full figured
bass for seventh chords underneath their chord symbols:
177 | INVERSION AND FIGURED BASS
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Example 13. Seventh chord inversions with chord and figured bass.
As you can see in Example 13, a root position seventh chord has a third, fifth, and chordal seventh
above the bass. A first inversion seventh chord has a third, fifth, and a sixth above the bass, while a second
inversion seventh chord has a third, a fourth, and a sixth above the bass. Finally, a third inversion seventh
chord has a second, a fourth, and a sixth above the bass.
Example 14 shows the abbreviated figured bass for seventh chords that musicians use today underneath
their chord symbols:
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As seen in Example 14, a root position seventh chord is abbreviated with just the number “7,” while a
first inversion seventh chord is abbreviated as “ .” A second inversion seventh chord is abbreviated “ ,”
and a third inversion seventh chord is abbreviated as “ .” Sometimes, in older style figured bass notation,
a third inversion seventh chord is notated as “2.”
You can realize figured bass for inverted seventh chords in a similar way to how you realized them for
triads. To realize an inverted seventh chord, first realize the chord in root position, then invert the chord.
Example 15 shows this process for a Gmm chord (chord symbol Gmi7/B♭).
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As seen in Example 15, we first see the bass note B♭ with the figured bass “ ” underneath. This means
that the third of the seventh chord is in the bass. We can now find the root of the chord, which is G. In the
second measure of Example 15, a Gmm7 (chord symbol Gmi7) seventh chord has been realized in
parentheses. In the third measure of Example 15, the third of the chord (B♭) is in the bass; now the
triad is in first inversion.
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As seen in Example 16, we first see the bass note F with the figured bass “ ” underneath. This means
that the fifth of the seventh chord is in the bass. We can now find the root of the chord, which is B♭. In the
second measure of Example 16, a B♭MM7 (chord symbol B♭M7) seventh chord has been realized in
parentheses. In the third measure of Example 16, the fifth of the chord (F) is in the bass; now the triad
is in second inversion.
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Example 17. A seventh chord in inversion (measure 1) and root position (measure 2).
The five-step process of identification for the seventh chord in measure 1 is as follows:
1. In measure 2, the seventh chord has been put into root position (measure 2). Now we can see the
root of the chord is E.
2. This triad is minor.
3. The chordal seventh is also minor.
4. The original example is in first inversion, because the third is in the bass.
5. This chord is an Emm (chord symbol Emi7/G) chord.
Another seventh chord in inversion is shown in Example 18, along with the process of identification:
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Example 18. A seventh chord in inversion (measure 1) and root position (measure 2).
The five-step process of identification for the seventh chord in measure 1 is as follows:
1. In measure 2, the seventh chord has been put into root position (measure 2). Now we can see the
root of the chord is G.
2. The triad is major.
3. The chordal seventh is minor.
4. The original example is in third inversion, because the seventh is in the bass.
5. This chord is an GMm (chord symbol G7/F) chord.
Note that the second measure of Example 17 and Example 18 are in parentheses. It is recommended
that you imagine the chord in root position rather than write it out in order to save time.
INVERSION AND FIGURED BASS | 180
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Musicians also use slashes through a figure or a plus sign before a figure, in order to indicate raising the
note by a half step. These symbols and their realizations are shown in Example 20:
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An orphaned accidental (or hanging accidental) is also common. These are accidentals, that appear by
themselves, not accompanying any other figure or symbol. In these cases, the accidental is assumed to
apply to the third above the bass, as seen in Example 21:
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Take note that if only a “7” appears below the bass, a root position seventh chord is assumed. If no figures
appear below the bass, a root position triad is assumed.
181 | INVERSION AND FIGURED BASS
Online Resources
• Understanding Inversions of Triads and Seventh Chords (Justin Rubin)
• Triad Inversion (musictheory.net)
• Seventh Chord Inversion (musictheory.net)
• Figured Bass Inversion Symbols (Robert Hutchinson)
• Triad Chord Inversions (musictheoryacademy.com)
• How Do Chord Inversions Work? (Hello Music Theory)
• Chord Inversions (key-notes.com)
• Triad Chord Inversion (teoria)
• Figured Bass: How to Read Chord Inversion Symbols (LANDR)
• 7th Chord inversion (Gracemusic.us)
• Figured Bass (thinkingmusic.ca)
• What are Chord Inversions? (YouTube)
• What are Chord Inversions? Piano (YouTube)
• Seventh Chord Ear Training (teoria)
• Chord Ear Training (musictheory.net)
• Chord Ear Training (Tone Savvy)
Assignments
1. Triadic Inversions (.pdf, .mcsz)
2. Seventh Chord Inversions (.pdf, .mcsz)
INVERSION AND FIGURED BASS | 182
Media Attributions
Snowpeople and Inversions © Chelsey Hamm is licensed under a CC BY-SA (Attribution ShareAlike) license
183 | ROMAN NUMERALS AND SATB CHORD CONSTRUCTION
KEY TAKEAWAYS
• Roman numeral analysis is an analytical procedure in which musicians use Roman numerals to identify
chords within the context of key signatures.
• Roman numerals identify the scale degree of the chord’s root, the chord’s quality, and any extensions or
inversions the chord may include.
• Uppercase Roman numerals denote major triads, and lowercase Roman numerals denote minor triads.
A o symbol after a lowercase Roman numeral represents a diminished triad, while a + sign after an
uppercase Roman numeral represents an augmented triad.
• The Roman numeral quality of a seventh chord is dependent on the chord’s triad; the exceptions are
half-diminished and fully diminished seventh chords, whose qualities are dependent on their chordal
seventh.
• When constructing a chord in SATB style, there are six rules to keep in mind: stem direction,
chord construction, range, spacing, voice crossing, and doubling.
The three columns of Example 1 show the Arabic numerals 1 through 7 alongside the corresponding
uppercase and lowercase Roman numerals.
1 I i
2 II ii
3 III iii
4 IV iv
5 V v
6 VI vi
7 VII vii
To type uppercase Roman numerals, use the uppercase Latin alphabet letters “I” and “V”; likewise, for
lowercase Roman numerals, type the lowercase “i” and “v.” The Roman numerals IV (4) and VI (6) are
often confused; to remember the difference, think of IV (4) as V minus I (5 minus 1), and VI (6) as V
plus I (5 plus 1).
numerals followed by a superscript “o” (such as viio) represent diminished triads. Uppercase Roman
numerals followed by a + sign (for example, the rare V+) represent augmented triads.
In the analysis of Western music, Roman numerals are generally placed below the bottom staff. Some
music theorists prefer to use only uppercase Roman numerals, a system which assumes chord quality is
intuited; in this textbook, we privilege the distinction of triadic qualities as denoted by uppercase and
lowercase Roman numerals.
Example 3 shows the triads and seventh chords of a G major scale, labeled with chord symbols and now
Roman numerals (in blue). The solfège and scale degree of the roots are also labeled.
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The Roman numerals and qualities of triads in major keys are as follows:
• I: major
• ii: minor
• ⅲ: minor
• IV: major
• V: major
• vi: minor
• vii°: diminished
The Roman numerals and qualities of triads in minor keys are as follows:
◦ ⅰ: minor
◦ ii°: diminished
◦ III: major
◦ iv: minor
◦ v: minor
◦ V: major (raised leading tone)
◦ VI: major
◦ VII: major
ROMAN NUMERALS AND SATB CHORD CONSTRUCTION | 186
Note that the quality of v/V and VII/viio differs depending on whether or not the leading tone is raised.
Example 4 shows the triads and seventh chords of a G minor scale labeled with chord symbols and now
Roman numerals (in blue). The solfège and scale degree of the roots are also labeled.
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The Roman numeral and qualities of seventh chords in major keys are as follows:
The Roman numeral and qualities of seventh chords in minor keys are as follows:
Note that the quality of v7/V7 and VII7/viio7 differs depending on whether or not the leading tone is
raised.
Additionally, major seventh and dominant seventh chords have the same Roman numeral nomenclature;
in other words, a I7 chord and a V7 chord are written the same even though the former is a major seventh
chord and the latter is a dominant seventh chord. The difference would be discerned from the musical
context.
Inversion
Roman numerals also denote inversions, shown through figured bass symbols placed after the Roman
numeral (see the Inversion and Figured Bass chapter). For example, a superscript 6 represents a first
inversion triad, and the figures would indicate a second inversion seventh chord. Example 5 shows
four different inverted chords with Roman numerals:
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minor key (e.g., “dm” for D minor). Be sure to apply any applicable accidental (e.g., “E♭” for E-flat
major).
After you identify and write the key at the start of the work, follow these steps for each chord to complete
the Roman numeral analysis:
Example 6 shows a Roman numeral analysis for Johann Sebastian Bach’s chorale “Jesu meiner Seelen
Wonne” (1642), which translates to “Jesus, delight of my soul.” When analyzing this chorale, ignore the
notes in parentheses. It is recommended that you cover up the Roman numerals in this example and try to
generate them on your own before uncovering them:
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Example 6. Roman numeral analysis of an excerpt of Johann Sebastian Bach’s “Jesu, meiner Seelen
Wonne” (BWV 359).
Roman numeral analysis is not just limited to chorales; indeed, you can apply them to many different
genres of music. Example 7 shows an excerpt from “Caro Mio Ben” (c. 1783), which translates to
“Dearly beloved” and is attributed to Guiseppe Giodani, with a Roman numeral analysis:
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Example 7. Roman numeral analysis of an excerpt of Giuseppe Giordani’s “Caro Mio Ben.”
189 | ROMAN NUMERALS AND SATB CHORD CONSTRUCTION
When the same chord occurs two or more times in a row, which is common, you can choose whether to
repeat the Roman numeral (as in measure 1 of Example 7) or not (as in measure 2 of Example 6).
• Stem Direction
• Chord Construction
• Range
• Spacing
• Voice Crossing
• Doubling
These six parameters form the basis of counterpoint and part writing, explored further in the sections
Counterpoint and Galant Schemas and Diatonic Harmony, Tonicization, and Modulation.
Stem Direction
On a grand staff in SATB style, the soprano and alto
are written in the treble clef (upper staff), while the
tenor and bass are written in the bass clef (lower staff).
The soprano and tenor voices receive up-stems, while
the alto and bass parts receive down-stems. If the stem
direction is crossed, this is an error. Example 8 shows
a chord with incorrect stemming, followed by the Example 8. A stemming error.
corrected version.
ROMAN NUMERALS AND SATB CHORD CONSTRUCTION | 190
Chord Construction
Be sure to check each chord for correct notes and
accidentals, and make sure that your chords are not
missing any notes. In Example 9, the first chord has
accidentals erroneously added to two of the pitches,
which are removed in the second chord to create a
correct B diminished triad in first inversion.
The bass voice must always correspond with the Example 9. A chord construction error.
inversion that the Roman numeral’s figures indicate.
However, the order of the upper notes can be arranged in many ways. In other words, there is not
necessarily just one correct way to voice a chord.
Range
There is a generally accepted range for each voice
(Example 10):
• Soprano – C4 to G5
• Alto – G3 to D5
• Tenor – C3 to G4
• Bass – F2 to D4 Example 10. Vocal ranges.
Spacing
There should be no more than an octave between
adjacent upper voices (soprano and alto, alto and tenor)
and no more than a twelfth between the tenor and bass.
The most common spacing error occurs between the
alto and tenor because the notes appear in different
clefs. Example 12 first shows a chord with incorrect
spacing—the soprano and alto are more than an octave
apart, as are the alto and tenor—followed by a Example 12. A spacing error.
corrected version:
Voice Crossing
The ranges of voices should not cross. In other words,
the soprano must always be higher than the alto, the
alto must always be higher than the tenor, and the tenor
must always be higher than the bass. In Example 13,
the alto and tenor voices are crossed. This error is also
the most common between the alto and tenor voices.
Online Resources
ROMAN NUMERALS AND SATB CHORD CONSTRUCTION | 192
Assignments
1. Roman Numerals Identification Assignment #1 (.pdf, .mscz, .mp3)
2. Roman Numerals Identification Assignment #2 (.pdf, .mscz, .mp3)
3. Roman Numerals Identification Assignment #3 (.pdf, .mscz, .mp3)
Media Attributions
Handwritten versus typed Roman numerals © Megan Lavengood is licensed under a CC BY-SA (Attribution ShareAlike) license
stemming © Megan Lavengood is licensed under a CC BY-NC-SA (Attribution NonCommercial ShareAlike) license
wrong-notes © Megan Lavengood is licensed under a CC BY-NC-SA (Attribution NonCommercial ShareAlike) license
193 | ROMAN NUMERALS AND SATB CHORD CONSTRUCTION
range © Megan Lavengood is licensed under a CC BY-NC-SA (Attribution NonCommercial ShareAlike) license
too-high © Megan Lavengood is licensed under a CC BY-NC-SA (Attribution NonCommercial ShareAlike) license
spacing © Megan Lavengood is licensed under a CC BY-NC-SA (Attribution NonCommercial ShareAlike) license
voice-crossing © Megan Lavengood is licensed under a CC BY-NC-SA (Attribution NonCommercial ShareAlike) license
doubled_lt © Megan Lavengood is licensed under a CC BY-NC-SA (Attribution NonCommercial ShareAlike) license
TEXTURE | 194
TEXTURE
Samuel Brady and Mark Gotham
KEY TAKEAWAYS
• Musical texture is the density of and interaction between a work’s different voices.
• Monophony is characterized by an unaccompanied melodic line.
• Heterophony is characterized by multiple variants of a single melodic line heard simultaneously.
• Homophony is characterized by multiple voices harmonically moving together at the same pace.
• Polyphony is characterized by multiple voices with separate melodic lines and rhythms.
• Most music does not conform to a single texture; rather, it can move between them.
CHAPTER PLAYLIST
Texture is an important (and sometimes overlooked) aspect of music. There are many types of musical
texture, but the four main categories used by music scholars are monophony, heterophony, homophony,
and polyphony.
Monophony
A monophonic texture is characterized by a single unaccompanied melodic line of music. Monophony
involves all instruments playing or singing in unison, making it the simplest and most exposed of all
musical textures. The first movement of Cello Suite no. 1 in G Major (1717) by Johann Sebastian Bach is
an example of a monophonic texture. Notice how the solo cello line is the only voice in this work.
195 | TEXTURE
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Example 1. Cello Suite no. 1 in G Major, I. Prelude, (BWV 1007) by Johann Sebastian Bach, performed by
Yo-Yo Ma.
Now let’s listen to “Where Have All the Flowers Gone?” (1955) by Pete Seeger. Note that Seeger’s voice
is the only musical line; therefore, this work is a second example of monophony.
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Heterophony
A heterophonic texture is characterized by multiple variations of the same melodic line that are heard
simultaneously across different voices. These variations can range from small embellishing tones to longer
runs in a single voice, as long as the melodic material stays relatively constant.
Listen to “Ana Hasreti” (2001) by Göskel Baktagir, an example of Turkish classical music. Notice how
the winds embellish the melody presented by the plucked strings. While the instruments play different
embellishments, they present essentially the same melodic material.
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Now listen to the traditional Irish reel “The Wind That Shakes the Barley,” recorded by the Chieftains in
TEXTURE | 196
1978 (beginning at 0:50), and notice the slight variation between the melodic lines of the fiddle (violin)
and the flute. This slight variation between the violin and flute presents a second example of heterophony.
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Example 4. “The Wind That Shakes The Barley/The Reel With The Beryle” by The Chieftains; listen starting
at 0:50.
Homophony
A homophonic texture is characterized by having multiple voices moving together harmonically at the
same pace. This is a very common texture. Many times, this takes the form of having a single melody that
predominates, while other voices are used to fill out the harmonies. Homophony is sometimes further
divided into two subcategories, homorhythm and melody and accompaniment.
Homorhythm
Homorhythm is a type of homophonic texture in which all voices move in an extremely similar or
completely unison rhythm. This is most often seen in chorale-like compositions, where the melody and
harmonies move together in block chords.
Let’s listen to Six Horn Quartets: no. 6, Chorale (1910), written by Nikolai Tcherepnin. Notice how both
the melody and harmony move mostly in block chords, creating a unified rhythm.
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Example 5. Six Horn Quartets: no 6, Chorale by Nikolai Tcherepnin, performed by the Deutsches Horn
Ensemble.
Now let’s listen to the folk song “Wild Mountain Thyme” recorded by The Longest Johns in 2018
(0:20–0:44). Remember that in a homorhythmic texture, there is a similarity of rhythm throughout all of
197 | TEXTURE
the voices. In this example, there is a melody that stands out from the texture, but the voices still move in
rhythmic unison.
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Example 6. “Wild Mountain Thyme,” by The Longest Johns; listen from 0:20–0:44.
Let’s listen to the second movement of Paul Hindemith’s Flute Sonata (1936). This example features a
very clear melody (flute) and accompaniment (piano). Notice how the piano is never completely in
rhythmic unison with the flute; however, it provides the role of accompaniment by filling out the texture
harmonically.
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Example 7. Flute Sonata by Paul Hindemith, performed by Emmanuel Pahud and Eric Le Sage.
Now let’s listen to “Misty” (1954), written by Erroll Garner and performed by Ella Fitzgerald. Notice how
the piano accompanies the primary melody sung by Fitzgerald (the vocalist).
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Example 8. “Misty” (1954), written by Erroll Garner and performed by Ella Fitzgerald.
TEXTURE | 198
Polyphony
Polyphony is characterized by multiple voices with separate melodic lines and rhythms. In other words,
each voice has its own independent melodic line, and the independent voices blend together to create
harmonies.
In Western classical music, polyphony is commonly heard in fugues, such as Fugue no. 5 in D Major
(1951–1952), written by Dmitri Shostakovich. Notice how each individual melodic line is independent,
yet the voices create harmonies overall when heard together.
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This can also be heard in the final chorus of “I’ll Cover You – Reprise” from the Broadway musical
Rent (1996), written by Jonathan Larson (2:20–2:45). Notice how there are three independent vocal
layers, singing different melodies and rhythms, but working together to create new harmonies overall:
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Example 10. “I’ll Cover You – Reprise” from the Broadway musical Rent (1996), written by Jonathan Larson;
listen from 2:20–2:45.
Most musical works have some variety in texture. For example, you may have heard a work that opened
with a solo voice or instrument, then changed to a melody with accompaniment. There are many different
possibilities!
Online Resources
199 | TEXTURE
Assignments
1. Identifying Textures (.pdf, .docx) Worksheet playlist
II. COUNTERPOINT AND GALANT SCHEMAS | 200
Organization
This section covers some of the main kinds of repertoires and techniques historically used in the teaching
of counterpoint:
• We begin with probably the best-known, so-called species counterpoint approach (after Fux).
• Species counterpoint is sometimes conflated with the imitative polyphonic style of the 16th century,
so after our chapters on species, we move on to a closer look at that repertoire in particular.
• 16th-century polyphony can be viewed as a precursor to another imitative style: the fugue. Here, we
take a look at the opening section of fugues in the early 18th century specifically.
• Finally, staying in the 18th century, we take a step away from strict imitation to look at some other
kinds of approaches relevant to the contrapuntal thinking, particularly the practice of Galant
schemas: short pre-existing templates for combining voices that can be elaborated into “real” music
(compositions or improvisation).
INTRODUCTION TO SPECIES COUNTERPOINT | 202
INTRODUCTION TO SPECIES
COUNTERPOINT
Kris Shaffer and Mark Gotham
KEY TAKEAWAYS
• Species counterpoint is a step-by-step method for learning to write melodies and to combine them.
• While the “rules” involved are somewhat linked to music in the 16th century, the idea really is to train
basic skills, independent of a specific repertoire or style.
• This chapter recaps some key concepts we met in the Fundamentals section and introduces some basic
“rules” that will be relevant for each of the following chapters, including some terms for:
◦ Consonance and dissonance:
▪ Perfect consonances: perfect unisons, fifths, and octaves
▪ Imperfect consonances: major and minor thirds and sixths
▪ Dissonances: all seconds, sevenths, and diminished and augmented intervals
◦ Types of two-part motion:
▪ Contrary: the two parts move in opposite directions (one up, the other down
▪ Similar: the two parts move in the same direction (both up or both down)
▪ Parallel: the two parts move in the same direction (both up or both down) by the same
distance, such that the starting and ending intervals are of the same type (e.g., parallel
thirds)
▪ Oblique: one part moves, the other stays on the same pitch
We begin with a specific method called species counterpoint. The term “species” is probably most
familiar as a way of categorizing animals, but it is also used in a wider sense to refer to any system of
grouping similar elements. Here, the species are types of exercises that are done in a particular order,
introducing one or two new musical “problems” at each stage. (So no, we won’t have any elephants or
monkeys singing polyphony, sorry!)
203 | INTRODUCTION TO SPECIES COUNTERPOINT
While there are many variants on this approach, the chapters here are closely based on Johann Joseph
Fux’s Gradus ad Parnassum (Steps to Parnassus, 1725). Many composers from the 18th to the 21st
centuries have used this method, or some variation on it. In the first part of Gradus ad Parnassum, Fux
works through five species for combining two voices, which will be the focus of our next five
chapters. The “Gradus ad Parnassum” Exercises chapter provides all of the exercises from Gradus ad
Parnassum in an editable format so you can try this yourself.
Before getting into the five species, we begin in this chapter by introducing principles that apply to writing
lines in any species. These principles build on concepts from the Fundamentals section, such as intervals
and scale degrees.
As this survey of species counterpoint will only cover two-voice textures, all fourths will involve the
lowest part and therefore be classed as dissonant. Later chapters in this section will address the resolution
INTRODUCTION TO SPECIES COUNTERPOINT | 204
of this dissonance, and the Strengthening Endings with Cadential and Chords as Forms of
Prolongation chapters in the Diatonic Harmony section discuss this topic further.
Types of motion
Species counterpoint also concerns the motion between melodic lines (demonstrated in Example 2):
• Contrary: the two parts move in opposite directions (one up, the other down)
• Similar: the two parts move in the same direction (both up or both down)
• Parallel: the two parts move in the same direction (both up or both down) by the same distance, such
that the starting and ending intervals are of the same type (e.g., parallel thirds)
• Oblique: one part moves, the other stays on the same pitch
Example 2.
Examples of
different types of
motion.
• smoothness
• independence and integrity of melodic lines
• variety
• motion (toward a goal)
Example 3 contains all the cantus firmi that Fux uses throughout Gradus at Parnassum: one for each
mode, presented here in the upper and lower of two parts. Apart from using this to review the type of
cantus firmi Fux composed, you can use this to practice any of the species, on any of the modes, and in
both the upper and lower parts.
205 | INTRODUCTION TO SPECIES COUNTERPOINT
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Notice how in each case, the general musical characteristics of smoothness, melodic integrity, variety, and
motion toward a goal are worked out in specific characteristics. The following characteristics are typical
of all well-formed cantus firmi:
Melodic tendencies
Some of the characteristics listed above are specific to strict species counterpoint; however, taken
together, they express some general tendencies of melodies found in a variety of styles.
David Huron (2006) identifies five general properties of melodies in Western music that connect to the
basic principles of perception and cognition listed above, but play out in slightly different ways in specific
musical styles. They are:
INTRODUCTION TO SPECIES COUNTERPOINT | 206
• Pitch proximity: The tendency for melodies to progress by steps more than leaps and by small leaps
more than large leaps. An expression of smoothness and melodic integrity.
• Step declination: The tendency for melodies to move by descending step more than ascending.
Possibly an expression of goal-oriented motion, as we tend to perceive a move down as a decrease in
energy (movement toward a state of rest).
• Step inertia: The tendency for melodies to change direction less frequently than they continue in the
same direction. (That is, the majority of melodic progressions are in the same direction as the
previous one.) An expression of smoothness and, at times, goal-oriented motion.
• Melodic regression: The tendency for melodic notes in extreme registers to progress back toward
the middle. An expression of motion toward a position of rest (with non-extreme notes representing
“rest”). Also an expression simply of the statistical distribution of notes in a melody: the higher a
note is, the more notes there are below it for a composer to choose from, and the fewer notes there
are above it.
• Melodic arch: The tendency for melodies to ascend in the first half of a phrase, reach a climax, and
descend in the second half. An expression of goal orientation and the rest–motion–rest pattern. Also
a combination of the above rules in the context of a musical phrase.
For example, our brains tend to assume that sounds similar in pitch or timbre come from the same source.
Our brains also listen for patterns, and when a new sound continues or completes a previously heard
pattern, we typically assume that the new sound belongs together with those others. This is related to
some of the most deep-seated, fundamental parts of our human experience, and even evolution. Hearing a
regular pattern typically indicates a predictable (and safe) environment, while any change can signal
danger and will tend to heighten our attention to the source. This system for directing attention (and
adrenaline) where it is most likely to be needed has been essential to the survival of the human species.
While listening to music in the 21st century does not (usually!) require us to listen out for animal
predators, some part of that evolutionary experience is “hard-wired” into the psychology of human
listening, and it has a role in what gives music its emotional effect—even in a safe environment.
For Western listeners, music that simply makes it easy for the brain to parse and process sound is
boring—it calls for no heightened attention; it doesn’t increase our heart rate, make the hair on the back
of our neck stand up, or give us a little jolt of dopamine. On the other hand, music that constantly
activates our innate sense of danger is hardly pleasant for most listeners. That being the case, a balance
between tension and relaxation, motion and rest, is fundamental to most of the music we will study.
The study of counterpoint helps us to engage several important musical “problems” in a strictly limited
context, so that we can develop composition and analytical skills that can then be applied widely. Those
problems arise as we seek to bring the following traits together:
209 | INTRODUCTION TO SPECIES COUNTERPOINT
These traits are based in human perception and cognition, but they are often in conflict in specific musical
moments and need to be balanced over the course of larger passages and complete works. Counterpoint
will help us begin to practice working with that balance.
Finally, despite abstractions, it’s still best to treat counterpoint exercises as miniature compositions and to
perform them—vocally and instrumentally, and with a partner where possible—so that the ear, the
fingers, the throat, and ultimately the mind can internalize the sound, sight, and feel of how musical lines
work and combine.
Further Reading
• Huron, David. 2006. Sweet Anticipation: Music and the Psychology of Expectation. Cambridge, MA:
MIT Press.
Assignments
1. Cantus firmus A (.pdf, .mscx). Asks students to critique one cantus firmus and write their own.
2. Cantus firmus B (.pdf, .mscx). Asks students to critique one cantus firmus and write their own.
3. For the complete set of Fux exercises, see the Gradus ad Parnassum chapter.
Media Attributions
Consonance
Motion
Outlining © Mark Gotham is licensed under a CC0 (Creative Commons Zero) license
FIRST SPECIES COUNTERPOINT | 210
FIRST-SPECIES COUNTERPOINT
Kris Shaffer and Mark Gotham
KEY TAKEAWAYS
Counterpoint is the mediation of two or more musical lines into a meaningful and pleasing whole. In
first-species counterpoint, we not only write a smooth melody that has its own integrity of shape, variety,
and goal-directed motion, but we also write a second melody that contains these traits. Further, and most
importantly, we combine these melodies to create a whole texture that is smooth, that exhibits variety and
goal-oriented motion, and in which these melodies both maintain their independence and fuse together
into consonant simultaneities (the general term for two or more notes sounding at the same time).
In first-species counterpoint, we begin with a cantus firmus (new or existing) and compose a single new
line—called the counterpoint—above or below it. That new line contains one note for every note in the
211 | FIRST SPECIES COUNTERPOINT
cantus: both the cantus firmus and the counterpoint will be all whole notes. Thus, first species is
sometimes called “one-against-one” or 1:1 counterpoint.
Example 1 shows the complete exercises of first-species counterpoint from Part I of Gradus ad
Parnassum. Each example sees one of the cantus firmi we’ve already met combined with a new
counterpoint line either above or below. We’ve annotated each one with the interval that the counterpoint
line makes with the cantus firmus. For the complete examples from Gradus ad Parnassum as exercises,
solutions, and annotations, see Gradus ad Parnassum Exercises.
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When writing a counterpoint above a cantus firmus, the first note of the counterpoint should be do or
sol (a P1, P5, or P8 above the cantus).
When writing a counterpoint below a cantus firmus, the first note of the counterpoint must always be on
the modal final, do (P1 or P8 below the cantus firmus). Beginning on sol would create a
FIRST SPECIES COUNTERPOINT | 212
dissonant fourth; beginning on fa would create a P5 but confuse listeners about the tonal context,
since fa–do at the beginning of a piece is easily misheard as do–sol .
To approach this ending smoothly, with variety, and with strong goal orientation, always approach the
final interval by contrary stepwise motion, as follows:
• If the cantus ends re–do , the counterpoint’s final two pitches should be ti–do .
• If the cantus ends ti–do , the counterpoint’s final two pitches should be re–do .
Thus, the penultimate bar will either be a third or a sixth between the two lines (Example 2). This
ending formula is known as the clausula vera. The exercises in Example 1 each end with a clausula vera.
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A single repeat/tie in the counterpoint is allowed, but try to avoid repeating at all. This promotes variety
in the exercise, since there are so few notes to begin with.
Avoid voice crossing. Voice crossings diminish the independence of the lines and make them more
difficult to distinguish by ear.
Avoid voice overlap, where one voice leaps past the previous note of the other voice. For example, if the
213 | FIRST SPECIES COUNTERPOINT
upper part sings an E4, the lower part cannot sing an F4 in the following bar. This also helps maintain the
independence of the lines.
In general, all harmonic consonances are allowed. However, unisons should only be used for the first and
last intervals. Unisons are very stable and serve best as goals rather than midpoints. They also diminish
the independence of the lines.
Imperfect consonances are preferable to perfect consonances for all intervals other than the first and last
dyads, in order to heighten the sense of arrival at the end and to promote a sense of motion toward that
arrival. In all cases, aim for a variety of harmonic intervals over the course of the exercise.
Never use two perfect consonances of the same size in a row: P5–P5 or P8–P8. This includes both simple
and compound intervals; for example, P5–P12 is considered the same as P5–P5. (Two different perfect
consonances in a row, such as P8–P5, are allowed, but try to follow every perfect consonance with an
imperfect consonance if possible.) Parallel fifths and octaves promote tonal fusion at the expense of
melodic independence, and these consecutive stable sonorities also limit variety and motion in the
exercise. Thus, they are far from ideal, and are to be avoided in species counterpoint.
Vary the types of motion between successive intervals, aiming to use each type (except perhaps
oblique motion). Contrary motion is best for variety and preserving the independence of the lines, so it
should be preferred where possible.
Because similar and parallel motion diminish variety and melodic independence, their use should be
mediated by other factors:
• Do not use more than three of the same imperfect consonance type in a row (e.g., three thirds in a
row).
• Never move into a perfect consonance by similar motion (this is called direct fifths/octaves. This
draws too much attention to an interval that already stands out of the texture.
FIRST SPECIES COUNTERPOINT | 214
Assignments
1. First-Species Counterpoint A (.pdf, .mscx). Asks students to compose a first-species example and do
error detection.
2. First-Species Counterpoint B (.pdf, .mscx). Asks students to compose a first-species example and do
error detection.
3. For the complete set of Fux exercises, see the Gradus ad Parnassum chapter.
215 | SECOND-SPECIES COUNTERPOINT
SECOND-SPECIES COUNTERPOINT
Kris Shaffer and Mark Gotham
KEY TAKEAWAYS
The second species of species counterpoint sees the counterpoint line move twice as fast as the cantus firmus.
This introduces the ideas of strong versus weak beats.
Strong beats are always consonant. Weak beats may be consonant or dissonant. Dissonance may occur on weak
beats may arise through passing motion. Consonant weak beats connect two consonant strong beats to create a
succession of 3 consonances. These can be of many types:
1. consonant passing tone: two steps in the same direction to outline a third.
2. substitution: leap a fourth, then step in the opposite direction.
3. skipped passing tone: a third and a step in the same direction to outline a fourth.
4. interval subdivision: two leaps in the same direction to divide a larger melodic interval, for example, with
two thirds to make a fifth.
5. change of register: a large, consonant leap (perfect fifth, sixth, or octave) from strong beat to weak beat,
followed by a step in the opposite direction.
6. delay of melodic progression: leap a third, then step in the opposite direction.
7. consonant neighbor tone: step in one direction, then step back to the original tone.
In second-species counterpoint, the counterpoint line moves in half notes against a cantus firmus in whole
notes. This 2:1 rhythmic ratio leads to two new “fundamental musical problems”—one metric and one
harmonic: the differentiation between strong beats and weak beats, and the introduction of
the passing-tone dissonance. The introduction of harmonic dissonance into second species adds to the
variety of the musical texture. However, it brings a tension that must be balanced with consonance to
promote tonal fusion, and it requires careful attention in order to maintain smoothness in and out of the
dissonance.
SECOND-SPECIES COUNTERPOINT | 216
Here are the complete examples of second-species counterpoint from Part I of Gradus ad Parnassum,
annotated (as before) with the interval that the counterpoint line makes with the cantus firmus. For the
complete examples from Gradus ad Parnassum as exercises, solutions, and annotations, see Gradus ad
Parnassum Exercises.
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A second-species line can begin with two half notes in the first bar, or a half rest followed by a half note.
217 | SECOND-SPECIES COUNTERPOINT
Beginning with a half rest establishes the rhythmic profile more readily, making it easier for the listener to
parse, so it is often preferable. It is also easier to compose. Regardless of rhythm, the first pitch in the
counterpoint should follow the intervallic rules above.
The penultimate bar of the counterpoint can either be a whole note (making the last two bars identical to
first species) or two half notes. This allows you to begin your clausula vera on either the strong beat or the
weak beat of the penultimate measure.
Strong Beats
The inclusion of dissonance in a musical texture creates new musical problems that need to be addressed.
Because the philosophy of species counterpoint is to present only a small number of new musical
difficulties with each successive species, second-species counterpoint introduces dissonance in a very
limited way.
Strong beats (downbeats) in second species are always consonant. As in first species, prefer
imperfect consonances (thirds and sixths) to perfect consonances (fifths and octaves), and avoid unisons.
Because motion across bar lines (from weak beat to strong beat) involves the same kind of voice motion
as first species (two voices moving simultaneously), follow the same principles as first-species
counterpoint. For instance, if a weak beat is a perfect fifth, the following downbeat cannot also be a
perfect fifth.
Likewise, progressions from downbeat to downbeat must follow the principles of first-species
counterpoint described in the previous chapter, such as:
• Do not begin two consecutive bars with the same perfect interval.
• Do not outline a dissonant melodic interval between consecutive downbeats. (Exception: if the
counterpoint leaps an octave from the strong beat to the weak beat, the leap should be followed by
step in the opposite direction, making a seventh with the preceding downbeat. This is okay, since it
is the result of smooth voice motion.)
SECOND-SPECIES COUNTERPOINT | 218
• Do not begin more than three bars in a row with the same imperfect consonance.
Hidden or direct fifths/octaves between successive downbeats are fine, as the effect is weak, and
diminished by the intervening note in the counterpoint.
Weak Beats
Since harmonic dissonances can appear on weak beats, a mixture of consonant and dissonant intervals on
weak beats is the best way to promote variety.
Unisons were problematic in first species because they diminished the independence of the lines.
However, when they occur on the weak beats of second species and are the result of otherwise smooth
voice leading, the rhythmic difference in the two lines is sufficient to maintain that independence. Thus,
unisons are permitted on weak beats when necessary to make good counterpoint between the lines.
Any weak-beat dissonance must follow the pattern of the dissonant passing tone, explained below. Also
explained below are a number of standard patterns for consonant weak beats. Chances are high that if
your weak beats do not fit into one of the following patterns, there is a problem with the counterpoint, so
use them as a guide both for composing the counterpoint and for evaluating it.
These principles should help guide your use of weak-beat notes in a second-species counterpoint line. A
good general practice is to start with a downbeat note, then choose the following downbeat note, and
finally choose a pattern below that will allow you to fill in the space between downbeats well.
Most of these principles are used as examples in the demonstration video at the bottom of the page.
Since all dissonances in second species are passing tones, you will not leap into or out of a dissonant tone,
change directions on a dissonant tone, nor write a dissonance on a downbeat.
219 | SECOND-SPECIES COUNTERPOINT
1. The terms used here are either standard or taken from Salzer & Schachter’s Counterpoint in Composition.
SECOND-SPECIES COUNTERPOINT | 220
Demonstration
Example 3 is a video by Kris Shaffer illustrating the process of composing a second-species
counterpoint. This video provides new information about the compositional process, as well as concrete
examples of the above rules and principles.
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Assignments
1. Second-Species Counterpoint A (.pdf, .mscx). Asks students to compose a second-species example
SECOND-SPECIES COUNTERPOINT | 222
Media Attributions
consonant © Megan Lavengood is licensed under a CC BY-NC-SA (Attribution NonCommercial ShareAlike) license
Footnotes
223 | THIRD-SPECIES COUNTERPOINT
THIRD-SPECIES COUNTERPOINT
Kris Shaffer and Mark Gotham
KEY TAKEAWAYS
The third species of species counterpoint sees the counterpoint line move four times as fast as the cantus firmus.
This introduces:
In third-species counterpoint, the counterpoint line moves in quarter notes against a cantus firmus in
whole notes. This 4:1 rhythmic ratio creates a still greater differentiation between beats than in second
species: strong beats (downbeats), moderately strong beats (the third quarter note of each bar), and weak
beats (the second and fourth quarter notes of each bar). Third species also introduces the neighbor-tone
dissonance and two related figures in which dissonances can participate in leaps.
Example 1 provides the examples of third-species counterpoint from Part I of Gradus ad Parnassum,
annotated (as before) with the interval that the counterpoint line makes with the cantus firmus. For the
complete examples from Gradus ad Parnassum as exercises, solutions, and annotations, see Gradus ad
Parnassum Exercises.
THIRD-SPECIES COUNTERPOINT | 224
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A third-species line can begin with four quarter notes in the first bar, or a quarter rest followed by three
quarter notes. Regardless of rhythm, the first pitch in the counterpoint should follow the intervallic rules
above.
The penultimate note of the counterpoint (the last quarter note of the penultimate bar) should be ti ( ) if
the cantus is re ( ), and re ( ) if the cantus is ti ( ).
Strong Beats
Principles for strong beats (downbeats) are generally the same as in second species:
Motion across bar lines (from beat 4 to downbeat) follows the same rules as first-species counterpoint.
Progressions from downbeat to downbeat follow principles of second-species counterpoint (except that
direct fifths/octaves between successive downbeats are allowed). The following is a review of some of the
most important principles from second species that apply in third species as well:
• No three consecutive bars can begin with the same perfect interval (two in a row are fine).
• No more than three bars in a row should begin with the same imperfect consonance.
• The pitches that begin consecutive downbeats must not make a dissonant melodic interval.
If a downbeat contains a perfect fifth, neither beat 3 nor 4 of the previous bar can be a fifth. If a downbeat
contains an octave, neither beat 2, 3, nor 4 of the previous bar can be an octave. Like in second species,
the negative effects of parallel fifths and octaves are not mitigated by the addition of a note or two.
Other Beats
Beats 2–4 should exhibit a mixture of consonant and dissonant intervals to promote variety. Among
consonances, unisons are permitted on weak beats when necessary to make good counterpoint between
the lines. Any dissonance must follow the pattern of the dissonant passing tone or the dissonant neighbor
tone, explained below.
Consonance
The counterpoint can move in and out of consonant tones freely by step, as well as by leap from another
consonance, with the following considerations:
THIRD-SPECIES COUNTERPOINT | 226
Dissonance
Dissonances in third species can occur on beat 2, 3, or 4, and should be preceded and followed by
stepwise motion (with the exception of the double neighbor and the nota cambiata, explained below). This
promotes smoothness, both by keeping the dissonances away from the strongest beat of the bar and by
coupling them with the smoothest melodic motion. Dissonance handling in third-species
counterpointcentered on the types illustrated in Example 2 and described below:
• The dissonant passing tone fills in the space of a melodic third via stepwise motion. The notes before
and after the passing tone must be consonant with the cantus firmus. However, it is possible to have
two dissonant passing tones in a row (P4–d5 or d5–P4). As long as these dissonances do not fall on
downbeats and the counterpoint moves in stepwise motion in a single direction, there is no negative
effect.
• The dissonant neighbor tone ornaments a consonant tone by stepping away and stepping back to the
original consonance (6–7–6 over the cantus, for example). It is melodically identical to the consonant
neighbor tone of second species, with the difference being the harmonic dissonance. Employing it on
a weak beat (2 or 4) ensures the greatest smoothness.
• The double neighbor occurs when beats 1 and 4 in the counterpoint are the same tone, and beats 2
and 3 include the notes a step higher and a step lower than the original tone: for example, C–D–B–C
or C–B–D–C. Both beats 2 and 3 are dissonant, but since both are embellishing the original tone by
step, the leap between them does not significantly diminish the smoothness of the line. When using a
double neighbor, the direction between beats 3 and 4 should be the same as between beat 4 and the
following downbeat. That motion across the bar line should also be stepwise. This further maintains
smoothness to temper the effect of the dissonances.
• The nota cambiata (changing tone) is a five-note figure that outlines a step progression from
227 | THIRD-SPECIES COUNTERPOINT
downbeat to downbeat. It follows one of two patterns shown in Example 3). For a nota cambiata to
be effective, the first, third, and fifth notes must be consonant with the cantus. The second note will
be dissonant and will leap to the third tone. However, like the double neighbor, the overall pattern
minimizes the negative effect of the leap away from the dissonance. It is surrounded by stepwise
motion, the overall progression is a single step, and the dissonant tone and the following downbeat
are the same pitch.
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Example 3. Two forms of nota cambiata. From downbeat to downbeat, the nota cambiata may fill in (a) a
step down or (b) a step up.
Assignments
1. Third-Species Counterpoint A (.pdf, .mscx). Asks students to compose a third-species example and
do error detection.
2. Third-Species Counterpoint B (.pdf, .mscx). Asks students to compose a third-species example and
do error detection.
3. For the complete set of Fux exercises, see the Gradus ad Parnassum chapter.
Media Attributions
Dissonance © Mark Gotham is licensed under a CC0 (Creative Commons Zero) license
FOURTH-SPECIES COUNTERPOINT | 228
FOURTH-SPECIES COUNTERPOINT
Kris Shaffer and Mark Gotham
KEY TAKEAWAYS
The fourth species of species counterpoint is characterized by use of the suspension and its proper handling with:
In fourth-species counterpoint, the counterpoint line and cantus firmus both move once per bar, but they
are rhythmically offset from each other by a half note. (Think syncopation on the bar level.) The
counterpoint line will be notated in half notes, with each weak-beat half note tied across the bar line to
the following strong beat. This arrangement means that in pure fourth-species counterpoint, the two lines
always move in oblique motion. It also introduces a new kind of dissonance: the suspension.
Example 1 provides the complete examples of fourth-species counterpoint from Part I of Gradus ad
Parnassum, annotated (as before) with the interval that the counterpoint line makes with the cantus
firmus. For the complete examples from Gradus ad Parnassum as exercises, solutions, and annotations,
see Gradus ad Parnassum Exercises.
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The Suspension
The suspension is an accented dissonance, meaning it always occurs on strong beats. Because of the
increased emphasis, even greater care must be taken to promote smoothness and overall coherence. Thus,
like the passing-tone and neighbor-tone dissonances, the suspension is always preceded and followed by
harmonic consonances. A suspension figure has three parts:
• Preparation: a weak-beat note in the counterpoint that is consonant with the cantus. This note is tied
to the suspension, and the two are the same pitch.
• Suspension: a strong-beat note in the counterpoint, tied from the preparation, that is dissonant with
the cantus.
• Resolution: a weak-beat note in the counterpoint that is one step below the preparation-suspension
pitch and consonant with the cantus.
Use dissonant suspensions as much as possible in fourth-species counterpoint. The primary purpose of the
exercise is to practice handling dissonant suspension.
Types of suspensions
Suspensions are categorized according to the intervals of the suspension and resolution tones above or
below the cantus firmus (Example 2). A 7–6 suspension, for example, includes a strong-beat suspension
that forms a seventh with the cantus, which resolves down by step to a weak-beat tone that forms a sixth
with the cantus.
• Possible dissonant suspensions above the cantus firmus are 7–6, 4–3, and 9–8 (2–1). These are the
only options that start on a dissonance and resolve down by step to an allowable consonance. 7–6 and
4–3 are preferable due to the resolution to imperfect consonances.
• The main dissonant suspension to use below the cantus firmus is 2–3.
• Other motions like 5–6 can be used, but they do not constitute dissonant suspensions, as the
suspended note is not dissonant.
Using suspensions
The pattern set forward by a fourth-species line invites listeners to interpret the weak beats as the main
consonances, so treat suspensions in fourth species the same way you would treat their intervals of
resolution in first species. Use 7–6 and 4–3 (above) or 2–3 and 5–6 (below) liberally, but no more than
three times in a row (like thirds and sixths in first species). Since you cannot use two octaves or two fifths
in a row in first species, do not use two 9–8, 6–5, or 4–5 suspensions in a row. In fact, avoid any
configuration that would create two fifths or two octaves on consecutive weak beats in fourth species
(after-beat fifths or octaves).
If a dissonant suspension is not possible, try to use a tie from weak beat to strong beat. This can be a
“consonant suspension,” or you can leap up from downbeat consonance to weak-beat consonance. At least
one or two upward leaps will be necessary to counteract the downward resolutions in order to keep the
line in a singable range.
If neither a dissonant suspension nor a consonant tied figure is possible, it is permissible to break species
(see video demo below). When you break species, follow the principles of second-species counterpoint
and resume fourth-species ties as soon as possible. Try not to break species more than once per exercise,
and do so for just a bar or two.
The counterpoint will end with a dissonant suspension. The penultimate bar will contain do–ti ,
and the final bar will contain a whole note do . The do–ti will form a 7–6 suspension above
the re in the cantus, or a 2–3 suspension below the re in the cantus. As a dissonant suspension,
that do will always be tied over from the previous bar.
Demonstration
Examples 3 and 4 are video lessons by Kris Shaffer illustrate the process of composing a fourth-species
counterpoint above and below a cantus firmus. These videos provide new information about the
compositional process, as well as concrete examples of the above rules and principles.
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Assignments
FOURTH-SPECIES COUNTERPOINT | 232
1. For the complete set of Fux exercises, see the Gradus ad Parnassum chapter.
Media Attributions
Suspensions is licensed under a CC0 (Creative Commons Zero) license
233 | FIFTH-SPECIES COUNTERPOINT
FIFTH-SPECIES COUNTERPOINT
Kris Shaffer and Mark Gotham
KEY TAKEAWAYS
The fifth species of species counterpoint primarily involves combining the tricks we’ve learned so far along with a
little decoration into something that starts to resemble real music! Specifically:
• Elements from all previous species combine such that the counterpoint line may include motion in whole
notes (1st species), half notes (2nd), quarter notes (3rd), and suspensions (4th) in almost any combination
and order.
• New to the 5th species are:
◦ certain embellishments such as notes of anticipation which …
◦ may include 8th note motion for the first time (not seen in species 1–4).
In fifth-species counterpoint, we combine the tricks developed in species 1–4 with only a few additions.
As such, the fifth species starts to resemble real music in a way that none of the previous species did, and
the challenge is to balance not only types of consonance but also types of counterpoint.
Embellishing Suspensions
While suspensions are a fourth-species consideration, in fifth-species counterpoint we add the option of
decorating those suspensions with some common embellishments. Example 1 illustrates the main types,
set out on a single chain of 7-6 suspensions.
Note that if you simplify the line by sustaining the first note of the measure for a half note, you get right
back to unembellished fourth-species suspensions.
Eighth notes
Note too that the last of the suspension embellishments in Example 1 introduces eighth-note motion for
the first time. Fux introduces embellished suspensions and eighth-note motion “in between” fourth and
fifth species. Apart from this “anticipation with turn” embellishment of a suspension, Fux also introduces
the possibility of a pair of passing eighth notes. In all cases, these eighth notes come in pairs, and they
occur on weak beats (filling the second or fourth quarter note of the measure).
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235 | FIFTH-SPECIES COUNTERPOINT
Assignments
1. For the complete set of Fux exercises, see the Gradus ad Parnassum chapter.
Media Attributions
Suspensions_Chain © Mark Gotham
GRADUS AD PARNASSUM | 236
The previous chapters have introduced species counterpoint and the iconic pedagogical treatise on cantus
firmus composition, Johann Joseph Fux’s Gradus ad Parnassum (1725). This page provides the full cantus
firmus exercises of that treatise so you can try your hand at species counterpoint à la Fux.
1. Exercises: all of the cantus firmus exercises with only the cantus firmus present and the other part(s)
left blank for you to complete.
2. Solutions: all of Fux’s solutions to those exercises—i.e., both the cantus firmus and the additional
part(s) that Fux wrote as answers.
3. Annotations: Those solutions annotated with the interval that every note in each additional part
forms with the cantus firmus part.
4. Distinct: Every distinct cantus firmus in all parts. All of the exercises are based on this format, so
these simple files distill all possibilities: you can use this file to do any species exercise, on any cantus
firmus, in any part arrangement.
Everything is provided in an editable format so teachers can adjust and combine exercises freely for their
own classes’ needs. Specifically, the files are provided in the following formats:
• .mxl: open these in any music notation package like MuseScore, Sibelius, or Finale
• .mscz: for MuseScore specifically, preserving all original formatting
• .pdf
237 | GRADUS AD PARNASSUM
Click on the links to download any particular type. Please note that the .mxl files are hosted externally on
http://fourscoreandmore.org/species/, so you will be redirected and may prefer to open in a new tab.
For ease of reference, the following subsections and tables set out that information in full.
Finally, a note on clefs. These files use the clefs in the Norton/Mann edition (1965) for parts I and II. Part
III keeps the same clefs throughout to be consistent both internally and with the modern choral score
layout (treble, treble, treble 8vb, bass). Teachers may wish to choose their own clefs as part of adapting
these files for class.
GRADUS AD PARNASSUM | 238
5 1 d Lower
6 1 d Upper
11 1 e Lower
12 1 e Upper
13 1 f Lower
14 1 f Upper
15 1 g Lower
21 1 g Upper
22 1 a Lower
23 1 a Upper
33 2 d Lower
35 2 d Upper
36 2 e Lower
37 2 e Upper
38 2 f Lower
39 2 f Upper
40 2 g Lower
41 2 g Upper
42 2 a Lower
43 2 a Upper
44 2 c Lower
45 2 c Upper
55 3 d Lower
56 3 d Upper
57 3 e Lower
58 3 e Upper
59 3 f Lower
59 3 f Upper
73 4 d Lower
74 4 d Upper
GRADUS AD PARNASSUM | 240
75 4 e Lower
76 4 e Upper
77 4 f Lower
78 4 f Upper
82 5 d Lower
83 5 d Upper
84a 5 e Lower
84b 5 e Upper
85a 5 f Lower
85b 5 f Upper
86a 5 g Lower
86b 5 g Upper
87a 5 a Lower
87a 5 a Upper
88a 5 c Lower
88b 5 c Upper
Fux basically uses one cantus firmus for each modal final throughout. The note sequences are as follows,
along with their usage counts (46 total) and the minor exceptions:
241 | GRADUS AD PARNASSUM
Modal
Pitches Number of times used, and exceptions
final
D D4–F4–E4–D4–G4–F4–A4–G4–F4–E4–D4 10 counts
E E4–C4–D4–C4–A3–A4–G4–E4–F4–E4 10 counts
G G3–C4–B3–G3–C4–E4–D4–G4–E4–C4–D4–B3–A3–G3 6 counts
101 1 d 1
104 1 d 2
105 1 d 3
106 1 e 1
108 1 e 2
109 1 e 3
110 1 f 1
111 1 f 2
112 1 f 3
113 1 g 1
114 1 g 2
115 1 a 1
116 1 a 2
117 1 a 3
118 1 c 1
119 1 c 2
121 2 d 1
122 2 d 2
123 2 d 2
124 2 e 2
125 2 e 3
126 2 e 1
127 2 f 1
128 2 f 2
129 2 f 2
130 3 d 2
131 3 d 3
132 3 d 2
134 2, 3 d 3
141 4 d 2
GRADUS AD PARNASSUM | 244
143 4 d 3
144 4 d 1
146 4 e 2
147 4 e 1
148 4 e 2
149 4 f 2
150 4 f 3
151 4 f 1
154 5 d 2
155 5 d 1
156 5 d 2
157 5 e 2
158 5 e 1
159 5 e 2
The table below summarizes the cantus firmi used in Part II:
Modal
Pitches Number of times used, and exceptions
final
160 1 d 2
163 1 d 1
164 1 d 3
165 1 d 4
166 1 e 1
167 1 e 2
168 1 e 3
169 1 f 2
170 1 f 1
171 1 f 3
172 1 f 4
173 2 d 1
174 2 d 2
175 2 d 3
176 2 d 4
177 3 d 2
180 3 d 4
181 3 d 2
182 3 d 2
183 3 e 2
184 3 e 1
185 3 e 2
186 3 e 3
193 4 d 2
195 4 d 4
196 4 d 1
197 4 d 2
200 5 d 2
201 5 d 1
202 5 d 4
247 | GRADUS AD PARNASSUM
203 5 d 2
204 2, 3, 4 d 4
The table below summarizes the cantus firmi used in Part III:
Further Reading
• Fux, Johann Joseph. (1725) 1965. Gradus ad Parnassum. Translated and edited by Alfred Mann.
New York: W. W. Norton.
16TH CENTURY | 248
KEY TAKEAWAYS
• The 16th-century contrapuntal style is related—but not identical—to the principles outlined in
species counterpoint.
• This chapter sets out some key principles and practice exercises especially for imitation.
The 16th-century contrapuntal style has historically enjoyed a prominent position in the teaching of music
theory. “Pastiche” or “counterfactual” composition of 16th-century imitative choral polyphony (especially
in the style of Palestrina) has frequently appeared in curricula and is sometimes conflated with the later,
18th-century notion of species counterpoint which we met in the previous chapters. This chapter sets out
some rules of thumb to bear in mind when completing style-composition exercises based on this
repertoire where you are given a partial score to complete. At the end, you’ll find a couple of example
exercises in this format.
Imitation
Imitation involves two or more parts entering separately with the same melody, or versions of the same
melody. This is a common practice in 16th-century contrapuntal music, particularly for beginning whole
movements and large sections in those movements (with the introduction of a new line of text, for
instance). You might think of it as a precursor to the later fugue (which we’ll return to in the High
Baroque Fugal Exposition chapter).
Here is an example from Vicente Lusitano’s “Ave spes nostra” from the
Liber primus epigramatum (click here for the source on IMSLP).1
249 | 16TH CENTURY
One or more interactive elements has been excluded from this version of the text. You can view
them online here: https://viva.pressbooks.pub/openmusictheory/?p=915
In this opening passage, a “point of imitation” setting the text “Ave spes nostra” appears in all five voices.
The imitation is exact, give or take small changes. The first voice to enter starts on F and descends to C,
then it repeats the text a second time, now starting on C and descending to F with a similar melody,
adding one more note at the end. Other parts imitate either this pattern (F–C then C–F) or this pair the
other way round (C–F, then F–C).
The end of this example sees the start of a second imitative point setting the next line “Dei genitrix … ”.
This new figure has a “turn”-like shape: original note, note above, note below, original note (C-D-Bb-C).
What follows is a sectnmio based on that second point. As is common in this style, the two phrase overlap
(i.e., the new phrase begins before the end of the previous one) and the imitation for this second point is
treated more freely than the first. You can even see a couple of subtle rhythmic changes to the first point
in this last bar shown where this overlap takes place.
When completing an exercise involving imitation, let the existing material be your guide and consider the
following guidelines:
• Identify (potential) points of imitation: In any given part, look for changes of text (often preceded by
a comma or rest), and particularly any repetition of text with the same music.
• Pitch interval: The interval between imitative parts at the start of a section or movement is usually a
perfect consonance. That said, others are eminently possible, especially later in the movement. Note
that we are talking about the primary corresponding interval between the parts and not necessarily
the very first pitch. We sometimes see examples of the tonal answer typical of the later high Baroque
fugue, discussed in the next chapter.
• Meter: Imitate at metrically comparable positions (strong beat → strong beat; weak beat → weak
1. IMSLP has this numbered simply as No. “10”, but if consulting the source, note that the parts are numbered as follows in book order:
Supranus 24 (“XXIIII”, name and numbering sic), Altus 26 (“XXVI”), Tenor 25 (XXV”), Bassus 23 (XXIII, sic even though the source
index page says 22), and Quinta Pars 25 (XXV), remaining parts not applicable. The transcription is in modern notation, but preserves origi
nal pitch and note values.
16TH CENTURY | 250
beat).
• When working out what imitative relationships will work, try out all options in both directions. As
the section governed by one imitative point often overlaps with the next, imitative entries around that
section change may come from other point.
• Make sure there is meaningful overlap between consecutively entering imitative parts. To achieve
that, shorter points of imitation may require correspondingly shorter intervals between entering
parts.
• Consider how much of the point to imitate. Longer melodies eventually go from being a point to
imitate exactly, to free counterpoint. Where does that change occur in this case?
• Consider how closely to imitate the point. Try to preserve at least the rhythm and the distinctive
intervals/contour/shape of the point’s opening.
• Remember that phrases and sections can overlap, even at strong cadences.
Melody
• Contrary motion predominates between parts (partly to maintain independence of lines). Avoid too
much parallel writing even of permitted intervals (but note the exceptional case of the
“fauxbourdon,” which is an extended passage of parallel triads).
• Conjunct motion predominates within parts.
◦ Approach the final by step (in most parts).
◦ Raise the leading note when approaching the final from below (in most modal contexts, though
not Phrygian).
• Melodic intervals:
◦ Seconds, thirds, fourths, fifths, and octaves are all permitted;
◦ The status of sixths is more complex. Rising minor sixths are used fairly freely (814 times in
the Palestrina masses), rising major sixths are rarer (54 times), and descending sixths are
extremely rare (7 descending minor, 1 single case of descending major).
◦ Sevenths and tritones are avoided. Do not even outline these intervals with successive leaps or
by the boundaries (high and low points) of a melodic gesture.
◦ Successive leaps in the same direction are generally avoided. If you do have such successive
leaps, then position the larger leap lower (first when rising, second when descending).
◦ Large leaps are to be followed (and often preceded) by motion in the opposite direction. This is
connected to both the idea of gap-fill and regression to the middle of the tessitura.
◦ Avoid outlining triads as if you were arpeggiating chords.
• Contour: The arch shape is common for melodies (what goes up must come down!).
• Range per part: A common recommendation is to place each voice within an octave, corresponding
251 | 16TH CENTURY
to either the authentic or plagal ranges of the piece’s mode. But in practice, parts more often span a
slightly wider range of 14 semitones. Extremely few parts exceed the twelfth (octave plus fifth), so
take that as a maximum.
• Common melodic devices:
◦ Suspensions: Suspended notes are to be “prepared” as a consonance on a weak metrical tied to a
dissonance (on a strong position) and resolved by moving the suspended dissonant part down a
step. For 7–6 and 4–3 suspensions, this involves dissonance in the upper voice; for 2–3
suspension, the dissonance is in the lower voice (as an inversion of 7–6). This is explained
further in the chapter on fourth-species counterpoint.
◦ While not a suspension, the oblique motion from fifth to sixth is also common.
◦ Decorations at the end of a phrase are more common than at the beginning.
Text Setting
• Clarity of music and text was held in high regard by many composers of this time.2
• Meter: The above caveats notwithstanding, match textual and musical meters by placing strong
syllables on “strong beats.” Systematic exceptions follow the conventions outlined above including
16TH CENTURY | 252
syncopations, suspensions, and “metrical dissonance” (use of a consistent meter in one part that is
contrary to that prevailing in other parts (usually the one notated in modern editions).
• Musical phrases follow the text.
◦ Typically use at least one beat (half note) for each syllable.
◦ Exceptions include dotted rhythms, where the shorter (quarter) note frequently receives its own
syllable. This may be thought of as a modification of a “straight” rhythm, which meets the “one
per beat” guideline.
◦ Syllable changes immediately after sub-tactus (quarter-note) motion are rare.
Texture
• The appropriate texture is usually clear from the given parts in these exercises.
• To generalize rather crudely, broad conventions for textures in Mass settings are as follows (where I
= usually imitative; H = may be [more] homophonic):
◦ Kyrie (I).
◦ Gloria (H). The “qui tollis” frequently exists as a separate section.
◦ Credo (H). Especially often homophonic at important moments. “Crucifixus” separable.
◦ Sanctus (I). Hosanna (H).
◦ Benedictus (I). Often for fewer voices. (Second Hosanna usually a repeat of the first.)
◦ Agnus Dei (I). There may be a second or third Agnus, often with more parts and canons.
• The Magnificat tends to be a freer genre that is more flexible with the points of imitations.
Harmony
Composers of this era did not think in terms of chords, Roman numerals, inversions, and so on the way
that we typically do today. Instead, they were principally concerned with intervallic relationships among
parts. With this in mind, following are some guidelines for the vertical combination of parts in this style.
• Parallel fifths and parallel octaves: Avoid, as in later idioms. However, unlike in later idioms, those
involving diminished fifths must also be avoided.
• Direct fifths or octaves:
◦ Avoid in principle (some rationalize this on the basis that they imply parallels that would
2. This is said to be especially true of Palestrina, and further said to have appeased the Council of Trent in its review of recent developments in
music.
253 | 16TH CENTURY
Further Reading
• Apel, Willi. “Picardy Third.” 1969. Harvard Dictionary of Music. 2nd ed. Cambridge, MA: Harvard
University Press.
Online Resources
In addition to well-known libraries like IMSLP, there are some interesting projects dedicated specifically
to Renaissance music.
• Perhaps most notable and relevant is Citations: The Renaissance Imitation Mass Project (CRIM),
where you can explore a wide range of relevant repertoire in attractive, modern editions, along with
related information.
16TH CENTURY | 254
• For a similar curatorial approach to a slightly earlier repertoire, you may wish to explore the Josquin
Research Project (JRP)
Assignments
1. Imitative writing in the 16th-century contrapuntal style. These exercises provide at least one
complete part for reference, and one part with missing passages to complete in a suitable style.
Original note values are used, with modern time signatures for those values ( ), some editorial
accidentals (ficta), and only G and F clefs.
◦ Lassus: Benedictus from the Missa Venatorum. 2 voices. .mscz, .pdf
◦ Lassus: Bicinum IV. 2 voices. .mscz, .pdf
◦ Palestrina: Benedictus from the Missa Brevis. 3 voices. .mscz, .pdf
◦ Palestrina: Surge Propera a 4 (excerpt). 4 voices. .mscz, .pdf
Footnotes
255 | FUGUE
KEY TAKEAWAYS
• The fugue is a contrapuntal genre popular since at least the 18th century.
• This chapter sets out some key principles of the opening exposition section.
• We introduce new terms including these (click on the term for the glossary entry):
◦ Subject
◦ Answer
◦ Countersubject
◦ Exposition
• We also meet some fugue-specific variants of familiars terms, notably:
◦ Voices
◦ SATB
We now move on from imitative practices common in the 16th century to the fugue, which may be
thought of as the 18th-century equivalent and successor to this tradition. Fugues can vary quite a bit, and
thus “fugue” is a surprisingly difficult term to define satisfactorily. Fugues in general are contrapuntal
compositions that are defined by the strict use of a certain number of independent voices; each voice
enters one by one, stating the main theme (subject) of the fugue. In this chapter, we will treat fugue as a
process and show how to construct (the first part of) a fugue from first principles. This chapter deals with
the basics of writing a fugal exposition from a given subject according to the “high Baroque” technique of
Bach, Handel, and their contemporaries.
FUGUE | 256
Basic Definitions
First, let’s define some of the terms we’ll need.
• Subject: A short tune that forms the melodic basis of a fugue, recurring throughout.
• Answer: A transposition of the subject that is also sometimes slightly altered, as discussed below.
• Countersubject: A melodic line that is sounded with (and complements) the subject/answer.
• Exposition: The first part of a fugue, during which each of the voices enters with the subject or
answer. Note that this is distinct from the use of the term “exposition” in sonata form; they both
refer to a first section setting out the main material, but they otherwise differ.
• Voices: The separate contrapuntal lines, which may be either instrumental or vocal. The number of
voices does not necessarily correspond to the number of parts or musicians involved—a keyboard
fugue for one player may have three, four, five, or six voices, and there are even some fugues for solo
violin (which is quite a compositional feat!).
• SATB: Although a fugue may not involve any singers, it is customary to refer to the lines in a
four-voice texture with S (soprano), A (alto), T (tenor), and B (bass) from highest to lowest. The
ranges do not need to match those of the vocal parts exactly.
Voice 3 Subject
Note that the voices are numbered according to the order in which they enter. While it is perfectly
common for the voices to enter in order from highest to lowest or lowest to highest, this is not strictly
necessary. However, when a new part enters, it should be the highest or lowest voice at that stage, so it is
uncommon for an inner part (alto or tenor) to enter last. That leaves us plenty of options. For instance, the
order of voice entries in a four-voice fugue could be:
Any further subjects/answers entering (beyond the total number of voices) are described as “redundant”
entries.
Subject
When considering how to handle a subject, look at its structure and character.
The structure of a subject can often be thought of in three parts. Like many tonal phrases, the subject
charts a course from a distinctive opening to a generic cadence:
• Toccata style: this has a motor-rhythm feel, is often chromatic, and may have irregular rhythmic
placement.
• Ricercar: deriving from the plainsong/motet tradition, this is slow moving, has an antiquated feel,
and makes extensive use of suspensions.
Answer
We distinguish between two types of answer: real for an exact transposition, and tonal for one that has
been altered further.
A real answer simply transposes the original subject by perfect fifth/fourth. All generic intervallic
relationships remain the same between the notes.
• starts on sol or otherwise uses it prominently at the outset. In this case, we must adjust the
transposed version such that sol is not transposed up to re , but instead to do .
• includes any other V–I suggestion at start. Prominent dominant note in subject becomes tonic note in
FUGUE | 258
In all cases, we seek to make minimal adjustment such that the subject and answer are still as alike as
possible, and both make melodic sense.
Countersubject
Try working up a skeletal version of your countersubject first before fully fleshing it out. It’s frustrating to
dash off a lovely tune and then realize that it doesn’t fit. Additionally, sketch the version that will go with
the answer at the same time as the version that goes with the subject. It’s just as frustrating to write a
countersubject that works beautifully with the subject but which the answer makes harmonically
nonsensical.
Indeed, countersubjects are melodies, but they only work if they make sense harmonically as well. To that
effect, remember that your countersubject will first appear in a two-voice passage, so consider how best to
outline clear larger harmonies (triads and sevenths) with only two voices.
You may wish to set yourself the additional constraint of a countersubject which is invertible at the
octave—basically, one that can appear above or below the subject and still work. In this case, again work
on both versions as you go, and specifically make sure to:
• Avoid fifths, because fifths invert to fourths, which have special rules in two-voice writing. Stick to
unisons (/ octaves), thirds (/ sixths), and in the case of seventh chords, also seconds (/ sevenths). The
fifth is not a problem in the free part, so “reserve” that note as the completion of the chord and use it
there.
• Similarly, avoid 4–3 suspensions, because the first note is not dissonant when inverted (5–6). Instead,
use 7–6 and 2–3 suspensions (which invert to each other).
To create your skeletal countersubject, first look for skeletal patterns in the subject. Find the simple,
unembellished form of the subject and treat it as a kind of tonal cantus firmus against which to write your
counterpoint (skeletal countersubject), which you can then embellish into a more interesting musical line.
• make changes to the countersubject when moving between subjects and answers only and exactly
where those changes appear in the subject/answer
Free Counterpoint
Frankly, the idea of “free” counterpoint is a bit of a misnomer, especially if you’re writing an invertible
countersubject, because the subject and countersubject will leave your options highly constrained. This
part is “free” in the sense that it doesn’t necessarily recur later on, so you might like to think of it as a
freer part, relative to the even less free subject and countersubject! Alternatively, you can embrace the
extreme order and replace the free counterpoint with a second regular countersubject that does recur later.
Links
Your fugal exposition may include short interpolations between the subject/answer entries. We call these
links. Links frequently make use of a motive from the subject, for instance with sequential repetition of a
short fragment. They may appear between any or all voice entries and may be of varying lengths.
There are many musical motivations for including one or more links. Links provide an opportunity to:
• Change harmony: The end of one subject/answer and the beginning of the next may not match up
harmonically. In that case, you can use the link to get where you need to be.
• Change register: If you have a continually descending line, for instance, links can be a useful way of
resetting the register so you don’t go outside the instrument’s range.
• Vary the phrase lengths: If you have a subject of exactly two measures and just proceed through
several voices entering successively, then you may well want to use a link to make the hypermetrical
and phrase groupings a little more interesting. That said, the voices should always enter on metrically
comparable positions: for example, if your subject comes in on a pickup, all the subject/answer
entries should do the same, at least in the exposition.
• Dovetail entries: Apart from varying the phrase lengths, we can also vary the melodic context in
which a voice enters. For instance, if a link develops the Kopfmotiv sequentially, then you can bring
in the next subject/answer in seamlessly, as it begins with that motive.
FUGUE | 260
General Matters
Apart from the specific considerations of the fugue, naturally much of the general practice of writing
(tonal) music applies here. Remember in particular to:
• Control rhythmic flow: If and when continuous use of a given metrical level has built up (e.g.,
quarter/eighth/sixteenth notes), consider carefully whether and when it is appropriate to discontinue
that motion.
• Graduate the relative strength of cadences, for instance by controlling the scale degrees in the top
and bottom voices.
• Write idiomatically for the instrument/s. Remember to observe practical limitations of hand span,
instrument range, and the like.
Example
For an example of all of this in action, let’s consider Example 2: the C minor fugue from Book I of
Bach’s Well-Tempered Clavier (BWV 847).
One or more interactive elements has been excluded from this version of the text. You can view
them online here: https://viva.pressbooks.pub/openmusictheory/?p=919
Example 2. Exposition of the Fugue in C minor (BWV 847) by Johann Sebastian Bach.
Note that:
• The exposition runs from from measures 1–8 (the extract here includes the start of the following
“episode”).
• All the subject and answer entries are highlighted with blue noteheads.
• There are two regular countersubjects (annotated as CS1 and CS2).
• The answer is tonal.
• The link between entries 2 and 3 (mm. 5–6) and the episode following the last voice to enter
(starting in m. 9) are built on sequential handling of a motive from the subject, as indicated with
brackets.
261 | FUGUE
Online Resources
Head to dezrann.net for a full version of this Bach fugue, complete with on-score annotations and an
aligned audio recording of a real performance. You can even choose between using this friendly version in
modern notation with the fugal voices on separate staves, or following along with Bach’s manuscript.
Assignments
1. In the Bach C minor fugue shown above, the answer is “tonal.” Given what has been said about tonal
answers in this chapter, try explaining how the subject and answer differ, and why.
2. Pick another fugue, identify how many “voices” there are, and locate each voice’s entry and the end
of the exposition.
3. Try writing your own answers and countersubjects. The template file below provides the subjects for
all48 fugues in both books of the Well-Tempered Clavier. An empty second staff is provided for
your practice. (Note that the last note in many of the fugue subjects is given without a stem to
indicate the pitch without specifying the duration rhythm.) If you know some of these fugues well,
you may want to work on ones you’re less familiar with.
4. Once you are feeling confident with writing answers and countersubjects, try writing up a full
exposition. Again, you may wish to work on fugues you’re less familiar with.
For 3 and 4, you may wish to compare your solutions to Bach’s. Note that Bach’s solutions are not the
only possible ones, so don’t expect to come up with exactly the same music. Note too that not every fugue
has a regular invertible countersubject. Here are direct downloads in .mscz and .pdf formats.
GROUND BASS | 262
GROUND BASS
Mark Gotham
KEY TAKEAWAYS
Ground bass compositions have a bass line that repeats continually throughout.
This chapter focussed on the use of grounds in baroque context (like trio sonatas) where variety is created
through textural and harmonic change in parts above the bass line, notably with:
Ground bass compositions are based on a bass line that repeats throughout the piece, usually exactly, or
nearly so. Many musicians have found this a compelling compositional constraint for keeping themselves
… well … grounded!
How many musicians are we talking about? Well, this practice was highly popular in the Baroque (Purcell
was a particularly keen and expert protagonist), it is even more common in popular songs of recent years
(see Harmonic Schemas in Pop Music), and there are more than a few examples from in between. In
short, it is an extremely and enduringly popular form.
It’s easy to confuse “ground bass” with some other terms; going from broad to specific, the key terms to
distinguish are:
• Ostinato: any pattern that repeats throughout a long section or whole work in one voice, like the
motto side drum rhythm of Ravel’s Boléro.
• Ground bass: a specific type of ostinato in which a bass line repeats throughout a work or section.
The work itself can also be called a ground bass.
263 | GROUND BASS
• Chaconne and Passacaglia (and international variant spellings such as “Chacony”): sub-genres of the
Baroque ground bass. Among their other characteristics, both of these two are in triple meter. Every
Chaconne or Passacaglia is also a ground bass, and every ground bass is also an ostinato, but the
reverse is not true: not every ostinato is a ground bass, and not every ground bass is a Chaconne or
Passacaglia.
This chapter provides some files and instructions to help you explore some of the ways to create effective
ground bass compositions. We focus on the Baroque model, and on creating variety through
re-harmonizing the same bass in different ways and varying the texture.
While this might not seem like much to work with, this bass harmonization “cheat sheet” (PDF) shows
that there are many ways to re-harmonize bass intervals. It is organized by bass interval: both ascending
and descending forms of each interval from minor seconds to tritones. Note that this is supposed to help
you work out your options—you definitely don’t need to use all of these! We’ll see below how Purcell uses
just a few of these to create harmonic variety in a very long work that’s almost entirely in G minor. We’ll
be especially interested in moments where Purcell avoids the main perfect cadence at the start/end of
each iteration of the ground, joining two grounds together with a subtler seam and thereby varying not
only the harmony but also the phrase rhythm of the piece.
One or more interactive elements has been excluded from this version of the text. You can view
them online here: https://viva.pressbooks.pub/openmusictheory/?p=1031
Harmony
Harmonically, the piece is resolutely in G minor almost throughout, though Purcell tonicizes several keys
along the way. The full list of tonicizations is (arguably):
• Dmi in measure 17
• F in measure 27
• B♭ in measure 28
• Cmi in measure 33
• E♭ in measure 78
• F in measure 87
• E♭ in measure 88
• Cmi in measure 93
• Dmi in measure 107
• F in measure 117
• Cmi in measure 131 (beat 3) and in measure 133
• E♭ in measure 158
• E♭ in measure 163
Notice especially how Purcell finesses that boundary between the start and end of a ground iteration by
avoiding yet another perfect cadence in G minor. For instance, see m. 16 and m. 106 for uses of G major
as part of V /v–v6, broadly reversing tonic and dominant function, and likewise m. 26 and m. 86 for G
diminished as viio6–I in F major. These special cases are marked on the score.
As a wider matter, notice how extensively Purcell uses 5–6 steps in the melodic parts and how this creates
ambiguity in the harmony, as in m. 1 and m. 12. Is the 5 or the 6 harmonic, or perhaps both? Is this
consistent, or does it change? This all makes it harder to pin down exactly what the harmony is and where
it changes, adding ever further layers of interest to the score. It also helps set up the sequences of 7–6
suspensions such as from m. 71.
265 | GROUND BASS
Imitation
Imitation is prevalent throughout. The melodic imitations are labeled “D” and “C” on the score. This is
short for dux (leader) and comes (follower). For instance, the violin 1 parts starts a melodic line in
measure 1 (beat 1), which is imitated by the violin 2 entering in measure 3 (beat 1).
Notice how often these imitations start in the same part of the bar. This is consistent with what we
discussed in the context of 16th-century and 18th-century imitative traditions. Entering on equivalent
beats leads to temporal gaps between entries of three or six beats (beat gaps on the table). Then again,
note how Purcell occasionally uses closer imitation in measures 36, 41, 56, 63, 71, 133, 171, 178, 181,
and 182.
As the score shows, there is a great deal of imitation in this piece; almost every iteration of the ground is
accompanied by a new imitative relationship in the upper parts (the exceptions are given in the second
table below). Perhaps the two most special and interesting cases are:
1. the double imitation starting in m. 196 and imitated with parts swapped in m. 201
2. the imitation of the ground itself in the violin 2 part at m. 99/102
Online Resources
Click on the following links for:
Here are some additional files you may find useful in two types:
GROUND BASS | 266
1. Annotate scores: Baroque ground bass compositions with analytical annotations including an
attempt at full Roman numeral analysis, despite the contrapuntal nature of many of these works. The
Purcell above is an example of this.
2. Template scores: this same ground bass scores, with the bass on its own and the upper parts blank
so you can compose your own completion of the rest (see the Assignments below).
In all of these templates and annotated scores, there is exactly one iteration of the ground per system so
you can compare equivalent moments directly (vertically). Below is the full list with links for direct
downloads from Four Score and More. You can also view this wider set of templates and annotations files
on Four Score and More’s MuseScore.com page.
Template
Annotate scores
Score
Bach Crucifixus B Minor mass BWV232 .mscz, .mxl .mscz, .mxl
Assignments
These template scores allow you to try your hand at composing music based on some of the repertoire’s
great ground basses.
Take a template and try to compose your own ground bass composition, following these steps:
1. A simple, predominantly diatonic harmonization of the ground, with simple block chords, making
sure to follow good voice-leading practice. Use this as a prototype.
2. A set of alternative harmonizations including tonicizations of other keys and re-harmonizations of
the first note in particular to vary the apparent phrase length (as discussed above in reference to the
“cheat sheet”).
3. Melodic parts that fit with the bass and create more interesting textures. Seek out ways of writing
upper parts that can recur in another voice in imitation (and refer back to the Purcell analysis above
for ideas!).
267 | GROUND BASS
4. Finally, combine the best of your ideas into an overall piece that balances textural and harmonic
interest and charts an overall trajectory. Why not try a piece with six iterations of the ground, of
which the first and last are simple and alike?
GALANT SCHEMAS | 268
GALANT SCHEMAS
Kris Shaffer and Mark Gotham
KEY TAKEAWAYS
• Schemas are basic musical patterns that composers and improvisers of the 18th century would learn and
use as a simple basis for creating new music.
• There are many types of patterns, and they are typically associated with a particular place or function
within the music, for instance as a way of beginning.
Schemas are “stock musical phrases” (Gjerdingen 2007, 6) that act as melodic, harmonic, and rhythmic/
metric skeletons for creating new music in the Galant style. We can apply the term “schema” in three
specific ways. First, a schema is a prototype—an idealized version of a common pattern. Second, a
schema can be an exemplar—a single pattern that resembles the prototype. Third, a schema can be a
theory—an explanation of a commonly occurring musical event. All of these ideas go into how we
understand schemas. We understand an individual pattern (exemplar) as a version of an ideal general
pattern (prototype), and that relationship helps us understand how that pattern is functioning within a
particular passage of music (theory).
Schemas are often given names, sometimes based on descriptions from earlier theorists (the Monte,
Fonte, and Ponte were described by Joseph Riepel, for example) or, at other times, named after theorists
themselves (the Meyer is named after Leonard Meyer).
Schemas are defined both by what happens in the schema and by where it typically appears in a piece.
The “what” part involves two or more “stages” (basically, events) and includes:
1. melodic features, shown by scale degrees, usually for both the top (melodic) and bottom (bass)
voices;
2. harmonic features, shown with figured bass notation
269 | GALANT SCHEMAS
3. metric features, showing whether a stage occurs on a strong (“S”) or weak (“W”) beat of the bar
The “when” part basically distinguishes between schemas that are typically used to start a piece (“opening
gambits”), as a “continuation,” or as a concluding “cadence.” This section introduces one of each type,
and the Galant Schemas – Summary chapter sets out many more examples.
Stage 1 2 3 4
Meter W S W S
do ti fa mi
Melody
do re ti do
Bass
Figures
Roman
I V V I
numerals
We can break this schema down into two parts, a first, opening one that moves from I to V:
Stage 1 2
Meter W S
do ti
Melody
do re
Bass
Figures
Roman
I V
numerals
GALANT SCHEMAS | 270
Stage 1 2
Meter W S
fa mi
Melody
ti do
Bass
Figures
Roman
V I
numerals
As the Galant Schemas – Summary chapter shows, there are many other schemas with a similar pattern to
the Meyer, such as the Pastorella, the Jupiter, and the Aprile. In each of these cases, the schema starts
with a tonic chord, moves away for two stages, and then returns to the tonic at the end. Like the Meyer,
they are prototypes for the first phrase of an opening theme. As with the Meyer, the bass and harmonic
structure are less fixed than the melody. The two central stages may articulate dominant harmony in all
three schemas, and the second stage is also commonly accompanied by predominant harmony.
When each stage of a Meyer schema is given one measure of music, it is commonly found in the
presentation or antecedent part of an opening theme. If those stages occur at the rate of two per measure,
the Meyer may form a basic idea that would be followed by a closing gesture, such as the Prinner
described below.
Stage 1 2 3 4
Meter S W S W
la/ mi/
sol fa
Melody le me
mi/
fa re do
Bass me
Figures 5 6 7-6 I
Roman
IV I vii I
numerals
There are a few variants on the Prinner, including one that modulates to the dominant by using a version
of the Prinner transposed up a fifth. In this version, the first stage of the Prinner is still a chord and can
also still be viewed as a subdominant (IV) chord, but now relative to the dominant key.
The Prinner can also be used to modulate from the tonic to the dominant. This variant is called the
Modulating Prinner:
Stage 1 2 3 4
Meter S W S W
mi re do ti
Melody
do ti la sol
Bass
6 7-♯6
Figures
RNs in
the tonic I V vii/V V
key
RNs in
the
IV I vii I
dominant
key
Other
Apart from schemas for opening and closing, others are typically used for “continuation” and “cadences,”
GALANT SCHEMAS | 272
and we even have one common “post-cadential” type. The Galant Schemas – Summary chapter provides
examples of the main types, along with information about further variants and details. Additionally, while
abstract layouts like the tables above are best for setting out what these schemas are, it’s obviously also
useful to check them out in musical notation. Here is a simple realization for exploring the schemas
discussed in these chapters:
One or more interactive elements has been excluded from this version of the text. You can view
them online here: https://viva.pressbooks.pub/openmusictheory/?p=310
References
Gjerdingen, Robert O. 2007. Music in the Galant Style. Oxford University Press.
Online Resources
For all the musical notation files used in these schema chapters, head to:
For much more on this topic, and especially on the historical sources, head to Gjerdingen’s
own partimenti.org.
Assignments
Learning schemas really calls for hands-on practice.
1. Playing: Begin by playing through these examples from the files provided, preferably in a range of
273 | GALANT SCHEMAS
different keys. (Note: you can transpose scores in MuseScore with the Notes menu: Notes/
Transpose).
2. Memorization: See if you can memorize some of these patterns. Test yourself by:
◦ writing them out on paper (start with a blank scale)
◦ playing them from memory
3. Embellishment: Schemas help to structure music, but they are not really musical pieces in
themselves: it takes a lot of fleshing out to get from these skeletons to real music. That being the
case, try improvising embellishments of these basic patterns. Start with simple turns, passing notes
and the like, then move on to more ambitious changes.
4. Full pieces: When you’re confident with individual cases, try piecing them together, according to
their usual position and ordering. Start by using templates like these:
◦ Template 1: .pdf
◦ Template 2: .mscz, .mxl, .pdf
These templates each provide a combination of schemas which can be thought of as prototype pieces,
both to illustrate how they work and as a template for scaffolding exercises in pastiche composition. Use
these templates, but bury them beneath layers of musical character and embellishment. Here are some
tips for getting started:
• Rhythm: Try picking a single characteristic rhythm to serve as the basis for your piece and use it
often (but not exactly: see how many different ways you can adapt it).
• Melody: Introduce embellishments, decorating some stepwise motions with turns, for instance, and
filling in some large leaps.
• Accompaniment: Use one or more characteristic patterns for chordal accompaniments, like the
Alberti Bass.
• Texture: Particularly for longer pieces, vary the number of voices present and the way they relate.
SCHEMA SUMMARY | 274
KEY TAKEAWAYS
There are many different schemas. This chapter provides an introductory overview of the main ones along with
some (brief) discussion of variants and details.
We begin with an at-a-glance summary of some important schemas, then proceed to set out each of the
schemas listed one by one.
Musical notation
Here are files in musical notation with all the schemas listed on this page:
These files provide a set of schemas, with the constituent parts set out as prototypically as is possible in
musical notation: that is, with melody and figured bass lines, along with (in the first file’s case) chords in a
middle part realizing those figures. Musical notation is obviously useful, though really, schemas are
prototypes that exist apart from any specific realization, so the more abstract representations in tables and
the like are better in some ways. That’s why you’ll see them set out in this fashion here and in other
literature on this topic.
275 | SCHEMA SUMMARY
Summarizing table
SCHEMA SUMMARY | 276
Name When
do–sol–do–do do–ti–la–mi
Romanesca Opening
[latex]{\hat1-\hat5-\hat1-\hat1}[/latex] [latex]{\hat1-\hat7-\hat6-
do–re–mi do–ti–do
Do-Re-Mi Opening
[latex]{\hat1-\hat2-\hat3}[/latex] [latex]{\hat1-\hat7-\hat1}
sol–fa–fa–mi do–re–ti–do
Sol-Fa-Mi Opening
[latex]{\hat5-\hat4-\hat4-\hat3}[/latex] [latex]{\hat1-\hat2-\hat7-
do–ti–fa–mi do–re–ti–do
Meyer Opening
[latex]{\hat1-\hat7-\hat4-\hat3}[/latex] [latex]{\hat1-\hat2-\hat7-
do–ti–re–do do–re–ti–do
Aprile Opening
[latex]{\hat1-\hat7-\hat2-\hat1}[/latex] [latex]{\hat1-\hat2-\hat7-
do–re–fa–mi do–ti–sol–do
Jupiter Opening
[latex]{\hat1-\hat2-\hat4-\hat3}[/latex] [latex]{\hat1-\hat7-\hat5-
mi–re–fa–mi do–sol–sol–do
Pastorella Opening
[latex]{\hat3-\hat2-\hat4-\hat3}[/latex] [latex]{\hat1-\hat5-\hat5-
Answer
la–sol–fa–mi fa–mi–re–do
Prinner Process
[latex]{\hat6-\hat5-\hat4-\hat3}[/latex] [latex]{\hat4-\hat3-\hat2-
Transition
Answer
mi–re–do–ti do–ti–la–sol
Modulating Prinner Process
[latex]{\hat3-\hat2-\hat1-\hat7}[/latex] [latex]{\hat8-\hat7-\hat6-
Transition
Answer
sol–fa–fa–mi di–re–ti–do
Fonte Process
[latex]{\hat5-\hat4-\hat4-\hat3}[/latex] [latex]{\uparrow\hat1-\ha
Transition
Answer
do–te–la–re–do–ti mi–fa–fi–sol
Monte Process
[latex]{\hat1-\downarrow\hat7-\hat6-\hat2-\hat1-\hat7}[/latex] [latex]{\hat3-\hat4-\upar
Transition
Answer
sol–ti–re sol
Ponte Process
[latex]{\hat5-\hat7-\hat2}[/latex] [latex]{\hat5}[/latex]
Transition
fa–mi–ti–do ti–do–re–mi
Fenaroli Pre-Cadential
[latex]{\hat4-\hat3-\hat7-\hat1}[/latex] [latex]{\hat7-\hat1-\hat2-
re–fa–la–do–ti fa–fa–fa–fi–sol
Indugio Pre-Cadential
[latex]{\hat2-\hat4-\hat6-\hat1-\hat7}[/latex] [latex]{\hat4-\hat4-\hat4-
do–re–re–do mi–fa–sol–la
Deceptive Cadence Pre-Cadential
[latex]{\hat1-\hat2-\hat2-\hat1}[/latex] [latex]{\hat3-\hat4-\hat5-
do–re–re–do mi–fa–sol–sol–do
Evaded Cadence Pre-Cadential
[latex]{\hat1-\hat2-\hat2-\hat1}[/latex] [latex]{\hat3-\hat4-\hat5-
ti–do fa–mi
Passo Indietro Pre-Cadential
[latex]{\hat7-\hat1}[/latex] [latex]{\hat4-\hat3}[/late
277 | SCHEMA SUMMARY
Name When
fa–mi ti–do
Comma Pre-Cadential
[latex]{\hat4-\hat3}[/latex] [latex]{\hat7-\hat1}[/late
mi–re–do–ti mi–fa–fi–sol
Converging Cadence Pre-Cadential
[latex]{\hat3-\hat2-\hat1-\hat7}[/latex] [latex]{\hat3-\hat4-\upar
do–re–re–do mi–fa–sol–do
Cadenza Semplice Cadence
[latex]{\hat1-\hat2-\hat2-\hat1}[/latex] [latex]{\hat3-\hat4-\hat5-
do–re–mi–re–do mi–fa–sol–sol–do
Cadenza Composta Cadence
[latex]{\hat1-\hat2-\hat3-\hat2-\hat1}[/latex] [latex]{\hat3-\hat4-\hat5-
fa–mi–re–do sol–do
Cadenza Doppia Cadence
[latex]{\hat4-\hat3-\hat2-\hat1}[/latex] [latex]{\hat5-\hat1}[/late
te–la–ti–do do
Quiescenza Post-Cadential
[latex]{\downarrow\hat7-\hat6-\hat7-\hat1}[/latex] [latex]{\hat1}[/latex]
Itemized List
Opening Gambits
Romanesca
Stage 1 2 3 4
Meter S W S W
do sol do do
Melody
do ti la mi
Bass
Figures 5 6 5 6
Roman
I V vi I
numerals
SCHEMA SUMMARY | 278
Do–Re–Mi
Stage 1 2 3
Meter S W S
do re mi
Melody
do ti do
Bass
Figures 5 6 5
Roman
I V I
numerals
Many of the schemas involve two steps that can be considered schemas on their own. These often take the
form of question-answer pairs.
Here, we have the Do–Re opening part as the opening question:
Stage 1 2
Meter S W
do re
Melody
do ti
Bass
Figures 5 6
Roman
I V
numerals
Stage 1 2
Meter W S
re mi
Melody
ti do
Bass
Figures 6 5
Roman
V I
numerals
The Do–Re–Mi may also appear in a four-stage version by putting those constituent parts back
together. This basically involves doubling up the central stage of the three-stage version.
Sol–Fa–Mi
Stage 1 2 3 4
Meter W S W S
sol fa fa mi
Melody
do re ti do
Bass
Figures 5 5 6/5 5
Roman
I ii V I
numerals
Stage 1 2
Meter W S
sol fa
Melody
do re
Bass
Figures 5 5
Roman
I ii
numerals
Stage 1 2
Meter W S
fa mi
Melody
ti do
Bass
Figures 6 5
Roman
V I
numerals
This schema may also appear with the harmony slightly altered, as follows:
Stage 1 2 3 4
Meter W S W S
sol fa fa mi
Melody
do re ti do
Bass
Figures 5 6 6/5 5
Roman
I vii V I
numerals
281 | SCHEMA SUMMARY
Meyer
Stage 1 2 3 4
Meter W S W S
do ti fa mi
Melody
do re ti do
Bass
6/
Figures 5 6/5 5
4/3
Roman
I V V I
numerals
Opening part:
Stage 1 2
Meter W S
do ti
Melody
do re
Bass
Figures 5 6,4,3
Roman
I V
numerals
Closing part:
SCHEMA SUMMARY | 282
Stage 1 2
Meter W S
fa mi
Melody
ti do
Bass
Figures 6,5 5
Roman
V I
numerals
Aprile
Stage 1 2 3 4
Meter S W S W
do ti re do
Melody
do re ti do
Bass
Jupiter
Stage 1 2 3 4
Meter S W S W
do re fa mi
Melody
do ti sol do
Bass
Figures 5 6 5 5
Roman
I V V I
numerals
283 | SCHEMA SUMMARY
Pastorella
Stage 1 2 3 4
Meter S W S W
mi re fa mi
Melody
do sol sol do
Bass
Figures 5 5 7 5
Roman
I V V I
numerals
Answer/Process/Transition
Stage 1 2 3 4
Meter S W S W
la sol fa mi
Melody
fa mi re do
Bass
Figures 5 6 7-6 I
Roman
IV I vii I
numerals
A slight variant on this inserts a root-position dominant before the final stage:
SCHEMA SUMMARY | 284
Stage 1 2 3 4 5
Meter S W S W S
la sol fa fa mi
Melody
fa mi re sol do
Bass
Figures 5 6 7–6 7 5
Roman
IV I vii V I
numerals
The Prinner can also be used to modulate from the tonic to the dominant. This variant is called the
Modulating Prinner:
Stage 1 2 3 4
Meter S W S W
mi re do ti
Melody
do ti la sol
Bass
Figures 5 6 7-♯6 5
Roman
I V vii/V V
numerals
Stage 1 2 3 4 5
Meter S W S W S
mi re do do ti
Melody
do ti la re sol
Bass
Roman
I V vii/V V/V V
numerals
285 | SCHEMA SUMMARY
Fonte
Stage 1 2 3 4
Meter W S W S
sol fa fa mi
Melody
di re ti do
Bass
Roman
V/ii ii V I
numerals
The Fonte has a strong relation to the Meyer and indeed to the cycle of fifths. This effectively tonicizes
the A minor key (e.g., the supertonic minor) and then a major key a tone below (the overall tonic). The
modular part is just one of those tonicizations:
Stage 1 2
Meter W S
fa mi
Melody
ti do
Bass
Roman
V I
numerals
SCHEMA SUMMARY | 286
Monte
Stage 1 2 3 4
Meter W S W S
do-te la re-do ti
Melody
mi fa fi sol
Bass
Roman
V/IV V V/V V
numerals
Like the Fonte, the Monte also goes through two tonicizations with a sequential treatment of a modular
half:
Stage 1 2
Meter W S
sol-fa mi
Melody
ti do
Bass
Figures 6/5 5
Roman
V I
numerals
287 | SCHEMA SUMMARY
Ponte
Stage 1 2 3
Meter S W S
sol ti re
Melody
Figures 5 7 7
Roman
V V V
numerals
Fenaroli
Stage 1 2 3 4
Meter S W S W
fa mi ti do
Melody
ti do re mi
Bass
Indugio
Stage 1 2 3 4 5
Meter S W S W S
re fa la do ti
Melody
fa fa fa fi sol
Bass
Roman
IV IV IV V/V V
numerals
Deceptive Cadence
Stage 1 2 3 4
Meter W S W S
do re re do
Melody
mi fa sol la
Bass
Figures 6 6/5 5 5
Roman
I ii V vi
numerals
Evaded Cadence
Stage 1 2 3 4
Meter W S W S
do re re do
Melody
mi fa sol mi
Bass
Figures 6 6/5 5 6
Roman
I ii V I
numerals
289 | SCHEMA SUMMARY
Passo Indietro
Stage 1 2
Meter S W
ti do
Melody
fa mi
Bass
6/
Figures 6
4/2
Roman
V I
numerals
The Passo Indietro is essentially the first two stages of a Prinner. Literally a “stepping back,” the Passo
Indietro often precedes a significant cadence.
Comma
Stage 1 2
Meter W S
fa mi
Melody
ti do
Bass
Figures 6/5 5
Roman
V I
numerals
SCHEMA SUMMARY | 290
Converging Cadence
Stage 1 2 3 4
Meter W S W S
mi re do ti
Melody
mi fa fi sol
Bass
Roman
I ii V/V V
numerals
This cadence is also known as the fa–fi–sol half cadence after the definitive bass line: . Note
the correspondence between this schema and the Indugio.
Cadenza Semplice
Stage 1 2 3 4
Meter W S W S
do re re do
Melody
mi fa sol do
Bass
Figures 6 6/5 5 5
Roman
I ii V I
numerals
291 | SCHEMA SUMMARY
Cadenza Composta
Stage 1 2 3 4 5
Meter W S S W S
do re mi re do
Melody
mi fa sol sol do
Bass
Roman
I ii Cad. V I
numerals
Cadenza Doppia
Stage 1 2 3 4 5
Meter S W S W S
fa mi re re do
Melody
Figures 5 6/4 4 3 5
Roman
V V V V I
numerals
SCHEMA SUMMARY | 292
Quiescenza
Stage 1 2 3 4
Meter W S W S
te la ti do
Melody
do do do do
Bass
7/
Figures ♭7 6/4 5
4/2
Roman V/
V V I
numerals IV
KEY TAKEAWAYS
This chapter discusses harmonizations of the scale using the so-called “rule of the octave” and other sequential
configurations. There are many files provided to view or download:
There are many, subtly different versions of the Rule of the Octave harmonization. The version used here
is closely based on that of Fedele Fenaroli (Naples, 1775), with just a couple of modifications to preserve
THE RULE OF THE OCTAVE | 294
a consistent number of voices throughout (four voices, including the bass) and to avoid any suggestion of
parallels.
Let’s begin by building up our version of the Rule of the Octave from simple principles, starting with
parallel (first inversion) chords. You could also think of this as a matter of moving from a flat to a rich
harmonic hierarchy, or else as a “Regolo recipe”: how to make or understand the rule in four easy steps.
1. We begin with a simple harmonization of the bass scale using parallel chords only. There’s nothing
grammatically incorrect about this, but neither does it have much of a sense of hierarchy or variety.
In short, it’s not very interesting.
2. Next we put in strategic s on the first and last chords to give a sense of closure on the tonic.
3. Then we also add a on the dominant chords of both ascending and descending forms to further
nuance the hierarchy (these are important chords too).
4. Finally, we precede each of the tonic and dominant chords (including those in inversion) with
seventh chords. In one case, this also involves a chromatic alteration for a stronger sense of
tonicizing the dominant. Why do you think we might only make that change this one time, and not
anywhere else in the progression?
One or more interactive elements has been excluded from this version of the text. You can view
them online here: https://viva.pressbooks.pub/openmusictheory/?p=858
Having arrived at the Rule, this second file deconstructs it again so you can practice and engage with it in
parts, with any number of voices, and in any position (i.e., any inversion of the right-hand harmonization).
295 | THE RULE OF THE OCTAVE
Keep practicing each component part separately and in a range of keys to build fluency with and
abstraction of the Rule. (Note: you can transpose scores in MuseScore with the Notes menu: Notes/
Transpose.)
We begin by combining the bass scale with each of the three upper-voice parts in turn, centered
respectively on the:
We then combine those upper parts into three-note right-hand chords to generate the Rule.
Here the three versions (“positions” in Fenaroli’s language) are given by the inversion of the chord. Again,
the top voice is centered successively on the:
One or more interactive elements has been excluded from this version of the text. You can view
them online here: https://viva.pressbooks.pub/openmusictheory/?p=858
• Open score (one voice per part): .mscz, .mxl, .pdf, link to view the score online
• Short (piano) score: .mscz, .mxl, .pdf, link to view the score online
THE RULE OF THE OCTAVE | 296
Note: The open and short-score versions of this material are otherwise identical, so these introductory
comments apply equally to both.
As we’ve seen above, the Rule of the Octave can be thought of as in terms of a sequential harmonization
of bass scales (parallel chords). This section looks at some other sequential harmonizations of the bass
scale here. Basically, this involves patterns of one or more harmonies which repeat sequentially in the
direction of the scale. Some of these work in the same way for both ascending and descending forms;
others require some modification.
We begin just as we did before, with a simple harmonization of the scale using parallel chords only. The
following systems proceed to patterns of:
5–6 patterns
• Ascending: In the ascending form, we alternate between the fifth and sixth above each note of the
bass line scale.
• Descending: In the descending form, we could do the same note-by-note alternation as the ascending
form, or else alternate between the fifth and sixth on separate notes (as in this file).
Cycles of fifths
The cycle of fifths is a based on a progression of root motion descending by fifths. Hiding in this pattern
is another (usually descending) scalic progression between alternate bass notes. This arises because
instead of literally going down two fifths, we usually go down a fifth and up a fourth, which is the
equivalent progression, just keeping it in the same register / octave. At the end of one such “down a fifth,
up a fourth,” we end up a step lower than where we started, and so we also have a stepwise progression
297 | THE RULE OF THE OCTAVE
• Ascending: Just like the 7–6 suspensions above, for the ascending scale, we need to restart each
pattern, so it ends up being 2–3–1 with the upper part, or 9–8–10 with the bass.
• Descending: Again, no restart is needed for the descending form. The 2–3 pattern sets up a series of
to 6 progressions like the important V –I6 progression, except that we’ve kept it diatonic here (i.e.,
without tonicizing each key).
One or more interactive elements has been excluded from this version of the text. You can view
them online here: https://viva.pressbooks.pub/openmusictheory/?p=858
Assignments
The partimenti approach really calls for hands-on practice.
1. Begin by playing through these examples from the files provided, preferably in a range of different
keys. (Note: As mentioned above, you can transpose scores in MuseScore with the Notes menu:
THE RULE OF THE OCTAVE | 298
Notes/Transpose).
2. See if you can memorize the patterns. Test yourself by:
◦ writing them out on paper (start with a blank scale)
◦ playing them from memory
3. Both with the music and (when you’re ready) from memory, try embellishing these basic patterns.
299 | III. FORM
III. FORM
Organization
The first chapter introduces some basic concepts necessary to study phrases, including formal hierarchy,
motivic analysis, and the idea level.
The next chapter properly introduces the phrase, periods and sentences. After that, hybrid forms are
introduced, followed by expansion and contraction. It is possible to skip hybrid forms and study only
expansion and contraction.
III. FORM | 300
The group of chapters on large-scale form begins with a framing chapter on formal sections in general.
This is followed by chapters on common forms such as binary, ternary, sonata, and rondo.
Further Reading
Caplin, William E. 1998. Classical Form: A Theory of Formal Functions for the Instrumental Music of
Haydn, Mozart, and Beethoven. New York: Oxford University Press.
301 | FOUNDATIONAL CONCEPTS FOR PHRASE-LEVEL FORMS
KEY TAKEAWAYS
This chapter describes the hierarchy of musical form, motives, and segmentation analysis.
CHAPTER PLAYLIST
FOUNDATIONAL CONCEPTS FOR PHRASE-LEVEL FORMS | 302
Hierarchy
One way to understand musical form is as a
hierarchical grouping of units. Example 1 shows that
a piece contains movements, movements contain
sections, sections contain themes, themes contain
phrases, and so on.
This chapter, along with the three that follow it, are focused on phrase-level form, or the various ways in
which a phrase may be constructed of motives, ideas, and sometimes subphrases (which will be discussed
in later chapters).
Motives
A motive is like a little snippet of a melody. It’s a regularly recurring unit of music that’s typically smaller
than an idea (the focus of the next section of this chapter). Each video in Examples 2–4 discusses a
motive from a different work. They all contain the same basic information, so you might choose to watch
the one that interests you the most, or you might watch all three.
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Example 2. Motivic analysis of John Williams, “Journey to the Island” (1:20–1:46) and Main Theme from
Jurassic Park (0:48–1:06).
303 | FOUNDATIONAL CONCEPTS FOR PHRASE-LEVEL FORMS
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One or more interactive elements has been excluded from this version of the text. You can view
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Example 4. Motivic analysis: Lin-Manuel Miranda, “Aaron Burr, Sir” from Hamilton (0:12–0:16).
While a motive does not necessarily have to repeat, those that do are usually the most interesting ones to
talk about, so we tend to focus on motives that recur throughout a passage.
There are many kinds of motives (e.g., rhythmic, pitch, contour, timbre), but the word “motive” by itself
most often refers to a pitch-based motive. A motive that’s primarily recognizable from its rhythmic
design, for example, would be spoken of as a “rhythmic motive.”
As a motive recurs throughout a work, it tends to change. Some common transformations are:
Often when people are first asked to identify motives in a work, they tend to choose something too large,
like an entire theme, for instance. Example 5 shows a common mistake in a motivic analysis of the
opening of Ludwig van Beethoven’s Fifth Symphony: identifying a passage that is too long to be
considered a motive. For a more useful approach, see the video in Example 3.
FOUNDATIONAL CONCEPTS FOR PHRASE-LEVEL FORMS | 304
Example 5. Beethoven, Symphony 5, I, mm. 1–13 (0:00–0:17). The boxed measures indicate something
that is too long to be considered a motive.
This Practice It! will guide you through a motivic analysis of the opening of John Williams’s “Duel of the
Fates.” To begin, listen to the opening (0:15–0:26), then start the quiz.
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here:
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1. “Relatively complete” means that the phrase has a sense of beginning, middle, and end.
2. In much tonal music, closure is most often signaled by a cadence (though other ways of achieving
closure will be examined in the following chapter). In performance, knowing that phrases end with
closure can help us to shape passages with a sense of trajectory toward their goal.1
When we analyze a phrase, we often begin with a segmentation analysis, which uses square brackets
above the staff to identify the phrase’s component parts.
The smallest level of a segmentation analysis is called the idea level. (If needed, see Example 1 for a
reminder of where the idea level fits in the hierarchy of form.) Ideas are short grouping units that contain
the motivic material for the work. They are often two measures long, but they may be longer or shorter.
Ideas may group together to create subphrases or phrases, something that is discussed in more detail in
the next chapter.
The videos in Examples 6 and 7 each demonstrate a segmentation analysis. They contain similar
explanations, so you may watch both or choose the one that most interests you.
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1. Sometimes people confuse the terms "phrase" and "phrasing." Usually when people say "phrasing," they are referring to the way a passage
might be shaped (where to push and pull time, where and how to change dynamic levels, etc.), and they may or may not be referring to an
actual phrase (a complete thought that ends with a cadence).
FOUNDATIONAL CONCEPTS FOR PHRASE-LEVEL FORMS | 306
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Example 7. A segmentation analysis of Clara Schumann, Piano Trio Op. 17, I (0:00–0:32).
Assignments
1. Coming soon!
Media Attributions
Form_Hierarchy © John Peterson is licensed under a CC BY-SA (Attribution ShareAlike) license
Not_a_Motive
Footnotes
307 | THE PHRASE, ARCHETYPES, AND UNIQUE FORMS
KEY TAKEAWAYS
This chapter introduces the phrase, the sentence, the period, the repeated phrase, compound forms, and unique
phrase-level forms.
• A phrase is a relatively complete thought that exhibits trajectory toward a goal. In tonal classical music,
that goal is almost always one of the traditional cadence types, but in other kinds of music, that goal may
be something else.
◦ A sentence is a special kind of phrase that contains a presentation and a continuation.
• Sometimes phrases are combined to form larger forms. Two such combinations of phrases are:
◦ The period: a phrase-level form consisting of an antecedent and a consequent.
◦ The repeated phrase: two phrases where the second is a written-out repeat of the first.
• Sometimes two sentences are arranged in an antecedent-consequent relationship to create a
compound period.
• Although the forms discussed in this chapter are all quite common, it’s equally common for a composer to
write a unique phrase-level form that isn’t in dialogue with the ones discussed here.
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THE PHRASE, ARCHETYPES, AND UNIQUE FORMS | 308
The Phrase
A phrase is a relatively complete thought that exhibits trajectory toward a goal,
arriving at a sense of closure. In tonal classical music, the goal of a phrase is
almost always one of the kinds of cadences described in the Introduction to
Harmony, Cadences, and Phrase
Example 1. A
segmentation analysis
of a phrase of common
length in Schubert, “Du
bist die Ruh”
(0:21–0:32).
Example 2. A
segmentation analysis
of a phrase of unique
length in Fanny Hensel,
“Abendbild”
(0:00–0:40).
Endings chapter: perfect authentic cadences (PACs), imperfect authentic cadences (IACs),
and half cadences (HCs).1
A phrase can be any length, but phrases of 4, 8, or 16 measures are particularly common. Example 1
shows a segmentation analysis for a phrase of 4 measures (a common length), while Example 2 shows a
segmentation analysis for a phrase of 13 measures (an unusual length).
Phrases can comprise either ideas or both subphrases and ideas. The diagrams in Example 3 depict both
1. In other kinds of music, such as post-tonal music or popular music, closure may be signaled by other kinds of devices.
309 | THE PHRASE, ARCHETYPES, AND UNIQUE FORMS
of these scenarios.
When we diagram phrases, we follow two general principles:
1. Square brackets are used for ideas and subphrases (essentially anything that doesn’t have to end with
a cadence).
2. Arcs are used for anything at the phrase level or above (essentially anything that must end with a
cadence).2
Example 3. A phrase divided into (a) ideas only, and (b) subphrases and ideas.
Because closure is so important for phrase identification, it’s crucial to correctly identify cadences. Not
every pause or V–I motion is a cadence! Example 4 discusses a passage with multiple locations
someone might mistakenly label as cadences.
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online here:
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2. See the discussion of formal hierarchy in Foundational Concepts for Phrase-Level Forms for a reminder of what is above the phrase level.
THE PHRASE, ARCHETYPES, AND UNIQUE FORMS | 310
Example 4. A passage with multiple locations someone might mistakenly label as cadences in Haydn’s
Piano Trio in F Major, Hob. XV:6, I (0:00–0:24).
1. They might play with what we’ll call an archetype. These are special ways of organizing phrases, and
you’ll read about two kinds: sentences and periods.
2. They might not relate to an archetype at all, in which case we’ll say they’re unique forms, meaning
they are not organized as sentences or periods.
Note that this doesn’t mean that archetypes are more common than unique forms. Phrase-level forms
belonging to both categories appear frequently in common-practice music. Moreover, these categories
might best be viewed as two ends of a spectrum (Example 5) in which a phrase-level form can be
understood as “closer” to one category or the other without clearly belonging to either one.
The Basics
Example 6 shows one common way to construct a phrase, called a sentence.
A sentence consists of two subphrases: the presentation and the continuation.
The presentation is often four measures long, and it consists of a
basic idea (b.i.) and its repetition. The continuation is often the same length as
the presentation, creating a sense of proportional balance. It’s characterized by
four traits that are discussed below.
EXAMPLE 6. A
sentence at the
beginning of Louise
Farrenc, Cello Sonata,
II (0:00–0:28).
Example 7. Common
sentence lengths.
THE PHRASE, ARCHETYPES, AND UNIQUE FORMS | 312
Although it’s common for the presentation and continuation to be the same
length (several common lengths are shown in Example 7), just as often, the
continuation is longer than the presentation (Example 8). However, it’s not
common for the continuation to be shorter than the presentation.
The repetition of the basic idea is often varied, which can sometimes make it challenging to determine
whether one is dealing with repetition or with a completely different idea. One of the characteristics that
usually helps to clarify is contour: if the two ideas share the same contour, often we hear the second as a
varied repetition of the first. If the two ideas have different contours, then we’re more likely to hear the
second section as contrasting with the first, something that will return in our discussion of the period later
in this chapter.
Presentations typically begin on the tonic harmony, and they may do one of several things:
• Fragmentation (f.): making unit sizes shorter than the previously established unit sizes (e.g., if the
basic ideas are each two measures, fragments may be one measure long).
◦ Note that fragmentation refers only to the length of the units. It does not refer to their melodic
content, which may or may not be related to the basic ideas.
• Increased rhythmic activity: the use of faster durations than in previous units.
• Sequences: units are repeated and transposed.
• Increased harmonic rhythm: chord changes occur more often than before. For example, if the basic
ideas are each two measures long and each is harmonized with a single chord, the continuation might
contain chord changes every measure.
A continuation subphrase is easier to identify if it includes more of the traits listed above, but very often,
only some of these traits are present. Perhaps the most obvious one is fragmentation, which usually signals
continuation even in the absence of the other traits, but not all continuations exhibit fragmentation.
Continuations may therefore take one of two typical forms: with fragmentation (as in Example 6) and
without fragmentation (as in Examples 9 and 10). In Example 9, the continuation doesn’t divide into
a smaller idea level. The term unit (u.) denotes a grouping that simply expresses the traits of the next
higher grouping to which it belongs; in Example 10, it indicates that the two-measure idea expresses
continuation (perhaps through increased harmonic rhythm, for example).
Example 9. A sentence
without fragmentation in
Beethoven, Polonaise
for Military Band
(0:00–0:06).
THE PHRASE, ARCHETYPES, AND UNIQUE FORMS | 314
• 4 or 8 measures
• A presentation
• A continuation whose length balances that of the presentation
• Fragmentation in the continuation
To be clear, many sentences do not have all of these traits. At a minimum, to be sentential, a phrase needs
a presentation and a continuation.
315 | THE PHRASE, ARCHETYPES, AND UNIQUE FORMS
The Basics
In addition to the sentence, another common phrase-level form is the period
(Example 11). Unlike the sentence, which is a single phrase, the period
comprises two phrases, each consisting of a basic idea (b.i.) followed by a
contrasting idea (c.i.) (see below on how the treatment of these ideas differs in
each phrase). The first phrase, called the antecedent, is often four measures
long, and it ends with a weaker cadence, most often a half cadence (HC). The
second phrase is called the consequent. It ends with a stronger cadence than the
antecedent, most often a perfect authentic cadence (PAC). It may be the same Example 11. A period
length as or longer than the antecedent; it’s rare for it to be shorter. in Mozart’s Clarinet
Concerto, III
(0:00–0:11).
Antecedents typically start on tonic harmony, and they most often end on a half cadence. While it’s
certainly possible for the antecedent to modulate, it’s more common for the it to be entirely in the tonic
key.
3. Some analysts use the term "parallel period" to describe a period in which the consequent begins the same way as the antecedent, and
"contrasting period" to describe a period in which the consequent begins differently than the antecedent. Since contrasting periods are so
rare, however, this book simply uses “period” to refer to a parallel period, specifying the type only in the rare instance of a contrasting
period.
THE PHRASE, ARCHETYPES, AND UNIQUE FORMS | 316
the two basic ideas are different, it might be useful to label the antecedent’s basic idea as “b.i.1” and the
consequent’s as “b.i.2.”
The consequent’s contrasting idea is almost always different from the antecedent’s due to the fact that it
must end with a stronger cadence than the antecedent. The degree of difference varies widely: sometimes
the consequent’s c.i. begins like the antecedent’s and only changes near the very end; other times, the c.i.
is entirely different.
Consequents most often begin on tonic harmony and end with a PAC.
Periods may either stay in a single key or modulate (i.e., change keys). If the period modulates, the
change of key usually happens during the consequent.
In a repeated phrase, the first phrase can end with any kind of cadence, and the
Example 12. A
second phrase must therefore end with the same one. This distinguishes a
repeated phrase in
repeated phrase from a period, in which the consequent ends with a stronger Schubert’s “Du bist die
cadence than the antecedent. Ruh” (0:22–0:44).
317 | THE PHRASE, ARCHETYPES, AND UNIQUE FORMS
How is Example 13 like a period? The first phrase (the antecedent) ends with
a half cadence, and the second phrase (the consequent) ends with a stronger
cadence: a perfect authentic cadence. This weak-to-strong cadence pattern Example 13. A
makes this example retain that sense of “question and answer” or “incomplete compound period in
thought to completed thought” that is so characteristic of the period. Christian Petzold’s
Minuet in G Major
(0:00–0:25).
How does Example 13 use sentences? The antecedent and the consequent are
each a sentence: in each phrase, the first four measures are the presentation and
the last four measure are the continuation.
Assignments
1. Analyzing sentences (.pdf, .docx). Asks students to compare excerpts to the archetypal sentence,
provide form diagrams, and optionally, provide harmonic analysis for any given excerpt.
THE PHRASE, ARCHETYPES, AND UNIQUE FORMS | 318
Worksheet playlist
2. Analyzing archetypes and unique forms (.pdf, .docx). Asks students to identify excerpts that are
archetypes (periods, sentences, compond periods) or unique forms, and to diagram those that are
archetypes. Optionally, students can harmonically analyze the excerpts. Worksheet playlist
3. Composing melody-only sentences (.pdf, .mscx). Students compose four-measure sentences from a
given basic idea (melody only).
4. Composing fully realized sentences (.pdf, .mscx). Students select from a bank of basic ideas to
compose an 8-measure sentence with full texture (accompaniment and melody).
Media Attributions
Segmentation of Schubert’s “Du bist die Ruh” © John Peterson and Megan Lavengood is licensed under a CC BY-SA (Attribution
ShareAlike) license
Example_004
Example_005_Spectrum © John Peterson and Megan Lavengood is licensed under a CC BY-SA (Attribution ShareAlike) license
Example_005 © John Peterson and Megan Lavengood is licensed under a CC BY-SA (Attribution ShareAlike) license
Example_006 © John Peterson and Megan Lavengood is licensed under a CC BY-SA (Attribution ShareAlike) license
Example_007 © John Peterson and Megan Lavengood is licensed under a CC BY-SA (Attribution ShareAlike) license
Example_008 © John Peterson and Megan Lavengood is licensed under a CC BY-SA (Attribution ShareAlike) license
Example_009 © John Peterson and Megan Lavengood is licensed under a CC BY-SA (Attribution ShareAlike) license
Example_010 © John Peterson and Megan Lavengood is licensed under a CC BY-SA (Attribution ShareAlike) license
Example_011 © John Peterson and Megan Lavengood is licensed under a CC BY-SA (Attribution ShareAlike) license
Example_012 © John Peterson and Megan Lavengood is licensed under a CC BY-SA (Attribution ShareAlike) license
Example_013 © John Peterson and Megan Lavengood is licensed under a CC BY-SA (Attribution ShareAlike) license
Footnotes
319 | HYBRID PHRASE-LEVEL FORMS
KEY TAKEAWAYS
• A hybrid form combines the beginning of one archetype with the ending from another.
◦ Possible beginnings are antecedents, presentations, or compound basic ideas.
◦ Possible endings are consequents, continuations, or cadential endings.
• Although any beginning could be combined with any ending, some pairings are more common than others
(see Example 7).
CHAPTER PLAYLIST
We found that these forms divide into two parts. A sentence divides into two subphrases: a presentation
and a continuation. A period divides into two phrases: an antecedent and a consequent.
HYBRID PHRASE-LEVEL FORMS | 320
A hybrid form occurs when the beginning of one archetype is paired with the
ending from another archetype. In Example 1, an antecedent is followed by a
continuation.
So far, we know two beginnings (presentation and antecedent) and two endings (continuation and
consequent), but there’s actually one more possible beginning (compound basic idea) and one more
possible ending (cadential). Below, we’ll outline these new beginnings and endings and provide ways to
help distinguish between them.
321 | HYBRID PHRASE-LEVEL FORMS
Beginnings
1. What is "compound" about the compound basic idea? It often functions as the basic idea of a large sentence, one that is sixteen measures in
length, where the presentation is eight measures long and comprises two c.b.i. units. It's "compound" in the sense that these large basic ideas
are themselves composed of two units: a b.i. and a c.i.
HYBRID PHRASE-LEVEL FORMS | 322
Endings
• mi : I6
• fa : ii6 or IV Example 4. A cadential
(7) ending in Haydn, String
• sol :V (often elaborated with cadential )
Quartet Op. 64, No. 4,
• do :I II, mm. 1–8
(0:05–0:10).
This core mi–fa–sol–do bass line may be embellished. A
common embellishment is to tonicize the dominant by adding fi before sol ( , making the bass
line mi–fa–fi–sol–do .
The clearest cadential endings are four measures long with one bass note per measure.
2. What is the difference between a cadential idea and cadential ending? The cadential idea comes at the end of a continuation, and essentially,
the cadential ending is like the cadential idea being expanded to four measures and replacing the continuation. That means that "cadential"
can occur at two formal levels: the idea level and the subphrase level.
3. This can also occur in minor, of course, as me–fa–sol–do [latex](\downarrow\hat3-\hat4-\hat5-\hat1)[/latex].
323 | HYBRID PHRASE-LEVEL FORMS
PAC/IAC.
Consequent Varies b.i. + c.i.
Not HC.
Mi−fa−sol−do
PAC/IAC. Either 2+2 or indivisible. Never
Cadential [latex](\hat3−\hat4−\hat5−\hat1)[/latex] or an
Not HC. features fragmentation.
elaboration of that line.
Below, we provide examples for all hybrids in the “slightly less common” and “occasional” categories
(Examples 8–12). We already provided examples of the period and sentence in The Phrase,
Archetypes, and Unique Forms.
The examples we provide in this chapter are all eight-measure archetypes, but as we show in the next
chapter, these forms can be any length.
Beginnings Endings
Antecedent Consequent
Compound basic idea (c.b.i.) Continuation
Presentation Cadential
Example 6. Possible beginnings and endings. Any beginning on the left can theoretically pair with any
ending on the right.
HYBRID PHRASE-LEVEL FORMS | 324
pres.+cont. (sentence)
very common
ant.+cons. (period)
c.b.i.+cons.
c.b.i.+cont. slightly less common
ant.+cont.
c.b.i.+cad.
occasional
ant.+cad.
pres.+cad.
rare or non-existent
pres.+cons.
Listening to
Phrase-level Forms
With so many possibilities, it might seem
overwhelming to try to sort through the various
Example 10. An antecedent + cadential in Haydn, possibilities. Example 13 offers a suggested
String Quartet Op. 64, No. 4, II, mm. 1–8 (0:00–0:10). listening strategy that can help determine what
kind of beginning and ending you’re hearing.
Example 13. Suggested process for listening to phrase-level forms: (a) what to listen for in beginnings,
and (b) what to listen for in endings.
Further Reading
• Caplin, William Earl. 2013. Analyzing Classical Form: An Approach for the Classroom. New York:
Oxford University Press.
327 | HYBRID PHRASE-LEVEL FORMS
Assignments
1. Analyzing hybrid forms (.pdf, .docx). Provides excerpts and asks students to indicate which term
best describes the first and second half of each. Optional harmonic analysis included.
Worksheet playlist
2. Analyzing forms with multiple possibilities (.pdf, .docx). Asks students to identify preferred and
plausible alternative interpretations for several excerpts. Also includes band music. Worksheet playlist
3. Composing phrase-level forms (.pdf, .docx). Asks students to compose a phrase-level form given a
description. Provides a basic idea bank to give students a start.
Media Attributions
Example_001_Ant+Cont © John Peterson and Megan Lavengood is licensed under a CC BY-SA (Attribution ShareAlike) license
Example_002a_compound_basic_idea © John Peterson and Megan Lavengood is licensed under a CC BY-SA (Attribution ShareAlike)
license
Example_004a_cadential © John Peterson and Megan Lavengood is licensed under a CC BY-SA (Attribution ShareAlike) license
Example_013a_Listening_Diagram_Caplin © John Peterson and Megan Lavengood is licensed under a CC BY-SA (Attribution
ShareAlike) license
Footnotes
EXPANSION AND CONTRACTION AT THE PHRASE LEVEL | 328
KEY TAKEAWAYS
• Expansions make a phrase last longer than expected. They can be internal (between the beginning and
ending of the phrase) or external (before the beginning or after the end).
◦ Internal expansion techniques include repetition, stretching, one-more-time technique, and
alternative path.
◦ External expansions fall into two categories:
▪ Prefixes occur before the beginning, such as an introduction.
▪ Suffixes occur after the cadence, such as post-cadential extensions, codettas, and codas.
• Contractions make a phrase shorter than expected.
CHAPTER PLAYLIST
The terms expansion and contraction refer to ways composers play with the expected length of a phrase.
• When a phrase invokes one of the archetypes without following it exactly, we can often identify how
long a closer representation of that archetype would have been.
• Sometimes the cadential motion of the phrase allows us to anticipate where a cadence might occur,
but the phrase evades the expected cadence.
329 | EXPANSION AND CONTRACTION AT THE PHRASE LEVEL
• Sometimes a piece states two versions of a phrase—one unexpanded and the other
expanded—giving us a model to which we can compare the expanded version.
Expansion refers to the process of making a phrase longer than we expect. This lengthening might occur
within the phrase (“internal expansion“) or outside of the phrase (“external expansion“). Contraction
refers to the process of making a phrase shorter than we expect, and it always occurs within a phrase.
In this chapter, we offer an overview of several techniques for phrase expansion and contraction. This isn’t
an exhaustive list, but it covers several of the more common techniques. The terminology concerning
expansion and contraction techniques can quickly become overwhelming. What’s most important is to be
able to recognize when a phrase is longer or shorter than expected and to be able to describe what’s
creating the difference in length.
Internal Expansions
The four techniques we discuss below—repetition, stretching, one-more-time, and alternative path—all
occur within a phrase: after the phrase’s beginning, but before its cadence. Often, composers use these
techniques in combination; in fact, it’s relatively rare to find a phrase that’s expanded using only one
technique.
Repetition
Sometimes when a composer repeats material, the repetition creates extra
length.
Coined by Janet Schmalfeldt (1989), the one-more-time technique involves three steps: 1) the music tries
to cadence, 2) the attempted cadence is evaded, and 3) the music retries the cadence. The re-tried
cadence often uses the same material, such that it feels like the music is “backing up,” but it may also
retry the cadence with different cadential material.
331 | EXPANSION AND CONTRACTION AT THE PHRASE LEVEL
Example 4. Internal
Alternative Paths expansion via the
one-more-time
technique in
An alternative path occurs when unexpected new material either temporarily or Mendelssohn, Op. 8,
permanently causes a phrase to deviate from its expected trajectory toward a no. 5, “Pilgerspruch”
(0:00–0:37).
cadence. A temporary deviation is called a detour. Detours return to previous
material from within the phrase before the phrase achieves a cadence. A
permanent deviation is called a reroute. Reroutes achieve cadences without returning to previous material
from within the phrase.
External Expansions
When composers add length outside of a phrase, they may add measures before the beginning (prefixes)
or after the cadence (suffixes). In diagrams, we indicate external expansions using dashed arcs or brackets.
The Prefix
A prefix occurs before the beginning of a phrase, usually taking the form of an
introduction. A prefix can be small, but it may also be large, such as when a
composer begins a symphony with a slow introduction. Example 7 shows a
small prefix. As is very common with songs, this mélodie opens with an
instrumental introduction before the singer enters—that is, before the phrase
beginningg. Note also that this phrase includes a variant on the typical
core bass cadential pattern. Instead of mi-fa-sol-do ( ),
Chaminade writes di-re-sol-do ( ) (mm. 8–11). Example 7. External
expansion via small
prefix in Cécile
Chaminade, “L’amour
The Suffix captif,” mm. 1–10
(0:00–0:13).
A suffix occurs after a phrase has cadenced. The terms in Example 8 are
flexibly used to describe different types of suffix. While Example 8 provides guidelines for their use,
333 | EXPANSION AND CONTRACTION AT THE PHRASE LEVEL
what one person calls a post-cadential extension, another might choose to call a codetta. It’s more
important to recognize that a given suffix adds length outside the bounds of a phrase than to worry about
which term is most appropriate.
Avg.
Term Characteristics Typical Location Example
Length
Example 9 shows the end of a lengthy period. After the perfect authentic cadence that ends the
consequent, a two-measure post-cadential extension prolongs the final tonic via arpeggiation.1
In Example 10, a lengthy phrase ends the exposition of the piano sonata with a PAC in A♭ major at m.
41. The cadence is followed by a codetta: notice that it features a repeated two-measure unit harmonized
with the cadential bass line fi-sol-do ( ).
Example 11 features the longest kind of suffix: a coda. After the introduction returns (4:52) and then is
varied (5:03), an elided PAC ends the piece proper (5:32). The coda (also at 5:32) presents an energetic
1. The recording linked is the only commercial recording of the piece. We hope more people will record this beautiful work.
EXPANSION AND CONTRACTION AT THE PHRASE LEVEL | 334
celebration of the piece’s closure, featuring a fast version of a previously-heard theme with several
phrases.
Timestamp Event
4:52 Introduction returns in varied form
5:32 Coda begins; its material is drawn from the second theme (from 2:00)
Example 11. External expansion via suffix (coda) in Shostakovich, Festive Overture.
335 | EXPANSION AND CONTRACTION AT THE PHRASE LEVEL
Contraction
Contractions occur less frequently than expansions. A contraction occurs when
a phrase is shorter than we might expect it to be.
Further Reading
• Jarvis, Brian, and John Peterson. 2019. “Alternative Paths, Phrase Expansion, and the Music of
Felix Mendelssohn.” Music Theory Spectrum 41, no. 2 (Fall): 187–217.
• Schmalfeldt, Janet. 1992. “Cadential Processes: The Evaded Cadence and the ‘One More Time’
Technique.” Journal of Musicological Research 12 (1–2): 1–52.
Assignments
1. Analyzing expansion techniques (.pdf, .docx). Asks students to name, segment, and label the form of
excerpts and identify the location of any expansion technique(s). Optional harmonic analysis
included. Worksheet playlist
2. Analyzing multiple expansion techniques (.pdf, .docx). More complicated examples than in
worksheet 1. Each excerpt is significantly expanded. Worksheet playlist
3. Recomposing to remove expansions (.pdf, .docx). Asks students to recompose excerpts from
worksheet 1 to remove the expanded portion of the archetypal form. Worksheet playlist
EXPANSION AND CONTRACTION AT THE PHRASE LEVEL | 336
Media Attributions
Example_001_Repetition_Sheldon_Bright_Lights © John Peterson and Megan Lavengood is licensed under a CC BY-SA (Attribution
ShareAlike) license
Private: combined-Example_002b_Repetition_Mozart_447-3 © John Peterson and Megan Lavengood is licensed under a CC BY-SA
Example_003a_Stretching_Schubert_459 © EXAMPLE 2. Internal expansion via varied repetition in Mozart's Horn Concerto, K. 447,
Slide12-13 © John Peterson and Megan Lavengood is licensed under a CC BY-SA (Attribution ShareAlike) license
Example_013_Contraction_Elmas_PC_1_III © John Peterson and Megan Lavengood is licensed under a CC BY-SA (Attribution
ShareAlike) license
Footnotes
337 | FORMAL SECTIONS IN GENERAL
KEY TAKEAWAYS
• Analyzing musical form involves determining the identity and function of musical spans.
• Musical sections are either core or auxiliary.
• Core sections are either main or contrasting.
• Auxiliary sections are either external or connective.
Core Sections
The core sections identified in Example 1 typically introduce and repeat a work’s primary musical
content. You can think of them as the sections you might sing for someone if they asked you how the
work “goes.” You can also think of core sections as containing the work’s themes, though the term
“theme” can be used in a broad or specific sense. Core sections also tend to repeat, which is another
reason they will often make a stronger impression on your memory.
Main Sections
Main sections are typically the first section that presents primary musical content; they are usually
repeated later in the work and are characterized by a relative sense of stability.
Terminology
The terms for main sections change depending upon the conventions of the genre and form (if it is a form
with a name). When thinking about form in general, the main section should be called A, but within a
known form, it may go by many names, including but not limited to:
339 | FORMAL SECTIONS IN GENERAL
Contrasting Sections
Contrasting sections are hard to generalize, since they can vary in affect and stability. In some cases, the
section is perfectly stable, and it contrasts mainly because it comes second instead of first; in other cases,
a contrasting section may be the most unstable section of the work.
Unstable contrasting sections may share many musical features with connective auxiliary sections (defined
below). The distinction lies in whether or not it is considered a core section: contrasting sections sound
like a primary place in the work, whereas connective sections sound like a place between two core
sections. In cases where the line between the two is blurry, a decision can be made based on the
conventions of the overall form of the piece, or multiple formal descriptors (e.g., becoming) can be used
to create an accurate and unforced classification.
Stability
Formal stability is the sense of tension vs. calmness in a portion of music. A relative sense of stability in a
work is a common means of delineating form, and it is an important dramatic concern for creating
momentum and engaging a listener’s expectations about what might happen, given their familiarity with
how other pieces in a given genre/style behave.
Common features for each might include some combination of the following, among others:
◦ Stability: relatively less change, consistent or decreasing dynamic level, tonic expansions,
regular hypermeter, no modulation, diatonic melody, and diatonic harmony
◦ Instability: relatively more change, increasing dynamic level, extreme registers, increased
chromaticism (tonicization), increased rhythmic activity, modulation, sustained dominant,
sequences (especially chromatic ones), irregular hypermeter, and irregular phrase lengths
FORMAL SECTIONS IN GENERAL | 340
Because it’s statistically common for works to start with a stable section, an unstable contrasting section
would likely sound unusual at the beginning of a work.
Terminology
In terms of form in general, the first contrasting section is labeled B, and each subsequent new section
receives the next letter of the alphabet (C, D, E, etc.).Within a known form, contrasting sections go by
many names, including but not limited to:
• Stable
◦ secondary theme (sonata)
◦ episode (rondo, fugue)
▪ Note: episodes are just as often unstable
◦ verse (verse-chorus)
• Unstable
◦ development (sonata)
◦ episode (rondo, fugue)
◦ digression (binary)
◦ contrasting middle (binary)
◦ bridge (multiple popular song forms)
▪ Note: “bridge” in this context is referring only to popular-form terminology
Prefix
A prefix (Rothstein 1989) refers to music that comes before the generic start of a phrase or piece and
tends to express a formal sense of “before the beginning.” A prefix can be described as either small or
large depending on whether or not it contains a complete phrase. Large prefixes contain at least one
phrase, while small prefixes don’t have complete phrases and are typically far less noticeable. Small
prefixes are often nothing more than the accompaniment for a section starting before the melody begins,
and they may precede any phrase in a work.
The most common type of large prefix is called an introduction. Introductions are often in a slower tempo
than the rest of the work and often contain their own thematic material. Small prefixes can be found in
works of most genres and eras, but large prefixes are less ubiquitous and tend to show up more often in
particular genres, like the opening of a symphony. However, other genres like the piano sonata
(Beethoven’s “Das Lebewohl,” Op. 81a), string quartet (Mozart’s “Dissonance” quartet), and dance forms
like ragtime (Joplin, “The Entertainer”) can contain them as well.
• Small Prefix:
◦ Chopin’s Polonaise in C minor, Op. 40, no. 2 – First two measures
◦ Kiesza’s “Dearly Beloved” – Opening
• Large Prefix:
◦ Introduction of the 1st movement of Mozart’s “Dissonance” string quartet in C major (K. 465)
– The whole movement is about 10 minutes long, and its slow introduction (large prefix) lasts
for nearly two minutes until the sonata form proper starts. There is a stark tempo change from
slow to fast at 1:59 that makes the boundary clear.
◦ Joplin’s “The Entertainer” – First four measures
◦ Madonna’s “Vogue” – This large prefix has many subsections (0:00, 0:34, 0:50), but the song
proper doesn’t start until she begins singing at 1:07.
Suffix
A suffix (Rothstein 1989) refers to music that comes after the close of a phrase or piece and tends to
express a formal sense of “after the end.” The distinction between large and small again concerns whether
or not it contains a complete phrase. Small suffixes can be found after the close of any phrase, but the
affect is quite different depending on the type of cadence they follow. After an authentic cadence, they
typically project a sense of stability and closure, but after half cadences, they tend to prepare for the
FORMAL SECTIONS IN GENERAL | 342
entrance of the upcoming section and therefore project a sense of instability. Though possible after any
phrase, large suffixes typically appear in two specific locations: (1) at the very end of a piece in the form
of a coda, and (2) as the closing section of a sonata form’s exposition and recapitulation (see Sonata
Form). In most cases, a suffix contains musical material that is different from the phrase it follows, though
that material may be derived from an earlier phrase.
• Small Suffix:
◦ Dove Shack’s “Summertime in the LBC” – After the final chorus, a small suffix (in the form of
a simple accompaniment) ends the song as it fades out from 3:41 until the end.
◦ Bizet, Habanera from Carmen – The B section ends just after the singer sustains a high note
and cadences with the orchestra immediately after (cadence is at 2:01). After this cadence, the
orchestra just repeats an accompanimental pattern a few times. The music from 2:01-2:06 is
the small suffix.
• Large Suffix:
◦ Puccini, “O Mio Babbino Caro” from Gianni Schicchi – Ending: You can hear the formal
ending of the aria at 1:48 with the line “O Dio, vorrei morir!” at which time the aria could have
ended satisfactorily. However, an elision occurs with the strings, which play the main melody
(a.k.a. ritornello) after the soloist finishes her line. Notice that the music from 1:48 to the end
projects a sense of stability, as suffixes tend to do when they follow an authentic cadence.
◦ End of the 1st movement of Mozart’s “Dissonance” string quartet in C major (K. 465) – This
movement ends with a coda at 9:58 (large suffix at the very end of a piece). Notice that it starts
after the material from the closing section of the recapitulation comes to an end. You can
compare the very end of the exposition (6:12) to the very end of the recapitulation (9:28) to
hear how this large suffix is added material that was not in the exposition (even though many of
its motives and ideas have been heard before).
◦ Brahms’s Intermezzo in A major, op. 118, no. 2 – This work is in ternary form. The A section
ends at 1:28 and is followed by a suffix from then until before the B section starts at 1:57.
Transition
Generally, a transition is a section of music that functions to connect two core sections. Transitions usually
help to lead away from the piece’s main section toward a contrasting section. In particular, a transition
343 | FORMAL SECTIONS IN GENERAL
comes between two sections where the upcoming section is not the initiation of a large-scale return (i.e.,
between A and B, not between B and A). Often a modulation is introduced to help prepare a section in a
new key, though it is not required. A transition also plays a role in the balance of stability and instability
in a work. Core sections of a work are very often stable thematic statements (relatively), but transitions
typically introduce instability (and a gain in energy), which will likely be countered by the stability of the
section that follows.
Like suffixes and prefixes, transitions and retransitions (discussed further below) come in “large” and
“small” varieties. A transition can be described as either small or large depending on whether or not it
contains a complete phrase. Large transitions contain at least one phrase, while small transitions don’t
have complete phrases and are typically far less noticeable.
Near their end, transitions (and retransitions) often drive toward attaining the dominant chord of the
upcoming key. Often, a suffix will begin once the dominant has been attained in a situation sometimes
called “standing on the dominant” (William Caplin) or “dominant lock” (James Hepokoski and Warren
Darcy).
A transition may have a clear stopping point before the next section starts, or there may be a single
melodic line that fills the space between it and the upcoming section (caesura fill), or the transition my
end at the onset of the new section with an elision. In more vague cases, the end of the transition and the
start of the new section may be hard to pinpoint, but it is still clear that it must have happened during a
particular span of time.
Transitions are commonly found in sonata forms between the primary and secondary themes and in rondo
forms between the A section (refrain) and a contrasting section (episode). Small transitions are often
found in ternary forms to connect the A and B sections.
• Large Transition:
◦ Mozart’s piano sonata in B♭ major, K. 333, 1st – This work is in sonata form. The transition
between the primary theme and the secondary theme occurs between 0:20 and 0:42.
Retransition
A retransition is very similar to a transition, but its location and function are different. Retransitions come
between two sections where the upcoming section is the initiation of a large-scale return (i.e., between B
and A, not between A and B). In most cases, retransitions help to prepare the return of the piece’s
FORMAL SECTIONS IN GENERAL | 344
main section: the return of the A section in ternary or rondo form, or the restatement of the
primary theme at the onset of the recapitulation in sonata form. A retransition often drives toward
attaining the dominant chord of the home key and will often prolong the dominant once attained, usually
in the form of a suffix. Retransitions may have a clear half-cadential ending (possibly followed by a
suffix), or they may have an elided ending that coincides with the initiation of the following section.
• Small Retransition:
◦ Chopin’s Polonaise in C minor, Op. 40, no. 2 – This work is in compound ternary form. In the
first, large A section of the overall ABA form, there is a small retransition between B and A
from 2:35 to 2:39. It is only one measure long.
◦ Handel’s aria “Lascia ch’io pianga” from Rinaldo – This work is in five-part rondo form
(ABACA). There is a very short, small retransition between the B and A sections from 1:41 to
1:44.
• Large Retransition:
◦ Mozart’s piano sonata in B♭ major, K. 333, 1st – This work is in sonata form. The retransition
between the development and the recapitulation occurs between 4:29 and 4:45.
◦ Brahms’s Intermezzo in A major, Op. 118, no. 2 – This work is in ternary form. There is a
retransition between the B section and the final A section from 3:08 to 3:19.
Further Reading
• Rothstein, William. 1989. Phrase Rhythm in Tonal Music. New York: Schirmer.
• Summach, Jason. 2012. “Form in Top-20 Rock Music, 1955–89.” PhD diss., Yale University.
Media Attributions
hierarchy_of_form_jarvis_02
Footnotes
345 | BINARY FORM
BINARY FORM
Brian Jarvis
KEY TAKEAWAYS
CHAPTER PLAYLIST
In the context of musical form, the term “binary” refers to a formal type that has two main parts. These
parts are often called reprises because each is typically repeated. Binary forms are common in 17th-,
18th-, and 19th-century repertoire, and they were used heavily in dance music.
There are two types of binary form: rounded and simple. Both forms have the possibility of featuring a
balanced aspect as well (note: balanced binary is often described as its own type of binary form, but that
approach is not taken here).
Binary form is typically one of the shorter forms, and because of that, it is often embedded within larger,
compound forms like compound ternary form.
BINARY FORM | 346
In 17th– and 18th-century classical music, each reprise of the binary form is typically repeated, as in
Example 1. The listener will hear the following structure:
• Reprise 1
• Reprise 1
• Reprise 2
• Reprise 2
In 17th– and 18th-century music, it is very common to find the repeat signs written in the score.
Decorative improvisation on the repeat was expected without being specified in the score. But in the 19th
century, it became more common for composers to write out the repeat instead of using repeat signs. This
may be done to indicate specific decorations on the repeat, to include changes in some musical domain
(like instrumentation or register), and/or to expand the music beyond the length of its first statement.
While having two—usually repeated—reprises is common to all binary forms, there are two relatively
distinct sub-types that capture the form’s larger melodic organization: rounded and simple, shown in
Example 2. Formal organization is represented with uppercase letters and prime symbols.
The first section of a binary form piece is represented with the letter A. In both subtypes of binary form,
A is the main section and presents the main melodic material (see Formal Sections in General).
B sections (the contrasting sections) vary depending on the type of binary form (Example 2). Both
forms can also feature a balanced aspect (represented with an x in parentheses), as discussed further
below.
347 | BINARY FORM
In rounded binary, the beginning of A returns in the home key somewhere in the middle of the second
reprise. It is not necessary for all of A to return (though often it does)—only the beginning. While the
returning material may be exactly the same, it’s also common to see slight variations, like change of
octave, accompanimental pattern, and/or melodic embellishments. If there is variation, you should still be
able to experience the feeling of return when the A material comes back. If unsure, you can expect the
harmonic analysis to remain essentially the same, the chord changes will likely be in the same metric
locations, and the scale degrees of the melody will also be in the same order and in the same metric
locations; just make sure to account for the possibility of slight variation in the domains listed above.
In rounded binary form, the second reprise starts with a B section. Typically, the B section is less stable
than the A section and may involve common destabilizing features like sequences, chromaticism, and
dominant pedals. In some binary forms, however, the B section is quite stable but simply presents
different thematic material than A (see, for example, the B section of the Trio from the third movement
of Mozart’s String Quartet in G major, K. 80).
BINARY FORM | 348
In the 18th century, half cadences before the return of A in rounded binary forms are quite common. In
the 19th century, however, composers may also elide or otherwise obscure this boundary, as Chopin does
between mm. 16 and 17 in the rounded binary form found in mm. 1–24 of his polonaise in A major, Op.
40, no. 1.
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1. A′ (note the prime symbol): The second reprise, though not a repeat of the first reprise, continues
with the same sorts of ideas. As the A material is always present, there is no “return” to the opening
material.
2. B: The second reprise contains relatively new material throughout.
or
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In order to be considered a return, there needs to be a crux point—a particular moment where the
restatement begins at the tail end of the second reprise. This restatement is the point at which there is a
direct bar-for-bar mapping of measures between the tail ends of both reprises. Importantly, this excludes
rounded binary examples where the entire first reprise is repeated verbatim in the second reprise, because
there is no crux point at the tail end of the second reprise.
351 | BINARY FORM
or
or
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BINARY FORM | 352
Example 8. Domenico Scarlatti, Sonata in A major, K. 322. Click to download a PDF score.
Harmonic Expectations
Cadences
Each part of the binary form commonly ends with standard cadence types (perfect authentic,
imperfect authentic, or half), especially in 18th-century classical music. But stylistic preferences of the
19th century alter cadential expectations for the first part in particular: composers sometimes opted for
lower levels of closure, ending with tonic-prolongational progressions instead of standard cadence types
(examples: Schumann, Papillon, 1 [m. 8] & 7 [m. 8], Kinderszenen, no. 9 [m. 8]).
Keys
If the first reprise of a binary form is open, it may contain a modulation.
Regardless of the harmonic situation at the end of the first reprise, you should expect the second reprise
to end with an authentic cadence in the original key. There may be additional cadences before the end, but
the PAC at the end of the second reprise is essentially an obligatory convention in
common-practice-period tonal music. If a piece starts and ends in different keys, it exhibits
progressive tonality rather than monotonality.
Assignments
1. Binary Form Analysis Assignment (.pdf, .docx).
◦ Audio Example 1 – Franz Schubert, Écossaise, D. 529, No. 3 (Starts at 1:07)
◦ Audio Example 2 – Franz Joseph Haydn, Piano Sonata no. 37, III, theme
◦ Audio Example 3 – Johann Sebastian Bach, Sarabande from Violin Partita no. 1, BWV 1002
◦ Audio Example 4 – Franz Schubert (1797-1828), Piano Sonata in E major, D. 157, II (mm. 1–
16)
◦ Audio Example 5 – Franz Schubert (1797-1828), Symphony no. 2 in B♭ major, D. 125, II
2. Guided Composition (.pdf, .docx, .mscx).
Media Attributions
reprises-diagram © Brian Jarvis is licensed under a CC0 (Creative Commons Zero) license
binary-form-diagrams-overview © Brian Jarvis is licensed under a CC0 (Creative Commons Zero) license
rounded-binary-diagram © Brian Jarvis is licensed under a CC0 (Creative Commons Zero) license
Mozart_Symphony_No_25_3rd_Minuetto_Only
simple-binary-a-b © Brian Jarvis is licensed under a CC0 (Creative Commons Zero) license
simple-binary-a-a © Brian Jarvis is licensed under a CC0 (Creative Commons Zero) license
Bach_Bourree_BWV_996_Score
simple-binary-a-a-balanced © Brian Jarvis is licensed under a CC0 (Creative Commons Zero) license
simple-binary-a-b-balanced © Brian Jarvis is licensed under a CC0 (Creative Commons Zero) license
rounded-binary-diagram-balanced © Brian Jarvis is licensed under a CC0 (Creative Commons Zero) license
1. Green
BINARY FORM | 354
Footnotes
355 | TERNARY FORM
TERNARY FORM
Brian Jarvis
KEY TAKEAWAYS
CHAPTER PLAYLIST
Ternary form is a musical form consisting of three distinct sections with an ABA pattern of large-scale
repetition: an opening section (A), a contrasting section in the middle (B), and then a return to the
material from the opening section (A). (Though it might seem logical to call ABC ternary form as well, it
is more often considered through-composed because each section contains different music.)
As shown in Example 1, each section in ternary form may immediately repeat, either with repeat signs
(most commonly) or written out. However, A and B do not repeat together, and neither do B and A.
⯑ A ⯑ ⯑ B ⯑ ⯑ A′ ⯑
Compound)
While the contents of each section can vary greatly concerning phrase and form, each section commonly
comprises multiple phrases, and very often those phrases combine together into a complete form (very
often a binary form). A ternary form is considered to be compound (or composite) if one or more of its
sections comprises a complete musical form. If a section does not contain a complete form, it can be
called simple. In many compound ternary forms (like minuet & trio or scherzo & trio in particular), all
sections contain complete forms (often rounded binary form). In compound ternary forms of the 19th
century, however, the last A section is often shortened and is simple, not compound.
⯑ A ⯑ ⯑ B ⯑ ⯑ A′ ⯑
Example 2. Abstract diagram of a compound ternary form where all sections contain their own complete
form.
⯑ A ⯑ ⯑ B ⯑ ⯑ A′ ⯑
⯑ A ⯑ ⯑ BA′ ⯑ ⯑ A ⯑ ⯑ B ⯑ ⯑ ⯑ A ⯑ ⯑ BA′ ⯑
Example 3. Hypothetical example of a compound ternary form where all sections contain their own complete
forms.
⯑ A ⯑ ⯑ B ⯑ ⯑ A′ ⯑
⯑ A ⯑ ⯑ BA′ ⯑
Example 4. Diagram of a ternary form where only the first section of the form comprises its own complete
form. See Chopin’s Mazurka in A minor, Op. 17, no. 4 for an example of this.
Contrasting Characteristics of B
The second section of a ternary form, usually referred to as the B section, is expected to provide contrast
with the A section that preceded it. This contrast may come from a variety of musical domains including
key, mode, texture, time signature, rhythmic ideas, melodic ideas, range, instrumentation, register, and so
on. The length of B, however, is expected to be generally proportional to that of A.
357 | TERNARY FORM
Auxiliary Sections
Like other forms, ternary form can contain auxiliary sections. Small transitions, small retransitions, small
prefixes, and small and large suffixes are common. See the chapter on Formal Sections in General for
more information on auxiliary sections.
Example Analyses
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Example 1. Frederic Chopin, Polonaise in A major, Op. 40, no. 1 – Click to See Score (PDF)
TERNARY FORM | 358
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Example 2. George Frideric Handel, “Waft Her Angels” from Jephtha – Click to See Score (PDF) –
Audio
Assignments
1. Bernhard Crusell – Clarinet Quartet, Op. 7, III, Menuetto (.pdf, .docx). Access score and audio.
2. Josephine Lang – Traumbild, Op. 28, no. 1 (.pdf, .docx). Access score and audio.
359 | SONATA FORM
SONATA FORM
Brian Jarvis
KEY TAKEAWAYS
• Sonata form is a complex manifestation of a harmonically open, rounded binary form that is also balanced.
• The first reprise is called the exposition, and the second reprise contains the development and
recapitulation.
• The exposition has two core sections in different keys called the primary theme and secondary theme.
• The primary and secondary themes are separated by a transition.
• The secondary theme is typically followed by a large suffix called the closing section.
• The development and recapitulation may have a retransition between them.
• The recapitulation’s secondary theme should be in the overall tonic key.
• The sonata form proper may be preceded by an introduction or followed by a coda.
CHAPTER PLAYLIST
At the largest level, the form is as follows in Example 1, and each of those large levels is further
subdivided, as shown in Example 2.
Exposition
Due to its popularity and intricacy, sonata form has developed its own set of terms to help capture its
multiple formal components, but these components share properties with other formal sections (see
Formal Sections in General). The sonata form’s first reprise is called the “exposition,” because
it exposes the main thematic material of the work. The exposition can be further broken down into four
sections with specific names:
• Primary Theme (P): the main section, in the tonic key; concludes with a cadence in the tonic key
• Transition (TR): the connective section; concludes with the medial caesura
• Secondary Theme (S): the contrasting section, in a non-tonic key (typically V for major-mode pieces
and III for minor-mode pieces); concludes with the essential expositional cadence
• Closing Area (C): a large suffix in the non-tonic key.
Example 3. Standard
formal layout of a sonata
exposition.
On the whole, the exposition is a relatively stable part of the form. P, S, and C are all typically very stable
areas; only TR is unstable.
In the exposition, expect the secondary theme to start and end in a non-tonic key. In major-key sonatas,
361 | SONATA FORM
this tends to be the dominant (V), and in minor-key sonatas, this is usually the mediant (III) or the minor
dominant (v). These keys are very common in the 18th and 19th centuries, but other options also occur in
the 19th century.
Development
The development is a large, unstable section. Like other unstable sections (e.g., B in rounded binary form
and C in sonata rondo), the development typically favors sequential passages, chromaticism and
modulation, and partial (rather than complete) thematic statements. As the name implies, the
development may “develop” material from the exposition, but this is not a requirement, as the
development may also introduce its own material.
Developments often explore multiple key areas through modulation or extended tonicizations. The
sequential passages in developments often involve models that are quite long, often four to eight measures.
For example, in the development of the first movement of Mozart’s Piano Sonata in A minor, K. 310,
discussed in the analysis example below, a four-measure sequential model is used. Sequences make up
such a substantial portion of Classic-era sonata developments that William Caplin suggests focusing on
them when determining their overall structure. He thinks of each sequential passage, from its model to its
eventual half cadence, as a “core”; suggests the possibility of multiple cores (usually only two); and
describes the music between the beginning of the development to the first core as the “pre-core.”
Because developments explore non-tonic keys, they typically end with a retransition (either small or large)
that helps to prepare the return of the primary theme in the tonic at the start of the recapitulation. The
development often ends with a medial-caesura effect that marks a clear dividing line between the
SONATA FORM | 362
development and recapitulation. But this boundary can be less clear as well and even involve an elision,
and in some cases, P starts over a dominant pedal, making it hard to hear as a clear point of initiation.
Recapitulation
The recapitulation involves the restatement of material from the exposition, but with the necessary
adjustments so that the secondary theme and closing sections are now in the tonic. In order for this key
change to take place, this restatement usually has to be recomposed somewhere between the primary
theme and the start of the secondary theme (creating a crux). The changes often take place during the
transition, but it can also happen during the primary theme. If the exposition’s transition ended with a half
cadence in the original key (e.g., Mozart, Symphony no. 25, i), then the recapitulation can actually be
restated in full without changes, and the secondary theme can simply start in the tonic key with no other
required changes. But often, composers decide to make changes during this restatement.
Sonata recapitulations also feature a balanced aspect because they restate the ending of the first reprise at
the end of the second reprise, this time transposed to the tonic key, necessitating a crux. However, the
return of material in sonata form is more consistent than in binary forms that are balanced. In sonata
forms in particular, you should expect that all of S and C will be included in the balanced return.
363 | SONATA FORM
Example 5. Location of Medial Caesura (MC), Essential Expositional Closure (EEC), and Essential Structural
Closure (ESC).
The medial caesura is a term introduced by James Hepokoski and Warren Darcy that refers to a common
phenomenon in late 18th-century sonatas where a mid-expositional break (caesura) occurs between the
end of the transition and the beginning of the secondary theme. While Mozart is an exemplary champion
of this technique, it is also used by earlier, later, and contemporaneous composers.
1. Harmonic preparation: Occurs at the end of the transition and is most commonly a half cadence
(often followed by a suffix, particularly a dominant pedal). This can be in either the home key or the
upcoming key of S.
2. Textural gap: A literal space (caesura) between the end of the transition and the beginning of S. The
caesura may be preceded by a series of “hammer blows”—repeated emphatic chords. In many cases,
only rests occur during this gap, but just as often, the gap is filled with a single voice that helps to
bridge the gap between the two sections (caesura fill).
3. Acceptance by S. A convincing feeling of starting a new section (S) will confirm that the medial
caesura occurred. If the textural gap instead led back to material from the transition and it felt as
though the secondary theme never really started, then a true medial caesura would not have occurred
because the third stage was missing.
Both the exposition and recapitulation can contain a medial caesura, though they may be different because
the transition is often recomposed in the recapitulation.
SONATA FORM | 364
Hepokoski and Darcy’s parallel concepts of Essential Expositional Closure (EEC) and Essential Structural
Closure (ESC) refer to the first satisfactory perfect authentic cadence (PAC) in S that moves on to
non-S material—this moment is called the EEC in the exposition and the ESC in the recapitulation. In
both situations, this moment determines the end of S and therefore the onset of C. The harmonic goal of
the exposition is to establish a new key and produce a PAC in that key, and the EEC marks that occasion.
The music after the EEC, the closing section (C), was not necessary for reaching this goal and is therefore
an auxiliary section of the exposition, a suffix. The same situation occurs in the recapitulation. The
harmonic goal of the recapitulation is that the material from the second half of the exposition is restated
in the overall tonic key and that a PAC occurs to confirm that key (ESC).
Introduction
It is common for sonata forms (especially the first movement of symphonic works) to have a large prefix
known as an introduction, or slow introduction. Introductions often contain musical material not found in
the rest of the work (in the 18th century in particular). The tempo is usually significantly slower than the
tempo of the sonata form proper. In many cases, the distinction between the end of the introduction and
the beginning of the sonata form is quite clear, because the tempo changes abruptly when the sonata form
proper begins.
Closing area
Sonata forms usually contain a large suffix after the end of the second reprise called a “closing area,”
“coda,” or “tail.” As is normal for a suffix, closing sections are a stable aspect of the form, but particularly
long codas might contain unstable portions. Codas may also revisit material from the rest of the work.
365 | SONATA FORM
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EXAMPLE 6. Mozart, Piano Sonata in A minor, K 310, 1st movement. Click to see PDF score.
The first movement of Mozart’s sonata in A minor, K. 310 (1778) is a relatively clear example of a late
18th-century sonata form. As indicated by the repeat signs at mm. 49–50 and m. 133, the form has two
reprises—just like a binary form. As is customary in sonata form, this movement is rounded and features
a balanced aspect.
Determining the location of a sonata form’s two core sections (P and S) is an efficient approach for
starting a formal analysis of the first reprise. The primary theme (P) begins in m. 1 in the key of A minor
(i), and the secondary theme (S) begins in m. 23 in the key of C major (III). It’s expected that S will start
somewhere around the middle of the first reprise, and that is indeed what we find: this first reprise is 49
measures, half of which is 24.5, so S starting in m. 23 puts it quite close to the middle.
Determining the location of the Tr between P and S is a more subtle task. The end of Tr is easy to
identify—it’s right before S—but its beginning requires a more detailed investigation. In this case, the
transition is dependent, so at first it actually just sounds like P is continuing. Tr starts in m. 9 with a
repetition of P‘s basic idea, but it starts to change soon after that, in m. 12. At that point, a harmonically
unstable passage begins as it modulates to the relative key of C major (III). The tonic of the new key is
most clearly established with the elided half cadence at m. 16, which also marks the beginning of the
transition’s suffix.
Dominant lock persists from that moment until the MC at m. 22. In the sonata-form movements of this
era, clear MCs are very common, and this movement’s MC represents a relatively straightforward
instance. This MC is a III:HC—a half cadence in the key of III. There is no literal silence at this moment
because caesura fill covers the space, with three eighth notes that lead to the initiation of S at measure 23.
SONATA FORM | 366
There is, however, a clear gap in texture in m. 22, as the transition finishes and S starts in the following
measure. Notice also that the transition’s suffix is actually implying that the key is C minor, not C major,
due to the presence of E♭s. The implication of a minor key here adds an aspect of drama to the end of the
transition, and consequently an element of surprise, as S ends up being in the major mode when its
preparation suggested otherwise. (Mozart doesn’t employ this technique very often, but it’s actually pretty
common in Beethoven’s music.)
Remember that the harmonic goal at the end of the exposition is the EEC: the first PAC in S that moves
on to non-S material. In this movement, and in many of his works, Mozart seems to be playing a sort of
game with the exact location of this all-important moment. There is a clear attempt at a PAC in m. 35,
but Mozart does two things that prevent it from functioning as the EEC. The first is that he withholds the
local tonic in the melody, even though the trill in the previous measure suggests that the next note would
have been C. Instead, the melody rests on the downbeat, and a stream of sixteenth notes start an octave
higher. The second issue is that those sixteenth notes in m. 35 seem very strongly related to S‘s melodic/
motivic content, which gives the impression that S is ongoing instead of being finished. For these reasons,
the potential cadence point has been evaded. Mozart then continues this game by setting up another
attempt at the cadence in m. 40—this time, it’s the bass voice that’s omitted at the cadence, and again
S-based material continues afterward. The actual EEC only arrives in m. 45, and it elides with the onset
of C. C lasts until the end of the exposition in m. 49.
The boundary between the development and recapitulation can be identified within the second reprise
(mm. 50–133) by locating the return of exposition material in the tonic key. This occurs at m. 80. The
development is the most unstable portion of the work, due to the variety of chromatic harmonies and
sequences. It starts by presenting the opening of P in the mediant but quickly veers off into harmonic
uncertainty: the apparent V7 in m. 57 is reinterpreted as an augmented sixth chord in E minor, which
initiates a large-scale descending fifths sequence when it resolves in m. 58. The sequential model is very
long, four measures in this case, and its copies are stated at m. 62 and m. 66. The sequence’s last chord
(A7, m. 69) resolves to D minor in m. 70 and initiates a modulating retransition that leads back to the
tonic key of A minor. The HC at m. 74 confirms we are back in A minor. Like in the exposition, this HC
elides with the onset of a suffix with dominant lock, though this occurrence has more variety in its bass
line. The effect of reaching and maintaining the dominant during this passage, however, is still quite
audible. This development has a clear distinction between the end of the development and the start of the
recapitulation due to the medial-caesura effect that occurs in m. 79 (notice also the chromatic line
connecting the two parts that functions as caesura fill).
As expected, the recapitulation restates most of the material from the exposition, and those materials are
presented in the same order. In the exposition, S and C were in III, and the transition prepared that key by
modulating and ending with a half cadence in that key. For the ESC to occur in A minor, S and C can
367 | SONATA FORM
simply be transposed from C major to A minor (making sure to account for the difference in mode), but
the transition will need to be rewritten to accommodate this change. As it did in the exposition, the
transition of the recapitulation begins after nine measures of P, in m. 88. This transition is still dependent
upon P, but it is quite different from the exposition’s version. Notice, however, that they start to become
the same again at the half cadence that ends the transition and begins its suffix (compare mm. 16–22 and
mm. 97–103)—this is the crux. Mozart expands S in m. 126 by delaying the ESC with a few fully
diminished seventh chords that lead back to the dominant (m. 128), which delay the ESC until m. 129.
The closing section does not include recomposition, but is simply transposed to the overall tonic key of A
minor, and no coda follows.
Further Reading
• Caplin, William Earl. 1998. Classical Form: A Theory of Formal Functions for the Instrumental
Music of Haydn, Mozart, and Beethoven. New York: Oxford University Press.
• Hepokoski, James A., and Warren Darcy. 2006. Elements of Sonata Theory: Norms, Types, and
Deformations in the Late Eighteenth-Century Sonata. Oxford ; New York: Oxford University Press.
Assignments
1. Maria Hester Park, Sonata, Op. 7, I Allegro Spirito (.pdf, .docx). Access score and audio.
Media Attributions
sonata-largest-level-2 © Brian Jarvis is licensed under a CC0 (Creative Commons Zero) license
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sonata-exposition © Brian Jarvis is licensed under a CC0 (Creative Commons Zero) license
sonata-form-mc-eec-esc © Brian Jarvis is licensed under a CC0 (Creative Commons Zero) license
RONDO | 368
RONDO
Brian Jarvis
KEY TAKEAWAYS
• Rondo is a form featuring a main section (referred to as either A or refrain) that returns throughout a work
and is juxtaposed with contrasting sections (referred to as B, C, etc., or as episodes).
• Common formal layouts include ABACA (five-part) and ABACABA (seven-part, likely sonata rondo).
CHAPTER PLAYLIST
Conceptually, rondo is quite simple: the form consists of a recurring main section that alternates with
contrasting sections. As with other forms, rondo can include a variety of auxiliary sections. In rondo form,
it is tradition to call the repeating main section the refrain (or A), and the contrasting sections are referred
to as episodes (and/or by letters: B, C, etc.).
The refrain material is essentially the same throughout the course of a movement (allowing for some
embellishment or abbreviation) and is always heard in the tonic key. Episodes contrast with refrains
tonally, and usually thematically as well. A given episode may occur multiple times in the movement or
only once.
The most common manifestations of rondo form are either five-part rondo (ABACA) or sonata rondo
(ABACABA), summarized in Example 1. There are two main differences between them:
1. In sonata rondo, the C section is often akin to a sonata form’s development section, whereas in a
five-part rondo, the C section is likely to be a relatively stable thematic statement like any other
episode.
2. In sonata rondo, the first ABA (i.e., ABACABA) constitutes the equivalent of a complete sonata
369 | RONDO
exposition (without the repeat, and it ends in the tonic), and the second ABA (i.e., ABACABA)
functions as the recapitulation, where the B section is now transposed to the tonic key.
Like other forms, rondo form can have auxiliary sections. The most common are retransitions that
generate anticipation for the refrain’s return. Codas are also quite common, but introductions are not.
Similarly, the episode itself may not reach a clear cadential conclusion (i.e., a PAC in the key of the
episode) and instead may become a retransition that prepares for the statement of another refrain.
However, it is unlikely to find both of these situations occurring within a single episode. One of the
important distinctions between the end of a connective section (transition/retransition) and a stable
thematic statement (refrains and episodes) is that connective sections tend to emphasize their arrival on
the dominant, while stable thematic statements tend to emphasize the arrival at a PAC.
The final movement from Maria Hester Park’s Sonata in C major, Op. 7, from 1796 is a relatively clear
example of a five-part rondo form. The A section (refrain) lasts from mm. 1–26 and consists of multiple
phrases. The B section (episode 1) does not start right away at m. 27; it is instead separated from A by a
transition (mm. 27–44) that modulates to the key of the dominant in m. 38 during a passage of
chromaticism involving modal mixture. Unlike most transitions, this transition actually ends on the
upcoming local tonic of G major (mm. 42–44) instead of the local dominant. B‘s primary thematic
material lasts from mm. 45–54, and its ending is elided with a suffix that eventually becomes a
retransition (around m. 71) that harmonically prepares for the return of A in m. 73. This second statement
of A lasts from mm. 73–98 and is a complete repeat of the first statement of A. C (episode 2) starts in m.
99, immediately after the second statement of A, and is in a contrasting key, the submediant (A minor).
The C section (mm. 99–132) is longer than the B section. Its ending elides with the start of a suffix that
becomes a retransition (around m. 135). The third and final statement of A starts in m. 141 and is again a
complete repeat of the initial statement of A.
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Example 3. Ludwig van Beethoven, Piano Sonata in C minor, Op. 13, 3rd movement – Click to See Score
(PDF)
371 | RONDO
The last movement from Beethoven’s Op. 13 piano sonata (subtitled Grande Sonate pathétique) is an
example of a sonata-rondo form. The form is fairly complex, and while most of the sections are quite
clear, the B section in particular has a few challenges. The form also includes a good amount of
becoming. When approaching the form of any rondo, an efficient strategy for determining the form is to
find the location of the A sections. Remember that restatements of A need to be in the tonic key and that
they may contain slight variations like omitted repeats, melodic embellishments, and/or new
accompaniments. In this particular form, the A sections can be found starting in mm. 1, 62, 121, and 171.
In order to understand the differences between the A sections, a more detailed look at the structure of the
initial A section is required. The initial A section ends in m. 17, and there are two phrase-expansion
techniques used to generate that length. The first is the one-more-time technique that starts in m. 9 (mm.
9–12 are a varied repetition of mm. 5–8). The second expansion technique is the suffix that starts in m.
12. This suffix starts with an elision and ends in m. 17. So, what could have been an 8-measure theme is
now 17 measures because of these two expansion techniques.
With that more detailed analysis in mind, we now have a model we can use to compare the other A
sections. While the second A section is a repeat of the first, the third and fourth A sections have been
altered. The third A section is the shortest, lasting only 8 measures. It achieves this brevity by removing
both of the expansion techniques used in the A section’s initial statement. Instead of having the
one-more-time technique in its ninth measure, new, unstable music enters that is derived from the A
section but is used as the start of a transition away from the A section’s material. The fourth and last A
section ends at measure 182, making it 12 measures long. In this version, the one-more-time repetition is
still included, but A‘s original suffix has been replaced by a new, much longer suffix that functions as the
work’s coda (mm. 183–210).
This movement’s episodes vary in key and melodic/motivic material, and they contain multiple auxiliary
sections including transitions, retransitions, and suffixes. The first episode, B, is the most complex, and it
is stated twice throughout the work. As is expected for sonata-rondo form, the first statement of B is in a
contrasting key (the mediant) and its restatement in the “recapitulation” is in the tonic key of C—though
instead of being in the minor mode to match the global key, it is in the parallel major key of C major (I).
While it’s very clear that the initial B section occurs somewhere between the first two A sections (mm.
18–62), the initiation of B is obscured by a number of features, resulting in an ambiguous starting point.
There are four possible candidates for the beginning of B: mm. 25, 33, 37, and 44. There is certainly a
transition starting in m. 18 due to the harmonic/melodic sequence and harmonic instability, but m. 25’s
RONDO | 372
relatively stable presentation of melodic material is obscured by the lack of separation between the
rhythmic activity leading into it and the fact the this melodic/motivic material is not new—it’s derived
from the A section’s suffix (see m. 12)—obscuring a possible initiation function. The next candidate, m.
33, is marked because of the dominant arrival and because it introduces new melodic material involving a
triplet figure. However, this candidate for the start of B is also obscured by lack of rhythmic separation
between mm. 32 & 33 and the fact that m. 33 starts on a dominant harmony instead of the tonic (III). M.
37 is a similarly unclear starting point because it continues the melodic/motivic material introduced in m.
33 instead of introducing its own material, even though it is the first statement of that material in the local
tonic of E♭ major. The last candidate is m. 44. Of all the options, this is the clearest starting point because
of the textural gap that preceded it. However, it is very uncommon for episodes to start after a PAC has
been sounded in the local key, which is the case here (see m. 43). Typically a suffix would begin after a
PAC occurs in the local key of an episode. This is all to say that, after careful consideration, no clear
starting point of B can be determined, and yet it seems very clear that the presence of an episode in a
contrasting key occurs. In order to avoid making a dubious factual statement about exactly where B starts,
I think the best way to capture the reality of this passage is to invoke the concept of becoming. So, while
it’s clear that a transition begins in m. 18, the B section has no clear beginning; instead, the transition
“becomes” the B section somewhere between mm. 25 and 44 but in no precise location.
The space between B and the second statement of A is a little clearer. The PAC in III at m. 51 marks the
end of B and the simultaneous start of a suffix. As is common in many forms, this suffix turns into a
connective section (in this case a retransition) without a clear division between the two sections, again
achieving this fluidity through the process of becoming. The dominant arrival in the global key at m. 58 is
a common marker of being in a retransition.
When the B section returns in the recapitulation, it is approached with a newly composed transition (m.
129). The return of B‘s material starts around mm. 134–135 (compare with mm. 25–26). Similar to the
exposition’s B section, the exact location of the initiation of B in the recapitulation is also obscured. In the
recapitulation, B‘s original suffix (m. 51) is omitted; instead, the melodic/motivic material first stated in
m. 44 is recomposed in the recapitulation so that it now blends into a new retransition through the process
of becoming before it leads to the final statement of A in m. 171.
In this movement, the C section is much easier to identify than the B sections were. It features a very
clear beginning in m. 79 (notice also the clear separation of the end of A in the previous measure) and
begins in the contrasting key of the submediant (A♭ major). The internal form of this section could be
considered a rounded binary form in which the returning A section is not complete and instead becomes a
retransition. The internal A section features a modulating period (mm. 79–86) with a written-out repeat
373 | RONDO
to accommodate some textural changes (mm. 87–94). The internal B section is short (mm. 95–98), and
the return of the internal A (m. 99) introduces a new texture, but the consequent phrase does not close;
instead, it becomes a retransition around m. 104 that reaches a strong dominant arrival (m. 107), featuring
a dramatic preparation for the return of A at m. 121. Though many sonata-rondo forms contain a C
section akin to a sonata form’s development section, this movement does not, and C is instead a clear
statement of an episode in a contrasting key that leads to a retransition.
Assignments
1. Joseph Bologne, String Quartet, Op. 1, no. 4, ii, Rondeau (.pdf, .docx). Access score and audio.
Media Attributions
rondo-combined © Brian Jarvis is licensed under a CC0 (Creative Commons Zero) license
IV. DIATONIC HARMONY, TONICIZATION, AND MODULATION | 374
INTRODUCTION TO HARMONY,
CADENCES, AND PHRASE ENDINGS
John Peterson
KEY TAKEAWAYS
• This chapter provides an introduction to the harmony section of Open Music Theory, then begins a
discussion of how to create a sense of ending in a phrase. We focus exclusively on using I and V for now.
• Two larger concepts inform the way we present harmony here: harmonic function and the phrase model.
• Endings are often marked by cadences, of which there are two primary types: authentic cadences and
half cadences.
◦ Authentic cadences involve the progression V–I. They are perfect when both harmonies are in root
position and do is in the soprano over tonic. If either of these conditions is not met, the
authentic cadence is imperfect.
◦ Half cadences involve the progression x–V, where “x” is any of a variety of harmonies.
CHAPTER PLAYLIST
Introduction to Harmony
In this section, we’ll focus on how composers of common-practice Western classical music use harmony
in a phrase. Harmony is one important component (among others) of creating a phrase’s sense of forward
motion toward a goal. As we study harmony, it’s important to keep two larger related concepts in mind:
harmonic function and the phrase model.
1. Tonic (T): Chords that sound stable, providing a sense of home or center. In Western classical music,
the only chord that belongs to this category is I (in minor: i).
2. Predominant (PD): Chords that transition away from tonic function toward dominant function. This
category can be split into two groups:
a. Strong predominants signal that a dominant function chord is imminent: IV and ii (in minor: iv
and iio).
b. Weak predominants transition away from tonic, typically moving to a stronger predominant: iii
and vi (in minor: VII, III, and VI).
3. Dominant (D): Chords that provide a sense of urgency to resolve toward the tonic chord: V and viio
(the same in minor).
The phrase model refers to the typical order and flow of harmonic functions in a phrase. The principle of
the phrase model is that a phrase needs at least tonic function and dominant function harmonies in order
to exhibit a sense of trajectory. More often, phrases also include a predominant harmony to heighten the
sense of trajectory toward closure. Phrases almost always progress from left to right in the phrase model,
not from right to left, although we’ll discuss some exceptions later. This is summarized in Example 1.
Introduction to Cadences
One way to create a sense of closure at the end of a phrase is through cadences—melodic and harmonic
patterns that create goals, kind of like punctuation marks in literary sentences. They’re important not only
because they can help you determine phrase endings, but also because they help establish a key. As a
result, listening for potential cadence points is typically a good first step in analysis.
INTRODUCTION TO HARMONY, CADENCES, AND PHRASE ENDINGS | 378
Example 2 shows two phrases and the two main categories of cadence: (1) inconclusive and (2)
conclusive. The first phrase ends in m. 4 with a half cadence (HC) that sounds inconclusive. The second
phrase begins in m. 5 and ends in m. 8 with an authentic cadence that sounds conclusive. The label PAC
marks this as a particular kind of authentic cadence called a perfect authentic cadence, discussed below.
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Example 2. Two cadences in Joseph Boulogne, Chevalier de Saint-George’s “Ballet No. 6” from L’amant
anonyme, Act II (0:00–0:07).
• A perfect authentic cadence (PAC) occurs when both of the following conditions are met
(Example 2, m. 8):
◦ Do is in the soprano over the tonic chord
◦ Both V and I are in root position
• An imperfect authentic cadence (IAC) occurs if either of the above two conditions isn’t met, but V–I
is still involved (Example 3). For instance, an IAC can occur when:
◦ Mi (me in minor) is in the soprano over the tonic chord (as in Example 3), or
◦ V, I, or both harmonies are inverted
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Example 3. An imperfect authentic cadence (IAC) in Fanny Hensel, “Ferne” Op. 9, No. 2 (0:00–0:14).
379 | INTRODUCTION TO HARMONY, CADENCES, AND PHRASE ENDINGS
For now, we’ll restrict our vocabulary to only I and V chords (or i and V in minor) so we can learn some
basic techniques of voice-leading.
Since there are many ways to compose an IAC (a composer can theoretically use various combinations of
inverted chords and scale degrees in the melody), a composer can choose to make an IAC more or less
strong.
The cadence in Example 3 above is relatively strong: it uses root position V–i with me in the
soprano, it comes at the end of a sentence in the lyrics, it uses a half note, it’s followed by a rest, and the
music that follows sounds like a new phrase.
The potential IAC in Example 5 is comparably weaker: it uses V6–I, the moment goes by relatively
quickly, and it’s followed by material that could easily be understood as continuing a phrase that’s under
way or as referencing the beginning of a phrase that has just concluded, something that would strengthen
reading m. 5 as an IAC. Performers may disagree on whether Example 5 contains an IAC or not, and
they may adjust their playing accordingly.
INTRODUCTION TO HARMONY, CADENCES, AND PHRASE ENDINGS | 380
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An additional complication is that composers often avoid creating a PAC using progressions that fit the
description of an IAC, but that don’t mark the end of a phrase. In Example 6, m. 8 contains a potential
IAC, but when m. 9 begins to repeat the material from m. 5 (compare the bass voice in m. 9 with the
soprano in m. 5) it sounds like the passage is trying the run-up to the cadence again to achieve something
stronger than the potential IAC at m. 8. We indicate that the cadence in m. 8 is subverted by crossing the
label out on the score.
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Example 6. Avoiding a cadence in Beethoven’s Piano Sonata Op. 2, no. 3, I, mm. 1–13.
With so many possibilities, how can we determine what counts as a true IAC? The next section (“Hearing
Cadences”) offers some help.
Hearing Cadences
While there is certainly a degree of intuition involved with hearing cadences, it’s also a skill that can be
honed over time. We recommend listening for cadences following this process:
1. Sometimes, for example, the melody suggests an ending, but the harmony doesn't participate. Or, sometimes the harmony suggests an end,
but the melody refuses to close. Cadences are special goal points because they represent places where both the melody and harmony agree on
a phrase ending.
INTRODUCTION TO HARMONY, CADENCES, AND PHRASE ENDINGS | 382
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WRITING A HC:
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Assignments
1. Introduction to harmony, cadences, and phrase endings (.pdf, .docx). Asks students to write and
identify cadences using only I (or i) and V chords in major and minor.
Media Attributions
Phrase_Model © John Peterson is licensed under a CC BY-SA (Attribution ShareAlike) license
Example_3_Cadence_Strength_Spectrum
Footnotes
385 | STRENGTHENING ENDINGS WITH V7
KEY TAKEAWAYS
• This chapter introduces how composers add a seventh to the dominant to strengthen its pull toward the
tonic. There are three ways a V7 can resolve to tonic:
◦ The default resolution: where all active notes resolve according to their tendencies.
◦ Incomplete V7: where the fifth is omitted from the V7 and the V7‘s root is doubled instead to
create a complete tonic.
◦ Leading-tone drop: where the leading tone in a complete V7 leaps down to sol ( ) to create a
complete tonic.
The phrase in Example 1 ends with a perfect authentic cadence (PAC) similar to those we saw and
wrote in the Introduction to Harmony, Cadences, and Endings chapter. Here, however, the V chord
contains an extra note, fa ( ), that transforms it from a major triad into a dominant seventh chord. Since
the seventh adds dissonance (and therefore instability) to the chord, it strengthens the pull of the V chord
toward I. Compare the sound of the excerpts in Example 2.
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The resolution in Example 3c, where re ( ) goes up to mi ( ), is very uncommon, and such an unusual
doubling in the tonic chord (two roots, two thirds) usually leads to voice-leading problems. We suggest
avoiding this kind of resolution.
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ti ([latex]\hat{7}[/latex]) do ([latex]\hat{1}[/latex])
Alternative Resolutions of V7 to I
Sometimes a composer may want the tonic chord to be complete rather than the incomplete chord that
occurs in the default resolution. Two alternative resolutions of V7 make it possible to create a complete I.
Note that the steps for writing remain the same as for the default resolution: write the entire bass, write
the entire soprano choosing an active note over V7, then fill in the inner voices together as a pair by asking
“what do I have, what do I need, and where do those notes go?”
Incomplete V7
Examples 5a and5b show a resolution where the fifth has been omitted from the V7, allowing that
chord to resolve to a complete I. When we omit the fifth, we need to select a note to double in order to
retain our four-voice texture. The only note we can double is the root, since doubling ti ( ) or fa ( )
would create parallel octaves when both voices resolve according to their tendencies (Examples 5c
and5d).
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Leading-Tone Drop
It’s also possible to create a complete I from a complete V7, but in order to do so, we have to allow a
tendency tone to move somewhere other than its expected resolution. Example 6 shows how this is
STRENGTHENING ENDINGS WITH V7 | 388
possible using a leading-tone drop. 1 Here, ti ( ) drops down to sol ( ) in an inner voice. This works
because: (1) ti ( ) is not a dissonant note; (2) ti ( ) is in an inner voice, so it’s not too noticeable; and
(3) ti ( ) is the closest note that can move to sol ( ) in the tonic without causing parallels.
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1. Use the leading-tone drop only in the alto or tenor voice to hide the fact that it’s not resolving as
expected.
2. The leading tone always leaps down to sol ( ), never to mi ( ), which is further away than sol ( ).
Summary
Example 7 summarizes the three possible ways to resolve V7–I. You may notice that we have not
discussed how V7 works in half cadences (HCs). V7 is much less common in a HC since the HC is
already unstable, and adding a seventh makes it that much more unstable. Since such a cadence more
often appears in Romantic music, Janet Schmalfeldt (2011, 202) has termed HCs involving V7 the
“19th-century HC.”
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1. This is a term we first heard from Nancy Rogers at Florida State University. Some people describe this phenomenon as a "frustrated leading
tone," but we believe that "leading-tone drop" better describes the technique.
389 | STRENGTHENING ENDINGS WITH V7
Further Reading
• Schmalfeldt, Janet. 2011. In the Process of Becoming: Analytic and Philosophical Perspectives on
Form in Early Nineteenth-Century Music. New York: Oxford University Press.
Assignments
1. Strengthening Endings with V7 (.pdf, .docx, spotify playlist). Asks students to write and resolve V7
chords and provide analysis of cadences in select passages.
Footnotes
STRENGTHENING ENDINGS WITH STRONG PREDOMINANTS | 390
KEY TAKEAWAYS
CHAPTER PLAYLIST
As we noted in the Introduction to Harmony, Cadences, and Phrase Endings chapter, most phrase endings
are strengthened using a strong predominant (PD) that comes before the V chord (Example 1). Another
way to say this is that it’s common for a phrase to end with the bass pattern fa–sol in a
half cadence (HC) or fa–sol–do in an authentic cadence (AC). The fa in the bass just
before a cadence is the note that typically gets harmonized with a strong predominant (Example
2)—these chords are ii6 (the more common option) and IV.
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391 | STRENGTHENING ENDINGS WITH STRONG PREDOMINANTS
Example 1. Strengthened ending with a strong PD in Maria Szymanowska, March no. 6 from Six Marches for
Piano (0:00-0:16).
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a. In ii6, since it’s a first inversion chord, remember that you may double any note that gives you
the smoothest voice leading and that avoids parallels.
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Writing with IV
The danger of writing parallels is even greater with IV than with ii6 because of the root motion by step.
Avoid doing something like Example 5, where all voices move upward in parallel motion. Just as with
ii6, if you make your upper voices move in contrary motion to the bass (down) where possible, you’ll
avoid the problem.
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The steps for writing with IV are the same as those for ii6: write the entire bass, write the entire soprano
starting with V and working outward, then fill in the inner voices (Example 6). There’s one important
difference with respect to doubling: whereas the ii6 chord’s doubling is quite flexible since it’s a
first-inversion chord, the IV chord almost always sees its bass doubled since it’s a root-position chord.
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393 | STRENGTHENING ENDINGS WITH STRONG PREDOMINANTS
Root position ii
The ii chord in root position is much less common than ii6 or IV, but it can be used as a strong
predominant in major keys. (In minor keys, the iio chord, like any diminished triad, doesn’t normally
show up in root position.)
While it’s possible to write parallels with ii, it’s less likely than with IV or ii6. Example 7 shows some
common options. Note that it’s most common to place re or fa or , not la , in the soprano over
ii.
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Example 8. Comparison of root relationships between ii–V (left) and V–I (right).
STRENGTHENING ENDINGS WITH STRONG PREDOMINANTS | 394
Assignments
1. Strengthening Endings with Strong Predominants (.pdf, .docx). Includes part writing from Roman
numerals and figures, analysis of phrase endings, and a discussion question about a number from
Hamilton.
395 | EMBELLISHING TONES
EMBELLISHING TONES
John Peterson
KEY TAKEAWAYS
• Embellishing tones can be grouped into three categories (summarized in Example 13):
◦ Involving only stepwise motion: passing tone, neighbor tone
◦ Involving a leap: appoggiatura, escape tone
◦ Involving static notes: suspension, retardation, pedal, anticipation
CHAPTER PLAYLIST
Overview
Example 1 reproduces Maria Szymanowska’s March no. 6, which we also saw in our discussion of
strong predominants. You might have noticed that some of the notes in the bass in mm. 8–10 don’t fit our
harmonic analysis. These notes, which are blue and circled in Example 1, are collectively called
“embellishing tones” because they embellish notes that belong to the chord. Embellishing tones can be
grouped into three categories, which we describe below.
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EMBELLISHING TONES | 396
Example 1. Embellishing tones in Maria Szymanowska, March no. 6 from Six Marches (0:00-0:16).
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Example 3. Passing tones in a two-voice texture, (a) ascending and (b) descending.
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Example 4. (a) Upper neighbor and (b) lower neighbor tones in a two-voice texture.
(Example 7). The appoggiatura typically occurs on a stronger part of the beat than its surrounding
notes. Escape tones are approached by step and left by leap in the opposite direction (Example 8). The
escape tone typically occurs on a weaker part of the beat than its surrounding notes. It is more common
for appoggiaturas and escape tones to be left by motion downward (Examples 7a and 8a) than upward
(7b and 8b).
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Example 5. An appoggiatura in Joseph Boulogne, String Quartet no. 4, I, mm. 5–9 (0:09-0:19).
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notes
Examples 9–11 show three of the four kinds of embellishing tones that involve static notes (i.e., notes
that don’t move): suspensions (SUS), retardations (RET), and pedal tones (PED). A fourth kind of
embellishing tone, the anticipation, deserves special comment below.
Suspensions are approached by a static note and left by step down, while retardations are approached by a
static note and left by step up (Examples 9 and 10). Both suspensions and retardations are always on a
stronger part of the beat than the surrounding notes. (Suspensions are discussed in greater detail in the
chapter on fourth species counterpoint.)
Pedal tones are often found in the bass. They consist of a series of static notes below chord changes that
do not include the bass. We typically label them using the scale degree number of the pedal note, as in
Example 11.
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Example 9. Suspensions and a retardation in Joseph Boulogne’s String Quartet no. 4, I, mm. 47–49
(1:30–1:36).
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Example 11. Pedal tone in Josephine Lang’s “Dem Königs-Sohn,” mm. 16–18.
399 | EMBELLISHING TONES
Anticipations
Like the suspension, retardation, and pedal tone, anticipations also involve static notes. But anticipations
are a two-note (rather than three-note) gesture, in which a chord tone is heard early as a non-chord tone
(Example 12). In other words, it “anticipates” its upcoming membership in a chord.
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Summary
The table in Example 13 provides a summary of the embellishing tones covered in this chapter.
Approached Left
Category Embellishing Tone Direction Additional Detail
by by
Involving Passing Tone (PT) Step Step Same May ascend or descend
steps Neighbor Tone (NT) Step Step Opposite Both upper and lower exist
Assignments
1. Embellishing tones (.pdf, .docx). Asks students to write embellishing tones in a two-voice texture
and label embellishing tones in an excerpt.
Media Attributions
Generic_Embellishing_Tone_Layout © John Peterson is licensed under a CC BY-SA (Attribution ShareAlike) license
401 | STRENGTHENING ENDINGS WITH CADENTIAL 6/4
KEY TAKEAWAYS
• This chapter introduces the , an embellishment of the dominant that results from
the combination of two embellishing tones a sixth and a fourth above the bass note sol ( ). We label the
• Any chord that normally approaches V can approach . Most commonly, this is one of the strong
predominants.
• When resolving , be sure to follow the figures such that the sixth above the bass falls to a fifth above
the bass and the fourth above the bass falls to a third above the bass.
CHAPTER PLAYLIST
So far, we’ve seen that the dominant can be strengthened, particularly at authentic cadences, by the
addition of a seventh. We also saw that both half cadences and authentic cadences are commonly
strengthened using a strong predominant. In this chapter, we look at another way to strengthen the the
dominant’s drive toward resolution: the cadential .
The authentic cadence in Example 1 involves a V7 that has been embellished by . We use the
word “embellished” intentionally here because the comprises two embellishing tones that appear
over sol ( ) in the bass. In Example 1, the embellishing tones are a passing tone and a suspension. These
embellishing tones happen to always be a sixth and a fourth above the bass, and their appearance often
STRENGTHENING ENDINGS WITH CADENTIAL 6/4 | 402
intensifies the expectation to hear a cadence, hence the name “ .” Although the often shows
up at cadence points, it may show up anywhere in a phrase as an embellishment of V(7).
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A note on chords.
chords are special because they involve a dissonance (the fourth) with the bass. Composers therefore treat
chords in distinct ways, which fall into four categories. To acknowledge their special usage, each variety of
chord has its own label that relates to how the chord functions. Future chapters will introduce the
remaining chord types.
1. The chord appears after a strong predominant. If we label it , we’d be implying that a predominant
goes to tonic, which is not the sound we hear, given that sol ( ) is in the bass.
2. reflects the chord’s sound as an elaboration of V, whereas I reflects the chord’s spelling only.1
1. If you're not convinced by the sound of the chord argument, try playing the passage in Example 1, but stop on the
403 | STRENGTHENING ENDINGS WITH CADENTIAL 6/4
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Example 2. Spelling .
Resolution
Cadential can resolve either to a V triad (Examples 3a, 3c) or a V7 chord (Examples 3b, 3d). The
lines in the label tell you how the resolves, indicating “keep this motion in the same
voice.” That is, whichever voice has a sixth above the bass should fall to a fifth above the bass, and
whichever voice has the fourth above the bass should fall to a third above the bass.
Adding a seventh is just as straightforward: whatever voice is doubling the bass moves down a step to take
the seventh of the chord. This motion is reflected by the figures 8-7 (the octave above the bass moves
down to a seventh above the bass).
[latex]\mathrm{cad.}^6_4[/latex]. Does it sound stable? Probably not. Tonic chords are associated with stability and a sense of “home,”
while dominants are associated with a desire to resolve. The [latex]\mathrm{cad.}^6_4[/latex] surely sounds more unstable than stable.
STRENGTHENING ENDINGS WITH CADENTIAL 6/4 | 404
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Example 3. Resolving .
Since the embellishes the dominant, any harmony that approaches V can also approach .
6
Most commonly, though, these are the strong predominants IV and ii (Example 4).
1. As always when dealing with the predominant area, watch out for parallel octaves between the
predominant and .
2. Motion into (and out of) the is usually very smooth. Avoid leaping to a member of the .
While composers do occasionally leap to the sixth above the bass, it’s comparatively much rarer to
leap to the fourth above the bass because it’s a dissonance, so that in particular should be avoided.
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Example 4. Approaching .
Assignments
1. Strengthening Endings with Cadential (.pdf, .docx, .mscz of score). Includes unfigured bass
exercises and analysis.
405 | STRENGTHENING ENDINGS WITH CADENTIAL 6/4
Footnotes
PROLONGING TONIC AT PHRASE BEGINNINGS WITH V6 AND INVERTED V7S | 406
KEY TAKEAWAYS
CHAPTER PLAYLIST
Overview
Phrase beginnings in Western classical music typically feature a prolongation of tonic harmony to
establish the home key. “Prolongation” just means that the harmony’s influence lasts longer than a single
chord. Say, for example, that you bought a serving of ice cream that you wanted to enjoy over an
extended period. One way to do it would be to take small bites to extend the length of time you’re eating.
While this method would work, you might be eating ice cream soup by the end. Another way to do it
would be to eat some, put it in the freezer, do some other activity, then come back and eat some more.
You might say, “I’ve been eating ice cream all day,” even though you haven’t literally been eating ice
cream every second of the day (as much as you might want to).
Something analogous happens in music. We could prolong the tonic’s importance at the beginning of a
phrase by holding or repeating the chord (like taking small bites of the ice cream), as in Example 1,
407 | PROLONGING TONIC AT PHRASE BEGINNINGS WITH V6 AND INVERTED V7S
but more interesting and rewarding is to use other chords between instances of the tonic (like putting the
ice cream in the freezer and coming back to it later).
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Example 2 shows one instance of the most common way to prolong tonic at the beginning of a phrase:
using inverted V7s between tonic triads. The tonic’s influence is felt more strongly because (1) it’s on
stronger beats or hyperbeats than the V7, and (2) it appears at least once in root position, whereas the V7
is in a weaker inversion.
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Example 2. Tonic prolongation in Clara Schumann, Piano Trio, III, mm. 1–2 (0:00-0:08).
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It’s also possible to prolong tonic with V6 rather than , though this is less common (Example 4).
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Writing with also offers one exception to the rule that the chordal seventh, fa ( ), must resolve down
(Example 8). Here, fa moves up to sol ( ). This exception is made possible because the bass
creates parallel tenths with the upper voice that takes the line mi–fa–sol ( ).
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Combining Progressions
By chaining together several of these tonic prolongation progressions, composers can extend the tonic’s
influence for quite a while at the beginning of a phrase, as in Example 2. A part-written example is
given in Example 9.
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Bass Progression
do–ti–do
[latex]\mathrm{I}[/latex]–[latex]\mathrm{V}\begin{smallm
([latex]\hat{1}[/latex]–[latex]\hat{7}[/latex]–[latex]\hat{1}[/latex])
do–re–mi [latex]\mathrm{I}[/latex]–[latex]\mathrm{V}\begin{smallm
([latex]\hat{1}[/latex]–[latex]\hat{2}[/latex]–[latex]\hat{3}[/latex]) end{smallmatrix}[/latex]–[latex]\mathrm{I}^{6}[/latex]
do–re–do
[latex]\mathrm{I}[/latex]–[latex]\mathrm{V}\begin{smallm
([latex]\hat{1}[/latex]–[latex]\hat{2}[/latex]–[latex]\hat{1}[/latex])
do–fa–mi [latex]\mathrm{I}[/latex]–[latex]\mathrm{V}\begin{smallm
([latex]\hat{1}[/latex]–[latex]\hat{4}[/latex]–[latex]\hat{3}[/latex]) end{smallmatrix}[/latex]–[latex]\mathrm{I}^{6}[/latex]
Example 10. Summary of bass lines and their associated tonic prolongation progressions.
Assignments
1. Prolonging Tonic at Phrase Beginnings with V6 and Inverted V7 (.pdf, .docx, recording). Asks
students to write from Roman numerals and figures and complete a guided analysis. Download score.
411 | PERFORMING HARMONIC ANALYSIS USING THE PHRASE MODEL
KEY TAKEAWAYS
This chapter provides a strategy for harmonic analysis, in which we use the bass line to make an educated guess
about what harmonic progression is active in a phrase:
Overview
So far, we’ve mostly been looking at short segments of music, focusing on how composers create a sense
of beginning and ending in a phrase. In this chapter, we consider a longer phrase of music that employs
some of the harmony we’ve learned so far, with the goal of learning how to perform a harmonic analysis
quickly and how to identify the phrase model at work in our analysis. The video lesson below (Example
1) walks through the process and is followed by an outline of the steps (along with some guidance).
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PERFORMING HARMONIC ANALYSIS USING THE PHRASE MODEL | 412
Assignments
1. Performing Harmonic Analysis Using the Phrase Model (.pdf, .docx). Asks students to analyze three
short excerpts.
PROLONGATION AT PHRASE BEGINNINGS USING THE LEADING-TONE CHORD | 414
KEY TAKEAWAYS
• Instead of using an inverted chord to prolong tonic, composers sometimes use or its inversions.
• Each inversion of can be used in the same way as a particular inversion of . The pairings of
and are based on the bass note each chord harmonizes.
◦ can be used anywhere that or can be used.
◦ or can be used in place of .
◦ can be used in place of .
CHAPTER PLAYLIST
Overview
Earlier, we saw how the tonic can be prolonged using essentially four kinds of progressions, which we
categorized according to their basslines (see the summary section of that chapter for a reminder). In this
chapter, we consider an alternative way to harmonize those same tonic-prolongation bass lines using a
harmony that can substitute for V7: the leading-tone chord. Example 1 shows a passage from Mozart’s
“Agnus Dei” that uses viio7 and its inversions to prolong tonic. Below the actual version, a recomposition
shows that the bass line from the actual version can also be harmonized with V7 and its inversions. As you
listen, notice the differences in color between the two versions. You may hear that the actual version is full
of a wonderful tension that is less present in the recomposed version.
415 | PROLONGATION AT PHRASE BEGINNINGS USING THE LEADING-TONE CHORD
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Example 1. Using viio7 vs. V7 in Mozart, “Agnus Dei” from Requiem (0:06–0:20).
Before we address how this substitution works, here are three points we need to emphasize:
1. The leading-tone chord as a triad is always used in first inversion viio6. This is because any other
inversion creates a dissonance with the bass that composers tend to avoid.
2. In minor, we need to remember to use ti , not te , to build the leading-tone chord. In
other words, remember to raise the leading tone.
3. In major, the leading-tone seventh chord’s quality is half diminished if we don’t alter it (e.g. in C
major: B-D-F-A). Composers tend to prefer the sound of a fully diminished 7th chord, though, so we
nearly always find that in major keys, composers lower the chordal seventh to make the chord fully
diminished (e.g., in C major: B-D-F-A♭) (Example 2). You can use both, but viio7 is much more
common than vii∅7, and we’ll see why below.
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ti [latex]\mathrm{V}\begin{smallmatrix}6\\5\
[latex]\mathrm{vii}^{\circ7}[/latex]
([latex]\hat{7}[/latex]) end{smallmatrix}[/latex]
re [latex]\mathrm{V}\begin{smallmatrix}4\\3\
[latex]\mathrm{vii}^{\circ}\begin{smallmatrix}6\\(5)\en
([latex]\hat{2}[/latex]) end{smallmatrix}[/latex]
fa [latex]\mathrm{V}\begin{smallmatrix}4\\2\
[latex]\mathrm{vii}^{\circ}\begin{smallmatrix}4\\3\end{
([latex]\hat{4}[/latex]) end{smallmatrix}[/latex]
Luckily, there isn’t too much else to learn with respect to part writing. Continue to follow
typical part-writing procedures and to resolve active notes in the upper voices according to their
tendencies. Example 4 reviews these tendencies and adds the one new note we haven’t seen yet in a
dominant-function chord: le/la / . Example 5 shows tonic prolongations involving viio7 and its
inversions, and it compares each to a corresponding prolongation involving and its inversions.
ti ([latex]\hat{7}[/latex]) do ([latex]\hat{1}[/latex])
re ([latex]\hat{2}[/latex]) do ([latex]\hat{1}[/latex])
fa ([latex]\hat{4}[/latex]) mi ([latex]\hat{3}[/latex])
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viio4/2
You might have noticed that doesn’t correspond to an inversion of . That’s because it’s built on
le , which isn’t in . is a very rare harmony because the expected resolution from le down
417 | PROLONGATION AT PHRASE BEGINNINGS USING THE LEADING-TONE CHORD
to sol (see Example 4) occurs in the bass. So far, we’ve seen that sol in the bass typically
supports V or , and that’s also the case here: goes to (Example 6). Again, though,
is not a very common chord.
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Example 6. Using .
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Assignments
1. Prolongation at Phrase Beginnings using the Leading-tone Chord (.pdf, .docx). Asks students to
write from Roman numerals, complete analysis, and realize figured bass.
6/4 CHORDS AS FORMS OF PROLONGATION | 418
KEY TAKEAWAYS
• Passing (pass.) involves a passing tone in the bass that has been harmonized by a chord. It typically
prolongs tonic or predominant harmonies, and it always occurs between two chords of the same function.
• Neighbor (n.) involves a static bass above which two of the upper voices perform upper
neighbor motion. It typically prolongs tonic or dominant harmonies, and the chords on both sides of it are
always in root position.
• Arpeggiating (arp.) involves a bass that arpeggiates through the fifth of the chord while the upper voices
sustain the chord in some way. It may prolong any harmony, and we don’t typically bother recognizing it in
analysis.
The table in Example 6 below summarizes the characteristics of each of the three types of that we advocate
labeling in analysis.
CHAPTER PLAYLIST
So far, we’ve seen that the tonic (T) area is most commonly prolonged using dominant-function chords,
especially inverted s. In this chapter, we look at some additional, less common ways to prolong not
only tonic chords, but also dominant and predominant chords. Earlier, we saw how chords are treated in
special ways because they contain a dissonance with the bass (the fourth). We’ve already learned about
; here, we turn to the three other ways chords can be used: passing , neighboring , and
419 | 6/4 CHORDS AS FORMS OF PROLONGATION
arpeggiating . Note that in analysis, whenever you encounter a chord, you should stop and identify
which kind it is (cadential, passing, neighboring, or arpeggiating) because the kind of determines the
label. For chords, the Roman numeral by itself isn’t a sufficient label—the type also needs to be
included.
Passing
The passing (pass.) [latex]^6_4[/latex] is a chord built on a passing tone in the bass (Example 1). It’s
most commonly found prolonging tonic or predominant harmonies. Importantly, the chords on both sides
of the are always the same function (e.g., ), not of different function (e.g.,
).
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Example 1. in Beethoven, Piano Sonata Op. 14, no. 1, I, mm. 50–57 (1:28-1:42).
Example 2a demonstrates the steps for writing to expand tonic, and Examples 2b and2c
show several ways can prolong the predominant area. Note that each of these progressions can
also work backward (e.g., also works).
1. Write the entire bass. You should have three notes in stepwise motion where the first and last notes
belong to the same functional area (T or PD). The middle note will be your passing tone.
2. Spell the pass. . Just like with , to spell , determine what notes are a fourth and
sixth above the bass. One voice will double the bass, just like in .
3. Write the entire soprano. The soprano should be a line that moves by step, not the static line.
4. Fill in inner voices, making them move as little as possible.
6/4 CHORDS AS FORMS OF PROLONGATION | 420
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Neighbor
The neighbor (n.) consists of a static bass over top of which two voices have upper-neighbor motion
(Example 3). Sometimes is called pedal , a name that reflects the static pedal in the bass. It’s most
commonly found prolonging I or V. Example 4a demonstrates the steps for writing to prolong
tonic, and Example 4b shows the voice leading to prolong V.
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To write with :
1. Write the entire bass. The bass will be three of the same note, typically do–do–do or sol–sol–sol (
or )
2. Spell n. . The will be over the middle bass note. As with and , determine a sixth
and fourth above the middle bass note. One voice will double the bass.
3. Write the entire soprano. For the soprano, choose either an upper-neighbor line or the static
line. Unlike with or , will more frequently have a static line in the soprano.
4. Fill in the inner voices, making them move as little as possible.
421 | 6/4 CHORDS AS FORMS OF PROLONGATION
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Arpeggiating
Arpeggiating (arp.) is typically created when the bass leaps to the fifth of a chord while the upper voices
sustain the chord. It’s commonly found in, for example, ending bass arpeggiations (Example 3) or
waltz-style accompaniments (Example 5). Unlike the other types, typically doesn’t need to be
labeled in analysis. Example 5 identifies it using figures, but it’s not necessary to do so—each measure
could simply be labeled as I.
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• Static bass
• Upper neighbor motion in two
Neighboring [latex]x^{5-6-5}_{3-4-3}[/latex]
upper voices
• Outer chords are the same
• Sol [latex](\hat{5})[/latex] in
[latex]\mathrm{V}\begin{smallmatrix}(8-7)\\6-5\\4-3\ bass
Cadential
end{smallmatrix}[/latex] • [latex]^6_4[/latex] on stronger
beat
Assignments
1. chords as forms of prolongation (.pdf, .docx). Asks students to review previous concepts, write
from Roman numerals, write from figures, and analyze excerpts.
423 | PLAGAL MOTION AS A FORM OF PROLONGATION
KEY TAKEAWAYS
• Plagal motion from IV to I serves to prolong tonic either after an authentic cadence (AC) or at the
beginning of a phrase.
• We place plagal (IV) in parentheses in analysis to differentiate it from the more common use of IV as a
predominant.
• In 18th- and 19th-century music, this use of (IV) more commonly occurs as part of a prolongation rather
than as part of a cadence, so this part of the book will use the term “plagal motion” rather than “plagal
cadence.”
• Writing with plagal motion is not difficult when both harmonies are in root position, but watch for parallels
when either harmony is inverted.
CHAPTER PLAYLIST
Earlier we saw that chords that function as predominants, such as ii and IV, are typically used to
strengthen a phrase’s motion toward the dominant, often at the end of a phrase. In this chapter, we look at
a special situation in which IV functions not as a predominant but rather to prolong I, which
produces plagal motion. In analysis, we place plagal (IV) in parentheses to differentiate it from the more
common use of IV as a predominant. Plagal motion most commonly serves to prolong tonic in two places:
after an authentic cadence (as in Example 1) or at the beginning of a phrase in place of the more
common tonic prolongations involving dominant-function chords.
PLAGAL MOTION AS A FORM OF PROLONGATION | 424
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Example 1. Plagal motion after a PAC in Handel, “Hallelujah Chorus,” from Messiah (3:02-3:29).
You may sometimes see all (IV)–I motions described as “plagal cadences,” but this part of the book uses
the broader term “plagal motion” instead, preserving our definition of cadences as marking the ends of
phrases. While true phrase endings involving the progression (IV)–I do exist, in 18th-century classical
music, it’s more common to see a (IV)–I tonic prolongation either after a PAC or at the beginning of a
phrase. Using “plagal cadence” in all scenarios would inaccurately imply that (IV)–I always ends a phrase,
whereas “plagal motion” allows us to describe the more common usage of (IV)–I as prolongational without
rejecting the situations in which (IV)–I really does end a phrase.
It’s most common to have do ( ) in the soprano, which makes sense given that plagal motion comes after
a PAC where the melody has already completed its journey toward do ( ). As always, follow
typical writing procedures.
425 | PLAGAL MOTION AS A FORM OF PROLONGATION
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Assignments
1. Plagal Motion as a Form of Prolongation (.pdf, .docx). Asks students to identify bass lines and
analyze an excerpt. Download audio (.mscz).
LA (SCALE DEGREE 6) IN THE BASS AT BEGINNINGS, MIDDLES, AND ENDINGS | 426
KEY TAKEAWAYS
This chapter discusses the various ways in which composers harmonize la in the bass depending on where
it’s found within a phrase: beginning, middle, or ending.
CHAPTER PLAYLIST
is commonly harmonized by two chords: vi or IV6. It may show up in beginnings, middles, or endings
of phrases, and each location is associated with particular progressions that involve la in the bass.
At phrase beginnings
When la appears in the bass at the beginning of a phrase, it typically prolongs tonic in one of two
ways: (1) using IV6 as a predominant in the progression (Example 1), or (2) using
plagal (IV6) in the progression (Example 2).
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At phrase middles
In the middle of a phrase, la shows up in the bass in one of two ways:
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Example 5. Deceptive motion in Bernhard Henrik Crussell, Clarinet Quartet Op. 7, II, mm. 66–72
(5:06-5:38).
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Example 6. vi connecting T and strong PD areas in Bernhard Henrik Crussell, Clarinet Quartet Op. 7, II, mm.
1–4 (0:00-0:18).
Deceptive motion
When a V chord sets up the expectation for a cadence, but moves instead to an unexpected, non-tonic
harmony, this is called deceptive motion. Deceptive motion most commonly occurs when V(7) moves to
vi rather than I, with the bass moving sol–la . Less commonly, la may be harmonized with
IV6 rather than vi in a deceptive motion. Writing deceptive motion with V(7)–vi carries an inherent
danger of parallels that can be avoided by doing the following two things (Example 7): (1) resolve ti–do
as you would do normally, and (2) move all upper voices in contrary motion to the bass
(downward).
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Some people use the term “deceptive cadence” to describe what we refer to as “deceptive motion.” Since the
progression V(7)–vi avoids a cadence rather than creating one, we find that the term “deceptive cadence”
inaccurately describes the progression’s purpose, so we prefer the more neutral description “deceptive
motion.”
vi as a weak predominant
Using vi to connect the tonic and strong predominant areas is quite easy to write (Example 8). As long
as your upper voices move by step or common tone and you follow typical writing procedures, you should
not run into writing issues. Notice that for the phrase model analysis (T/PD/D) labels, the PD label goes
on the first strong PD before the cadence, as in Example 6.
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At phrase endings
La may appear at the end of a phrase in one of two ways:
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Example 9. Phrygian half cadence in Franz Schubert, “Die Mainacht,” mm. 1–10 (0:00-0:19).
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It’s possible to see la harmonized with a predominant (usually vi or IV6) at a cadence without the
presence of fa in the bass before the cadential dominant (Example 11). This is much less common,
however, than seeing fa in the bass harmonized with a strong predominant before the cadence.
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LA (SCALE DEGREE 6) IN THE BASS AT BEGINNINGS, MIDDLES, AND ENDINGS | 432
Example 11. La as “stand-in” for strong PD in Joseph Haydn, String Quartet Op. 76, no. 2, I, mm. 1–4
(0:00-0:08).
Assignments
1. La in the bass at beginnings, middles, and endings (.pdf, .docx). Asks students to analyze bass
lines, write from figures and Roman numerals, harmonize an unfigured bass, and analyze an excerpt.
433 | THE MEDIANT HARMONIZING MI (SCALE DEGREE 3) IN THE BASS
KEY TAKEAWAYS
• The iii chord (III in minor) is a weak predominant that typically moves through a strong predominant on
the way to a V chord.
• In major, iii usually harmonizes a descending ti ; similarly, in minor, III usually harmonizes a
descending te .
• iii/III is usually found in root position.
• iii is not used as a substitute for I6 (see the explanation below Example 1).
• iii is not not a very common chord.
CHAPTER PLAYLIST
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Example 1. The iii chord in Koji Kondo’s Athletic Theme from Super Mario 3 (4:19–4:24).
It’s important to emphasize that iii isn’t simply a substitute for I6 in Western classical music. For instance,
in an earlier chapter on tonic prolongations, we saw that the bass line do–re–mi is
commonly harmonized with . Composers don’t use as an alternative. That’s
because iii functions like vi, as a weak predominant that most often travels through a strong predominant
to get to V. The progression shows the opposite: V getting to iii, which isn’t stylistically
normative. Finally, keep in mind that iii does not appear very often in common-practice tonality, so it
should be used sparingly.
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Example 3 shows that iii can also go directly to V. Note that this progression doesn’t work well in
minor, since III contains te but V contains ti , and the immediate juxtaposition of these two
scale degrees is not stylistic for Western classical music.
435 | THE MEDIANT HARMONIZING MI (SCALE DEGREE 3) IN THE BASS
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Assignments
1. Mi in the bass at beginnings (.pdf, .docx). Asks students to realize unfigured bass, analyze, and
do a transcription with analysis.
PREDOMINANT SEVENTH CHORDS | 436
KEY TAKEAWAYS
• This chapter discusses the predominant seventh chords ii7, IV7, vi7, and iii7.
• ii7 and its inversions are the most common predominant seventh chord, and Example 2 shows which
inversions of ii7 are more common than others.
• When writing with predominant seventh chords, two general principles apply with respect to the treatment
of the chordal seventh:
◦ Approach the chordal seventh by step or common tone.
◦ Resolve the chordal seventh down by step.
Earlier, we saw how adding a chordal seventh to the dominant strengthened its drive toward the tonic. In
this chapter, we see that something similar can be accomplished by adding a chordal seventh to
predominant chords: it can intensify their motion to the dominant (Example 1). Adding a seventh to ii
chords is common; it also occurs with the other predominant chords (particularly IV and vi), but less
frequently. All predominant seventh chords share two general guidelines for the treatment of a chordal
seventh:
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437 | PREDOMINANT SEVENTH CHORDS
Example 1. A predominant seventh chord in Josephine Lang, “Dort hoch auf jenem Berge”
ii
often substitutes for , meaning that it commonly shows up near the end of a phrase (Example 1).
Other than the typical part writing procedures and treatment of the chordal seventh, there aren’t any new
voice leading concerns when writing with (Example 3).
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ii7
ii7 is typically found near the end of a phrase (Example 1). In addition to following
typical writing procedures and treatment of the chordal seventh, there are two main issues to be aware of
when writing with ii7:
PREDOMINANT SEVENTH CHORDS | 438
1. The chord is often preceded by tonic, and it’s best to use I6 rather than I to avoid potential parallels,
2. When ii7 resolves to V7, either ii7 or V7 will need to be incomplete to avoid causing a voice-leading
problem (Example 4).
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ii
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ii
is relatively uncommon. When it does show up, it’s usually in place of a strong predominant at a
phrase ending (Example 6). Other than following the typical writing procedure and
treatment of the chordal seventh, there isn’t anything new to learn about voice leading.
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439 | PREDOMINANT SEVENTH CHORDS
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Assignments
1. Predominant Seventh Chords (.pdf, .docx). Asks students to realize figured bass and analyze.
TONICIZATION | 440
TONICIZATION
John Peterson and Megan Lavengood
KEY TAKEAWAYS
• Tonicization is the process of making a non-tonic chord sound like a temporary tonic. This is done with
chromatic chords called applied chords, or secondary dominant chords (V(7)) and
secondary leading-tone chords (viio(7)) borrowed from the temporary key.
• Applied chords are notated with a slash. The chord before the slash is the identity of the applied chord
within the secondary key, and the chord after the slash is the chord being tonicized. It’s read aloud from
left to right with the word “of” replacing the slash: V/ii becomes “five of two.”
• Applied chords nearly always involve accidentals, and especially accidentals that raise the pitch.
• Another way of thinking about applied chords is to imagine them as altered versions of the diatonic chord
with which it shares a root (for example, ii becomes II♯, which is V/V).
CHAPTER PLAYLIST
Tonicization is the process of making a non-tonic chord temporarily sound like tonic. It’s accomplished
using secondary dominant or secondary leading-tone chords (sometimes called applied dominant and
applied leading-tone chords). First, we’ll learn how to tonicize the dominant, and then we’ll see
tonicizations of non-dominant chords.
441 | TONICIZATION
Tonicizing V
Analyzing tonicization
Example 1 analyzes a passage that temporarily makes V sound like the tonic chord. Example 2
extracts the two chords from Example 1 that participate in the tonicization. We have a C7 chord moving
to an F chord, so if we were to analyze these chords without considering the key signature or the context
that Example 1 provides, we’d say the two chords represent the progression in F major
(Example 2a).
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Example 1. Tonicization in Joseph Bologne, Six Concertante Quartets, no. 1, II, mm. 1–8.
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Example 2. Reduction of the tonicization in Joseph Bologne, Six Concertante Quartets, no. 1, II, mm. 3–4.
If we now reconsider the context that Example 1 provides, we can see that the F major chord functions
as V in the excerpt’s home key of B♭ major (Example 2b). Indeed, it’s the chord that creates the half
cadence that ends the first phrase. We know that we haven’t changed keys here because, in addition to the
half cadence being in B♭ major, the second phrase also begins in B♭ major (it repeats the beginning of the
first phrase). The C7 chord, however, clearly doesn’t belong to B♭ major—that’s what the E♮ accidental in
the bass tells us. As we determined in Example 2, the C7 chord is of the F major chord. To
represent that in the context of Example 1, we say that the C7 chord is “ of V,” and we write “
.” In other words, the F major chord is V, and the C7 chord is the of that V chord. We’ve just
labeled our first secondary dominant chord!
TONICIZATION | 442
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Example 3. Tonicization in Josephine Lang, “Du gleichst dem klaren blanen See,” mm. 21–24.
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Example 4 walks through how to understand the relationship between the two highlighted chords in
Example 3.
a. If we were in G major, we would analyze these chords as viio7–I. Recall that when we learned about
the leading-tone seventh chord, we discovered that it’s common to lower the chordal seventh in
major to create a fully diminished seventh chord. That’s still true here (notice the E♭!).
b. The passage in Example 3 is in C major, so we would analyze the G major chord as V, rather than
I. That means the F♯o7 chord is viio7 of the V chord. We write “viio7/V” and say “seven diminished
seven of five.”
c. The passage in Example 3 adds a to embellish the dominant. That’s why the viio7/V doesn’t
resolve directly to V.
d. The resolves to V7 rather than the V triad. Now we’ve arrived at the passage in Example 3.
443 | TONICIZATION
Spelling
The video in Example 5 walks through the steps for spelling V7/V, viio7/V, and vii∅7/V in major and
minor keys. We recommend you grab a piece of staff paper so you can follow along by pausing the video
and trying the exercises yourself. The steps are summarized below:
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Resolving
The leading tone of the applied chord is referred to as the secondary leading tone; the chordal seventh is
referred to as the secondary seventh. These dissonances resolve just as they normally would in their own
key.
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445 | TONICIZATION
Overview
Any major or minor triad can be tonicized, not just V. Diminished and augmented triads can’t be
tonicized, since there are no diminished or augmented keys. This means that every Roman numeral can
be tonicized except viio and iio.
As you might imagine, the frequency with which a given chord is tonicized is related to the frequency
with which that chord generally appears. For instance, the dominant and strong predominant chords are
quite common, so we also see those chords tonicized with some frequency. The vi chord, while less
common than ii, IV, and V, also frequently gets tonicized. The iii and VII (minor only) chords are
uncommon harmonies, and we tend not to see them tonicized frequently.
Tonicizing strong pre-dominants usually involves chromatic inflection of members of the tonic triad. For
example, a tonic triad can easily be turned into a V7/IV chord by adding te to the triad
(Example 8). Similarly, a tonic triad can be turned into viio7/ii by raising do ( ) and adding te
(Example 9).
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TONICIZATION | 446
Example 8. Tonicizing IV in Joseph Bologne, String Quartet no. 4, I, mm. 41–47 (1:18–1:30).
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Example 10. Tonicized deceptive motion in Josephine Lang, “Mag da draussen Sehnee,” mm. 1–5.
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Take the chord progression Dmi7–G–C in C major, which we would label with Roman numerals as
ii7–V–I. If we change fa to fi ( to , F to F♯) in the first chord, we get D7–G–C. In the key of C, we
might analyze this progression as II♯7–V–I(note the uppercase Roman numeral, indicating the change of
quality; the sharp sign afterward further clarifies the raised third of the chord). However, we can also note
that D major belongs to G major; it is a dominant-functioning chord (V) in the key of G—the key in
which the following chord is tonic. In other words, we are borrowing the dominant chord from the key of
G and applying it to the G-major triad. Thus, we can re-interpret the progression as V7/V–V–I.
PRACTICE IT!
Add accidentals in the following chords to turn them into secondary dominants. What Roman numeral
would you give the new chord?
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Example 12 summarizes secondary chords as they relate to diatonic chords with the same root.
TONICIZATION | 448
Assignments
1. Applied chords worksheet, available in three slightly different versions:
a. Version A (.pdf, .mscx). Asks students to identify and write applied V, V7, viio, viio7, and
vii∅7 chords with Roman numerals and figures.
b. Version B—without ∅7s (.pdf, .mscz). Asks students to identify and write applied V, V7, viio,
and viio7 chords with Roman numerals and figures.
c. Version C—jazz/pop focus (.pdf, .mscz). No ∅7s or figured bass; all chords in root position.
Students identify and write chord symbols in addition to notation.
2. Tonicization Voice Leading and Score Analysis (.pdf, .docx). Asks students to write from Roman
numerals and figured bass, write from a longer figured bass, and analyze a complete piece with
discussion questions.
Media Attributions
Private: resolving © Megan Lavengood is licensed under a CC BY-SA (Attribution ShareAlike) license
KEY TAKEAWAYS
CHAPTER PLAYLIST
We’ve seen that tonicization involves making a non-tonic chord sound like a temporary tonic. In this
chapter, we discuss modulation, which, in contrast to the temporary nature of tonicization, involves a
longer-term change of tonic. Sometimes people refer to modulation as a “change of key.”
Analyzing Modulations
There are two basic ways a composer can introduce a new key: they can make the key change abrupt
(Example 1), or they can be more subtle about it (Example 2). Two pieces of advice are helpful for
identifying modulations:
EXTENDED TONICIZATION AND MODULATION TO CLOSELY RELATED KEYS | 450
1. Remember that cadences establish keys, so if you can identify cadences before you start your
analysis, you’ll know where new keys occur.
2. The presence of the same accidentals over and over again in a passage is an indication of potential
modulation. If you start seeing a consistent accidental, see if you can identify a cadence that
establishes the new key corresponding to the change in accidentals.
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Example 1. Direct modulation in Joseph Bologne, String Quartet no. 4, I, mm. 15–29 (0:27-0:56).
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Example 2. Pivot chord modulation in Josephine Lang, “Der Winter,” mm. 1–12.
Sometimes multiple chords could serve as pivots. In such cases, the best chords are ones where the upper
and lower Roman numerals are both predominant chords. That’s because V will usually appear shortly
after the pivot, and having a predominant in both positions for your pivot chord label suggests that we’re
on the way to V in both the old and new keys. Your second best option would be a tonic chord in the old
key becoming a predominant in the new key (I becomes IV). Since a tonic chord can go directly to V, the
analysis here still makes functional sense. Poor pivot chord analyses are usually ones that involve the
dominant. An analysis such as “V becomes I,” for example, suggests that the same chord is simultaneously
unstable (V) and very stable (I), which isn’t how we’re likely to hear it.
If you were to do this with F major as a starting point, you should end up with
something like Example 4. Notice that the keys will always correspond to every major or minor triad in
EXTENDED TONICIZATION AND MODULATION TO CLOSELY RELATED KEYS | 452
the home key’s universe of Roman numerals (so, in major: I, ii, iii, IV, V, and vi; in minor: i, III, iv, v, VI,
and VII). This is a good way to check your work.
starting key B♭ F C
relative key Gmi Dmi Ami
While it’s possible to modulate to any key, certain keys are much more common than others:
Remember that the best pivots are ones that are predominants in both keys.
453 | EXTENDED TONICIZATION AND MODULATION TO CLOSELY RELATED KEYS
Choosing a progression
Our ears tend to need time to adjust to hearing a new key. If you want your new key to sound firmly
established, it’s therefore best not to cadence too quickly after your pivot. A good strategy can be to use
deceptive motion to avoid a cadence in the new key, and then to retry and successfully achieve a cadence
afterward (Example 6). Notice that Example 6 begins by establishing the home key with a standard
tonic expansion progression.
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cadence. Weaker modulations might only establish the new key with the cadence, then go right back to the
home key. Sometimes people will simply hear a passage differently: some people’s ears seem to more
willingly accept key changes than others. In your analysis, you should be able to represent your hearing of
a given passage and explain why you hear it that way, and you should also be able to understand why
someone else might hear it differently.
In between clear tonicizations and modulations is a gray area that we call “extended tonicization.” These
are passages like the one in Example 8 where the passage is longer than two chords (longer than, for
instance, to V), but not so long that it leads to a cadence to establish true modulation. In such
cases, we temporarily analyze in a new key, and we show it by placing the Roman numeral of the new key
underneath a bracket that underlies the entirety of the extended tonicization. Example 8 begins in E♭
major, then tonicizes F minor, so we put Roman numeral ii under the bracket. In the case of Example 8,
the extended tonicization also helps us transition from E♭ major to C minor—in other words, the extended
tonicization itself serves as a pivot area.
Often, analysts realize an extended tonicization is taking place when one of two things happens:
1. The analyst realizes they have been writing x/ii, y/ii, z/ii over and over again in a short space.
2. The Roman numerals stop making functional sense in the home key, but the upcoming cadence is
still in the home key.
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Assignments
1. Extended Tonicization and Modulation to Closely Related Keys (.pdf, .docx). Asks students to
review tonicization, identify closely related keys and pivot chords, analyze, and create a modulating
progression.
Media Attributions
Minor Circle of Fifths © Wiki Commons adapted by Bryn Hughes is licensed under a CC BY-SA (Attribution ShareAlike) license
V. CHROMATICISM
discussion of non-functional diminished seventh and augmented sixth chords that builds upon students’
knowledge of these chords in a functional context, which they learned in previous chapters.
Harmonic Elision teaches students about how to resolve dominant and diminished seventh chords such
that its resolution suppresses or removes an expected chord for one that is similar but functionally distinct
from the chord it replaced. This chapter could immediately follow the chapters on tonicization and is a
particularly useful primer for the Chromatic Sequences chapter later in this section.
The chapters on reinterpretation of augmented sixth chords and diminished seventh chords serve as an
entry point into the discussion of modulation into distant keys, and to harmonic ambiguity in music.
These chapters require a firm understanding of the introductory chapters that discuss these chords. Given
its inherent ambiguity, the chapter on the augmented triad follows nicely and also serves as a transition
into discussions of equal divisions of the octave.
The chapters on chromatic sequences, parallel chromatic sequences, and the omnibus progression work
well together as a mini-unit on harmonic pattern repetition in chromatic music, and cycle back on earlier
knowledge of diatonic sequences. Preceding these chapters with a discussion of equal division of the
octave can provide more context to the overall sound of these progressions.
The chapter on altered and extended dominant chords introduces students to chords that are “taller” than
seventh chords and to the notion of altering chord members, for example with a flattened or raised fifth.
This chapter can be spun into a discussion of jazz harmony, covered elsewhere in this textbook, and
provides an opportunity for an interesting discussion surrounding the use of these chords in these two
distinctly different repertoires.
Finally, the chapter on Neo-Riemannian triadic progressions gives students the tools necessary to begin to
analyze chromatic music that features non-functional triadic progressions, and to compose interesting
chromatic progressions that don’t follow the norms of functional tonality. This chapter is equally useful as
a capstone to a unit or course on chromatic harmony or as part of a course on 20th- and 21st-century
music.
MODAL MIXTURE | 458
MODAL MIXTURE
Brian Jarvis
KEY TAKEAWAYS
CHAPTER PLAYLIST
Modal mixture (or borrowing) is the harmonic technique of mixing the notes from the parallel major and
natural-minor modes (e.g., C major and C minor). This results in changing the chord qualities and/or
melodic “color” to achieve expressive effects not available in the main scale itself. In the majority of
cases, this occurs in major-key pieces where notes from the parallel minor are borrowed; most of this
chapter reflects that norm. Examples 1 and 2 provide a brief review of parallel minor scales and their
associated solfège and scale degrees. Notice the three differences between the scales: mi/me , la/
le , and ti/te .
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459 | MODAL MIXTURE
Example 1. Comparison of parallel major and minor scales and their solfège.
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Example 2. Comparison of parallel major and minor scales and their scale degrees.
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Common Progressions
As you might expect, not all of these modal mixture possibilities show up with equal frequency. Cadential
MODAL MIXTURE | 460
predominant chords are common targets, and the chords in Example 5 below appear with some
frequency in cadential progressions, each of which only borrows le from the parallel minor key.
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461 | MODAL MIXTURE
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Example 8. Comparison of a diatonic progression and the same progression with modal mixture in the
predominant area.
Picardy Third
The one common use of modal mixture in minor keys is called a picardy third, in which a minor-key
piece or movement ends with a major tonic chord (Example 9). The origin of the name “picardy” is
unknown; the technique was quite common in the 16th and 17th centuries but faded in popularity in the
18th and 19th centuries.
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Example 10. A progression that uses modal mixture to modulate to a distantly related key.
Musical Examples
Example 11 shows a simple harmonic progression that borrows from the parallel minor key, which
produces modal mixture. Notice the change in quality from to .
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Example 11. Camille Saint-Saëns, Samson et Dalila, Act II, “Mon cœur s’ouvre à ta voix” (excerpt begins at
1:36). Note that the B⯑ is borrowed from the parallel minor key, creating modal mixture.
Example 12 is a more extensive usage of modal mixture. Modal mixture is introduced at the third
system and continues until the conclusion of the phrase at the bottom of the page. This results in a
modulation from E major to its parallel minor, E minor. Notice in particular the dramatic effect of
starting a phrase in a major key and ending in a minor key with the same tonic.
463 | MODAL MIXTURE
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Example 12. Alfredo Catalani, La Wally, Act I, “Ebben? Ne andrò lontana” (excerpt starts at 0:50).
Larger-scale modal mixture starting in measure 14.
Assignments
1. Modal Mixture Assignment (.pdf, .docx). Includes spelling, figured bass realization, 4-part
voice-leading with Roman numerals, and analysis of musical excerpt. Access audio.
NEAPOLITAN 6TH (♭II6) | 464
KEY TAKEAWAYS
• The major triad built on ra is a chromatic predominant chord called a Neapolitan sixth (♭II6).
• ♭II is typically found in first inversion (♭II6).
• In voice leading, ra resolves down to ti .
CHAPTER PLAYLIST
The Neapolitan sixth (♭II6) is a chromatic predominant chord. It is a major triad built on ra and is
typically found in first inversion. While the name “Neapolitan” is a reference to the Italian city of Naples
(Napoli), the historical connection is quite shallow, as the chord was used in many other European cities
in the 18th and 19th centuries.
Context
The Neapolitan sixth is essentially a chromatic version of a iio6 chord. It functions the same and can be
used in the same context, but it has a more dramatic effect because of its chromatic root, ra . Like
iio6, it is typically used in a cadential context. ♭II6 can be found in major and minor keys but is more
common in minor keys. Due to the similarities between ♭II6 and iio6, both are approached harmonically in
the same way. Listen to Example 1 below to compare a simple cadential progression with iio6 and then
with ♭II6.
465 | NEAPOLITAN 6TH (♭II6)
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Voice Leading
There is a standard voice leading associated with ♭II6. In general, the chromatic tones follow standard
altered-tone practice: the altered notes continue to move in the direction in which they were altered. In
this case, re has been lowered to ra , so its tendency is to continue downward. Because ♭II6
resolves to a V chord, ultimately ra will resolve down to the closest member of the dominant triad,
which is ti . Of course, the true dominant chord is often delayed by a chord, and so that voice
will typically have do between the two: ra–do–ti . Notice also that the le
tends to resolve down to sol . Example 2 illustrates the standard voice leading (see the red and blue
notes in particular).
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Example 3 shows a relatively straightforward example of a ♭II6 chord occuring in the context of a
cadential progression. Note that the harmonic rhythm is a half note long, so think of beats 3 and 4 in
measure 6 as part of a single harmony.
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NEAPOLITAN 6TH (♭II6) | 466
Example 3. Frederic Chopin, Nocturne in F minor, Op. 55, no. 1. Neapolitan sixth as part of a cadential
progression.
Associated Progressions
Common progressions
• ♭II6–V
• ♭II6–viio7/V–V
While ♭II6 often goes directly to V (with or without a ), the applied chord viio7 commonly occurs
between ♭II6 and V, creating the progression ♭II6–viio7/V–V (Example 4). The added diminished chord
intensifies the push toward the expected dominant.
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While the Neapolitan is most often used as a single chord within a cadential progression, it—like any
other chord—can be prolonged through an extended tonicization or even used as a key area, as
in Example 5. ♭II is introduced first as a temporary tonic and elaborated with a pedal point, then the
phrase ends with a typical cadential progression with the Neapolitan sixth: ♭II6–viio7/V–V7–i.
467 | NEAPOLITAN 6TH (♭II6)
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Example 5. “Erlkönig” by Franz Schubert (1815; excerpt begins at 3:23) tonicizes the Neapolitan chord
and then uses it as part of a cadential progression.
Assignments
1. Neapolitan Sixths (.pdf, .docx). Asks students to spell ♭II6, realize figured bass, write 4-part
voice-leading with Roman numerals, and analyze a musical excerpt.
AUGMENTED SIXTH CHORDS | 468
KEY TAKEAWAYS
• Augmented sixth chords are a group of chromatic predominant chords containing the interval of an
augmented sixth between le and fi .
• There are Italian (It+6), French (Fr+6), and German (Ger+6) augmented sixth chords.
• Augmented sixth chords have no root, and they resolve to a root-position dominant chord.
CHAPTER PLAYLIST
Brief Overview
Augmented sixth chords are a category of chromatic predominant harmonies whose name is derived from
the inclusion of a very specific interval: the augmented sixth between le and fi . Each
augmented sixth chord (Italian, French, and German) contains one or two other scale degrees in addition
to this interval, as summarized in the chart below and illustrated in Example 1. Augmented sixth chords
can occur in both major and minor keys, but they’re more common in minor.
Italian [latex]\hat{1}[/latex] do
French [latex]\mathrm{\hat1\ and\ \hat2}[/latex] do & re
do & me
German [latex]\mathrm{\hat1\ and\ \downarrow\hat3\ (or\ \hat1\ and\ \uparrow\hat2)}[/latex]
(or do & ri)
469 | AUGMENTED SIXTH CHORDS
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Context
You’re now familiar with the process of finding a chord’s root for Roman numeral analysis, but
augmented sixth chords are not typically categorized by root. Instead, they are identified as chords
containing the augmented sixth between le and fi and further categorized according to the
other notes in the chord, as shown above. The names “Italian,” “French,” and “German” are more colorful
than historical, but each chord is based on this characteristic interval.
Example 2 shows the specific scale degrees of the augmented sixth interval and their resolution. Notice
that both notes in this interval are active notes: each one resolves to sol from a minor second away.
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Augmented sixth chords are another strategy for creating harmonic intensification with chromaticism.
They are mostly used as a predominant harmony (though they can serve an embellishing function as
well—see Common-Tone Chords), and they lead directly to root-position V at a cadence point. They may
intensify the push toward half and authentic cadences, and the V chord may have a seventh and/or include
a . Example 3 shows all three types in a simple cadential setting (authentic cadence versions).
Note that you can expect that le will be the bass for this chord, but fi can be in any other
voice. The Ger+6 is typically followed by a , which serves to offset the parallel perfect fifths that
would have happened between G–D and F♯–C♯; the may follow the other types as well. In a
four-voice texture, the Fr+6 and Ger+6 don’t require doubling; in the It+6, which has only three unique
pitches, the tonic is typically doubled because it is not an active note.
AUGMENTED SIXTH CHORDS | 470
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Example 4. Examples of replacing iv6 with an augmented sixth chord in lament-bass progressions.
When a Ger+6 is used in major keys, me is often respelled to avoid writing the same letter name
twice in a row with different accidentals, since Ger+6 typically resolves to a , which already contains
mi . Using ri instead of me also allows for a clearer indication of the ascending motion
of the line. Example 5 shows this variant spelling of the Ger+6.
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Musical Example
Ernesto Nazareth’s tango “Remando” (Example 7) uses a Ger+6 in m. 60 as part of the cadential
progression. Notice the stepwise bass motion beginning in that measure, la–le–sol , as a
technique to approach the augmented sixth chord by step in the bass. The melody of this dance features
AUGMENTED SIXTH CHORDS | 472
many accented passing tones, so the C♯ during the Ger+6 should be considered embellishing given that
context. As is typical with the Ger+6, the following dominant chord is embellished with a .
Example 7. Ernesto Nazareth, Remando (excerpt starts at 1:48). German augmented sixth chord as part of a
cadential progression.
Assignments
1. Augmented Sixth Chords (.pdf, .docx.) Asks students to spell augmented sixth chords, realize
figured bass, write 4-part voice-leading with Roman numerals, and analyze a musical excerpt. Audio
1 – Frederic Chopin, Audio 2 – Scott Joplin (excerpt starts at 0:56).
Media Attributions
nazareth_remando_annotated
473 | COMMON-TONE CHORDS (CTº7 & CT+6)
KEY TAKEAWAYS
• The common-tone diminished seventh chord (CTo7) and common-tone augmented sixth chord (CT+6)
have the same pitches as viio7 and Ger+6 but a different function: to embellish the upcoming chord (a
major triad or dominant seventh chord, typically I or V).
• Common-tone chords are so named because they contain the root of (i.e., have a common tone with) the
chord being embellished.
• In a four-voice texture, the fifth of the embellished chord is often doubled.
CHAPTER PLAYLIST
The common-tone diminished seventh chord (CTo7) and common-tone augmented sixth chord (CT+6)
represent a completely different usage of two chords with which you are already familiar: viio7 and Ger+6.
Whereas these chords typically function in a more progressive harmonic context, when employed as
common-tone chords, they serve a purely embellishing function and are the result of the culmination of
multiple simultaneous neighbor tones. Common-tone chords share a common tone with the chord being
embellished, whereas viio7 and Ger+6 do not.1 You can expect that the embellished chord will either be a
major triad or sometimes a dominant seventh chord, and the Roman numeral will be either I or V. Minor
1. Ger+6 does have a common tone with [latex]\mathrm{cad.^6_4}[/latex], but not with the dominant chord that follows it, which is the actual
destination chord.
COMMON-TONE CHORDS (CTº7 & CT+6) | 474
triads can be embellished in this way too, but this is far less common, so this chapter will focus on major
triads and dominant seventh chords only.2
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Example 1. Multiple neighbor tones can come together to form a CTo7 chord.
You can create a CTo7 chord by going through the following procedure:
2. The neighbor effect is somewhat less striking when embellishing a minor triad, since the third of the minor triad creates a second common
tone with the embellishing chord.
475 | COMMON-TONE CHORDS (CTº7 & CT+6)
1. Find the root of the chord you want to embellish (this will be the common tone).
2. Find the upper and lower neighbors to the fifth of the embellished chord.
◦ The upper neighbor will involve a whole step (major second).
◦ The lower neighbor will involve a half step (minor second).
3. Find the lower neighbor (minor second in particular) of the third of the embellished chord.
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Example 2. The can produce a common-tone that does not relate to CTo7 chords.
Resolving CTo7 to V7
When a CTo7 chord resolves to V7 instead of a V triad, the fifth of the V7 chord (re, is not doubled.
Instead, the voice that moves from re to mi in the CTo7 will continue upward to fa in the V7.
Example 3 compares the re–mi–re line of the resolution to V with the re–mi–fa
line of the resolution to V7.
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COMMON-TONE CHORDS (CTº7 & CT+6) | 476
Example 4 demonstrates this situation. Notice that the first CTo7 is surrounded by different chords: first
I, then . The arrow shows which chord the CTo7 is embellishing. Just like in complete-neighbor CTo7
contexts, the embellished chord is the one to focus on, not the preceding chord. This progression is an
elaboration of the progression that you’ve encountered with tonic prolongation but with
CTo7 chords filling in the space between each chord providing a much more colorful version of what was
a rather simple progression. When listening to Example 4, try to hear the underlying
progression as its underlying model.
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Example 4. A tonic expansion pattern elaborated by two different CTo7 chords comprising incomplete
neighbors.
1. Find the root of the chord you want to embellish (this will be the common tone). Tonic is the most
common harmony to embellish with a CT+6 chord.
2. Find the upper and lower neighbors to the fifth of the embellished chord. Both will be a half step.
477 | COMMON-TONE CHORDS (CTº7 & CT+6)
3. Find the lower neighbor (minor second in particular) of the third of the embellished chord.
When a CT+6 chord is embellishing a I chord (which is usually the case), you can think in terms of
solfège to find the notes. The solfège is the same as for a Ger+6 chord: le–do–me/ri–fi
. Because this chord is most often found in major keys, ri would be a
better spelling than me .
Example 5 below shows both chords (CTo7 and CT+6) for comparison. Note that the common tone is
not always the bass note and that the augmented sixth interval may be inverted to become a diminished
third instead, but the chord is typically labeled CT+6 in both contexts.
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Example 5. Comparison between a CTo7 and CT+6 chord, both as complete neighbors.
Musical Examples
The introduction to Scott Joplin’s “The Sycamore” shows how a CTo7 can be sandwiched between a
and its resolution to V7 (Example 6). It appears as though the bass is moving from D to F♯ and
back to D, but the F♯ is not related to the functional bass of the passage.
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Example 6. Scott Joplin, “The Sycamore,” mm. 1–4. A CTo7 is introduced between the start of the and
7
its resolution to V
In Example 7, Frederic Chopin uses a CT+6 in m. 8 at the conclusion of a parallel period that is
occuring over a tonic pedal. This instance is a common-tone chord that is an incomplete neighbor,
because the chord before it in measure 7 is V7 above the tonic pedal. Notice also that Chopin spelled the
chord with a C♭ instead of a B♮. Spelling variants do happen with common-tone chords, but the B♮
COMMON-TONE CHORDS (CTº7 & CT+6) | 478
spelling in this case would have clarified the neighboring function of that note with surrounding Cs in that
voice.
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Example 7. Frederic Chopin, Etude in F minor, Op. 10, no. 9, mm. 1–9. A CT+6 occurs in the context of a
tonic pedal in m. 8.
Assignments
1. Common-Tone Chords (.pdf, .docx.) Asks students to spell common tone chords, realize figured
bass, complete 4-part voice leading with Roman numerals, and analyze a musical excerpt. Access
audio (excerpt begins at 0:25).
Footnotes
479 | HARMONIC ELISION
HARMONIC ELISION
Brian Jarvis
KEY TAKEAWAYS
• Harmonic elision is the suppression of an expected chord (distinct from chord substitution).
• Leading-tone elision:
◦ The expected triad is replaced by the dominant seventh chord with the same root or by a
functionally equivalent diminished seventh chord.
◦ The leading tone (or applied leading tone) is altered to become te instead of resolving up by
minor second.
◦ The same bass note is maintained unless the bass had the leading tone (or applied leading tone).
• Raised-root elision:
◦ The root of the expected chord is raised to become a leading tone (or applied leading tone).
◦ The new chord can typically be V, V7, or viio7.
◦ The bass should be as close to the expected bass note as possible.
CHAPTER PLAYLIST
Harmonic elision occurs when a harmonic progression seems to suppress or remove an expected chord for
one that is similar but functionally distinct from the chord it replaced. It often feels like the combination
of two simultaneous harmonic events. This is different from chord substitution, where the replacement of
an expected chord just seems like a single unexpected event. However, some use the term “chord
substitution” in a broader sense that would also include harmonic elision as described here. This chapter
covers two types of elision: leading-tone elision and raised-root elision.
HARMONIC ELISION | 480
Context
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Example 1. A harmonic elision where the expected chord is suppressed and replaced with a dominant
seventh with the same root.
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Example 3 contains an example of this type of leading-tone elision. Notice that Examples 1 and 3 are
nearly identical except that Example 3 is using the functionally equivalent fully diminished seventh
chord instead (viio7 instead of
481 | HARMONIC ELISION
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Example 3. A harmonic elision where the expected chord is suppressed and replaced with a fully diminished
seventh chord that has an equivalent function to the dominant seventh in Example 1.
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Example 5. Change of expected bass when the leading tone is in the bass and a leading-tone elision occurs.
HARMONIC ELISION | 482
Raised-Root Elision
Raised-root elision occurs when the root of the expected chord arrives in its raised version (e.g., B♭
becomes B♮ or C becomes C♯) to become the leading tone in an applied chord. For example, a raised-root
elision would occur if an expected chord with C as the root was suppressed and a chord with C♯ as a
leading tone appeared instead. This could be any of the chords that use C♯ as a leading tone: A, A7, C♯o,
C♯o7 and C♯∅7 (though the half-diminished option is not very common). The overall harmonic result is
that the progression is pushed higher up the scale. In Example 6, the expected progression (based upon
norms in this style) would be . Instead, the final I chord is elided with a raised-root elision,
because (A7/C♯) takes its place. That chord then resolves to ii, so while the expected progression
was heading toward I, the end result of the raised-root elision is that the progression resolves to ii, one
step higher in the scale.
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The version
Progressions with can contain raised-root elision that is a little different because the expected root
does appear with the arrival of the but transforms into its raised version when the resolves to the
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Notation: When an elision occurs, it’s good practice to write the expected Roman numeral in your
analysis but then cross it out and place the symbol for the chord that actually occurred. Example 8
below shows an example of this style of notation.
Musical Example
The first phrase of Richard Strauss’s song “Zueignung” (Example 8) includes three harmonic elisions.
The first occurs on beat 4 of measure 6. It is expected that the G major chord on beat 3 will be followed
by a C major chord, but the C major chord has been suppressed, and in its place, a chord with a C♯ is
used instead. This is a raised-root elision because the expected root was C and a chord with C♯ occurred
instead, with the C♯ functioning as an applied leading tone.
The second harmonic elision occurs in m. 8, where a quasi (without the expected 4–3 part of the
chord, but otherwise quite similar) never resolves to its version. Instead, the expected root, G, is
suppressed and a G♯ appears in its place (as an applied leading tone to vi), making this another instance
of a raised-root elision.
Measure 9 repeats the quasi chord again. This time, it resolves to a chord with C as the root, but it
still isn’t the root-position tonic triad we expect. Instead, we find a leading-tone elision: the dominant’s
leading tone resolves down, making the C chord a dominant seventh (V7/IV).
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HARMONIC ELISION | 484
Example 8. Richard Strauss, “Zueignung“, Op. 10, no. 1, mm. 1–10 – Multiple harmonic elisions in a single
phrase.
Assignments
1. Harmonic Elision (.pdf, .docx.) Asks students to spell chords, realize figured bass, write 4-part voice
leading with Roman numerals, and analyze a musical excerpt.
485 | CHROMATIC MODULATION
CHROMATIC MODULATION
Bryn Hughes
Chromatic Modulation
Modulation to closely-related keys is a relatively easy task; we can find a pivot chord by looking at the
group of chords shared between two keys that have nearly-identical key signatures. There are plenty of
them. For example:
When two keys are more than one accidental apart on the circle of fifths, however, it becomes more
difficult it is to find a pivot chord that will enable a smooth modulation between the two keys.
To modulate to a distantly-related key, that is, a key that is more than one accidental away on the circle of
fifths, requires us to use our knowledge of chromatic chords, such as those found through mode mixture.
Mode mixture enables us to expand the number of possible pivot chords for modulation. For example, in
the key of C major, the chords made possible through mode mixture (i.e. those chords found in C minor,
its parallel key), we can now modulate easily to E-flat major (7 shared chords), A-flat major (4 shared
chords), B-flat major (3 shared chords), and their relative minor keys, F minor and G minor. Example 2
CHROMATIC MODULATION | 486
shows the common chords shared between C major and E-flat major, made possible by using mixture
chords in C major.
Example 2. Shared chords between C major and E-flat major, made possible through mode mixture.
Example 3 shows a modulation from the key of A major to F major, using iv from A major as a pivot
chord. Example 4 shows this technique being used by Verdi in his opera Rigoletto.
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Example 3. Modulation from A major to F major using a mixture chord in A major (iv) as a pivot chord.
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Example 4. Modulation from D-flat major to F-flat major using a mixture chord in Db major (bVI6) as a pivot
chord.
Conversely, we can use diatonic chords in the old key as mixture chords in the new key to modulate to
487 | CHROMATIC MODULATION
distant keys in the “sharpwise” direction on the circle of fifth. Example 5 shows the potential pivot chords
when modulating from C major to A major by way of the diatonic chords in C major as mixture chords in
the new key of A major.
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Example 6. Modulation from A-flat major to C major using a diatonic chord in A-flat major (vi) as a pivot
chord that is interpreted as a mixture chord (iv) in C major.
Example 7 shows an interesting chromatic modulation from Brahms’s Waltz, op. 39, no. 14. Here,
Brahms uses a diatonic viio6 chord in the local key of G major to pivot to E major, reinterpreting the
chord as iio6, a mixture chord in the new key of E major.
CHROMATIC MODULATION | 488
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Example 7. Modulation from G major to E major using a diatonic chord in G major (viio6) as a pivot chord
that is interpreted as a mixture chord (iio6) in E major.
Common-Tone Modulation
Sometimes we can use a common-tone, rather than a pivot chord, to modulate to distantly related keys. In
particular, the key areas that are a third away from the home key are easily modulated to using this
technique.These keys, chromatically altered tonics that are a third away from the home key, are called
“chromatic third” or “chromatic mediant” relations. For example:C and Ab major (share the common
tone C), C and Eb major (share the common tone G), C and A major (share the common tone E), C and
E major (share the common tone E).
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We can modulate to distant keys in several ways. Chromatic modulation refers to a modulation to a
distant key by way of a chromatic chord. Enharmonic reinterpretation involves respelling and resolving a
chromatic chord (usually a German augmented sixth or diminished seventh chord).
The German augmented-sixth chord may be respelled to resemble a dominant seventh chord. If you use
the German augmented-sixth from the home key, the resulting modulation will be up a half step.
Likewise, you can re- spell a dominant seventh chord to resemble a German augmented-sixth chord. If
you use the dominant seventh chord in the home key, the resulting modulation will be down a half step.
You can, of course, use this trick with any dominant-seventh chord (say, a secondary dominant), opening
up numerous possibilities for modulation.
489 | CHROMATIC MODULATION
Assignments
1. Coming soon!
Media Attributions
chromatic modulation – closely related keys
Assignments
1. Coming soon!
491 | AUGMENTED OPTIONS
AUGMENTED OPTIONS
Mark Gotham
KEY TAKEAWAYS
• much rarer than the other three triad types (major, minor, and diminished).
• interesting for several reasons including
▪ that rarity itself, and
▪ the symmetrical construction, which creates potential flexibility and ambiguity (just like with
the diminished seventh chord)
◦ most often seen in one of two forms:
▪ as III+ in harmonic minor (this being the only form in the major/minor system without
chromatic alteration), and
▪ as a chromatic passing chord between V and I in a major key: V, V+, I.
Aren’t we forgetting something here? We’re now well into chromatic harmony, yet we’ve hardly
mentioned one of the four types of ostensibly diatonic triads: we’re up to speed with augmented sixth
chords, but not the augmented triad. So what is this augmented triad all about? How do composers use it?
How have we neglected it so long (and why do so many textbooks brush over it altogether)?
Recall that we have four types of triads that can be constructed with major and minor thirds alone:
So the augmented triad is part of this set of possibilities, but apparently not an equal member, at least not
AUGMENTED OPTIONS | 492
in the eyes of common practice composers. Clearly major and minor triads are mission critical to tonal
music, and so is the diminished triad, especially in its dominant function role (as viio and as a part of V7).
The augmented triad is a slightly peripheral character in relation to those protagonists.
Always Chromatic?
Part of that rarity has to do with the structure of the major/minor system itself: III+ in harmonic minor is
the only time the augmented triad appears in the major/minor system without chromatic alteration. This
III+ triad is closely related to both the dominant (V) and minor tonic (i): in both cases, two scale degrees
are held common and only one semitone distinguishes the chord tone which changes:
Overall, I’d say that the sound and usage of III+ typically suggests a dominant function. See what you
think of the following example from the opening of Schubert’s “Der Atlas” (Example 1) in which:
Example 1. Extract
from the start of
Schubert’s “Der
Atlas” (from
Schwanengesang,
D.957), showing the
augmented triad III+
(possibly, depending
on your analytical
viewpoint) and
certainly how closely
related this chord is
to both V and i.
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The small steps between these chords relate to a key part of the “parsimonious voice leading” that’s so
important to the “Neo-Riemannian” approach to harmony, which seeks to account for the extended tonal
relations that become more common in the late 19th century. For more on that, see Neo-Riemannian
Triadic Progressions. For now, let’s continue to look at some examples of the augmented triad in practice.
Rarely focal
The relatively peripheral role and the rarity of augmented triads may be thought to diminish its
importance, though as the price of gold, diamond, and other rare commodities attest, that very rarity can
be valuable. For Schoenberg, this makes the augmented triad “better protected against banality” than the
diminished triad and seventh (1911, trans. ed. 1983, p. 239).
The idea of rarity also needs unpacking: when we speak of “rarity” in harmony, we usually mean that it is
unusual to see that chord in a focal role. This speaks to Richard Cohn’s observation that “when an
augmented triad appears in music before 1830, its behavior is normally well regulated and unobtrusive,
tucked into the middle of a phrase rather than exposed at its boundaries, passed through quickly and
lacking metric accent” (2012, p. 43).
This may be true in the general case, though that’s not to say there aren’t glorious counterexamples.
Example 2 sets out such an example from the “mente cordis” section that concludes the “Fecit
Potentiam” of Bach’s Magnificat (1723, 1733). This is a remarkable moment: not only is there an
augmented triad at all, but it is introduced by nearly full forces, spanning the full register, and after a
dramatic general pause which itself is preceded by a diminished seventh. You couldn’t hope to find a
clearer, more dramatically foregrounded augmented triad in any repertoire.
AUGMENTED OPTIONS | 494
Example 2. A
prominent
augmented chord in
the “Fecit Potentiam”
of Bach’s Magnificat
with a possible
harmonic reading of
this passage that
sees the augmented
triad setting up a
deceptive cadence in
the middle of a
passage in V minor
enclosed by two
secondary
dominants, viio7/v.
• As a straightforward V–V+–I
• With another harmony on the initial : e.g., ii–V+–I
• With or without sevenths: e.g., ii7–V+7–I
Example 3, from Fanny Mendelssohn Hensel’s Gondellied (6 Lieder, Op. 1, no. 6), sets this out.
Measures 19–20 can be seen as a V6/V–V+–I cadence in A (or, with sevenths, V /V–V+7–I) where:
Example 3.
Extract from Fanny
Mendelssohn
Hensel’s
Gondellied (6
Lieder, Op. 1, no.
6)
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So far, we have seen examples of the augmented triad in diatonic form (III+), and as a chromatic
alteration but with a clearly defined function (V+). Let’s now venture further into the chromatic territory
and to pieces which use the augmented triad in a prominent, focal way. Liszt’s late music includes some
fascinating miniatures, many of which heavily emphasize the augmented triad.1 R.W. Venezia is one such
work, highlighting the augmented chord in general, and C♯ augmented [C♯, F, A] in particular. This chord
receives such a weighting that it stakes a remarkable claim to a kind of overall primacy or tonicity that at
least challenges and perhaps even vanquishes the corresponding claim from a tonal center (B♭).
Cohn (2012, 47), after Harrison (1994, 75ff.), discusses a similar emphasis of the diminished chord in
Schubert’s “Die Stadt,” rightly observing that “rhetorical garments normally reserved for consonances” are
1. See Cohn 2000; Forte 1987; Gut 1975; Hantz 1982; McKinney 1993; Satyendra 1992, 1997; Todd 1981, 1996.
AUGMENTED OPTIONS | 496
used in this repertoire to afford dissonant chords a kind of surrogate tonic status (see also Morgan 1976).
Those rhetorical strategies are well summarized by the pithy notion of “first, last, loudest, longest.”
R.W. Venezia begins with a C♯ augmented chord outlining, resolving by parsimonious voice leading to B♭
minor as the start of a rising chromatic sequence which ultimately turns into a long succession of rising
(initially parallel augmented) triads that climax in a blazing, forte B♭ major. That forte section then moves
through more parsimonious voice leading cycles before returning to C♯ augmented, now fortissimo.
Finally, this C♯ augmented chord initiates a descent which deftly combines the pitches of B♭ minor and
C♯ augmented [B♭, C♯, F, A], leading to an ambiguous close on a unison C♯. That final C♯ is repeated,
carrying with it the ambiguity right up to the last note. If the second, final C♯ were a B♭, then the piece
would come down more firmly in favor of B♭ minor. As it is, Liszt maintains the delicate balance and
leaves us wondering which is the figure and which the ground.
In short, C♯ comes “first” and “last,” while B-flat probably wins in the “loudest” stakes, leaving “longest”
as the primary vehicle of ambiguity. The augmented chord is used considerably more than the average for
the time, even for Liszt (a considerably above-average user), though still not to the same extent as major
or minor triads. Then again, the C♯ augmented triad specifically is used to approximately the same extent
as B♭ major and minor combined, raising the case for it as “tonic.” Whether that is enough is open to
debate; ultimately, I hear them in an amazingly effective balance where neither quite shines through.
Anthology Examples
This chapter has surveyed some claims about how relatively common or otherwise specific particular
progressions are. But so far, we’ve just looked at examples. To make sense of this kind of claim, we ought
to consider the overall case. We don’t have space here to go into that in detail, but this final section
provides some direction toward extensive lists of further examples for you to explore.
First, here is an initial list of approximately 200 examples gathered from the literature. The list could be
thought of as an augmented triad “canon”—those instances notable enough to have been mentioned in
either the theoretical or historical literature. These repertoire occurrences are varied in function and tone.
Many are indeed “merely” incidental appoggiaturas and decorations, while others are fundamental,
referential sonorities; some are isolated cases, others are a core part of wider, recurring harmonic
processes; some have an ambiguous role, others have a clear musical and even extra-musical meaning
including topical associations which generally center on death, ambivalence, or mystery.2
2. See Moomaw, "The Expressive Use of the Augmented Fifth" (1985, p. 354 ff.) for numerous apparent extra-musical uses, perhaps most
remarkably his very final example, no. 213e, for the depiction of cannon shots in Mondonville’s Daphnis et Alcimadure (1754).
497 | AUGMENTED OPTIONS
Second, head to the Harmony Anthology chapter for a list of moments in the OpenScore Lieder
collection that analysts have viewed in terms of augmented chords. The list is sortable by composer,
collection, song, measure, Roman numeral (figure) and key. Each entry includes a link to the score.
Assignments
1. Head to the section on augmented chords in the Harmony Anthology chapter and pick one (or more)
of the repertoire examples listed in which an analyst has identified the use of an augmented chord.
◦ For that passage, make a Roman numeral analysis of the measure in question and one or two on
either side (enough to establish a chord progression and some context).
◦ Create one such harmonic analysis including the augmented triad provided (figure and key are
given in the table).
◦ If you disagree with that reading (as you may well do), then provide an alternative harmonic
analysis without it.
2. Do step 1 for several cases and identify any that seem similar to each other, and to the above. For
instance, for the cases given as V+ in the anthology, are many of them similar to the chromatic
passing motion in the Hensel above? Can you find any dramatic examples like the Bach? Do you see
any other recurring practices not described in this chapter?
Media Attributions
Atlas
Bach
Hensel Extract
Footnotes
EQUAL DIVISIONS OF THE OCTAVE | 498
In the 19th century (and even as early as the late 18th century), composers became more interested in
creating ambiguity in their music; avoiding chord progressions that explicitly confirmed a tonal center
allowed them to thwart listeners’ expectations. One way of achieving this ambiguity was to use chord
progressions in which the roots of the chords divide the octave equally. In a purely diatonic system, chord
progressions tend to divide the octave unequally–think about the tritone leap in a descending-fifths
sequence, or the half steps in an ascending-step sequence, for instance. In a tonal system, the asymmetry
of major and minor scales serves to pull chords and scale degrees towards a tonic. Conversely, root
progressions that divide the octave equally quickly bring the music outside of the diatonic scale. For
example, consider a root progression by major thirds: C–E–G♯/A♭–C. While the chords built upon C and
E could certainly be harmonized by chords within the C-major scale, the chord with a root of G♯/A♭
cannot. Further, the root progression from G♯/A♭ to C subverts the harmonic functions that define the
tonal system: this chord progression does not contain any sort of dominant to tonic motion at all. The
earliest examples of this are found as short passages in larger works that otherwise abide by the norms of
common-practice tonality. Nevertheless, these examples are remarkable in that they foreshadow an
unhinging of the tonal system, making way for compositional practices in the 20th century and beyond to
new systems of pitch organization.
Minor 2nd
This is somewhat trivial, as it simply produces the chromatic scale. Chord progressions in which roots
move by ascending or descending minor seconds do exist, though.
499 | EQUAL DIVISIONS OF THE OCTAVE
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Major 2nd
Plenty of music has been written using the whole-tone scale, which divides the octave equally into major
seconds. Much of this music is not tonal, or even triadic. There are a handful of examples in which tertian
chord roots outline the whole-tone scale.
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Minor Third
Roots progressing by minor third outline the diminished-seventh chord. These chord progressions are
most often found in examples where each of these chord roots outlining the division of the octave are
tonicized, or otherwise interrupted by intervening chords. More rarely, they’re found in progressions in
which the chord roots outlining the division are presented in immediate succession. These kinds of
progressions also tie in with the octatonic scale, which contains overlapping diminished-seventh chords.
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Major Third
Chord progressions in which the roots move by major third will outline the augmented triad. These chord
progressions can be found both in examples where the chords are in immediate succession, and with
intervening chords. These progressions go hand-in-hand with the hexatonic scale, which contains two
overlapping augmented triads.
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Tritone
The last way in which one might divide the octave equally is by tritone. A chord progression that does this
would simply be two chords, so repertoire examples would be somewhat trivial.
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Of course, you can create chord progressions in which roots progress consistently by other intervals, like
perfect fourths and fifths. These will create tonal ambiguity, but they will not come to completion within a
single octave in the way the five listed above do.
Assignments
1. Coming soon!
501 | CHROMATIC SEQUENCES
CHROMATIC SEQUENCES
Bryn Hughes
KEY TAKEAWAYS
• Diatonic sequences repeat musical segments and are transposed in a regular pattern within a key.
• Chromaticized diatonic sequences include can include chromatic embellishments or chromatic chords,
such as applied (secondary) dominants. These sequences avoid strict transposition of both interval size and
quality.
• Chromatic sequences differ from diatonic sequences in that both the size and quality of the interval of
transposition is maintained throughout the sequence. Diatonic sequences preserve the interval size, but not
the quality, to ensure that they stay within a single key.
• Remember, with all sequences, the voice leading must be consistent within every voice. Chord voicings
should match between all corresponding components.
Descending-Fifths Sequence
Consider the following two-chord sequence (Example 1), often referred to as the “descending-fifths
sequence.”
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The sequence model, a root progression by descending fifth, is transposed down by second in each
subsequent copy of the model. Because the sequence uses chords entirely from the key of G major, the
root progressions don’t match exactly throughout the sequence. For example, the root progression between
the IV and viio chords is an augmented fourth, whereas the root progressions between every other pair of
chords is either a perfect fifth or perfect fourth. We “cheat” in the sequence in this way in order to keep
the music within a single key. If the interval between successive chord roots was consistently a perfect
fifth/fourth, the root progression would be as follows: G–C–F–B♭–E♭–A♭–D♭… and so on. The sequence
would rather quickly bring the music outside of the key of G major, and into new chromatic territory. It
would become a chromatic sequence.
Chromatic sequences differ from their diatonic counterparts in a few important ways:
• The chords that initiate the sequence model and each successive copy contain altered scale degrees.
• The chords within the pattern are of the same quality and type as those within each successive copy
of that pattern.
• The sequences derive from those that divide the octave equally.
Importantly, chromatic sequences are not merely sequences that contain chromatic pitches. Example 2
shows the same descending-fifths sequence, this time with alternating secondary dominant chords. While
the sequence contains chromatic chords (the secondary dominants), it is not a truly chromatic sequence
because the overall trajectory of the sequence is still one that traverses the scale steps of a single key.
Notice that the progression of chord roots on successive downbeats still matches the purely diatonic
sequence shown in Example 1: G–F♯–E–D.
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Conversely, we can create a truly chromatic sequence if we ensure that the progression of chord roots
maintains a consistent pattern of intervals throughout the sequence. An easy way to do this is to make the
second chord of the sequence model into a dominant-seventh chord that can be applied to the first chord
of the subsequent copy of the model. In Example 3, the second chord of the model is now F7 instead of
a diatonic IV chord. We interpret this as V7 of the chord that follows, which is, in turn, another
dominant-seventh chord.
503 | CHROMATIC SEQUENCES
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The voice leading in the above sequence requires some attention. Because every chord is interpreted as a
dominant-seventh of the chord that follows, it is not possible to resolve both the leading tone and the
chordal seventh as normal. As is the case whenever you connect seventh chords with roots a fifth apart,
the voice leading requires an elided resolution. Instead of the chord you expect to hear following a
dominant-seventh chord, you get a dominant-seventh chord with the same chord root. For example, we
expect to hear either a C or Cm chord following a G7 chord. An elided resolution would result in a C7
chord in place of the expected chord. An example of an elided resolution is shown in Example 4. The
example shows the expected C resolution in parentheses. The elided resolution essentially “elides” the
chord we expect with the following chord, C7. In a sense, we mentally skip over the expected chord to get
to the next dominant-seventh chord. An important result of the elision is that the leading tone of the first
dominant-seventh chord, B, resolves down by half step to become the new chordal seventh. Likewise,
when the chordal seventh in the first dominant-seventh chord, F, resolves down by half step, it becomes
the new leading tone. This leading tone/chordal seventh exchange is essential for proper voice leading in
chord progressions that use interlocking seventh chords, such as the sequence above. Furthermore, this
kind of voice leading is integral to the study of jazz harmony, as you will find in other parts of this
textbook.
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Returning to Example 3, notice that the progression of chord roots on each successive strong beat
divides the octave equally into major seconds. This results in a sense of tonal ambiguity, making the
Roman numeral analysis of these chords tenuous, at best. In particular, the chords identified with asterisks
in the example are only labeled as such for consistency. In many cases, when analyzing highly chromatic
music, it is often quite difficult to assign Roman numerals to chords; this tonal ambiguity is part of the
CHROMATIC SEQUENCES | 504
aesthetic of this kind of music. In cases like this, it is often convenient to also analyze the music using
lead-sheet symbols. These have been included in the examples in this chapter.
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Example 6. A chromaticized diatonic ascending 5–6 sequence, featuring secondary dominant chords.
The above examples present the diatonic ascending 5–6 sequence (Example 5) and its chromaticized
variant (Example 6). Note that both of these include an inconsistent pattern of intervals between chord
roots in the second measure. To that point, the pattern of chord roots was a descending minor third
followed by an ascending perfect fourth. From beat 1 to beat 2 in m. 2, the chord roots are D to B♭—a
major third. To make this a truly chromatic sequence, this interval must be corrected to match the others.
Thus, we would change the B♭7 to a B7. Likewise, we would then change the chord that follows the B7 to
a chord with a root of E (rather than E♭), to preserve the root progression by perfect fourth
(Example 7).
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A similar problem arises with the chord qualities used at the beginning of each subsequent copy of the
sequence model. The first chord of the sequence is major, so for it to be a chromatic sequence, we must
change the remaining first chords of each iteration to be major as well. The final result is a sequence in
which the chord on every strong beat is a major triad with roots a major second apart. If it were to
traverse the entire octave, the sequence would divide the octave into major seconds. In Example 7,
though, the sequence stops once it reaches the E major triad, treats that triad as a dominant chord, and
modulates into A major. The modulation brings the music down a half step from its starting key. Distant
modulations such as these are one of the reasons that chromatic sequences can be powerful tools.
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Example 9. A chromatic descending 5–6 sequence that modulates from D major to C major.
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Example 10. A chromatic descending 5–6 sequence using inverted chords on every weak beat. The
sequence outlines the whole-tone scale on every strong beat.
The familiar “Pachelbel” sequence (Example 8) can derive a chromatic sequence in a couple of ways.
The diatonic version of this sequence alternates root motion by perfect fourth with either major or minor
CHROMATIC SEQUENCES | 506
seconds. The fully chromatic version of this sequence replaces the root motion by second with root
motion by minor third (Example 9). This version of the sequence traverses the octave by major seconds,
outlining the whole-tone scale and creating a strong sense of harmonic ambiguity by its end. When you
listen to Example 10, for instance, notice that the D major chord that finishes the sequence hardly
sounds like the tonic, even though, nominally, it is. This version of the sequence also uses inverted chords
on every weak beat, creating a bass line that descends through the chromatic scale.
Assignments
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507 | PARALLEL CHROMATIC SEQUENCES
Assignments
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THE OMNIBUS PROGRESSION | 508
The omnibus progression is a special type of chromatic sequence in which the bass and another voice in
the texture move in contrary motion. Most commonly, the omnibus progression is used to prolong
dominant harmony, but it can also be used as a means of modulating into distant keys.
Example 1 shows the prolongation of a dominant-seventh chord via a voice-exchange between the
leading tone (in the soprano) and the root of the chord (in the bass).
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Example 1. The omnibus progression prolongs dominant harmony using a chromatic a voice exchange
between the leading tone and the root.
Notice that the voice leading in this progression is as smooth as possible: The only voices that are moving
are the ones involved in the voice exchange. The other voices remain static as common tones.
The converging omnibus progression begins on a root-position dominant-seventh chord. The bass moves
up- ward by semitone, while the voice with the leading tone moves downward by semitone, creating a
voice ex- change. The remaining two upper voices maintain common tones.
Moving three semitones in this fashion brings you to another root-position dominant-seventh chord.
Moving four semitones in this fashion brings you to the same dominant-seventh chord on which you
began the progression, but this time, in first inversion.
509 | THE OMNIBUS PROGRESSION
The omnibus progression can be used to move into distant keys (and eventually traverse the octave) if,
once you reach the new root-position dominant-seventh chord (that you arrived at after three semitones),
you find the new leading tone and begin the process again.
The diverging omnibus progression works almost identically, but instead of moving the leading tone in
contrary motion to the bass, you move the seventh. To move into distant keys, find the new seventh in the
root-position dominant-seventh chord and repeat the process.
Assignments
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ALTERED AND EXTENDED DOMINANT CHORDS | 510
Importantly, these chords do not resolve easily to minor triads, since the augmented fifth would not be
able to resolve upward by step.
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Example 2: The dominant chord with a diminished fifth, and its equivalence with the French augmented-
sixth chord.
When composing these chords in a four-voice texture, you need to decide which notes to leave out. These
chords will always include the root and the chordal seventh.
The V9 chord replaces a doubled root with a ninth. The ninth should resolve down by step.
The V11 chord replaces the third with an eleventh. The eleventh “resolves” by common-tone. This chord
typically includes both the ninth and the eleventh, and resembles a IV chord with scale-degree 5 in the
bass.
The V13 chord replaces the fifth with a thirteenth. The thirteenth “resolves” by leaping down by third to
scale-degree 1.
Assignments
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NEO-RIEMANNIAN TRIADIC PROGRESSIONS | 512
NEO-RIEMANNIAN TRIADIC
PROGRESSIONS
Bryn Hughes
KEY TAKEAWAYS
• Neo-Riemannian theory, named after music theorist Hugo Riemann, provides a means of rationalizing
triadic progressions that involve sharing common tones, more so than staying within one key.
• Every Neo-Riemannian transformation toggles between one major and one minor triad.
• The most basic Neo-Riemannian transformations shift one note and keep two common tones.
◦ Relative relates a major triad and the minor triad a minor third lower, such as C and Ami.
◦ Parallel relates a major triad and the minor triad sharing the same root, such as C and Cmi.
◦ Leading-tone exchange relates a major triad and the minor triad a major third higher, such as C and
Emi.
• Other important Neo-Riemannian transformations keep one common tone and shift two notes.
◦ Slide relates a major triad and the minor triad one semitone higher, such as C and C♯mi.
◦ Nebenverwandt relates a major triad and the minor triad a fifth below, such as C and Fmi.
• Hexpole relates a major triad and the minor triad a major third below, such as C and A♭mi. This
transformation is unique because it does not keep any common tones; instead, each note is shifted by a
half step to get to the new chord.
• Neo-Riemannian transformations are abbreviated to one letter each: R, P, L, S, N, and H.
• Theorists have come up with several networks of transformations that help visualize these relationships,
such as the Tonnetz, the Weitzmann regions, and the Cube Dance.
In the late 19th century, composers often used triadic progressions that confound conventional Roman
513 | NEO-RIEMANNIAN TRIADIC PROGRESSIONS
numeral analysis. Consider the following excerpt from Brahms’s concerto for violin and cello (Example
1):
Example 1. Brahms, Concerto for Violin and Cello, I, mm. 268–79 (10:22).
A reduction of the chord progression in the excerpt above can be found in Example 2. The passage
connects two A♭ major triads; however, the chords in between those triads do not belong to A♭ major in
any useful way, nor do they follow any of the conventions of functional harmony.
Example 2. Brahms, Concerto for Violin and Cello, I, mm. 270–76, reduction.
One might dismiss the passage altogether as “non-functional harmony,” but when you listen to it, it
follows a certain kind of logic. As Richard Cohn writes, “if this music [music that is triadic but
functionally indeterminate] is not fully coherent according to the principles of diatonic tonality, by what
other principles might it cohere?” (1998, 169).
NEO-RIEMANNIAN TRIADIC PROGRESSIONS | 514
Neo-Riemannian Transformations
Neo-Riemannian theory describes a way of connecting major and minor triads without a tonal context.
Example 3 shows the three basic Neo-Riemannian operations. Notice that each operation preserves two
common tones in a triad and changes its mode.
• The Relative transformation (R) preserves the major third in the triad and moves the remaining note
by whole tone.
• The Parallel transformation (P) preserves the perfect fifth in the triad and moves the remaining note
by semitone.
• The Leading-Tone Exchange transformation (L) preserves the minor third in the triad and moves the
remaining note by semitone.
Example 3. The three basic Neo-Riemannian operations: Relative, Parallel, and Leading-Tone Exchange.
It’s important to note that each transformation is a toggle between two chords. As an analogy, think of the
caps lock key on your keyboard, which toggles between two cases of letters. If you are typing with
lowercase letters and then press caps lock, this tells your keyboard to begin typing in uppercase letters.
But if you press caps lock again, it toggles back to lowercase—it doesn’t go to some third case.
Similarly, if you do the L transformation on a C major triad, you get an E minor triad. If you do the L
transformation on an E minor triad, you return to a C major triad. Put another way, successive repetitions
of the same transformation alternate between two chords, as shown in Example 4.
While most 19th-century composers didn’t write progressions using the same transformation over and
over again, you will find this technique used in twentieth-century works like “O Superman” by Laurie
Anderson, which uses successive L transformations throughout.
515 | NEO-RIEMANNIAN TRIADIC PROGRESSIONS
The Tonnetz
Example 5 shows a Tonnetz. A Tonnetz is a visual representation of pitches arranged such that perfect
fifths are read from left to right, major thirds are read diagonally from the top left to the bottom right, and
minor thirds are read diagonally from the bottom left to the top right. Any three pitches in a triangle form
a major or minor triad. Neo-Riemannian transformations can be visualized by flipping a triangle along
one of its three edges.
There are three possible cycles that use two transformations: the PL cycle, the RP cycle, and the RL cycle.
As you can see in Example 9, the PL and RP cycles “close the loop” after relatively few
transformations: six for the PL cycle, and eight for the RP cycle.
Conversely, the RL cycle (Example 10) is is quite long: it passes through all 24 major and minor triads.
Since this cycle takes so long to “close the loop,” it is often ignored or presented in truncated form.
517 | NEO-RIEMANNIAN TRIADIC PROGRESSIONS
There is one three-transformation cycle that is noteworthy: the PLR cycle. As Example 11 shows, it
takes two cycles of the PLR transformations to return to the starting chord.
Of the cycles mentioned above, both the PL and RP cycles generate a parent
scale made up of all of the notes used by its constituent triads. The PL cycle
generates the hexatonic scale, a symmetrical scale made up of alternating
semitones and minor thirds. The RP cycle generates an octatonic scale, another
symmetrical scale made up of alternating semitones and major seconds. You
might consider these scales to represent the “overall sound” of the cycle. Each
PLR cycle is centered around a single pitch, which is contained in each of the
triads within the cycle. Example 12. PL, RP,
and PLR cycles related
Each of these cycles is illustrated in Example 12. to their parent scales/
common tones.
Other Transformations
There are three other types of Neo-Riemannian transformations that occur frequently enough in the
repertoire that they are worth mentioning here.
• The Slide transformation (S) (short for “slide”) is effectively the opposite of the P transformation: it
moves the two pitches that form the perfect fifth in a triad by semitone and changes the mode of the
triad.1
• The Nebenverwandt transformation (N) moves both members of the minor third in a triad by
semitone and again changes the mode. Nebenverwandt means “neighbor-related” in German, and it
describes the neighbor-tone-like motion of this third. 2
• The Hexpole (H) transformation connects a triad to its modal opposite a third away by moving each
voice by a single semitone, generating the hexatonic poles in the hexatonic PL cycle discussed above
and shown in Example 12.3
Of course, all of the above transformations can be considered combinations of the staple P, L, and R
transformations. For example, you could describe H as “PLP.” Indeed, you can describe the connection
between any two major and/or minor triads as combinations of transformations: you can get from one
triad to any other in five steps or less. The most interesting are those that use parsimonious voice leading:
voice leading in which no single voice moves more than a step. There are numerous other combinations
you could come up with—try some on your own!
Augmented triads
Although it is not part of the staple Neo-Riemannian transformations, which only deal with major and
minor triads, the augmented triad provides a useful link between major and minor triads, specifically those
that are connected by R transformations. Upon scrutinizing the above examples, you may have noticed
that the R transformation isn’t quite the same as the P and L transformations, because it moves its
non-preserved note by two semitones, while the others move their non-preserved note by one semitone. In
a sense, the R transformation is twice as much “work” as the P and L transformations. If we fill in the gap
between two R-related triads, an augmented triad emerges, as shown in Example 14.
Things get interesting when you consider the augmented triad’s ambiguity. Because it is a symmetrical
chord (like the diminished seventh chord), you can enharmonically respell the augmented triad such that
any of its chord members can act as the root. For example, the C augmented triad in Example 14 could
also be spelled as an E augmented triad (E–G♯–B♯), or an A♭ augmented triad (A♭–C–E). As a result, you
can resolve the augmented triad to three different minor triads by moving a single voice by semitone,
depending on how its root is interpreted. Example 15 shows the three possible resolutions of the C+
triad.
Example 15. Three different spellings of the augmented triad resolving to three different minor triads.
Likewise, the same augmented triad can connect to three different major triads by moving a single voice
by semitone, as shown in Example 16.
Example 16. Three different major triads connect to the same augmented triad.
NEO-RIEMANNIAN TRIADIC PROGRESSIONS | 520
and D♭+, or E♭+ and D+. Though the other cycles are not depicted clearly on the cube dance model, you
can also use augmented triads to modulate between RP cycles, or PLR cycles, or indeed any group of
Neo-Riemannian transformations that include R transformations.
Perhaps even better than the Tonnetz, the cube dance illustrates the proximity of major and minor triads.
If we equate proximity with the total number of semitones needed to move from one triad to another, the
cube dance diagram puts chords together that we would intuitively consider to be “close” to one another,
while those that we might consider “distant” are relatively far apart. Moreover, the cube dance (and even
the Tonnetz) does this without reference to a tonal center, making it useful for rationalizing chord
progressions from music of the 19th and 20th (and even 21st) centuries that is triadic but shies away from
functional tonality. This can be incredibly helpful when analyzing this kind of music, or even when
writing your own.
Further Reading
• Cohn, Richard. 1996. “Maximally Smooth Cycles, Hexatonic Systems, and the Analysis of
Late-Romantic Triadic Progressions.” Music Analysis 15, no. 1 (March): 9–40.
• Cohn, Richard. 1997. “Neo-Riemannian Operations, Parsimonious Trichords, and Their
Tonnetz Representations.” Journal of Music Theory 41, no. 1 (Spring): 1–66.
• Cohn, Richard. 1998. “Introduction to Neo-Riemannian Theory: A Survey and a Historical
Perspective.” Journal of Music Theory 42, no. 2 (Autumn): 167–80.
• Cohn, Richard. 1998. “Square Dances with Cubes.” Journal of Music Theory 42, no. 2 (Autumn):
283–96.
• Cohn, Richard. 2004. “Uncanny Resemblances: Tonal Signification in the Freudian Age.” Journal of
the American Musicological Society 57, no. 2 (Summer): 285–323.
• Douthett, Jack, and Peter Steinbach. 1998. “Parsimonious Graphs: A Study in Parsimony,
Contextual Transformations, and Modes of Limited Transposition.” Journal of Music Theory 42, no.
2 (Autumn): 241–63.
• Engebretsen, Nora, and Per F. Broman. 2007. “Transformational Theory in the Undergraduate
Curriculum – A Case for Teaching the Neo-Riemannian Approach.” Journal of Music Theory
Pedagogy 21:39–69.
• Mason, Laura Felicity. 2013. “Essential Neo-Riemannian Theory for Today’s Musician.” Master’s
thesis, University of Tennessee, Knoxville. https://trace.tennessee.edu/utk_gradthes/1646.
523 | NEO-RIEMANNIAN TRIADIC PROGRESSIONS
Assignments
1. Worksheet on Neo-Riemannian Transformations (.pdf, .mscz). Asks students to perform P, L, R,
SLIDE, N, and H on individual triads, to realize chains of transformations, and find a transformation
chain to connect two chords.
2. Composing with Neo-Riemannian Transformations (.pdf, .mscz). Asks students to use the Cube
Dance and other Neo-Riemannian cycles to compose a short minimalist piano solo.
Media Attributions
brahms concerto for vln vc 268-79
brahms_vc_vln_concerto_reduction
NROs_-_basic_voice_leading_examples PLR
multiple L transforms
The Tonnetz
PL and RP cycles
RL cycle
PLR cycle
SNH transformations
augmented_triads2
augmented_triads3
weintzmann regions
individual cubes
cube dance
Footnotes
VI. JAZZ | 524
VI. JAZZ
Organization
The first chapter, Swing Rhythms, introduces students to common and stylistic rhythms that are often
found in swing music and subgenres that grew out of it.
Next, students learn about simple and complex chord symbols and how those symbols are idiomatically
voiced in a jazz context.
The next few chapters discuss common harmonic formulas encountered in jazz repertories: ii–V–I;
embellishing chords such as applied chords and common tone diminished seventh chords;
and substitutions such as the tritone substitution, mode mixture, and substituting applied chords.
525 | VI. JAZZ
Improvisation is discussed in the Chord-Scale Theory chapter, which also introduces students to how jazz
musicians use modes to improvise.
The final chapters of this section cover the formal/harmonic and melodic aspects of traditional blues
music. This also serves as a transition into the following section on popular music, a genre that borrows
heavily from the blues.
SWING RHYTHMS | 526
SWING RHYTHMS
Megan Lavengood
KEY TAKEAWAYS
• Swing eighths are notated as regular straight eighths but performed unevenly, in a quasi-triplet rhythm
where the first note is twice as long as the second.
• Backbeat, a syncopation created through accent on beats 2 and 4 of a quadruple meter, is common in jazz.
• Syncopation occurs when the hierarchy of the meter is obscured.
Jazz has many characteristic uses of rhythm that define it as a genre. This chapter introduces two
especially signficant rhythms—swing eighths and the backbeat—and discusses syncopation generally.
Swing eighths
One of the most recognizable features of swing rhythms is swung
eighth notes. Swing eighths are performed as uneven eighth notes in a
quasi-triplet rhythm, shifting the proportion from 1:1 to, roughly,
2:1—that is, the first eighth note is about twice as long as the second
eighth note. This is illustrated with notation in Example 1.
Example 1. Swing eighths are
While in some sense it may be more accurate to notate the eighth notes performed so that the first eighth
of a jazz tune as a triplet rhythm as notated in Example 1, imagine is roughly twice as long as the
second.
how cluttered that would be! Instead, swing eighth notes in jazz are
always written as straight eighth notes, and performers are expected to know to swing them.
527 | SWING RHYTHMS
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The overture from the musical Anything Goes contains passages with
both straight and swing eighths. The first few minutes are swung; this is
easiest to hear at 0:36 when all the instruments in the ensemble play
swing eighths together (Example 2).While listening, tap along to the
swing eighths—and note that the tempo is very brisk, so you’ll be
tapping quite quickly.
Contrast this with the straight eighths in the middle section of the
overture, which begins at 0:52 (Example 3). The feel changes
dramatically during this straight section. As you listen, tap along to the
Example 2. The entire
straight eighths, which are at a considerably slower tempo than the first ensemble plays the notated
part’s swing eighths. rhythm at 0:36 of the overture to
Anything Goes.
After a quick transition in the trumpets, swing eighths return for the
third part of the overture, which begins at 1:39. The swing eighths are
audible in the hi-hat cymbal of the drumset.
Backbeat
The next most significant rhythmic feature of jazz is the backbeat. The backbeat is an accent on beats 2
and 4 of a quadruple meter. This is the opposite of the typical accent structure of classical music, where
beats 1 and 3 are usually the most accented. (Beat 1 is still important in jazz, though—that’s still usually
where chord changes occur and roots of chords are sounded. It just may not be the loudest beat.)
SWING RHYTHMS | 528
The backbeat and the swing eighth together make up an important part of a standard swing drum beat
(Example 4). The backbeat is accented with the closed hi-hat cymbal, while the swing eighths are
played on the ride cymbal. Drum beats vary widely and are typically improvised, but these are two
components you will find in most jazz drum patterns.
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Example 4. Standard swing drum beat with swing eighths and a backbeat.
When tapping along with jazz tunes, try tapping along to the backbeat, rather than the downbeat.
Syncopation
Before understanding syncopation, it is important to understand meter more generally (refer to the
chapters on simple and compound meter). Meter emerges when a series of equally spaced pulses imply a
sense of hierarchy. For example, time, which most jazz is in, is a series of four quarter notes (equally
distant beats) in which beat 1 is most important, beat 3 less important, and beats 2 and 4 least important
of all. “Importance” here means that important things happen on beat 1: things like chord changes, key
changes, and so on. These important things might also happen on beat 3, but it is less common, and it’s
relatively unusual to see chord changes on beat 2 or 4.
Syncopation occurs when this sense of hierarchy is subverted in some way. There are many ways to
achieve this subversion, and the backbeat is actually one such example. By sounding on beats 2 and 4, but
not on beats 1 and 3, the backbeat creates syncopation by accenting the less important beats of the
meter. Another common jazz syncopation is accenting the second offbeat eighth of an eighth-note pair, as
in Example 2 above.
In addition to accents that obscure the beat, syncopation can also be created through rests and ties: for
example, avoiding downbeats when beginning melodic lines. An example of syncopation created with
rests and ties is in Example 5.
529 | SWING RHYTHMS
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Further reading
• Aebersold, Jamey. 2000. Jazz Handbook. New Albany, IN: Jamey Aebersold Jazz.
• Straus, Joseph N. 2012. Elements of Music. 3rd ed. Upper Saddle River, NJ: Pearson.
Assignments
1. Swing Rhythms video (.mscz; PDFs for C instruments, B♭ instruments, E♭ instruments, F
instruments, and bass clef instruments). Asks students to make a video with a partner performing
idiomatic swing rhythms. Download backing track
2. Jazz Rhythms by Jamey Aebersold. Make a recording in which you perform these rhythms. Pick
three rhythms that create syncopation in different ways, and explain how the beat is obscured to
create syncopation (through ties? rests? etc.).
Media Attributions
Swung eighths © Megan Lavengood is licensed under a CC BY-SA (Attribution ShareAlike) license
Anything Goes 1 © Megan Lavengood is licensed under a CC BY-SA (Attribution ShareAlike) license
Anything Goes 2 © Megan Lavengood is licensed under a CC BY-SA (Attribution ShareAlike) license
CHORD SYMBOLS | 530
CHORD SYMBOLS
Megan Lavengood
KEY TAKEAWAYS
• Chord symbols tell you the root of the triad, the quality of the triad, any extensions to the triad, and any
non-root bass note.
• Chord symbols don’t reference a specific key. Instead, symbols are always assumed to be a certain quality
unless otherwise indicated:
◦ Triads are assumed to be major.
◦ Sevenths added to the triad are assumed to be minor.
◦ All other extensions and added tones are assumed to be major/perfect.
• Alterations are shown through sharp and flat symbols, or through plus and minus symbols. Both systems
are prevalent in the real world; when writing your own charts, pick one system and stick with it
consistently. This textbook will use the sharp/flat system of showing alterations.
531 | CHORD SYMBOLS
Triads
Chord symbols are based on the major triad as the norm. If you see nothing but a note name as a chord
symbol, this means to play a major triad. Other symbols are added to indicate other triad qualities, as
summarized in Example 2.
major C
Notice that there are several ways to represent each non-major triad quality. This is because chord
symbols were created along the way as jazz developed and were never completely standardized. The
symbols in Examples 2 and 3 are not comprehensive, but you can likely decode other variations based
on the ones here. It’s good to be aware of all the possible ways of representing these different triad
qualities, but stick to one method for yourself. In Examples 2 and 3, the symbols used in this textbook
are given first.
CHORD SYMBOLS | 532
Seventh chords
The most common addition to a triad is the interval of a seventh. An added seventh is indicated with the
Arabic number 7 written after the root, superscript.
As with the triad, the numeral 7 by itself indicates a default quality: a minor seventh. Alterations to the
symbol indicate other possibilities, resulting in the seventh-chord symbols summarized in Example 3:
Bass notes
In much of jazz and pop, the bass note is the root of the chord. (Bassists may improvise around other
notes, rather than strictly staying on the root of the chord, but this wouldn’t affect how the harmony is
533 | CHORD SYMBOLS
written down.) For this reason, chord symbols are assumed to indicate root position chords unless
otherwise indicated.
If the bass note should be something other than the root, this is shown with a slash followed by the letter
name of the bass note. For example, C/E means to play a C major triad with an E in the bass.
Significantly, the bass note does not need to be a member of the chord! C/F♯ would indicate to play a C
major triad over an F♯.
Extensions
Jazz harmony often involves not only playing the notes explicitly indicated by the
chord symbol, but also adding upper extensions. The term extension comes from the
idea of extending the stack of thirds that creates harmonies. The seventh is the most
common triadic extension, but jazz often makes use of higher extensions—stacking
more and more thirds onto the basic triad results in the ninth, eleventh, and
thirteenth (Example 4).
Interval size
Example 4.
You may notice that ninths, elevenths, and thirteenths are just compound versions of Adding more
thirds beyond the
seconds, fourths, and sixth, respectively, so why use the more seventh produces
difficult-to-conceptualize compound intervals, instead of just calling these intervals ninths, elevenths,
seconds/fourths/sixths? There are two reasons: and thirteenths.
1. The presence of an extension in a chord symbol implies the presence of all other extensions below it
as well. So, an eleventh chord is not just a triad plus the eleventh—it’s a triad plus an eleventh, ninth,
and seventh.1
2. Extensions are often voiced (played) above the other chord members. In other words, in actual
performed music, the extension really sounds a thirteenth above the root, not a sixth (for example).
1. Although all the extensions below the highest extension are implied, they are not necessarily played. In fact, usually all the possible notes are
not played, and some of the extensions between the highest and the seventh are omitted. The differences between what is notated, what is
understood, and what is actually played are discussed more in the chapter on Jazz Voicings.
CHORD SYMBOLS | 534
Other interval qualities are shown with sharp and flat symbols that raise or lower the default pitch by a
half step. So, a C7(♯11) chord would include an F♯ above the root—an augmented eleventh—instead of the
typical F♮.
add
To indicate that a note is added to a
chord without implying a seventh underneath, the word
“add” is written into the symbol. Cadd9, for example, is
a C-major triad with a D voiced above the triad, but
without any seventh: C–E–G–D. (Recall that C9
otherwise implies a minor seventh added to the C triad Example 6. Examples of chords with added
as well: C–E–G–B♭–D.) You can also add notes notes.
535 | CHORD SYMBOLS
within a triad: Cadd2 indicates a C-major triad with an additional D that is voiced inside the triad:
C–D–E–G.
In the case of an added sixth, we simply use the numeral 6 without “add”—for example, a C major triad
with an added sixth is written as C6. There are two reasons why this is acceptable (and normal) shorthand:
one, the added sixth is especially common, and two, there is no possible interpretation that one might
confuse it with. Another common addition to triads is the sixth and ninth together, which is also indicated
without the word “add”: for example, C .
sus
Another alteration is the suspended chord, abbreviated
“sus,” which indicates that the third of the chord should
be replaced with another interval above the root
(Example 6). The term comes from a common type
of suspension, in which the fourth above the bass Example 7. Chords with suspensions (sus
resolves to the third above the bass. Indeed, a sus chord chords).
The default assumption is that the third of the chord is replaced with a perfect fourth above the root.
Csus, then, would yield the notes C–F–G—the E of the C triad is replaced with F.
Occasionally, you may see a sus2 chord, which replaces the third with the major second above the root
(Csus2 = C–D–G).
To write the symbol for a seventh/extended chord with a suspension, the “sus” abbreviation comes after
the extension, as in C7sus. This is for clarity’s sake, since Csus7 might look too much like Csus2.
TRY IT!
Check and see if you understand chord symbols by taking out a sheet of scrap paper and notating the
CHORD SYMBOLS | 536
harmonies indicated by the chord symbols below. As you complete each chord, you can pull the slider to the
right to reveal the correct answer.
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Keeping these issues in mind helps in understanding the logic present in the system of chord symbols.
Even though there is a lot of variation in chord symbols, learning a few rules will help you decipher any
symbol.
537 | CHORD SYMBOLS
Assignments
1. Chord symbols basics worksheet (.pdf, .mscz). Asks students to identify and write triads and seventh
chords with chord symbols.
2. Chord symbols with extensions (.pdf, .mscz). Asks students to identify and write extended chords
with chord symbols.
Media Attributions
Lead sheet components © Megan Lavengood is licensed under a CC BY-SA (Attribution ShareAlike) license
Extensions © Megan Lavengood is licensed under a CC BY-SA (Attribution ShareAlike) license
Altered extensions © Megan Lavengood is licensed under a CC BY-SA (Attribution ShareAlike) license
Added notes © Megan Lavengood is licensed under a CC BY-SA (Attribution ShareAlike) license
Sus chords © Megan Lavengood is licensed under a CC BY-SA (Attribution ShareAlike) license
Less confusing © Megan Lavengood is licensed under a CC BY-SA (Attribution ShareAlike) license
Footnotes
JAZZ VOICINGS | 538
JAZZ VOICINGS
Megan Lavengood
KEY TAKEAWAYS
• Space chords to mimic the spacing of the harmonic series: use large, wide intervals in lower registers, and
smaller, closer intervals in upper registers.
• Extensions should be voiced in the higher voices.
• If you double a note, usually double either the bass or the root of the chord.
• Omitting the fifth of the chord is almost always perfectly acceptable.
• Use smooth or “lazy” voice leading: move each voice as little as possible between chords to achieve a
smooth, easy-to-perform sound. A common smooth voice-leading schema in jazz is to lead from the third
of one chord to the seventh of the next, while another line connects the ninth of the first chord to the
thirteenth of the second chord.
• Guidelines can be ignored, but this should be a conscious and deliberate decision to achieve a desired
effect.
So far in this unit, you have written chords in an unvoiced format. While unvoiced chords are useful for
conceptualizing harmony, you would not want to perform these tall stacks of thirds. This chapter will
discuss how to voice these harmonies in a manner that is idiomatic to jazz. We will focus on voicings that
play the root in the left hand at all times so that the harmony is always clear, although in performance, the
root is often omitted (because it is covered by the bassist).
Spacing
The common spacing of chord members in musical textures has much to do with acoustics. We discuss
pitches as specific frequencies—for example, A 440, the note to which most orchestras tune, refers to
539 | JAZZ VOICINGS
pitch A that has a frequency of 440 Hertz (Hz). But in fact, when an acoustic instrument plays A 440, 440
Hz is only one of the frequencies that is activated at that moment in time. The instrument will also
activate the harmonics above that pitch, because the vibrating body causes other, shorter vibrations to
occur simultaneously. These harmonics are part of what create an instrument’s unique timbre.
Note that the pitches are spaced widely apart in the lower harmonics, but
become closer and closer together in the upper harmonics: the distance
between partials 1 and 2 is an octave, but beginning at partial 13, the distance
between subsequent partials is only a half step.
Remember that the bass line is probably played by the upright bass—and this instrument sounds an octave
lower than written, so its lowest note is an E1, three Es below middle C. It’s normal for the bass to be in a
register very much apart from the rest of the ensemble.
Chord extensions should be left in the upper registers of the texture. Recall that this is reflected in their
names—a thirteenth is not the same as a sixth in jazz harmony. Voice the thirteenth somewhere above the
seventh of the chord; otherwise, it will sound like the sixth.
Doubling
In general, a safe note to double is the bass note. Most often, the bass note is a relatively stable member of
the chord. Because it’s the foundation of the texture, it sounds good to double the bass.
Another good option is to double the root of the chord, even if it is not in the bass. The root note, like the
bass, is typically a stable tone, and will strengthen the chord when doubled.
1. The notes of the harmonic series do not conform to twelve-tone equal temperament, but they have been notated at the nearest pitch for the
sake of convenience.
JAZZ VOICINGS | 540
Omitting Notes
Jazz harmonies often contain many notes, thanks to the common practice of extending the harmonies. It
often wouldn’t be desirable for all these notes to be given equal weight in the voicing, so it’s common to
omit some notes when voicing these extended harmonies.
The most common note to omit is the fifth of the chord. Because the fifth is an early pitch in the
harmonic series (partial 3), it tends to strengthen the root of the chord without adding much character on
its own. Listen and compare the various chords in Example 2, and notice that removing the fifth does
very little to alter the overall sound of the chord, whereas omitting the seventh or root alters the sound
substantially!
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Example 2. Omitting the fifth is common, as it does not substantially alter the sound. The seventh and root
are hardly ever omitted.
Omitting the root runs the risk of destabilizing the entire chord. However, if there is a bass player in the
performing ensemble, you may deliberately omit the root in the other voices. The bassist will typically
provide the root of the harmony and ensure that the chord sounds stable. The last chord in Example 2,
then, would sound just fine if a bassist were playing a G below that voicing.
When dealing with extended chords, it becomes possible or desirable to omit other members of the chord
besides the fifth, but it is difficult to generalize here. Usually, omitting tones is done to avoid excessive
dissonance with other important chord members.
Voice leading in jazz and many other styles should generally be smooth—that is, voices should ideally
541 | JAZZ VOICINGS
move as little as possible when going to a new chord (except the bass, which often leaps). Smooth voice
leading helps different chords sound more logically connected (Example 3). When writing your own
chord progressions, it may be helpful to imagine your voices as lazy: they want to move as little as
possible! The smallest possible move is the common tone: not moving at all, but instead remaining on a
single tone that is common to both chords. The next most preferable movement is movement by whole or
half step. Skips (movement by third) are also easy to perform and easy to sing, and there are many
situations that will force you to skip when voice leading.
Leaps are primarily used to provide contrast and excitement in voice leading. They are to be used
sparingly, and with good reason. Leaps sound most natural when they are within a single chord: because
the chord underpinning the horizontal movement is staying the same, it’s easy for the voice to leap within
that chord. When the chord is changing, though, adding leaps tends to make the chords sound
disconnected and can make the piece difficult to perform. Leaping over a chord change is certainly
possible, but it may take extra practice, and remember: your voices are lazy!
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Example 3. Smooth voice leading helps chords sound connected to one another.
voice plays the sevenths of each chord. Notice that this yields only two kinds of intervals in the right
hand: fourths and fifths.
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Example 4. The 3–7 voice leading paradigm as applied to a ii–V–I progression (left) and a V–IV–I
progression (right).
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Example 5. A paradigm for jazz voicing with three upper voices. The two lower voices use the 3–7
paradigm; another smooth line is formed by adding a top voice connecting ninths and thirteenths (shown in
blue).
Extensions are often altered from their default major quality. It can be difficult for a beginner to know
when to alter extensions. As a starting point, try the extension that fits within the overall key, as in
Example 5—note that there are no accidentals added in the top voice. If the diatonic version of the
extension sounds awkward, experiment with raising or lowering the extension, and let your ear be your
guide in choosing which variation of the extension sounds best. Example 6, which you may also
download as a handout, demonstrates the most common extensions for chords of certain qualities,
organized from simple to complex. But you shouldn’t randomly select from these options—what sounds
most fitting often depends on the surrounding chords, not just the quality of that chord alone.
Experimenting with these extensions will help a beginner to develop a sense of what sounds most stylistic.
543 | JAZZ VOICINGS
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Guidelines are not always followed, but knowing them empowers you to choose not to follow them with
the full understanding of the resulting sound. In other words, feel free to break the rules, but make sure
you know why you’re doing it!
Further reading
• Coker, Jerry. 1984. Jazz Keyboard for Pianists and Non-Pianists: Class or Individual Study. Miami:
Alfred Music.
Resources
• Common chord symbols with extensions handout, by Brendan Schnabel.
Assignments
1. Voicing worksheet (.pdf, .mscz). Asks students to identify common voice leading patterns in a
voiced jazz texture and to write voiced chord progressions with good voice leading.
JAZZ VOICINGS | 544
Media Attributions
Harmonic series © Megan Lavengood is licensed under a CC BY-SA (Attribution ShareAlike) license
Footnotes
545 | II–V–I
II–V–I
Megan Lavengood
KEY TAKEAWAYS
CHAPTER PLAYLIST
Example 1 shows final cadences from four jazz tunes. Look at the harmonies—a pattern should be
apparent. (You can listen to the tunes through the the Spotify playlist for this chapter.)
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Example 1. “Afternoon in Paris,” “All the Things You Are,” “My Funny Valentine,” and “Joy Spring” all share
similar harmonic progressions at their final cadences: ii–V–I.
II–V–I | 546
All the examples end in perfect authentic cadences (PACs). But the similarities don’t end there: each PAC
is preceded by the ii chord. So we have three chords, each related to the next by fifth.
This ii–V–I progression is one of the most important progressions in jazz music. You can find it reliably at
cadences, but also as a building block that occurs throughout a tune. When the progression occurs in a
major key, as in the snippets in Example 1, the chord qualities of these chords are mi7–7–ma7. When
the tune is in minor, the shift in mode changes the quality of the harmonies to ∅7–7–mi7 (the V chord is
major whether you are in a major or minor key). Both of these progressions and a typical voice-leading
pattern are summarized in Example 2.
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Example 2. Prototypical harmonies and voice leadings in ii–V–I progressions, in both major and minor
modes.
ii–V–I as Schema
Schema is a useful concept in music theory, used in many ways within this book (pop harmony, for one).
Put simply, schemas are common patterns our brains can recognize, even when variations are altering a
specific presentation of that schema.
The ii–V–I progression is an example of a schema. It happens so frequently that informed listeners can
recognize the schema in many formats. Some examples of alterations are given in Example 3. In
“Misty,” the ma7 chord is replaced with a 6 chord (this occurred in “My Funny Valentine” in Example 2
also). In “Prelude to a Kiss,” the typically dominant-quality V chord is replaced with an augmented chord
(the minor seventh is preserved). The V chord is altered in “A Night in Tunisia,” but this time, the fifth is
lowered instead of raised.
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547 | II–V–I
Applied ii–Vs
An important marker of dominant-function chords is the chord’s quality. This is most obvious in the case
of the dominant seventh quality, since it has “dominant” in the name. Fully diminished chords also have
dominant function.
The compositional technique of applied chords capitalizes on the relationship between quality and
function by taking dominant chords out of their key and dropping them into a new key. The applied
dominant chords retain their function as dominant chords even when applied to a chord other than I (this
concept is fully explained in the Tonicization chapter).
The omnipresence of ii–V–I as a schema in jazz means that in this style, we can have not only applied
dominants, but applied ii chords as well. In other words, the entire ii–V–I progression can be used in keys
other than the tonic key to tonicize another chord. The association between these chord qualities and root
motions is so strong that a ii–V progression need not even resolve to its I chord to create the effect of a
ii–V.
Take the rest of the A section of “Afternoon in Paris” as an example (Example 4). Not only does it end
with a ii–V–I progression, but it begins with two other ii–V–Is: one tonicizing B♭ major, which is ♭VII in
the key of C, immediately followed by another in A♭ major, which is ♭VI in the key of C.
Example 4. “Afternoon in Paris” by John Lewis uses ii–V–I progressions in different keys in sequence.
II–V–I | 548
ii–V space
By relating all possible ii–V–I motions together, we can come up with a space in which these progressions
operate, and visualize how the ii–V–Is in “Afternoon in Paris” are related. This idea comes from Michael
McClimon (2017), and his “ii–V space” is reproduced in Example 5. The space is arranged as the circle
of fifths (note the letter names at the end of each progression), with each chord in the circle preceded by a
ii–V.
Example 5. McClimon’s ii–V space relates ii–V progressions of keys related by fifth.
549 | II–V–I
There are four different variations of arrows in Example 5, and each signifies a different transformation
from the first chord to the chord at the other end of the arrow. The two solid arrows have to do with root
motion: the black arrows connect chords within a ii–V–I schema, while the gray arrows show the
circle-of-fifths relationships. The dashed arrows show changes to chord quality. The larger dashes indicate
that the chord is the same except that the seventh has been lowered, so each larger-dashed arrow connects
a ma7 chord to a (dom)7 chord with the same root. The smaller dashes show that the chord is the same,
but the third has been lowered: each smaller-dashed arrow connects a 7 chord to a mi7 chord with the
same root.
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Turnarounds
A particularly common version of applied ii–Vs comes in what is called the turnaround. In the broadest
sense, a turnaround is a progression that serves to loop back to the original tonic chord, and the typical
progression that achieves this is I–vi–ii–V–I. Using the concept of applied chords, we can substitute a
V7/ii for the vi chord, since they share the same root. But we can also precede that V7 with its ii
chord—effectively, a ii/ii (two of two). Thus, the ii chord of the turnaround is tonicized with its own
ii–V–(I) progression. This tonicized version of the turnaround is a very common variant (Example 8).
II–V–I | 550
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Further reading
• Aebersold, Jamey. 1974. The II–V7–I Progression. Vol. 3. Jamey Aebersold Play-A-Long Series.
New Albany, IN: Jamey Aebersold Jazz.
• McClimon, Michael. 2017. “Transformations in Tonal Jazz: ii–V Space.” Music Theory Online 23
(1). http://mtosmt.org/issues/mto.17.23.1/mto.17.23.1.mcclimon.html.
Assignments
1. ii–V–I worksheet (.pdf, .docx). Worksheet playlist Note that these lead sheets are not public domain
and thus cannot be posted here; however, the lead sheets are not difficult to find if you search the
internet or ask around.
2. Composing with ii–V–I worksheet (.pdf, .mscz, .musicxml). This functions as a preparatory
assignment for the Bebop Composition.
Media Attributions
afternoon in paris © Megan Lavengood is licensed under a CC BY-SA (Attribution ShareAlike) license
McClimon’s ii–V space © Michael McClimon adapted by Megan Lavengood is licensed under a CC BY-SA (Attribution ShareAlike)
license
ii–V space with “Afternoon in Paris” © Megan Lavengood is licensed under a CC BY-SA (Attribution ShareAlike) license
551 | EMBELLISHING CHORDS
EMBELLISHING CHORDS
Megan Lavengood
KEY TAKEAWAYS
This chapter presents two ways of adding new harmonies to an existing chord progression.
• An applied ii chord, as in the ii–V–I schema, can be used to embellish a dominant-quality chord. In other
words, preceding a dominant-quality chord with the mi7 or ∅7 chord a fifth above it creates the effect of a
ii–V.
• Common-tone diminished seventh chords (CTo7) create neighboring motion in all voices that embellish a
chord. The root of the chord of resolution is always shared as a member of the CTo7—hence the term
“common tone.” (Note: See this chapter for more information on CTo7 chords in Western classical music.)
Jazz performers often aim to add their own twist to existing jazz standards. One way of doing this is to
add new chords that embellish existing chords in the progression. This chapter explores two ways that
performers improvise by embellishing harmonies in jazz.
This chapter will use the opening few bars of “Mood Indigo” by Duke Ellington (1930) as a backdrop and
add embellishing chords to it. If you take a moment to familiarize yourself with the tune, the following
discussions will make more sense. Listen to Louis Armstrong’s interpretation of this song, embedded
below, while following the chords of the first few bars, given here.
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EMBELLISHING CHORDS | 552
Example 1. Chords for the first four measures of “Mood Indigo” by Duke Ellington.
Applied V7
Any chord in a progression can be embellished by preceding it with an applied dominant chord.
Example 2 takes the surprising G♭ chord of measure 7, divides it in half, and replaces the first half note
of the chord with its applied V7 chord. In principle, this can be done with any chord in the progression.1
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Example 2. Inserting a D♭7 chord before the G♭7 chord creates an applied V of G♭, which is not present in
the original chord progression of “Mood Indigo.”
Applied ii
The chapter on ii–V–I discusses the use of applied ii–V–Is, i.e., ii–V–I progressions that occur in keys
other than the tonic key. Many jazz tunes have these applied ii–Vs built in, but a performer could add
their own as well. A dominant chord can often be embellished by adding its ii chord before it,
transforming it into a ii–V schema.
“Mood Indigo” by Duke Ellington begins with the progression B♭–C7–Cmi7–F7–B♭. That first C7 could
be embellished by adding a Gmi7 before it, creating a temporary ii–V that then proceeds to another ii–V.
Rhythmically, this means cutting the duration of the C7 into two halves and replacing the first half with
the applied ii chord. The result is the progression in Example 3 below.
1. The G♭ chord is itself a tritone substitution for C7, which would be the applied V7 of F7. Tritone substitutions are discussed in another
chapter.
553 | EMBELLISHING CHORDS
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Example 3. Inserting a Gm7 chord before the C7 chord creates a ii–V in F, which is not present in the original
chord progression of “Mood Indigo.”
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EMBELLISHING CHORDS | 554
Example 5. A CTo7 embellishes the opening B♭ chord, inserted on beat 3 of the whole-note harmony. A
CTo7 also embellishes the C7 chord, displacing the C7 by a half note.
• There may not be any embellishing chord notated, and instead, the performers are improvising this
addition as they play.
• The embellishing chord may be built into the chord progression and thus be notated in the chord
symbols.
• The embellishing chord may be indicated as an alternate harmonization and shown in the chord
symbols with parentheses around the embellishing chords.
This is illustrated in Example 6 with different ways of showing a CTo7 in “Mood Indigo” by Duke
Ellington.
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Example 6. Embellishing chords can be (a) unwritten and improvised by performers, (b) written into the
chord symbols, or (c) indicated as an alternative harmonization with parentheses.
Further reading
• Levine, Mark. 1995. The Jazz Theory Book. Petaluma, CA: Sher Music.
Assignments
555 | EMBELLISHING CHORDS
1. Bebop composition. Asks students to build on knowledge of swing rhythms, ii–V–I, embellishing
chords, and substitutions to create a composition in a bebop style.
◦ PDF: Complete instructions + template
◦ MSCZ: Template for lead sheet, template for voicings
◦ DOCX: instructions only
Media Attributions
ctº7 © Megan Lavengood
Footnotes
SUBSTITUTIONS | 556
SUBSTITUTIONS
Megan Lavengood
KEY TAKEAWAYS
This chapter discusses methods for altering chord progressions through chord substitution.
• A progression that moves by fifth can substitute the first chord with the dominant chord that shares the
same root. This makes the first chord an applied chord to the second chord.
• Mode mixture is when a piece in a major key uses chords borrowed from the parallel minor key (or vice
versa, though this is less common).
◦ In jazz, the most common mixture chords are substituting ii∅7 for ii7 and adding ♭9 to a V7 chord.
◦ The most common mixture chords, including ii∅7 and V7♭9, substitute le for la for .
• Tritone substitutions replace a dominant chord with another dominant chord a tritone away. The name
refers both to the interval between the original and substituted chords and to the fact that the two chords
share the same tritone.
Creating new interpretations of old favorite tunes is one of the cornerstones of jazz, and because of this,
the concept of chord substitutions is extremely important. Substitutions provide a way for performers and
arrangers to put a new spin on more well-trodden harmonic progressions. This chapter uses the
turnaround as a basic progression to be altered, but these substitutions can be applied anywhere in a
harmonic progression.
Because root motion by fifth is extremely common in jazz, there are many opportunities for performers to
simply substitute the first chord in a fifth-wise chord progression with the dominant seventh built on the
same root. One especially common place where this is implemented is in the turnaround, where, because
each chord is related to the next by fifth, a chain of applied V7s is a common variant (Example 1).
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Example 1. When a progression has root motion by fifth, the quality of the first chord can be changed to
dominant seventh in order to transform it into an applied V7.
Mode Mixture
“All of You” by Cole Porter is a composition that has mode mixture built into it. Listen to this recording
by Ella Fitzgerald (transcribed in Example 2), conveniently in C major, and observe how the alternation
between A♮ (la, ) and A♭ (le, ) catches the ear and imbues a sense of sentimentality in the song. A♭
here can be understood as being borrowed from the parallel minor (C minor), a practice known as
mode mixture.
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Example 2. “All of You” by Cole Porter uses a minor iv chord (Fmi) and a half-diminished ii chord (D∅7) even
though the tonic is major.
Many songs, like “All of You,” have mixture built into their chord structure. But mixture chords can also
work as improvised substitutions: a chord within a diatonic chord progression can be substituted with its
minor-mode variant to produce a color change that won’t change the overall function of the chord. A
mixture substitution works best when the scale degree being inflected is la , and is therefore being
transformed into le . As an example, consider the turnaround in Example 3: instead of a diatonic
SUBSTITUTIONS | 558
version, one may choose to incorporate le to generate some more colorful harmonies. These
particular substitutions—changing a ii7 to a ii∅7, and a G7 to a G7♭9—are particularly common uses of
mode mixture in jazz.
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Example 3. Mixture chords are most effective when they involve . Mixture and diatonic versions of the
same chord have the same function.
Tritone Substitutions
While the above methods of substitution are common in pop and classical
styles as well, the tritone substitution is unique to jazz. Tritone subs take the
place of V7 chords, either applied or diatonic. The “tritone” part of the name
comes from two key roles of tritones in these substitutions:
One way to recognize a tritone sub is by its chromatic resolution downward by a minor second.
Example 5 shows how tritone substitutions are commonly used in the turnaround.
• As discussed above, it’s common to replace the diatonic chords with applied chords that share the
same root, yielding a progression consisting entirely of V7 chords—this is shown in the right-hand
harmonization on the top row.
• From there, tritone substitutions can be used for any V7 chord.
• Most commonly, every other chord is replaced with a tritone sub, yielding a chromatic bass line and
559 | SUBSTITUTIONS
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Example 5. Because tritone substitutions can replace any applied dominant chord, in progressions moving
by fifth like the turnaround, chords may first be (conceptually) substituted with their applied variants, and then
tritone substitutions can be used to create a chromatic bass line.
The ii–V–I chapter visualized the ii–V–I schema within a voice-leading space
constructed by Michael McClimon (2017). McClimon further visualizes the
tritone substitution as a kind of shadowing space behind the typical ii–V space
(Example 6). Click here to view his animation of the progression of “Blues
for Alice” and its movement through the ii–V space with tritone
substitutions. Notice that the tritone-substituted V7 chord is preceded by its ii7
chord, and that both chords are in the green space that McClimon places Example 6. The tritone
behind the foreground ii–V space. substitution space
parallels the diatonic
space.
• There may not be any substitution notated, and instead the performers are improvising this addition
as they play.
• The substitution may be built into the chord progression and thus be notated in the chord symbols.
• The substitution may be indicated as an alternate harmonization and shown in chord symbols with
parentheses around the substituted chords.
This is illustrated in Example 7, with different ways of showing a modally mixed ii∅7 chord in “Satin
Doll” by Duke Ellington.
SUBSTITUTIONS | 560
Example 7. Substitutions can be (a) improvised and not notated in the score at all, (b) written directly into
the chord symbols, or (c) written in parentheses to indicate that the substitution is optional.
Further reading
• Levine, Mark. 1995. The Jazz Theory Book. Petaluma, CA: Sher Music.
• McClimon, Michael. 2017. “Transformations in Tonal Jazz: ii–V Space.” Music Theory Online 23
(1). http://mtosmt.org/issues/mto.17.23.1/mto.17.23.1.mcclimon.html.
Assignments
1. Bebop composition. Asks students to build on knowledge of swing rhythms, ii–V–I, embellishing
chords, and substitutions to create a composition in a bebop style.
561 | SUBSTITUTIONS
Media Attributions
Clock face visualization © Megan Lavengood is licensed under a CC BY-SA (Attribution ShareAlike) license
McClimon Figure 10 © Michael McClimon is licensed under a CC BY-SA (Attribution ShareAlike) license
Parentheses © Megan Lavengood is licensed under a CC BY-NC-SA (Attribution NonCommercial ShareAlike) license
CHORD-SCALE THEORY | 562
CHORD-SCALE THEORY
John Kocur
KEY TAKEAWAYS
• The name “Chord-Scale Theory” comes from the idea that the notes of a thirteenth chord can be
rearranged as a seven-note scale.
• To determine chord-scales, identify key centers and chord functions through Roman numeral analysis.
• Roman numerals can be related to mode numbers. For example, if a chord is a ii chord in a major key, the
second mode (dorian) can be used to color that chord.
• When playing chord-scales, place chord tones on the downbeat to connect improvised melodies to the
chord progression.
This book covers modes from many different angles. For more information on modes, check Introduction to
Diatonic Modes (general), Modal Schemas (pop), Diatonic Modes (20th/21st-c.), and Analyzing with Modes, Scales,
and Collections (20th-/21st-c.).
CHAPTER PLAYLIST
One of the challenges of improvising jazz is making choices about pitches while also paying attention to
groove, interaction, and narrative form. The Chord-Scale Theory is a method, taught at the Berklee
College of Music and many other colleges and universities, that facilitates pitch choices in jazz
improvisation. Chord-Scale Theory is based on George Russell’s Lydian Chromatic Concept of Tonal
Organization ([1953] 2001), and it was popularized by jazz educators Jamey Aebersold, David Baker, and
Jerry Coker.
563 | CHORD-SCALE THEORY
The basic concept is that every chord comes from a parent scale; or, to put it another way, every chord in
a progression can be colored by a related scale. For example, a Dmi7 chord extended to the
thirteenth consists of the notes D, F, A, C, E, G, and B, which are identical to the notes of the D dorian
mode stacked in thirds (Example 1). Therefore, when confronting a Dmi7 chord in a chord progression,
an improvising musician could choose to improvise using the notes of the D dorian mode to create new
melodies.
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Since the ii–V–I schema is so common in jazz standards, the three chord-scale relationships in
Example 2 are often taught first. Example 3 shows these three relationships within the context of a
ii–V–I progression in C.
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CHORD-SCALE THEORY | 564
A beginning improviser might approach a song consisting mainly of ii–V–I progressions by simply
applying the dorian mode to minor seventh chords, the mixolydian mode to dominant seventh chords, and
the ionian mode to major seventh chords. As Example 4 shows, an improvised melody can imply a
harmony by placing chord tones on the downbeats, and a seven-note mode can be thought of as a
four-note seventh chord with three passing tones , , or extensions (ninth, eleventh, thirteenth).
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Example 4. The basic chord-scale relationships for ii–V–I as they might be used in “Tune Up” by Miles Davis
(1953).
V7 mixolydian G7 = G mixolydian
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A similar approach to the one above can be used to derive more chord-scale relationships from the
melodic minor, harmonic minor, and harmonic major modes. To learn more about this, consult Further
Reading below.
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However, it’s important to realize that Chord-Scale Theory does not imply that the key modulates each
time the chord changes. In other words, these chord-scales are not key centers. Since each mode will
CHORD-SCALE THEORY | 566
imply different extensions, identifying chord functions through Roman numeral analysis helps an
improviser choose chord-scales that best fit the key center.
For example, the opening measures of “Fly Me to the Moon” (1954) contain six of the seven diatonic
chord-scale relationships in a circle-of-fifths root movement (Example 9). The chord progression in this
example is clearly in the key of C, not seven different keys. Rather than simply coloring each minor chord
with a dorian mode and each major chord with an ionian mode, differentiating between the vi and ii
chords and between the I and IV chords will result in a more natural-sounding improvised line.
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Example 9. These chord-scales applied to “Fly Me to the Moon” by Bart Howard (1954) distinguish between
different chords of the same quality, because the chords still have different functions.
Example 10 is the a transcription of the first chorus of John Coltrane’s improvised solo on “Giant
Steps” (1960), transposed to B♭ for tenor saxophone. Because of the fast tempo and unusual key center
relationships, Coltrane improvises melodies that consist mainly of arpeggios and scale fragments. Note
how he uses the ionian mode on major chords, the mixolydian mode (with a passing tone between do and
te [ and ] in m. 9) on dominant seventh chords, and the dorian mode on minor chords.
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Example 10. Transcription of the first chorus of “Giant Steps" by John Coltrane (1960).
• The absence of voice leading between chords. Chord-Scale Theory can lead a student to see each
chord as a new key center, instead of viewing an entire chord progression as derived from a parent
567 | CHORD-SCALE THEORY
scale. This can result in choppy, un-melodic improvisation that lacks smooth voice leading between
chords.
• Lack of the chromaticism commonly used in bebop and blues-based styles. Chord-Scale
Theory generally does not account for neighbor tones, passing tones, secondary leading tones, and
blue notes employed by bebop musicians such as Charlie Parker, Dizzy Gillespie, and Bud Powell.
• The anachronism of applying a 1960s modal concept to tunes from 1920–50. Louis Armstrong
and Charlie Parker did not think in terms of chord-scales. Educators such as Hal Galper and Hal
Crook emphasize the importance of melodic embellishment, chord tone improvisation, and
blues-based improvisation before delving into chord-scale relationships.
• The avoidance of the oral tradition. Chord-Scale Theory emphasizes the eye and intellect rather
than the ear and intuition. Practicing chord-scale relationships does not substitute for transcribing
improvised jazz solos, memorizing tunes, improvising along with recordings, or jamming with other
musicians as the preferred methods of learning the oral tradition of jazz improvisation.
Further Reading
• Haerle, Dan. 1982. The Jazz Language: A Theory Text for Jazz Composition and Improvisation.
Hialeah, FL: Alfred Music.
• Nettles, Barrie, and Richard Graf. 2015. The Chord Scale Theory & Jazz Harmony. Mainz: Alfred
Music.
• Russell, George. (1953) 2001. The Lydian Chromatic Concept of Tonal Organization: The Art and
Science of Tonal Gravity by George Russell. 4th edition. Brookline, MA: Concept Publishing
Company.
Assignments
1. Coming soon!
BLUES HARMONY | 568
BLUES HARMONY
Bryn Hughes and Megan Lavengood
KEY TAKEAWAYS
• Blues harmony differs from tonal and jazz harmony in a number of important ways, especially in the
treatment of the dominant seventh chord.
• In a standard 12-bar blues, all chords are dominant seventh chords.
• The blues is a schema that can have many alterations without ceasing to qualify as “a blues.”
• Common variations on the 12-bar blues are the 16-bar blues, the minor blues, and the jazz blues.
• The jazz blues blends jazz and blues harmonic languages together.
CHAPTER PLAYLIST
The blues is an extraordinarily important genre in U.S. popular music. Not only is the tradition itself very
old, with roots reaching back to the music of enslaved African Americans, but it continues to exert
influence on 21st-century popular music.
The documentation on the history of the blues is quite limited due to its age, but the earliest blues songs
existed in the late 1800s, and it seems to have grown out from earlier African American musical styles,
such as field hollers and work songs, as well as microtonal and rhythmic characteristics of West African
music. In this sense, although jazz musicians very frequently play the blues, the blues as a tradition has
distinct origins from jazz. Jazz developed first in New Orleans through a mix of African, Caribbean, and
European influences. The result of this distinction is that many of the truisms of jazz or tonal music do
not hold true in the blues. Among the biggest harmonic differences are:
• Dominant-quality seventh chords can have any function (tonic, dominant, or subdominant).
569 | BLUES HARMONY
This chapter introduces some of the most common forms of the blues encountered in the 20th and 21st
centuries.
12-Bar Blues
The blues is a schema: a frame of reference for understanding lots of different chord progressions. Blues
progressions can all be understood as outgrowths from a basic prototype.
The 12-bar blues progression is composed of three phrases, typically four bars each. A major difference
between the blues and more traditionally tonal music is that it emphasizes plagal cadences instead of
authentic cadences. At its most basic, the harmony progresses as shown in Example 1:
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This is the simplest version of the 12-bar blues, but innumerable variations exist upon these changes. One
of the most common additions is that the second bar may move to IV, then return to I in the third bar.
Another especially common trick is to employ some type of turnaround in the final bar or two of the
progression, from something as simple as a V7 chord to a full III–VI–II–V progression. It can be difficult
to find a blues tune that doesn’t make some alteration from the basic form shown in Example 1. “You
Can’t Do That” by the Beatles (1964) is nearly the same, but it does add a V chord in the final bar as a
turnaround.
BLUES HARMONY | 570
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Jazz Blues
As mentioned in the introduction to this chapter, the blues treats harmony differently from jazz, and one
of the large differences is the reliance upon plagal rather than authentic cadences. The jazz blues is a
variant of the 12-bar blues that mitigates this somewhat by adding several ii–V progressions to the blues.
Like the 12-bar blues, the jazz blues is composed of three 4-bar phrases. A basic version of the jazz blues
is presented in Example 4.
Notice that the jazz blues mixes typical blues harmony (i.e., the use of non-V dominant seventh chords
and plagal resolutions) with jazz harmonic schemas: specifically, it uses ii–Vs and turnarounds. In bar 8,
instead of remaining on tonic, there is an applied ii–V that leads to the ii chord in bar 9. And in the third
phrase, the V–IV–I of the standard blues is replaced with a ii–V–I more common to jazz.
571 | BLUES HARMONY
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Example 4. The jazz blues adds ii–V progressions, replacing structural plagal cadences.
One recording that performs the blues this way is the Lincoln Center Jazz Orchestra performing Duke
Ellington’s “C Jam Blues.” This is easiest to hear during the solo sections; however, not every repetition of
this blues contains every chord shown in Example 4.
Examples of Variations
The blues can be varied extensively yet still qualify as the blues. This chapter’s Spotify playlist goes
through several tracks that have some slight variations on the schemas outlined above:
• “Runaway Blues” by Ma Rainey (1928) uses a IV in the first tonic phrase, and it also embellishes the
final V with an applied V/V.
• “Empty Bed Blues, Pt. 1” by Bessie Smith (1928) follows a basic 12-bar blues but precedes most
new harmonies with a tonicizing ii–V progression.
• “Surfin’ USA” by the Beach Boys (1963) presents a 16-bar blues, but the first two phrases each begin
with two bars of V before two bars of I.
• “The Thrill is Gone” as recorded by B.B. King (1970) is in minor, and it replaces the ii–V of the
final phrase with ♭VI–V.
Musicians who have developed a familiarity with the blues will have no trouble recognizing the blues in a
tune even with these variations and more.
Assignments
1. Worksheet on 12-bar blues (.pdf, .mscz). Asks students to write basic and jazz 12-bar blues
progressions, voiced and unvoiced, and to analyze altered blues progressions. Worksheet playlist
2. Worksheet on 12-bar blues, no jazz (.pdf, .mscz). Same as Assignment 1, but simplified: aks
students to write basic 12-bar blues progressions, voiced and unvoiced, and to identify unusual
BLUES HARMONY | 572
Media Attributions
16-bar blues © Megan Lavengood is licensed under a CC BY-SA (Attribution ShareAlike) license
573 | BLUES MELODIES AND THE BLUES SCALE
KEY TAKEAWAYS
• In a blues song with a sung text, the lyrics consist of a line that is repeated, then followed by a contrasting
line (aab). The melody often follows this structure as well.
• Blues melodies often leave large gaps to allow for call-and-response between the melodic instrument and
other instruments.
• The blues scale is like a minor pentatonic scale with an additional chromatic passing tone:
do–me–fa–fi–sol–te .
• The blues scale can be rotated to begin on its second note, creating a major blues scale:
do–re–ri–mi–sol–la .
This chapter discusses some of the trends in blues melodies that shaped the blues as we know it today. As
an example, this text will focus on one of the earliest recorded blues songs, “Gulf Coast Blues” by
Clarence Williams, as recorded by the enormously commercially successful blues singer Bessie Smith in
1923.
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Example 1. “Gulf Coast Blues” (1923), recording by Bessie Smith and Clarence Williams.
BLUES MELODIES AND THE BLUES SCALE | 574
structure lyric
Another essential part of blues phrase structure is the notion of call-and-response, a feature likely
inherited from the work songs of enslaved Africans and African Americans. The vocal, lyricized melody
takes on the role of the “call” while an instrumental filler takes on the role of the “response.” Notice that
in “Gulf Coast Blues,” each lyric labeled with an a is sung entirely and exclusively in the first two
measures of the phrase. Example 3 annotates a transcription of “Gulf Coast Blues” to show this
call-and-response relationship.
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can base their melodies. The blues scale is essentially a minor pentatonic scale with an added chromatic
passing tone leading up to sol .
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Example 4. The C blues scale creates stylistic clashes with the I and V chords of C major.
This blues scale is used in both major and minor blues tunes, despite the clashes with the underlying
harmony. When this scale is combined with the chords of the major blues—I, V, and IV, or C major, F
major, and G major in the key of C—the characteristic clashes between mi/me and ti/te
are especially notable.
These clashes often produce blue notes—notes that are not really flat or natural, but somewhere in
between. Blue notes seem to split the difference between mi/me or ti/te .
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Example 5. Rotating the blues scale to begin on its second note yields the major blues scale.
Compared to the minor blues scale, the major blues scale is less dissonant with major chords. When
improvising, it can be helpful to think of improvising with the major blues scale over the major chords of
the blues progression. But remember that using the blues scale (with flatted thirds and sevenths) over
major chords is also a perfectly normal practice.
BLUES MELODIES AND THE BLUES SCALE | 576
Assignments
1. Blues scales worksheet (.pdf, .mscz). Asks students to spell scales and transcribe a melody that uses
the blues scale. Worksheet playlist
2. Improvising with the blues scale (.pdf, .mscz). Video assignment. Asks students to pair off and
create videos with call-and-response improvisation. Backing track available here.
3. Blues composition (.pdf, .docx). Asks students to synthesize information about blues harmony and
blues melody.
577 | VII. POPULAR MUSIC
The next several chapters take a schematic approach to understanding harmonies in popular music,
beginning with an Introduction to Harmonic Schemas in Pop Music. Instructors can cover as many or as
few of these schemas as they like.
VII. POPULAR MUSIC | 578
The final chapter zooms out and provides a broader view of tonality in popular music through the
phenomena of Fragile, Absent, and Emergent Tonics.
579 | RHYTHM AND METER IN POP MUSIC
KEY TAKEAWAYS
• Straight syncopation can be understood as taking a square rhythm and shifting some of the notes early by
half the duration.
• Other syncopations are derived from dividing a unit into nearly even parts.
• A particularly common nearly even syncopation is the tresillo pattern of 3+3+2.
CHAPTER PLAYLIST
Straight Syncopation
In contemporary pop/rock music, syncopation typically involves taking a series of notes of equal
durations, cutting the duration of the first note in half, and shifting the remaining notes early by that half
duration.
For example, a series of four quarter notes, all sounding on the beat, can be transformed in this way by
making the first note into an eighth note and sounding each successive quarter note one eighth note
early—all on the offbeats.
This process can occur on any metrical level. The unit of syncopation (the duration of the first note, and
the amount of shift applied to the following notes) is always half the duration of the straight notes. All of
the following syncopations are relatively common in contemporary pop/rock music:
RHYTHM AND METER IN POP MUSIC | 580
• If the duration of the series of “straight” notes is two beats, they will be syncopated by changing the
first note to a single beat and shifting each of the other notes early by a beat.
• If the duration of the straight notes is one beat, they will be syncopated by a division (one half beat
in simple meter).
• If the straight notes are each divisions, they will be syncopated by shifting each note by a
subdivision.
As a convention, when we take a series of notes that each have a duration of one beat and shift them early
by half a beat, we will call that beat-level syncopation (Example 1). When we take a series of notes that
each have a duration of one division and shift them early by a subdivision, we will call that division-level
syncopation.
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Example 1. Straight syncopation moves the attacks forward by half the value of the metric level.
Once you identify a syncopated passage—which may only involve two or three notes—figure out the
metrical level on which the syncopation occurs. For example, in simple meter, if no notes are articulated
directly on the counting pulse beats and one note is articulated in between each beat, the syncopation is
occurring at the beat level. If no notes are articulated directly on the counting pulse beats and two notes
are articulated in between each beat, listen to the passage again while tapping the division. If no notes are
articulated directly on the division taps and one note is articulated in between each tap, the syncopation is
occuring at the division level.
Determining the metrical level allows you to identify the durational value of the shift. If the syncopation
occurs on the beat level (one note sounding between each counting pulse beat), the value of syncopation is
a division: each beat-length note has been shifted one division early. If the syncopation occurs on the
581 | RHYTHM AND METER IN POP MUSIC
division level, the value of syncopation is a subdivision: each division-length note has been shifted one
subdivision early.
Lastly, determine how the syncopated pattern begins. Does the offbeat pattern simply begin offbeat? Or
does the pattern begin with two quick notes back-to-back as in Example 1—one short note on the beat
followed by the first of the longer syncopated notes?
Once you have determined the level of syncopation, the duration of the shift, and whether or not the
pattern begins with a truncated onbeat note, the rhythmic pattern should be easy to notate. If, however,
you are still having difficulty, try using the lyric syllables and the stress patterns of the lyrics to help you
keep track of the individual notes and which ones are on or off the beat. Writing lyrics down before
notating the rhythm can be a big help.
Tresillo
Drawing on its roots in African and Cuban musical traditions, another common rhythmic pattern in pop/
rock is to divide a beat (or two beats) into three almost-equal groups: for example, dividing a half note
into two dotted eighth notes and an eighth note (3+3+2). This pattern approximates a triplet while still
maintaining the simple division of beats by 2, 4, 8, etc., creating an experience of something like a “fake
triplet.” The term for this rhythmic pattern is tresillo (Example 2). A tresillo pattern can be heard after
the opening cuatro solo of “Despacito” by Luis Fonsi and Daddy Yankee (2016) in the bass and bass
drum. The tresillo pattern is extremely common, even in pop music that otherwise doesn’t seem to draw
on Afro-Cuban music.
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The tresillo is actually more common than “real” triplets in most pop/rock genres, but true triplets do
occur, so take care to distinguish between the two. “Cathedrals” by Jump, Little Children (1998)
juxtaposes both, and it’s an excellent example for practicing performing and identifying tresillo patterns
and real triplets. In Example 3, notice that the violins play quarter-note triplets against simple eighth
notes in the guitar, but the guitar begins a tresillo accent pattern after the triplets stop.
RHYTHM AND METER IN POP MUSIC | 582
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While tresillo patterns occur most often in 3+3+2 groupings, 3+2+3 and 2+3+3 are also possible.
The tresillo pattern can be expanded: in Example 4, the 3+3+2 pattern is doubled, resulting in
3+3+3+3+2+2. Nicole Biamonte (2014) refers to this pattern as the double tresillo. In the opening of
“Electric Co.” by U2 (1980), the guitar plays subdivisions (sixteenths) grouped 3+3+3+3+2+2, while the
kick drum plays straight beats (quarters) under the hi-hat playing straight subdivisions.
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Further Reading
• Biamonte, Nicole. 2014. “Formal Functions of Metric Dissonance in Rock Music.” Music Theory
Online 20 (2). http://www.mtosmt.org/issues/mto.14.20.2/mto.14.20.2.biamonte.html.
Assignments
a. Transcribing rhythms worksheet (.pdf, .mscz). Asks students to transcribe and identify straight
syncopations as well as tresillo rhythms in “Sorry” by Beyoncé (2016). Worksheet Playlist
583 | MELODY AND PHRASING
KEY TAKEAWAYS
Sections in pop/rock music typically consist of two, three, or four phrases. These phrases are usually organized as
follows:
• Two-part: aa′
• Three-part: aa′b (often a 12-bar blues)
• Four-part: srdc (statement, restatement/response, departure, conclusion)
This chapter discusses the structure of song sections such as a verse, chorus, or bridge. Each section
consists of at least two phrases—in pop/rock music, a phrase is a musical unit that typically lasts for four
bars and corresponds to one line of the lyrics. In labeling these structures, phrases are designated by
lowercase letters.
Two-Part
A section is two-part when the phrases that make up the section can be grouped into a first half and a
second half. In two-part sections, the second half is usually based on the same music as the first half, and
thus it is labeled aa′. Often these two halves begin the same but have different endings, participating in an
antecedent–consequent (weak → strong) relationship.
The chorus to “Livin’ on a Prayer” (1’33”) has an aa′ structure (Example 1). The first four-bar phrase
(“Oh, we’re half-way there…”) and the second four-bar phrase (“Take my hand…”) have identical
melody and harmony (so they both get the letter a), but different lyrics (so the second a is marked as
“a prime”: a′). Note that in many songs, this relationship is not as clear cut. However, if the two phrases
MELODY AND PHRASING | 584
begin with similar musical material, give them the same letter. New lyrics, new musical endings, or
musical variations simply warrant a “prime.”
Very rarely, a section’s phrases can be grouped into two clear halves based on different music. Such a
section is labeled ab.
Lyrics Phrase
Three-Part
A section containing three phrases is a three-part section. If the first two phrases are based on the same
music and the third is different, the section is labeled aa′b.
12-bar blues progressions are the most common example of a three-part aa′b section. “Hound Dog”
contains aa′b strophes (Example 2).
Lyrics Phrase
Well, you ain't never caught a rabbit and you ain't no friend of mine. b
Four-Part
A section composed of four phrases often contains a sentential structure (presentation → continuation →
cadential/conclusion). In pop/rock music, this often appears as a basic musical idea in the first phrase, a
repetition or “response” to it in the second, contrasting material in the third phrase (often employing
585 | MELODY AND PHRASING
fragmentation, acceleration of harmonic rhythm, and movement away from tonic harmony), and a
conclusion in the fourth phrase―either with a return to the basic idea and tonic harmony or with still
newer material that forms a strong melodic, rhythmic, and harmonic conclusion. Walter Everett (2001,
132) has called such a four-phrase sentential structure in pop/rock music srdc (statement, restatement/
response, departure, conclusion).
In conventional lettering, an srdc section could employ an aaba structure (with statement material
returning as a restatement and again as the conclusion), or an aabc structure (where the conclusion
material is new). Occasionally abcd or abca are possible, but only if b is a clear response to a, not simply
new material.
An srdc structure tends to tend to divide neatly into halves: sr and dc.
Bobby Darin’s “Dream Lover” (Example 3) provides a classic example of a four-part srdc phrase
structure.
Lyrics Phrase
Every night I hope and pray
s (statement)
A dream lover will come my way
A girl to hold in my arms
r (repetition)
And know the magic of her charms
Further Reading
• Everett, Walter. 2001. The Beatles as Musicians: The Quarry Men through Rubber Soul. New York:
Oxford University Press.
MELODY AND PHRASING | 586
Assignments
1. Worksheet on Section Structures (.pdf, .docx). Asks students to identify two-, three-, and four-part
phrase organizations within sections. Worksheet playlist
587 | INTRODUCTION TO FORM IN POPULAR MUSIC
KEY TAKEAWAYS
• This chapter addresses foundational concepts of form in music. (For discussions of specific forms, see the
following two chapters: AABA and strophic form and verse-chorus form.)
• Pop forms can be related to one another through the concepts of core and auxiliary sections.
• Sections can be defined through their formal and harmonic functions.
Those interested in the connections between pop and classical forms may wish to cross-reference Formal
Sections in General.
Section boundaries are usually made apparent by poetic structure (the end of a couplet or stanza) or by
surface features of the song such as:
For instance, take the transition from a verse section to a chorus section at 2:42 in U2’s “Pride (In the
Name of Love).” The section boundary is delineated by a number of features simultaneously:
• The text closes out the verse’s quatrain with a (more-or-less) rhyming lyric (“sky”–”pride”) before
beginning a new stanza.
• The end of the verse is signaled by a drum fill, a common end-of-phrase or end-of-section gesture.
• The general dynamic gets louder very quickly.
• The guitar becomes more active and is doubled by a second guitar part.
• The lead vocals rise in register.
• Background vocals are added to the lead vocal part.
All of these features help delineate the boundary between sections, and most of them also give the new
section (the chorus) a higher energy level than the previous section (the verse).
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core section: Core sections form the main musical and poetic content of a song. Examples of core
sections in pop forms include verse, chorus, strophe, or bridge sections.
auxiliary section: Auxiliary modules help to frame the core modules, introducing them, providing
temporary relief from them, or winding down from them. They can include introduction, outro, or coda
sections.
lyric-variant: A section or phrase is lyric-variant if each time it appears it brings (mostly) different lyrics.
lyric-invariant: A section or phrase is lyric-invariant if each time it appears it brings (mostly) the same
lyrics. Lyric invariance tends to come at points of formal closure (tail refrains at the ends of strophes,
choruses at the end of a verse-chorus song’s formal cycle).
589 | INTRODUCTION TO FORM IN POPULAR MUSIC
music-variant: A section or phrase is music-variant if each time it appears it brings (mostly) different
music.
music-invariant: A section or phrase is music-invariant if each time it appears it brings (mostly) the same
music.
on-tonic: A phrase or section is on-tonic when it begins with tonic harmony (I in root position).
off-tonic: A phrase or section is off-tonic when it begins on a harmony other than tonic.
harmonically closed: A phrase or section is harmonically closed when it ends with tonic harmony (I in
root position).
harmonically open: A phrase or section is harmonically open when it ends on a harmony other than tonic.
turnaround: The use of a non-tonic chord (usually dominant) at the end of a harmonically closed unit to
transition into the beginning of the following on-tonic unit. The song “Woolly Bully” by Sam the Sham
and the Pharaohs contains a turnaround at the end of many of its strophes. One of these occurs at 0:54 ―
a simple V7 chord to prepare the return of I as the next strophe begins.1
closing rhetoric: Closing rhetoric involves common patterns and techniques that signal that the end of the
song is likely coming soon. Typical patterns and techniques include immediate repetition of a core section
(except for the first core section) or part of a core section, thinning out of the texture, late-song
intensification, fadeout, and bringing a previously harmonically open section to a point of harmonic
closure. Closing rhetoric is typically found in outros, codas, and the last core section of a song (A or C).
Analytical Notation
What follows are notational conventions for analyses of musical form in this text.
Capital letters
Sections are labeled with capital letters according to function:
1. Interestingly in this song, the guitarist doesn’t always remember the turnarounds. Notice that at 0:28, the bass and baritone saxophone play
the dominant, but the guitarist keeps tonic. At 1:18, the singer yells, “Watch it now! Watch it! Watch it!” as if warning the guitarist not to
miss the turnaround in the next bar. He does the same in 2:08. When the guitarist gets the turnaround with the rest of the band, the singer
yells, “You got it! You got it!” as if congratulating the guitarist.
INTRODUCTION TO FORM IN POPULAR MUSIC | 590
Lowercase letters
Phrases are labeled with bolded lowercase letters according to their musical content. If two phrases use
more or less the same musical framework (harmony, melody, and rhythm), they receive the same letter.
Letters are assigned in the same manner as poetic rhymes: the first phrase is a, and any phrase that
follows based on the same music is also a (primes are used for slight variations, such as new text or
altered instrumentation); the next phrase with new musical material is b; and so on. These letters do not
correspond to functions.
The single exception to this convention is when phrases within a section demonstrate a sentential
progression (srdc), in which case the first phrase (statement) is labeled s; restatement/response, r;
departure, d; conclusion, c.
Further Reading
• Summach, Jason. 2012. “Form in Top-20 Rock Music, 1955–89.” Ph.D. diss., Yale University.
Footnotes
591 | AABA FORM
KEY TAKEAWAYS
• Strophic form consists only of repeated strophes. Its form would be abbreviated as AAA.
• AABA form, also known as 32-bar song form, consists of a twice-repeated strophe (AA), followed by a
contrasting bridge (B), followed by another repetition of the initial strophe (A).
• AABA and strophic form were especially common in older pop music (1960s and earlier).
• AABA and strophic form both have strophe sections as the main section, which features the primary
lyrical and musical content of the song.
Strophic Form
Songs that repeat the same basic multi-phrase unit throughout are in strophic form (sometimes
abbreviated AAA because the same basic material, A, is repeated), and the basic unit that is repeated is
called a strophe. Strophic form is more common in early rock-and-roll (1950s–1960s) than in the 1970s
and beyond.
For an example of a strophic song, consider “Blue Suede Shoes” by Carl Perkins (1955).
AABA FORM | 592
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This song contains multiple sections, all of which have the same basic underlying music. Though the
instrumentation and the lyrics change, the section beginning at 0:19 contains the same—or, at least, very
similar—melody, harmony, and phrase structure as the sections that begin at 0:58, 1:37, and 1:54.
Listening a bit more closely, we can hear a similar, but abbreviated, version of the same patterns at the
opening of the song. Even the instrumental sections at 0:41 and 1:21 have the same underlying pattern,
just a different melody in the form of a guitar solo. The entire song is a repetition of this same basic
pattern, or slight variations of it, modeled at 0:19–0:41.
Example 1 is a bird’s-eye-view sketch of the form of “Blue Suede Shoes” to follow as you listen:
0:00 strophe 1 A
0:19 strophe 2 A
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AABA FORM | 594
After a brief introduction, the song begins with two strophes. However, where “Blue Suede Shoes”
followed this with an instrumental strophe, the Beatles move to a bridge at 0:52. This new section builds
tension by contrasting and withholding the main strophe theme before it returns at 1:11. Note that the
song begins and ends with the strophe, and the strophe contains the title lyrics. For many people, it’s also
the the more memorable part of the song. Thus, the strophe is still the primary section. But now it has a
secondary section to add interest and tension: the bridge (and an auxiliary section, the intro, to help get
the song off the ground).
0:00 intro I
0:08 strophe 1 A
0:29 strophe 2 A
0:51 bridge B
1:11 strophe 3 A
1:33 bridge B
1:53 strophe 3 A
Strophe (A)
As a main section, the function of a strophe section is to present the primary lyric and musical content
and to provide a point at which the song might satisfyingly end.
595 | AABA FORM
In strophic form (AAA), strophes are the only core sections. Each strophe tends to set a stanza of text,
with music that is self-contained and harmonically closed.
In 32-bar form (AABA), the strophe’s functions—holding primary music/text and providing harmonic
stability—are elevated through contrast with the bridge section. In AABA songs, strophe function often
involves the prolongation of tonic harmony. Strophes tend to be shorter in AABA songs than in strophic
songs.
In both forms, srdc is by far the most common internal pattern for strophes. For three-part strophes, the
12-bar blues progression is the most common pattern.
Bridge (B)
Bridges are contrasting sections, and share many traits with the continuation function of classical form.
Bridge sections tend to play a transitional role (neither the point from which to depart nor the point of
arrival) in the formal cycle. This generates heightened expectation for the return of A by contrasting with
A and temporarily withholding it. A bridge section “must be followed by [the primary section] in order
for its function to be satisfied” (Summach 2012, 79). Bridge sections tend to emphasize non-tonic
harmonies and commonly end on dominant harmony.
As the next chapter discusses, in verse-chorus songs, bridge sections are more free than in AABA form to
contrast verse and chorus sections without a strong need to build expectation for the return of the chorus.
In an AABA song, building expectation for the return of the strophe and arriving on dominant harmony
in preparation of that return are essential to bridge function.
Introduction (I)
Introduction sections transition from the unmetered silence that precedes the song to the musical activity
of the first core section. They tend to be short and untexted/instrumental, and they tend to present musical
material from one or more core sections to come. This is often accomplished by the building up of
musical material, perhaps through layering (e.g., one instrument at a time) or through a more generic
building of energy.
Occasionally intros include non-core material. Such intros often correspond to an outro based on the same
AABA FORM | 596
material, and together they create a “bookend” effect. It is also possible to have multiple intro sections in a
row, with each based on different music.1
A coda is a song-ending section that presents new material—in other words, it is an outro not based on
music previously heard. Like outros, codas exhibit closing rhetoric.
Muse’s “Resistance” is useful for distinguishing between these two terms, since it has both a coda and an
outro. The coda, which contains new musical and narrative material, begins at 4:05, following the final
chorus. This new section, which brings something of a conclusion (if an open-ended one) to the narrative,
gives way to a song-ending outro at 4:54. Aside from the clear change in content and texture at 4:54, the
outro is recognizable as an outro (versus a coda) by the return of material from the introduction, creating
the “bookend” effect.
Refrains
A refrain is a lyric-invariant passage within a section that is otherwise lyric-variant. A refrain is too short
to form its own section—typically a single phrase or even less.
A refrain is most often the last line or so of a section’s text (tail refrain); occasionally, it is the material at
the beginning of a section’s text (head refrain). “Cathedrals” by Jump, Little Children (1998) contains a
head refrain. Each strophe begins with the same line: “In the shadows of tall buildings.…” “Blue Suede
Shoes” and “I Want to Hold Your Hand,” each discussed at the beginning of this chapter, both contain tail
refrains at the ends of their strophes, emphasizing the title lyrics.
1. Dexys Midnight Runners’s “Come On Eileen” contains several different intro sections with different musical content.
597 | AABA FORM
Further Reading
• Summach, Jason. 2012. “Form in Top-20 Rock Music, 1955–89.” Ph.D. diss., Yale University.
Assignments
1. AABA and Strophic Form (.pdf, .docx). Asks students to identify formal sections and any variations
to the form. Worksheet playlist
Footnotes
VERSE-CHORUS FORM | 598
VERSE-CHORUS FORM
Bryn Hughes and Megan Lavengood
KEY TAKEAWAYS
• Verse-chorus form is a versatile song form that rapidly took over rock-and-roll in the 1960s and has
dominated the genre ever since.
• In verse-chorus form, the title lyrics, the most memorable music, and the main narrative are split between
two core sections: the verse and the chorus.
Verse-chorus form is so named because the two most important sections are the verse and the chorus.
Other possible sections in verse-chorus form are prechorus, bridge, and postchorus.
As an example, look at the form of Bon Jovi’s song “Livin’ on a Prayer,” given in Example 1.
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599 | VERSE-CHORUS FORM
0:00 intro
0:47 verse
1:18 prechorus
1:34 chorus
1:48 interlude
1:53 verse
2:23 prechorus
2:39 chorus
2:56 postchorus
Cycles
Notice that the sections used in “Livin’ on a Prayer” recur and seem to follow a pattern. Sections within a
verse-chorus form have certain prototypical orderings and groupings. The verse, prechorus, chorus, and
postchorus sections, for example, always progress in this order (though they don’t all need to be present).
These groupings are referred to as cycles. In “Livin’ on a Prayer”:
• After an extended intro, the first cycle begins with a verse at 0:47.
• Then at 1:18, a prechorus increases energy and tension…
• …into the chorus at 1:34.
• After a brief interlude, this cycle is repeated beginning at 1:54, with the addition of a postchorus at
2:56.
• A final cycle at 3:00 is atypical and abbreviated, and it’s followed by a repetition of its final chorus
multiple times, during which a fadeout ends the song.
VERSE-CHORUS FORM | 600
Example 2. A prototypical verse-chorus form, not referencing a specific song. Click to enlarge.
Verse (V)
• Verse sections are lyric-variant and often contain lyrics that advance the narrative.
• Until the 1960s, verse sections tended to be harmonically closed.
• Beginning in the 1960s, verse sections became more and more likely to be harmonically open
(Summach 2012, 114).
• Verses (like strophes) tend to begin on-tonic.
Prechorus (P)
• Prechorus sections can be recognized most easily by energy gain.
• They bear many of the functional characteristics of the d phrase in srdc—fragmentation, acceleration
of harmonic rhythm, movement away from tonic harmony, and harmonic openness.1
Chorus (C)
• Chorus sections are lyric-invariant and contain the primary lyrical material of the song (the title
lyrics and/or lyrical hook).
• Chorus function is also typified by heightened musical intensity relative to the verse, including
features like “a more dense or active instrumental texture; prominent background vocals; and/or a
higher register melody” (Summach 2012, 106).
1. This is because prechorus sections originate historically in the d section of an srdc pattern. Think of an srdc strophe becoming longer until sr
forms its own two-part verse section, d forms its own prechorus section, and c forms its own chorus section.
601 | VERSE-CHORUS FORM
Postchorus (Z)
• A postchorus is a short section that follows a chorus and serves only to close the cycle (not to
introduce or transition to the beginning of the next cycle) (Spicer 2011, para. 9).
• A clear postchorus can be heard in “Independent Women, Pt. 1” by Destiny’s Child at 1:18,
beginning with the lyric “Girl, I didn’t know you could get down like that.”
Bridge (B)
Bridge sections are a flexible section type in verse-chorus form.
• In verse-chorus form songs, the bridge tends to appear once, followed by the last chorus (or the last
prechorus and chorus) of the song.
• Within a cycle, bridges will replace the verse and/or prechorus sections instead of being added in as
an extra element. Thus, you will not usually see all five core section types in a single cycle.
• A verse-chorus song may not have a bridge at all.
Each of these points contrasts with the way bridges are used in AABA form.
Refrain
While refrains are primarily associated with AABA form and strophic form, they can occasionally be
used within sections of a verse-chorus form song. However, take note that refrains are distinct from
choruses—refrains are a lyric within a section, whereas a chorus is an entire standalone section.
VERSE-CHORUS FORM | 602
Climb
A climb is a phrase with prechorus function. Like the refrain, because it is only one phrase long, a climb
is too short to be its own section. The climb is always the last phrase of a strophe or verse.
An example of a climb is in “Come On Eileen” by Dexys Midnight Runners (1982): listen for the
one-phrase climb at the end of its verses and bridge (“Tu-ra-lu-ra…”), as heard at 1:13.
Further Reading
• Barna, Alyssa. 2018. “The Dance Chorus in Recent Top-40 Music.” SMT-V 6 (4).
https://vimeo.com/societymusictheory/smtv06-4barna.
• Covach, John. 2005. “Form in Rock Music: A Primer.” In Engaging Music: Essays in Music Analysis,
edited by Deborah Stein, 65–76. New York: Oxford University Press.
• Everett, Walter. 1999. The Beatles as Musicians: Revolver through the Anthology. New York: Oxford
University Press.
• Spicer, Mark. 2011. “(Per)Form in(g) Rock: A Response.” Music Theory Online 17 (3).
http://www.mtosmt.org/issues/mto.11.17.3/mto.11.17.3.spicer.html.
• Stroud, Cara. 2014. “The Postchorus in Millennial Dance Pop.” Paper presented at the Graduate
Association of Musicologists und Theorists Conference, Denton, TX.
• Summach, Jay. 2011. “The Structure, Function, and Genesis of the Prechorus.” Music Theory
Online 17 (3). http://www.mtosmt.org/issues/mto.11.17.3/mto.11.17.3.summach.html.
Reading Guide
• Summach, Jason. 2012. “Form in Top-20 Rock Music, 1955–89.” Ph.D. diss., Yale University.
Assignments
1. Pop Music Form—The Shape of Music Around You (.pdf). Writing assignment that asks students to
find songs on their own; identify them as strophic, AABA, or verse-chorus; name the sections of the
song; and justify their analyses using form vocabulary.
2. Listening to Pop Forms (.pdf, .docx). This worksheet uses two unusual verse-chorus form songs to
challenge students’ analytical abilities. Uses BriFormer web app to create form diagrams of pop
songs.
603 | VERSE-CHORUS FORM
Media Attributions
verse chorus form © Megan Lavengood is licensed under a CC BY-SA (Attribution ShareAlike) license
Footnotes
POP SCHEMAS | 604
KEY TAKEAWAYS
• Pop harmony can be understood through harmonic schemas—particularly common chord progressions.
• These schemas can be altered while still maintaining their resemblance to the prototype.
There are a number of common stock chord progressions that recur in many pop/rock songs. These stock
progressions, or schemas, will often occur in cyclical patterns in a song; that is, the same progression will
repeat multiple times in a row. This is particularly common in choruses of verse-chorus songs, but it also
happens in verses, strophes, and bridges. Knowledge of pop schemas is helpful for identifying harmonies
by ear, since in addition to listening for bass scale degrees and considering whether the harmonies are in
root position or first inversion, you can listen for common patterns that you have heard in other songs.
Example 1 succinctly summarizes the most common forms of each schema.
605 | POP SCHEMAS
Progression in
Progression in
Schema name Roman Common variations
C major
numerals
Extended ♭VI–♭III
A♭–E♭–B♭–F–C
plagal –♭VII–IV–I
Aeolian
♭VI–♭VII–i A♭–B♭–Cmi • Major tonic (picardy third): ♭VI–♭VII–I
cadence
Lydian
II♯–IV–I D–F–C
cadence
A crucial feature of schemas is that they can be altered while still remaining recognizable as a
manifestation of that schema. Think of the term “bird.” If someone asks you to imagine a bird without
POP SCHEMAS | 606
any extra context, you may not imagine a specific species of bird, but you would probably imagine a bird
that looks something like a sparrow or robin. Your imaginary bird is your mental prototype for the
schema “bird.” You can recognize all kinds of birds as being birds even if they do not look exactly like
your imaginary bird—ostriches, penguins, flamingos, and swans are all clearly birds, despite their
significant differences in appearance, behavior, and habitat. In the same way, you can and should
recognize harmonic schemas as manifestations of the schemas listed here, even when they undergo some
form of variation. Common variations include chromatic inflection or chord inversion, and are
summarized in the final column of Example 1.
The following chapters group together certain schemas that share several qualities, and go into detail
about each individual schema and its most common variations.
• Blues-based schemas
◦ 12-bar blues
◦ 16-bar blues
◦ double plagal
◦ extended plagal
• Four-chord schemas
◦ doo-wop
◦ singer/songwriter
◦ hopscotch
• Classical schemas
◦ lament
◦ circle-of-fifths
• Puff schemas
• Modal schemas
607 | BLUES-BASED SCHEMAS
BLUES-BASED SCHEMAS
Bryn Hughes
KEY TAKEAWAYS
• Many songs simply use the two-chord vamp I–IV (very common in R&B and soul music).
• The “plagal sigh” schema, IV–iv–I, includes the scale-degree voice-leading la–le–sol and
can often be found at phrase endings.
• “Applied” IV chords can be used to create a double-plagal schema: ♭VII–IV–I.
• These applied IV chords can be used to create extended plagal progressions such as ♭VI–♭III–♭VII–IV–I.
CHAPTER PLAYLIST
Blues-based schemas, or “flat-side” schemas, are those that mostly employ harmonies found on the “flat
side” of the circle of fifths. We draw the connection to the blues here because of its propensity for using
the IV chord (the first chord found in the flat-wise direction on the circle of fifths), and for the general
ubiquity of the flattened seventh scale degree in blues music.
Plagal Motion
The IV chord, while certainly an extremely frequent predominant/subdominant chord in common-practice
repertoire, has an even more prominent place in pop/rock music. Perhaps borne out of the 5–6
neighboring motion found in shuffle-blues guitar accompaniment patterns (Example 1), an alternation
between I and IV is a common occurrence in numerous genres (Example 2).
BLUES-BASED SCHEMAS | 608
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In “Soul Man” by Sam and Dave, the chord progression used in the verse (Example 3) consists of an
alternation of I and IV—listen carefully to the bass.
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A similar oscillation between I and IV can be found in the verse to “In the Midnight Hour” by Wilson
Pickett (Example 4). Perhaps unsurprisingly, this track features the same guitarist and bassist as “Soul
Man” (Steve Cropper and Donald “Duck” Dunn, respectively).
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This kind of chord progression isn’t limited to soul and R&B, of course. The beginning of “After the
609 | BLUES-BASED SCHEMAS
Gold Rush” by Neil Young (Example 5) features a similar progression (it deviates after the the words
“…drummers drummin’…”; also, note the discrepancy between the melody notes and the chords
throughout).
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Minor iv
A very common plagal schema in rock and popular music is the use of the minor iv chord as a kind of
cadential gesture. It is most commonly found as part of the three-chord schema IV–iv–I. The schema is
typically accompanied by the descending melody la–le–sol , which is found in the guitar
part in Example 6. The semitone descent creates an especially strong pull to the tonic.
This descent has been referred to by J. Kent Williams and Frank Lehman as a “plagal sigh” in Golden
Era American popular song and Classic Hollywood film scores, respectively.1 Both authors consider this
gesture to invoke a sense of nostalgia and sentimentality. Indeed, even in pop music, musicians typically
use this progression in conjunction with lyrics that suggest sentimentality.
“Wake Me Up When September Ends” by Green Day (Example 6) exhibits both of the tendencies
discussed above: motion from IV–iv–I and a sense of nostalgia and sentimentality in the lyrics.
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1. [reference]
BLUES-BASED SCHEMAS | 610
Double-Plagal
The “double-plagal” progression (Walter Everett’s term) is an expansion of the plagal progression
discussed above to include the IV/IV chord prior to the IV chord.2 This is perhaps more simply explained
as ♭VII–IV–I. The most famous instance of the double-plagal progression is likely the coda from “Hey
Jude” by the Beatles (Example 7).
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Extended Plagal
The “applied IV” chord can be used in sequence, similar to the descending-fifths progression in
common-practice music. In the version of “Hey Joe” by Jimi Hendrix (1966), the verse consists of three
iterations of the plagal motion in a descending-fourths pattern, which results in the progression
♭VI–♭III–♭VII–IV–I, in the key of E major.
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2. [citation]
611 | BLUES-BASED SCHEMAS
other alterations, such as IV/IV (♭VII) or minor iv, are extra embellishments on this essential plagal
motion.
Further reading
• Williams
• Lehman
• Everett
Assignments
1. Listening for blues-based schemas (.pdf, .docx). Asks students to identify blues-based schemas, their
use, and any variations in three pop songs. Worksheet playlist
Footnotes
FOUR-CHORD SCHEMAS | 612
FOUR-CHORD SCHEMAS
Megan Lavengood and Bryn Hughes
KEY TAKEAWAYS
I, IV, V, and vi are the most common harmonies in pop music, and they can be arranged into several schemas,
each with a distinct sound. Each schema can have variations, such as chord substitution or rotation, while still
remaining recognizable as that schema.
• The doo-wop schema is I–vi–IV–V, and it was common in 1960s pop music. Common variations:
◦ I–vi–ii–V (ii substitutes for IV)
◦ IV–V–I–vi (rotation)
• The singer/songwriter schema is vi–IV–I–V or I–V–vi–IV, and it was common in 1990s singer/
songwriter music. It can also be understood in its relative minor: i–VI–III–VII. A common variation is
IV–I–V–vi (rotation).
• The hopscotch schema is IV–V–vi–I, and it is common in recent pop music (since 2010). It can also be
understood in its relative minor: VI–VII–i–III. A common variation is VI–V–i–III (V substitutes for VII
in minor).
CHAPTER PLAYLIST
The progressions discussed in this chapter all have something in common. They use the same four chords:
I, IV, V, and vi, which are probably the most common chords in all of pop music. Because of this, they all
sound somewhat similar; the difference is in the order of the chords.
613 | FOUR-CHORD SCHEMAS
Doo-wop
Example 1 shows music notation, chord symbols, and Roman numerals for the doo-wop schema:
I–vi–IV–V, or C–Ami–F–G in C major.
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Example 1. The doo-wop schema (left) and a common variation of it that replaces IV with ii (right).
The name for this cyclical chord progression comes from its common use in rock ballads from the 1950s
and early 1960s, such as “Duke of Earl” by Gene Chandler (1962). However, it has continued to be used
frequently ever since: examples include the verse and chorus of “Friday” by Rebecca Black (2011) and
the chorus of “Total Eclipse of the Heart” by Bonnie Tyler (1983) (starts at 0:49).
Substituting ii for IV
Because ii and IV share the same function in this chord progression, ii can be swapped out for IV, as in
Otis Redding’s “Try a Little Tenderness” (1966).
Rotation
Because the doo-wop schema is typically employed in cycles, it can also start on a different chord in the
cycle and then proceed through the same succession of chords (rotation). For example, “Viva la Vida” by
Coldplay (2008) works through a cyclical repetition of the same succession of chords, but the phrases
begin on IV rather than I (Example 2).
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Singer/Songwriter
The singer/songwriter schema may be the best known of all the four-chord schemas. A common Roman
numeral analysis for this schema is vi–IV–I–V, or Ami–F–C–G in C major, but the rotation starting with
I is also exceedingly common. On top of that, either rotation may be understood as having either the
major tonic or the relative minor tonic. This is best understood through Example 3.
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Like the 1950s doo-wop, this is a four-chord cyclical progression. It has been around for some time and
can be found in a variety of musical styles, but it became increasingly common beginning in the
mid-1990s with singer/songwriters such as Sarah McLachlan, Jewel, and Joan Osborne,
Tonal ambiguity
One important feature of this progression is that it does not, on its own, clearly communicate a definitive
tonic chord. This property is known as tonal ambiguity. An example is “Despacito” by Luis Fonsi and
Daddy Yankee (2017). The chord progression, Bmi–G–D–A, can sound like vi–IV–I–V in D major or
like i–VI–III–VII in B minor to different listeners (Example 4). One reason the singer/songwriter
schema is ambiguous is because there is no authentic cadence: the two potential cadential motions are
either plagal (IV–I) or stepwise (VII–i). Without a strong harmonic cadence, listeners might only be able
to determine the tonic chord—if at all—by the progressions before and after the singer/songwriter
schema, which chords in the cycle begin and end it, and the important pitches of the melody.
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Example 4. Both D major and B minor are plausible tonic chords for “Despacito” because of its use of the
tonally ambiguous singer/songwriter schema.
615 | FOUR-CHORD SCHEMAS
In fact, some songwriters take advantage of this duality in songs that modulate back and forth between
relative major and minor keys, as well as in songs with some parallel ambiguity in the text (hence its
usefulness for those mid-1990s songwriters). An example is “What About Love” by Heart (1982), which
has an obvious D minor intro, a D minor/F major verse (begins at 0:23) using the singer/songwriter
progression, and a chorus obviously in F major (begins at 1:10)—listen while following along with the
chart below (Example 5).
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bridge (guitar
2:29 B♭–C IV–V F major
solo)
2:53 chorus F/A–B♭–C I6–IV–V F major
Rotations
As discussed above, this schema has two equally common rotations that start the progression on I and vi.
From time to time, the singer/songwriter progression might also begin on the IV chord, resulting in a
“deceptive” variant of this progression that ends with V–vi—a deceptive cadence (IV–I–V–vi). The
chorus (starts at 1:11) of “Alejandro” by Lady Gaga (2009) uses this rotation of the singer/songwriter
schema.
Hopscotch
In recent years (since about 2010), another type of four-chord schema has become increasingly
common: IV–V–vi–I, or VI–VII–i–III in minor. Examples include “Dancing with a Stranger” by Sam
Smith (2019) and “No Brainer” by DJ Khaled, Justin Bieber, and Quavo (2018). We will refer to this as
the hopscotch schema because of its root motion: step, step, skip.
Like the singer/songwriter schema, the hopscotch schema can be tonally ambiguous. In other words, in
the progression F–G–Ami–C, either Ami or C might sound like tonic (Example 6). There is often no
definitive cadential motion, especially moving into the C chord.
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Example 6. The hopscotch schema, with annotations showing the “step-step-skip” pattern.
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Example 7. The hopscotch schema with V replacing VII, meaning the G of the VII is replaced with the G♯ of
the V chord.
Recognizing by Ear
All of these four-chord schemas sound similar to one another, since they all use I, IV, V, and vi. All the
schemas can be rotated, so it’s not simply a matter of seeing where the progression begins and ends!
Instead, try listening to how the major tonic is approached (Example 8).
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Example 8. Each schema approaches the major tonic from a different chord.
• In the doo-wop schema, the tonic is approached with very traditional authentic motion, as in classical
music.
• In the singer/songwriter schema, the major tonic is approached with plagal motion.
• In the hopscotch schema, the major tonic is approached by a skip (not related to any traditional
cadence).
Even if you think the real tonic is the minor tonic, listening to the approach to the major tonic will help
distinguish among these four-chord schema options. Listening to the approach to the minor tonic may not
be helpful, since both the singer/songwriter and the hopscotch schemas approach the minor tonic by step.
FOUR-CHORD SCHEMAS | 618
Further reading
• Axis of Awesome. 2011. 4 Chords. YouTube. https://www.youtube.com/channel/
UCb4jjgJb5rtQqQN5GcypFow.
• Doll, Christopher. 2017. Hearing Harmony: Toward a Tonal Theory for the Rock Era. Ann Arbor:
University of Michigan Press.
• Richards, Mark. 2017. “Tonal Ambiguity in Popular Music’s Axis Progressions.” Music Theory
Online 23 (3). http://mtosmt.org/issues/mto.17.23.3/mto.17.23.3.richards.html.
Assignments
1. Identifying Four-Chord Schemas (.pdf, .docx). Students must identify which schema is used in a
number of songs, each of which clearly presents the schema. Worksheet playlist
2. Variations on Four-Chord Schemas (.pdf, .docx). Using songs that put slight variations on the
schemas discussed in this chapter, asks students to identify schemas and variations on the schemas.
Worksheet playlist
619 | CLASSICAL SCHEMAS (IN A POP CONTEXT)
KEY TAKEAWAYS
The schemas discussed in this chapter are all based on those often found in common-practice music.
• The lament schema is a four-chord schema that descends down the minor tetrachord from the tonic to the
dominant: do–te–le–sol . Most typically, this is harmonized by I–♭VII–♭VI–V,
however, te can be harmonized in numerous ways.
• The circle-of-fifths schema is at least four chords in length, and it consists of chords whose roots descend
by perfect fifth. This schema has many possible variations and does not necessarily start on the tonic.
CHAPTER PLAYLIST
Lament
The “lament” progression is so named because in early classical music, this chord progression (almost
always in minor) was used as the ground bass for songs of lament. Examples include “Dido’s Lament” by
Henry Purcell, from the opera Dido and Aeneas, and J.S. Bach’s “Crucifixus,” from his Mass in B Minor.
For more on those classical cases, see the Ground Bass chapter.
Dire Straits’ “Sultans of Swing” provides a classic example of the lament in a pop/rock setting (Example
1). The phrase descends through the minor tetrachord do–te–le–sol and is
harmonized with diatonic triads: I–♭VII–♭VI–V. The middle two chords are syncopated and given less
CLASSICAL SCHEMAS (IN A POP CONTEXT) | 620
duration in order to make room for the seventh to be added to the dominant chord at the end of the
phrase, which provides a turnaround to repeat the chord progression.
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Example 2 shows the opening of the verse in Muse’s “Thoughts of a Dying Atheist.” Importantly, note
that te is harmonized by a B♭ major chord in second inversion. One may interpret this as a III chord
in second inversion or, as is shown in the transcription, a VII chord embellished with two upper neighbor
notes.
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Circle-of-Fifths
In this schema, each chord’s root moves down by fifth to the next root. This progression often happens in
minor, beginning on i and ending on the relative major. Like the “singer/songwriter” progression, there is
some key ambiguity in this progression, as the starting chord is easily considered tonic, but the motion
from VII to III can easily be heard as V–I in the relative major key. And indeed, it can be used to move
from the relative minor to the relative major.
The chorus of Aqua’s “Barbie Girl” provides a somewhat tonally ambiguous example of the
circle-of-fifths schema (see Example 3).
621 | CLASSICAL SCHEMAS (IN A POP CONTEXT)
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The verse of Muse’s “Thoughts of a Dying Atheist” also includes a four-chord circle-of-fifths schema,
immediately following the lament discussed above. This progression immediately repeats, returning to the
initial minor key. However, the second time through, this lament–circle-of-fifths pattern leads to a chorus
in the relative major (taking the III chord as the new tonic).
Longer examples of the circle-of-fifths schema can be found in pop/rock music, too.
Radiohead’s “You and Whose Army?” (Example 5) presents a slightly more complex instance of a
circle-of-fifths schema. Here we get a chromatic sequence of the schema, in which each pair of
fifth-related chords functions locally as an applied ii–V progression of the following chord, much like the
applied ii–V progressions found in jazz. Like “Barbie Girl,” “You and Whose Army?” is tonally
ambiguous. The circle-of-fifths schema propels the music forward, without ever strongly confirming the
tonic. Both E major and C♯ minor are viable interpretations, and thus have both been provided in the
analysis below.
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Assignments
1. Worksheet on classical schemas (.pdf, .docx). Asks students to identify the chord progressions of
various songs that use classical schemas. Worksheet playlist
PUFF SCHEMAS | 622
PUFF SCHEMAS
Megan Lavengood and Bryn Hughes
KEY TAKEAWAYS
CHAPTER PLAYLIST
While many of the schemas discussed in other chapters are commonly used as repeating chord loops,
others are more often used as a building block within a goal-oriented phrase. Puff schemas, which use the
mediant triad (iii), are one such schema. The name comes from its use at the outset of phrases in the song
“Puff, the Magic Dragon” by Peter, Paul and Mary (1963).
Example 1. The puff schema begins most of the phrases in “Puff, the Magic Dragon.”
The puff schema is typically found in the opening of phrases, as it is here (Example 1). Again, the puff
schema is not typically looped, so the chords that come after the IV chord can vary. In “Puff,” the fourth
chord is I. But in “Let’s Get It On” by Marvin Gaye, the IV chord progresses to V (Example 2). “House
of the Rising Sun” by the Animals (1964) is an example of the puff schema in a minor-key song
623 | PUFF SCHEMAS
(Example 3); here, a major IV progresses to VI, demonstrating how the puff schema can involve varied
chord quality.
Example 2. The phrases in “Let’s Get It On” begin with a puff schema before finishing with a V–I motion.
Lyrics There is a house in New Orleans they call the Rising Sun
Example 3. “House of the Rising Sun” uses the puff schema in minor. The IV chord is also major instead of
the typical minor.
I–III♯–IV
One particularly common chromatic variant of the puff schema raises the third of the iii chord to make it
a major III♯ chord: I–III♯–IV. This progression is prominently featured in Radiohead’s debut single,
“Creep” (1993). It combines the puff schema with a plagal schema with mode mixture (Example 4).
Example 4. “Creep” by Radiohead uses the puff schema with a major III♯ chord. (Each column = two
measures.)
The raised third in the major III♯ chord creates a nice chromatic line, sol–si–la , as shown
in Example 5.
PUFF SCHEMAS | 624
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Especially in a song that uses a progression like C–E–Ami–F, moving from E straight to F in another
progression could be understood as deceptively resolving the III♯ chord:
The play between deceptive and authentic resolutions of III♯ as a V/vi chord is a remarkable feature of
the progressions used in “Weekend Wars” by MGMT (2007). Setting up the puff schema with an
authentic V/vi–vi progression prepares the listener to experience the puff progression as a deceptive
resolution (Example 6).
puff schema:
authentic resolution
deceptive resolution
V/vi vi/vi
Roman numerals V6/vi vi V6 I
(or III♯ IV)
Further Reading
• Doll, Christopher. 2017. Hearing Harmony: Toward a Tonal Theory for the Rock Era. Ann Arbor:
University of Michigan Press.
Assignments
1. Puff schemas (.pdf, .docx). Asks students to identify the chord progressions of various songs that use
the puff schema. Worksheet playlist
MODAL SCHEMAS | 626
MODAL SCHEMAS
Megan Lavengood
KEY TAKEAWAYS
• Many pop songs use harmonic progressions that imply modes other than major/minor.
• A modal schema may be used without the entire song being strictly within that mode.
• Modes may be compared to major and natural minor to understand what characterizes their sound (their
color notes)
• Mixolydian schemas:
◦ Double plagal ♭VII–IV–I
◦ Subtonic shuttle I–♭VII
• Aeolian schemas:
◦ Subtonic shuttle i–♭VII (same as mixolydian, but with a minor tonic)
◦ Aeolian shuttle i–♭VII–♭VI–♭VII
◦ Aeolian cadence ♭VI–♭VII–i (or I)
◦ Lament i–♭VII–♭VI–v
• Dorian schemas:
◦ Dorian shuttle i–IV
• Lydian schemas:
◦ Lydian shuttle I–II♯
◦ Lydian cadence II♯–IV–I
This book covers modes from many different angles. For more information on modes, check Introduction to
Diatonic Modes (general), Chord-Scale Theory (jazz), Diatonic Modes (20th/21st-c.), and Analyzing with Modes,
Scales, and Collections (20th-/21st-c.).
CHAPTER PLAYLIST
627 | MODAL SCHEMAS
“Mode” is a really complicated term. The article on mode in Grove Music Online (Powers et al. 2001),
which is the standard academic encyclopedia for musicology, is 238 pages long and has nine authors. This
means that, even if you think you already know about modes, you may want to set that knowledge aside
before learning how modes are used in pop music.
This chapter discusses modes as they appear in certain schematic chord progressions in pop and rock
music. Most of this information is based on the work of Nicole Biamonte (2010) and Philip Tagg (2011).
After showing the function of modal harmonies as they compare to diatonic harmonies, common modal
schemas will be introduced, grouped by the mode they borrow from.
Grouping modes by whether the tonic is major or minor helps with aural identification of modal passages.
This grouping is represented in Example 1. The top line shows modes whose is a major third above
tonic (mi): major, mixolydian, and lydian. The bottom line shows modes whose is a minor third above
tonic (me): aeolian, dorian, and phrygian. Example 1 also illustrates what differentiates certain modes
from major or minor. Each mode has exactly one pitch shown in a lighter color; this pitch is inflected
when compared to major/minor. These special pitches are referred to as the color note of each mode.1
These relationships are shown with the dotted slurs.
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Example 1. Modes grouped by major vs. minor tonic, with dotted slurs connecting the distinctive color pitch
of each mode with its major/minor counterpart.
Example 2. Modal harmony allows many more “flavors” of the same chord to be implemented without
changing the function of the chord.
This illustration of harmonic function may help you to understand why certain modal progressions seem
as goal-oriented as diatonic progressions.
Mixolydian: ♭VII
Mixolydian’s color note is te ( ), as shown in Example 3. In major-mode pop songs, the ♭VII chord is
borrowed from the mixolydian mode. ♭VII typically has dominant function, and you might think of it as a
substitute for the traditional major-mode V chord in both the double plagal and mixolydian cadence
schemas (Example 4).
629 | MODAL SCHEMAS
Example 3. (te) is the color note of the mixolydian mode. Important mixolydian harmonies have that
color note in them: v and ♭VII. (iiio is not used.)
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Example 4. The double plagal schema and the mixolydian cadence schema are two especially common
mixolydian chord progressions.
Double plagal
The double plagal schema, ♭VII–IV–I, which is discussed further in the blues-based schemas chapter, is
also a mixolydian schema, due to the major tonic and the (te).
Subtonic shuttle
The most distinctive chord progression in mixolydian is
the subtonic shuttle, ♭VII–I, or B♭–C in C major
(Example 4 above). The subtonic shuttle is used
continuously throughout the intro and first verse of
“Tired of Waiting for You” by the Kinks (1965), where
Example 5. “Tired of Waiting for You” by the
the instrumental parts shuttle between I and ♭VII Kinks uses the subtonic shuttle in its intro and
throughout, while the melody emphasizes (te) as an verses. Transcription begins at 0:07.
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Example 6. The subtonic shuttle, aeolian shuttle, aeolian cadence, and lament schemas are four common
aeolian chord progressions.
Subtonic shuttle
The subtonic shuttle was introduced as a mixolydian
progression, but the same progression can be used in
aeolian. The difference is only in the quality of the
tonic chord. If it’s major, then the subtonic shuttle
implies mixolydian; if it’s minor, then the subtonic
shuttle implies aeolian. In other words, ♭VII–i, or
B♭–Cmi in C minor, is the minor version of the Example 7. “Somebody That I Used to Know”
subtonic shuttle. This subtonic shuttle is used in the by Gotye features the subtonic shuttle in its
intro/verses and the aeolian shuttle in its
intro and verses of “Somebody That I Used to Know”
choruses. The Intro transcription begins at 0:04,
by Gotye (2011, Example 7). and the Chorus transcription begins at 1:32.
Aeolian shuttle
Another common shuttle in aeolian is i–♭VII–♭VI–♭VII. This progression can be understood as a shuttle
between i and ♭VI, with a passing ♭VII chord along the way. This progression is featured clearly in the
chorus of “Somebody That I Used to Know” by Gotye (2011, Example 7).
631 | MODAL SCHEMAS
Aeolian cadence
In the aeolian shuttle schema, the consistent shuttling
back and forth between I and ♭VI makes it difficult for
a true cadence to be implied—a cadence means that a Example 8. The Fellowship Theme from the
Lord of the Rings soundtrack by Howard Shore
goal has been reached, but a circular progression like concludes its phrases with an aeolian cadence.
the aeolian shuttle doesn’t seem to have a goal. The Transcription begins at 0:27.
aeolian cadence ♭VI–♭VII–i, or A♭–B♭–Cmi, is similar
to the aeolian shuttle, but it’s goal-oriented: it cadences on the tonic chord, and it does not tend to be used
as a loop. The aeolian cadence very frequently uses a picardy third, which means all the chords are major:
♭VI–♭VII–I, or A♭–B♭–C.
The aeolian cadence has a lot of cultural associations for many people and is typically associated with
success and heroism. This cadence concludes the phrases of the Fellowship Theme from Lord of the
Rings (Example 8, begins at 0:27). The aeolian cadence has also been called the Mario cadence, since
the well-known fanfare at the end of each level of Super Mario Bros. uses this progression; the
progression is often heard as a fanfare in other video games, such as Final Fantasy. In all of these
examples, the cadence concludes with a picardy third.
Lament
The lament schema has many variations, as
discussed in the chapter addressing that schema. One
particular flavor, i–♭VII–♭VI–v, strongly implies the Example 9. “I Don’t Like You” by Eva Simons
uses a lament schema with ♭VII and minor v.
aeolian mode due to the absence of a leading tone,
which would imply a minor tonality, in favor of te
, a color note of aeolian. This variation of the lament schema is heard in “I Don’t Like You” by Eva
Simons (2012, Example 9).
Example 10. Dorian is distinguished from the natural minor scale by its (la), which alters the quality of
the IV and ii chords. (vi° is not used.)
Dorian shuttle
The dorian shuttle alternates between a major IV chord and a minor i chord (Example 12). The overall
effect of this progression is one of tonic prolongation. The upper notes of the IV harmony often form a
neighboring motion that emphasizes la . A common variation on the dorian shuttle is expanded to
i–IV–i7–IV. This further expands the neighboring effect in the upper voices.
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Example 12. The dorian shuttle uses minor i and major IV. It can be expanded to arch up to i7.
633 | MODAL SCHEMAS
Lydian: II♯
Fi is the color note of the lydian mode, which results in a major II chord instead of the minor ii
found in major (Example 13). This text refers to this chord as II♯ for clarity, with the sharp sign
representing the raised third of the chord.
Very few pop songs are truly in the lydian mode all the way through the song, but many major-mode pop
songs use a major II♯ chord in place of the typical minor ii, giving a brief lydian flavor while remaining
overall in the major mode.
II♯ can have either subdominant or dominant function, and each is used in the following two schemas
(Example 14).
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Example 14. The II♯ chord is the characteristic chord of lydian and is used in both of these schemas.
Lydian shuttle
The most basic lydian chord progression is a simple shuttle between II♯ and I. Identifying this chord
progression correctly can be tricky: because few pop songs are truly in lydian throughout, this II♯ chord is
often neutralized later in the chord progression with a IV chord or a ii chord, which means the song is
overall in major, but with a brief II♯ chord. This progression can be heard with some alterations in the
opening of “Sara” by Fleetwood Mac (1979). “Sara” expands the lydian shuttle to include a Ima7 chord to
harmonize an arching melody, and it also uses a tonic pedal underneath the II♯ chord. Later on in the
song, the II♯ is neutralized by the use of a doo-wop schema. This is illustrated by Mark Spicer.
MODAL SCHEMAS | 634
If the II♯ chord is never neutralized, it’s possible that the chord progression isn’t really I–II♯, but another
shuttle that relates roots by step. For example, Taylor Swift’s “Starlight” (2012) has verses that alternate
between A and B major chords (begins at 0:26), but they are IV–V in E major, not a lydian shuttle. This
becomes clear in the chorus (0:56), which is harmonized with a rotation of the doo-wop schema. The
subtonic shuttle discussed earlier in this chapter is another chord progression that relates two major chords
by step. Remember that lydian is rare in pop music, and be careful when identifying this progression!
In this progression, II♯ functions as a dominant chord, leading back into the tonic with the half step
between fi and sol .
Lydian cadence
The most popular progression using II♯ is the lydian
cadence II♯–IV–I, or D–F–C in C major. Notice that
the lydian fi is immediately neutralized by the
Example 15: “Forget You” loops a lydian
regular IV chord, replacing it with fa . This schema
cadence throughout the song. The background
also features smooth chromatic voice leading, which vocals always have the characteristic chromatic
line.
may partially explain the appeal of this progression.
The clearest example of this schema may be Cee Lo
Green’s “Forget You” (2010, Example 15).2
If you heard a minor tonic and is raised (ti), then you are in minor.
If is raised (fi) in a major-tonic mode, you are in lydian. If it is not, you are in major.
If is raised (la) in a minor-tonic mode, you are in dorian. If not, you are in aeolian.
Further reading
• Biamonte, Nicole. 2010. “Triadic Modal and Pentatonic Patterns in Rock Music.” Music Theory
Spectrum 32 (2): 95–110. https://doi.org/10.1525/mts.2010.32.2.95.
• Everett, Walter. 2009. The Foundations of Rock: From Blue Suede Shoes to Suite: Judy Blue Eyes.
Oxford: Oxford University Press.
• Persichetti, Vincent. 1961. Twentieth-Century Harmony. New York: W. W. Norton.
• Powers, Harold S. et al. “Mode.” In Grove Music Online. New York: Oxford University Press.
MODAL SCHEMAS | 636
https://www.oxfordmusiconline.com/view/10.1093/gmo/9781561592630.001.0001/
omo-9781561592630-e-0000043718.
• Spicer, Mark. 2017. “Fragile, Emergent, and Absent Tonics in Pop and Rock Songs.” Music Theory
Online 23 (2). http://mtosmt.org/issues/mto.17.23.2/mto.17.23.2.spicer.html.
• Tagg, Philip. 2011. Everyday Tonality: Towards a Tonal Theory of What Most People Hear. 1.3.
New York: The Mass Media Music Scholars’ Press.
Assignments
1. Identifying Modal Schemas (.docx, .pdf). Asks students to aurally identify various modal schemas.
Worksheet playlist
2. Modal reharmonization composition exercise (.mscz, .pdf). Asks students to reharmonize Rihanna’s
“Desperado” (2016) with modal schemas.
Media Attributions
modal_harmonic_function © Megan Lavengood is licensed under a CC BY-SA (Attribution ShareAlike) license
tired_of_waiting
I don’t like you © Megan Lavengood is licensed under a CC BY-SA (Attribution ShareAlike) license
dorian
forget you © Megan Lavengood is licensed under a CC BY-SA (Attribution ShareAlike) license
Footnotes
637 | PENTATONIC HARMONY
PENTATONIC HARMONY
Bryn Hughes
Rock music, and popular music more generally, owes a great debt to the blues tradition. One of the most
pervasive pitch collections in pop and rock music is the pentatonic collection, a five-note collection also
firmly rooted in the blues. The pentatonic scale is related to the blues scale and the diatonic scale (it is a
subset of both), but it contains no semitones. In popular music, the pentatonic scale is typically found in
one of two rotations: the major pentatonic and the minor pentatonic scale (Example 1).
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Though the two listed above are the most common, you can build five different versions of the pentatonic
scale by simply rotating the notes in the scale.
In rock music, a harmonic system based on the pentatonic scale is typically created by using the scale as
chord roots of major triads or power chords (chords with a root and fifth but no third). This leads to
collections of chords that don’t belong to any mode or scale (Example 2). Note that in both of the
collections of chords in the example below, there is a scale degree “conflict.” The first collection includes
both te and ti ; the second collection includes both le and la .
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PENTATONIC HARMONY | 638
Example 2. Pentatonic harmony derived from two different rotations of the pentatonic scale.
Though many of the chord progressions drawn from the pentatonic chord families listed above could be
accounted for by other schemas, it is helpful to relate them back to the pentatonic scale in this way, due to
the scale’s inextricable link to the guitar itself, and especially to guitar solos that are performed in
combination with these chord progressions.
Example 3 shows an excerpt from “Higher Ground” by Stevie Wonder (1973), in which the pervasive
harmonic loop can be understood as derived from the pentatonic scale.
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Assignments
1. Coming soon!
639 | FRAGILE, ABSENT, AND EMERGENT TONICS
KEY TAKEAWAYS
CHAPTER PLAYLIST
Although many pop songs are harmonically simple, using only a handful of chords in root position, this
simplicity can sometimes lead to tonal ambiguity. One way that tonal ambiguity is created is through
de-emphasizing the tonic chord. According to pop theorist Mark Spicer (2017), whose work is the basis
of this chapter, much tonal ambiguity in pop music occurs through one of three techniques: fragile,
absent, and emergent tonics.
FRAGILE, ABSENT, AND EMERGENT TONICS | 640
Fragile tonic
The fragile tonic technique is one in which the tonic chord is used in the song, but is weakened through
inversion or another similar technique. Fragile tonics can be found in music by artists who seem to have
composed at the piano, as in Sufjan Stevens’s “Oh God Where Are You Now” (2003). The tonic chord,
G♭, is most often in first inversion; it only appears in root position as an incomplete passing chord in the
midst of a contrapuntal series of parallel tenths in the C phrase (Example 1). Otherwise, first-inversion
E♭ minor chords are found where tonic chords may otherwise be expected.
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Example 1. “Oh God Where Are You Now? (In Pickerel Lake? Pigeon? Marquette? Mackinaw?)” by Sufjan
Stevens uses a fragile tonic.
Fragile tonics usually connect to a theme in the lyrics of loneliness, vulnerability, and sensitivity. The
Sufjan Stevens song in Example 1 follows this principle: the narrator in the lyrics seems to be desperate
for comfort from God, and thus in a vulnerable state. Another example of a song that uses a fragile tonic
to emphasize vulnerability is Elton John, “Somebody Saved My Life Tonight” (1975) (see Spicer 2017).
Emergent Tonics
Songs with emergent tonics withhold the tonic chord until a triumphant moment, such as the chorus. The
song will begin by using other chords, especially the relative major/minor, some of which may sound like
tonic at first; but later in the song, the true tonic is revealed to be another chord that either did not sound
like tonic initially or was not present at all.
Emergent tonics often accompany lyrical themes of triumph and overcoming, and this is just what
happens in “Let It Go” from the movie Frozen. Listen to the song while following the form chart below
(Example 2), which explains how the tonic emerges. The emergent tonic here emphasizes the theme of
Elsa overcoming her self-doubt and owning her identity.
641 | FRAGILE, ABSENT, AND EMERGENT TONICS
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0:00–0:14 intro At this point in the song, the tonality sounds like F aeolian
(i–VI–VII–iv).
Fmi–D♭–E♭–B♭(mi)
0:15–0:42 verse The B♭ chord alternates between minor and major in subsequent
repetitions of this progression, and the third time this happens, it's
used to lead into the next section.
Now the tonality has shifted: E♭ sounds like tonic, which implies a
key of E♭ mixolydian (I–♭VII). The B♭ chord that closed the
previous verse, in retrospect, sounds like it was a V in E♭
mixolydian.
0:43–0:58 prechorus E♭–D♭
But this progression also gets turned around! The closing D♭ chord
is prolonged at the end of the prechorus to lead into the next
section.
You could also understand this song as using a different key for each section—F aeolian for the verses, E♭
mixolydian for the prechoruses, and A♭ major for the choruses. This is certainly what seems to be going
on when first listening to the intro and prechorus.
While that is a perfectly acceptable analysis, notice how analyzing this song as belonging entirely to A♭
major allows for a nice narrative parallel between the chord progression and the lyrics: In the first verse,
Elsa (the singer) begins the song describing a bleak, cold night, accompanied in the harmony by chords
that emphasize the vi chord instead of tonic. In the prechorus, as Elsa wrestles with a choice between
pleasing society (“be the good girl”) or letting it go, she is accompanied by repeating IV and V chords
increasingly demanding a resolution. Right when Elsa makes up her mind—she decides to “let it go”—A♭
major, the tonic, finally brings resolution to the oscillation between IV and V in the prechorus,
underscoring Elsa’s inner transformation.
Another example of an emergent tonic is “Little Red Corvette” by Prince (1982), which seems to be in B♭
minor until D♭ emerges as the true tonic chord in the chorus (see Spicer 2017).
Absent Tonics
The most extreme manipulation of our sense of tonic occurs when a song has an absent tonic. An
absent tonic never actually materializes as a heard harmony in the song, but instead is established only
melodically and by using familiar harmonic progressions that do not involve the tonic.
“Last Friday Night” by Katy Perry (2012) is an example of a song with an absent tonic. The progression
is very conventional—IV–ii–vi–V—but I never sounds. The melody, as can be seen in Example 3,
strongly outlines F♯ major in the chorus, with repeated descending (mi–re–do) lines. This
melody, combined with the familiarity of the chord progression, allows F♯ to sound like tonic even when
it never occurs in the accompaniment.
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As with fragile and emergent tonics, absent tonics can also be interpreted as representations of lyrical
themes. In the case of “Last Friday Night,” the absent tonic may depict the disconnect between constant
partying and a need to function in the real world.
Further reading
• Spicer, Mark. 2017. “Fragile, Emergent, and Absent Tonics in Pop and Rock Songs.” Music Theory
Online 23 (2). http://mtosmt.org/issues/mto.17.23.2/mto.17.23.2.spicer.html
Assignments
1. Reharmonizing to avoid tonic (.pdf, .mscz). Asks students to reharmonize a song that uses the
singer/songwriter schema to instead use fragile, absent, or emergent tonic techniques.
VIII. 20TH- AND 21ST-CENTURY TECHNIQUES | 644
Prerequisites
• Pitch and Pitch Class
• Intervals in Integer Notation
This section assumes a familiarity with the topics covered
• Pitch Class Sets, Normal
in Fundamentals.
Order, and Transformations
• Set Class and Prime Form
The final three chapters discuss collections, including modes, the octatonic collection, and others.
Students are also taught here how tonic pitches can be heard within a composition using these collections.
PITCH AND PITCH CLASS | 646
KEY TAKEAWAYS
• Set theory often relies on the distinction between pitch versus pitch class.
• Pitch classes are best represented with integer notation, where C=0.
Pitch
Pitches are discrete tones with individual frequencies.
The concept of pitch, then, does not imply octave equivalence. C4 is a pitch, and it is not the same pitch
as C3.
Pitch Class
Throughout set theory, the word “class” means “group.” So a pitch class is a group of pitches—all pitches
related by octave equivalence and enharmonic equivalence. You have probably encountered both of these
concepts before, even if not by name.
Our system of letter names for notes implies octave equivalence: equivalence between pitches that are
spelled the same but are any number of octaves apart. C4 is the same as C3 is the same as C9, and so on,
because they are all Cs (Example 1).
When someone says “there are twelve notes,” they are implying enharmonic equivalence. Two notes are
enharmonically equivalent if you would press the same key on the piano to play them—even if the
647 | PITCH AND PITCH CLASS
spelling is different. Enharmonic equivalence is the sense in which A♭ and G♯ are “the same.” While tonal
music nearly always distinguishes between enharmonic pitches—A♭ as le leads to G, but G♯ as si
leads to A—post-tonal music is often different.1 Because many composers no longer felt
constrained by a tonal center, the relationships among scale degrees and spellings aren’t important.
In summary, pitch classes are groups of pitches related by octave and enharmonic equivalence. A♭4, A♭3,
G♯2, etc. are all members of the same pitch class.
1. Post-tonal music is extremely various. Composers have individual compositional styles, aesthetic goals, and unique conceptions of pitch. All
this is to say that you must approach a composition with flexibility. For example: because it is quasi-tonal, Debussy’s music often benefits
from a view that does not assume enharmonic equivalence. But sometimes it does. You must rely on your musical intuitions when analyzing
this music, and you should also be willing to approach pitch in these compositions from multiple perspectives until you find one that seems
most appropriate.
PITCH AND PITCH CLASS | 648
Integer Notation
If notes are enharmonically equivalent, then the system
of seven letter names does not work well to describe the
twelve pitch classes. Instead, in set theory, we use integer
notation, which assigns a number between 0 and 11 to
each pitch class (Example 2). All Cs, and any notes
that are enharmonically equivalent to C (B♯, for
example), are pitch class 0. All C♯s, and any notes that
are enharmonically equivalent to C♯ (D♭, for example)
are pitch class 1, and so on. To summarize with a few of
the most common note names:
0. C (B♯, etc.)
1. C♯, D♭
2. D (C𝄪, etc.)
3. D♯, E♭ Example 2. The twelve pitch classes
4. E (F♭, etc.) represented as a clock face.
5. F (E♯, etc.)
6. F♯, G♭
7. G (F𝄪, etc.)
8. G♯, A♭
9. A (G𝄪, etc.)
10. A♯, B♭
11. B (C♭, etc.)
PRACTICE
An interactive H5P element has been excluded from this version of the text. You can view it online
649 | PITCH AND PITCH CLASS
here:
https://viva.pressbooks.pub/openmusictheory/?p=495#h5p-14
Further reading
• Straus, Joseph N. 2016. Introduction to Post-Tonal Theory. 4th ed. Upper Saddle River, NJ: Prentice
Hall.
Resources
• Blank clock faces (integer notation)
• Blank clock faces (letter names)
• Set Theory Quick Reference Sheet: summarizes the definitions of pitch vs. pitch class, intervals vs.
interval classes, and sets vs. set classes.
Assignments
1. Pitch and pitch class (.pdf, .mscz). Asks students to translate between pitch class integers, note
names, and staff notation.
PITCH AND PITCH CLASS | 650
Media Attributions
Pitch Space © Bryn Hughes is licensed under a CC BY-SA (Attribution ShareAlike) license
Footnotes
651 | INTERVALS IN INTEGER NOTATION
KEY TAKEAWAYS
• When analyzing atonal music, intervals may be better understood as a number of semitones, rather than
using tonal interval names.
• There are four types of interval: ordered pitch intervals, unordered pitch intervals,
ordered pitch class intervals, and interval classes (unordered pitch class intervals).
• Ordered pitch intervals are as specific as possible: they measure specific pitches (in specific octaves) and
represent the directionality of the interval.
• Interval classes are the most abstract type of interval: they represent the smallest possible distance between
two pitch classes.
In tonal music, because intervals are dependent upon the pitches that create them, the consonance and
dissonance of intervals is determined by tonality itself. Imagine the interval created by G and B♭, a minor
third. In the context of G minor, this is a consonant interval. Respelled as G and A♯, perhaps in the
context of B minor, it creates a dissonant augmented second. From a tonal perspective, then, the two
intervals are different even though they are the same in isolation (Example 1).
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Example 1. Even though B♭ and A♯ are the same key on the keyboard, the intervals of a minor third and an
augmented second are distinct in tonal theory.
INTERVALS IN INTEGER NOTATION | 652
Contrast this with atonal music. Because atonal music has no tonality, the distinction between B♭ and
A♯ no longer matters. In this context, the intervals G–B♭ and G–A♯ are the same. For this reason, we will
not use tonal interval names like “minor third.” Instead, we will measure the intervals by the number of
semitones between the pitches or pitch classes.
We can describe intervals according to two types of information: pitches vs. pitch classes, and ordered
vs. unordered intervals. Combined, this makes four types of intervals, summarized in Example 2. Each
of these interval types is explained below.
unordered intervals unordered pitch intervals unordered pitch-class intervals / interval classes (IC)
Ordered pitch-class intervals measure the distance between pitch classes, always ascending. This is
visualized most easily by picturing the twelve tones around a clock face, then measuring the interval by
going around the circle clockwise. Thus, from C to E = 4, but E to C = 8 (Example 4).
This means that there are only six interval classes: 1, 2, 3, 4, 5, and 6. If you reach the pitch class interval
of 7, it becomes shorter to move counter-clockwise, and 7 becomes 5. For the same reason, 8 becomes 4,
9 becomes 3, and so on. Both C–E and E–C are interval class 4 (Example 5).
INTERVALS IN INTEGER NOTATION | 654
Summary
Using various combinations of pitch interval, pitch-class interval, ordered, and unordered, we arrive at
four different conceptions of interval.To wrap your mind around each of these and begin to understand
their various analytical uses, think of them on a sliding scale of most concrete (the ordered pitch interval)
to most abstract (the unordered pitch-class interval). You can find this related to other concepts in the Set
Theory Quick Reference Sheet.
In tonal music, it’s useful to distinguish between a thirteenth and a sixth in some situations, but not others.
In the same way, as you analyze atonal music, you will find that different types of intervals are useful for
describing different types of phenomena.
Further reading
• Straus, Joseph N. 2016. Introduction to Post-Tonal Theory. 4th ed. Upper Saddle River, NJ: Prentice
Hall.
Resources
• Blank clock faces (integer notation)
655 | INTERVALS IN INTEGER NOTATION
Assignments
1. Intervals (.pdf, .docx). Asks students to identify interval types (integer notation) within pieces of
music. Worksheet playlist
Media Attributions
Ordered vs unordered pitch interval © Bryn Hughes adapted by Megan Lavengood is licensed under a CC BY-SA (Attribution
ShareAlike) license
Ordered pitch class intervals © Bryn Hughes adapted by Megan Lavengood is licensed under a CC BY-SA (Attribution ShareAlike)
license
Pitch classes © Bryn Hughes adapted by Megan Lavengood is licensed under a CC BY-SA (Attribution ShareAlike) license
PITCH-CLASS SETS, NORMAL ORDER, AND TRANSFORMATIONS | 656
KEY TAKEAWAYS
Pitch-Class Sets
When we talk about a group of pitch classes as a unit, we call that group a pitch-class set, often
abbreviated “pc set.” Any group of pitch classes can be a pitch-class set.
Normal Order
Normal order is the most compressed way to write a given collection of pitch classes, in ascending order.
Normal order has a lot in common with the concept of root position. Root position is a standard way to
order the pitch classes of triads and seventh chords so that we can classify and compare them easily.
Normal order does the same, but in a more generalized way so as to apply to chords containing a variety
of notes and intervals.
657 | PITCH-CLASS SETS, NORMAL ORDER, AND TRANSFORMATIONS
Following are a mathematical and a visual method for determining normal order.
Mathematical method
Example set:
Process G♯4, A2, D♯3,
A4
1. Write as a collection of pitch classes (eliminating duplicates) such that they would fit within a
8,9,3
single octave if played in ascending order. There are multiple possible options.
8 to 9: 1
9 to 3: 6
3 to 8: 5
3. Find the largest ordered pitch-class interval between adjacent pitch classes.
9 to 3 is the
biggest
interval.
4. Rewrite the collection beginning with the pitch class to the right of the largest interval and
[3,8,9]
write your answer in square brackets.
Occasionally you’ll have a a tie for largest interval in step 3. In these cases, the ordering that is most
closely packed to one side or the other is the normal form. If there is still a tie, choose the set most closely
packed to the bottom.
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Transposition
In post-tonal music, transposition is often associated with motion: take a chord, motive, melody, and when
it is transposed, the aural effect is of moving that chord, motive, or melody in some direction. In two
disconnected passages from Claude Debussy’s La cathédrale engloutie, the opening motive <D, E, B> or
<2, 4, 11> is transposed four semitones higher to <F♯, G♯, D♯> or <6, 8, 3> in m. 18 (both in blue in
Example 2), representing the cathedral’s slow ascent above the water. When we hear the passage at m.
18, we recognize its relationship to the passage in m. 1 because the same set of ordered intervals return,
but starting on a different pitch. Transposition preserves intervallic content, and not only that, it preserves
the specific arrangement of the intervals.
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The same motive is preserved in a more obscured fashion going from m. 18 into m. 19 (in red in
Example 2). Here, the unordered pitch class set is transposed, but not the ordered set from before. This
may not look as much like a transposition as the first two sets of motives, but if the pitches are put into
normal order, the transposed intervallic relationship becomes clear.
Transposition is often abbreviated Tn, where n, the index number of a transformation, represents the
ordered pitch-class interval between the two sets. Transposition is an operation—something that is done
to a pitch, pitch class, or collection of these things. Alternatively, transposition can also be a
measurement—representing the distance between things.
Transposing a set
To transpose a set by Tn, add n to every integer in that set (mod 12, meaning numbers wrap around after
reaching 12, like on a clock face).
Inversion
Inversion, like transposition, is often associated with motion that connects similar objects. The passage in
Example 3 from Chen Yi’s Duo Ye (2000) is an example: just as in the transpositionally related
passages, these two gestures have the same intervallic content, so our ears recognize them as very similar.
Unlike transposition, however, the interval content of these two gestures is not arranged in the same way:
both have the same intervals, but the [1, 4, 6] set has the interval 3 on the bottom instead of on the top
(Example 4).
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General inversion
If you are asked to invert a set and are not given an index number, assume you are inverting the set
mod 12. This means taking the complement of each number mod 12. The complement of each integer x
mod 12 is the number y that is the difference between x and 12. For example, the complement of 4 is 8:
4+8=12. The complement of 6 is 6: 6+6=12. The complement of 0 is 0: 0+0=0, which is 12 mod 12.
In Example 3, the first set [2, 4, 7] is inverted by I8. To invert a set by I8, follow this process, in this
order:
Another way to visualize this is on the clock face. If you have two sets that are 1) both in normal order
and 2) related by inversion, the notes within each set will map onto one another in reverse order, as shown
in Example 5 below. Write the two sets in normal form on top of one another, then add the opposing
integers of each set together as illustrated in Example 6 to yield the index number of the I relation. If
the sum of each number pair is 12 or more, subtract 12 so that your n is in mod 12.
PITCH-CLASS SETS, NORMAL ORDER, AND TRANSFORMATIONS | 662
Exampl
e 5. Two
inversion
ally
related
sets
have
integers
that pair
together
in
reverse
order to
form a
mirror-lik
e
relations Example 6. For two 3-note
hip. sets, the leftmost integer in
These one set is added to the
paired rightmost of the second, the
intervals middle numbers are added
always together, and the rightmost
sum to element of the first set is
the added to the leftmost of the
same second. This is the
number, cross-addition method for
which is finding the index number of
the inversions.
index
number
of the
inversion
.
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Example 7. Using the clock face for transposition and inversion of pitch class sets.
663 | PITCH-CLASS SETS, NORMAL ORDER, AND TRANSFORMATIONS
Further reading
• Straus, Joseph N. 2016. Introduction to Post-Tonal Theory. 4th ed. Upper Saddle River, NJ: Prentice
Hall.
Resources
• Blank clock faces (integer notation)
• Blank clock faces (letter names)
• Set Theory Quick Reference Sheet: summarizes the definitions of pitch vs. pitch class, intervals vs.
interval classes, and sets vs. set classes.
Assignments
1. Normal form and transformations (.pdf, .docx). Asks students to find normal form of various sets,
calculate transformations of sets, and identify Tn/In relationships in “Nacht” by Arnold Schoenberg.
2. Composition prep worksheet (.pdf, .docx). Prepares students for the set class composition by asking
them to find sets and transformations.
Media Attributions
inversion-2 © Megan Lavengood is licensed under a CC BY-SA (Attribution ShareAlike) license
Cross-addition for inversion © Megan Lavengood is licensed under a CC BY-SA (Attribution ShareAlike) license
SET CLASS AND PRIME FORM | 664
KEY TAKEAWAYS
The simplest way to define set class is “a group of pitch-class sets related by transposition or inversion.”
This may initially seem confusing, but it’s just another kind of class. As you have learned in other
chapters, “class” is another name for “group.” Recall the other kinds of classes you have already learned
about.
• Pitch vs. pitch class: A pitch occurs at a specific octave, and often we conceive of it with a specific
spelling. A pitch class is a group of pitches that is related by transposition or inversion.
• Interval vs. interval class: An interval has a specific distance in semitones, while an interval class is a
group of intervals that are inversions of each other or related by octaves.
Introduction
Pitch-class set vs. set class (pitch-class set class) is the topic of this chapter. The reason the definition
of “set class” may seem more confusing is that it involves two kinds of groups: classes and sets.
665 | SET CLASS AND PRIME FORM
As an analogy, consider biology and the way different living things are categorized. Plants in the same
class are are all biologically related in a specific way: Angiospermae is a class of plants that produce
flowers. But we can group together plants for other reasons: the group of plants in someone’s front yard,
for example. That would be a set of plants, but not a class of plants.
So a pitch-class set is a group of pitches that the analyst decides to put together for some reason. The
pitch-class set class—a term that is very unwieldy, so theorists have agreed to shorten it to the last two
words, set class—is the group of groups of pitches that are all related by transposition or inversion.
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To quickly explain why these snippets of notes all sound the same, we can say they are all members of
the same set class.
Major and minor triads may be a helpful and more familiar example. Major and minor triads all sound
“the same” compared to tone clusters, quartal harmonies, or even augmented or diminished triads. The
reason for that is that all major and minor triads are transpositionally or inversionally related to one
another.
Prime Form
Just as pitch class sets are named by their normal form, set classes are named by their prime form: the
version of the set that is transposed to zero and is most compact to the left (compared with its inversion).
Note that prime form is just a label for a set class. It does not have any special status—it’s not significant
if a composer uses [0, 1, 4] as a pitch-class set just because it shares the same integers as the prime form
(014).
Mathematical process
Here is the process to put a pitch-class set in prime form, with an example using the motive from
Example 1.
Step Example
4. Transpose the set from Step 3 so that the first pitch class is 0. T7 = [0, 2, 3, 5, 7]
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Further reading
• Straus, Joseph N. 2016. Introduction to Post-Tonal Theory. 4th ed. Upper Saddle River, NJ: Prentice
Hall.
Resources
• Blank clock faces (integer notation)
• Blank clock faces (letter names)
• Set Theory Quick Reference Sheet: summarizes the definitions of pitch vs. pitch class, intervals vs.
interval classes, and sets vs. set classes.
Assignments
SET CLASS AND PRIME FORM | 668
1. Set Class Composition prep worksheet (.pdf, .docx). Prepares students for the set class composition
by asking them to find sets and transformations.
2. Set Class Composition (.pdf, .docx). Builds on the prep worksheet. Asks students to compose and
analyze a 24-bar ABA form piece for unaccompanied solo instrument using set classes.
669 | ANALYZING WITH SET THEORY (OR NOT!)
KEY TAKEAWAYS
• Be aware of why you are grouping some sets together and not others (segmentation).
• Create analytical unity by relating sets to one another.
• Remember that composers wrote free atonal music before set theory was invented.
• Be aware of the limitations of set theory: it does not discuss any non-pitch aspects of the music, and it
even neglects to address many pitched aspects.
There are many issues with the analysis of music using pitch-class sets—some generic to many forms of
analysis, some more specifically relevant to set theory.
The flexibility of set theory is a double-edged sword. Because any group of pitches can be a set, analysts
can move beyond triadic harmony and analyze music based on any sort of pitch organization. But by the
same token, because any group of pitches can be a set, analysts could “prove” anything they want to. For
instance, consider a motivic analysis in which the motive is a single interval. By locating this one interval
wherever possible, an analyst could claim that a work has motivic unity. While that interval may indeed
be found throughout the piece, the frequency of the interval’s appearance is unlikely to be meaningful on
its own, so it’s up to the analyst to set out how and why it assumes musical meaning for them in the given
context. In short, analysts should always be aware of the basis, significance, and perceptibility of their
observations.
Following are several potential pitfalls of using set theory, along with ways to bolster any claims you make
using set theory.
ANALYZING WITH SET THEORY (OR NOT!) | 670
Segmentation
The emphasis on numbers (via pc integers) can make set theory seem more “scientific” than it really is.
And because set theory relationships are factual—for example, a pitch-class set is related transpositionally
to another set, or it isn’t—it’s easy to end up with an unfalsifiable analysis that may still be ineffective in
describing the music. For example, every single piece with notes in it could be described in terms of
one-note “sets,” all of which are equivalent to each other. Clearly this is not a helpful analytical statement!
The best way to ensure that your set theory claims are useful is to be aware of your process of
segmentation: how you’ve divided up the piece into pitch-class sets. Here are just some of the reasons
why an analyst might group notes together:
• The contiguity of the grouping. There’s a strong case for grouping together notes that are
simultaneous or that happen in direct succession. You could make a case for uniting notes that are
far away from each other and excluding many other notes in between, but it will take more
explaining.
• Shared rhythmic profile. It’s common to segment sets based on what is set off by rests, or based on a
shared rhythmic motive, or any other number of rhythmic connections.
• Shared metric placement
• Shared timbre and texture
• Shared articulation
• Shared register (high range, low range)
In all of your musical segmentations, strive for a balance between imaginative seeking and musical common
sense. On the one hand, do not restrict yourself to the obvious groupings (although these are often a good
place to start). Interesting relationships may not be apparent the first, second, or third time through, and
you need to be thorough and persistent in your investigations. On the other hand, you have to stay within
the boundaries of what can be meaningfully heard. You can’t pluck notes out in some random way, just
because they form a set that you are interested in.
• Find multiple instances of the same set class, and then relate them to each other by transposition and
671 | ANALYZING WITH SET THEORY (OR NOT!)
inversion. You might calculate transpositional/inversional relationships from one set to the following
set, or from the first set to all the others, or any other configuration. Your relationships should all
involve notes that actually appear in the score—don’t bother relating sets to the normal form that
corresponds to the prime form, for example, unless that normal form actually appears in the piece.
• See if different sets belong to the same superset. That superset might be a familiar mode or
collection.
• Relate pairs of notes across sets by symmetry across an axis of inversion or emphasis on a pitch class
center.
Just because a theory was developed after the fact does not make the theory any more or less valid
(composers historically have been at least as active in obfuscating their methods as clarifying them!), but
it’s worth keeping in mind.
This list includes many aspects of music that are important to listeners and performers. You may want to
take care to address these issues in your analysis through other means, because a set theory analysis will
often ignore them.
ANALYZING WITH SET THEORY (OR NOT!) | 672
Further reading
• Buchler, Michael. 2017. “A Case Against Teaching Set Classes to Undergraduates.” Engaging
Students: Essays in Music Pedagogy 5. http://flipcamp.org/engagingstudents5/essays/buchler.html.
• Schoenberg, Arnold. 1950. Style and Idea. New York: Philosophical Library.
• Straus, Joseph N. Introduction to Post-Tonal Theory. 4th ed. Upper Saddle River, NJ: Prentice Hall,
2016.
Assignments
1. Guided analysis of “Wie bin ich Froh!” by Anton Webern (.pdf, .docx). Recording
2. Segmentation worksheet (.pdf, .docx). Asks students to justify the given segmentations by explaining
what the grouped pitches have in common.
3. Atonal analysis using pc sets (.pdf, .mscx). Open-ended prompt asks students to use set theory to
analyze an excerpt.
673 | DIATONIC MODES
DIATONIC MODES
Mark Gotham and Megan Lavengood
KEY TAKEAWAYS
• Church modes originated in the medieval era, and are classified by their use of the diatonic collection,
their final, the relationships of other pitches to that final, and their range.
• In the 20th and 21st centuries, diatonic modes are also understood as rotations of the major scale, without
range requirements, but with the concept of a pitch-class center or tonic.
• Non-Western musical cultures have their own methods of organizing pitch into modes. These “modes” are
usually more than simple pitch collections and can include characteristic gestures, embellishments, and
protocols for use. Examples include Indian raga, Arabic maqam, Balinese pelog and slendro, Jewish prayer
modes, Persian dastgah, and Japanese scales.
• Modes, conceived in terms of parallel relationships, with an emphasis on the color notes of each mode:
◦ Ionian: Identical to major
◦ Mixolydian: Like major with a
◦ Lydian: Like major with a
◦ Aeolian: Identical to natural minor; no raised leading tone
◦ Dorian: Like natural minor with a
◦ Phrygian: Like natural minor with a
• Modes, conceived in terms of relative relationships:
◦ Ionian: White notes starting on C
◦ Dorian: White notes starting on D
◦ Phrygian: …starting on E
◦ Lydian: …starting on F
◦ Mixolydian: …starting on G
◦ Aeolian: …starting on A
This book covers modes from many different angles. For more information on modes, check Introduction to
DIATONIC MODES | 674
Diatonic Modes (general), Chord-Scale Theory (jazz), Modal Schemas (pop), and Analyzing with Modes, Scales,
and Collections (20th-/21st-c.).
At the turn of the 20th century, many composers were rethinking the materials of music. This is one
reason the term “common practice” is used to distinguish the major-minor music that dominated Western
classical music for the 200 years or so prior—something changed around 1900. You’ll also hear talk of
the “emancipation of the dissonance” connected to this, and the emergence of atonality out of
ever-more-radical chromatic maneuvers. The history of music is much more complex than this simple
take, but there is some truth to it: a lot of composers were interested in reinventing what and how they
composed, similar to the emergence of abstract art around the same time.
The use of modes has a place in all of this, encapsulating many of the ways in which one can broaden the
compositional palette. In this chapter, we’ll go through some of the most interesting, famous, and
significant options, starting, as many composers did, by looking back to what came before.
Church Modes
The dominance of major and minor in Western classical music emerged out of an earlier practice
centered on the use of modes. This collection of modes is often called church, white-note, or Gregorian
modes. These modes correspond to rotations of the C major scale, using the same collection of pitches
but a different tonic (more properly referred to as a final in this context).
This already introduces us to a fundamental tenet of what a mode generally comprises: both
a diatonic collection of pitches and a final. These are the first two items on the list below, followed by two
other particularly useful concepts for understanding church modes:
1. The diatonic collection and the intervallic relationships between those pitches
2. The final, which acts as a referential point
3. Further hierarchical levels between the pitch in the mode and its final
4. Melodic shapes and range
1–3 will be familiar from tonal music, but 4 may not be. Range is a defining characteristic of the church
modes, as each mode has an authentic and a plagal version.
Example 1 summarizes the modes by their final, their tenor, and their range. Authentic modes are on
the left, while plagal modes (those beginning with “hypo-“) are on the right. Tenors are usually a fifth
675 | DIATONIC MODES
above the final in authentic modes and a third above the final in plagal modes (except where noted with an
exclamation point). Example 2 provides the same summary, but in notation.
Authentic mode Final Tenor Range Plagal mode Final Tenor Range
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When modes were revisited as a compositional concept in the 20th century, many concepts from church
modes were maintained, while other distinctions were erased. The notion of authentic/plagal modes
(“hypo-” modes) was dropped, as the range of many pieces spans more than one octave. Additionally,
Glarean’s later modes, aeolian and ionian, were just as important as the original authentic church modes.
Color notes
As a listener, you may experience modes as sounding similar to major or minor, but with certain inflected
DIATONIC MODES | 676
notes—color notes.1 Modes will sound major-ish or minor-ish based on the quality of the third above the
tonic. The major-ish modes are mixolydian and lydian; the minor-ish modes are aeolian, dorian, and
phrygian.
Example 3 lists each mode, the quality of the third above the tonic, its color note that distinguishes it
from major/natural minor, and its pitches parallel and relative to C major.
C D E♭ F G A DEFGABC
Dorian Minor la [latex](\uparrow\hat6)[/latex]
B♭ C D
C D♭ E♭ F G A♭ EFGABCD
Phrygian Minor ra [latex](\downarrow\hat2)[/latex]
B♭ C E
C D E F♯ G A B FGABCDE
Lydian Major fi [latex](\uparrow\hat4)[/latex]
C F
C D E F G A B♭ GABCDEF
Mixolydian Major te [latex](\downarrow\hat7)[/latex]
C G
Aeolian
te [latex](\downarrow\ C D E♭ F G A♭ ABCDEFG
(natural Minor
hat7)[/latex]—no raised leading tone B♭ C A
minor)
Example 4 provides a brief summary of this information using notation. The modes are grouped by
whether the tonic is major or minor, which helps with aural identification of modal passages (as discussed
further below). The top line shows modes whose is a major third above tonic (mi): major, mixolydian,
and lydian. The bottom line shows modes whose is a minor third above tonic (me): aeolian, dorian, and
phrygian. The dotted slurs connect the distinctive color note of each mode with its major/minor
counterpart.
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Example 4. Modes grouped by major vs. minor tonic, with color notes shown in blue.
Identifying modes
If you are not used to playing in and listening to modes, it can be daunting to identify and distinguish
modes. Here is a step-by-step process for distinguishing all the modes discussed here, illustrated as a
flowchart in Example 5.
Listen for the tonic pitch. Then, listen for the whole tonic chord. Is the third of
that chord major or minor? This distinguishes the major-ish modes (major,
mixolydian, lydian) from the minor-ish modes (minor, aeolian, dorian).
Example 5. Flowchart
illustrating the process
2. Listen and look for (ti or te).
of identifying modes.
Compare the to the leading tone (ti) a half step below tonic that we typically
hear in minor and major pieces. If is a whole step below tonic (te), then it’s lowered, which means that
the piece is (at least temporarily) in a mode.
If you heard a major tonic and is lowered (te), then you are in mixolydian.
If you heard a minor tonic and is raised (ti), then you are in minor.
DIATONIC MODES | 678
If did not identify the mode for you, listen and look for other raised color notes.
If is raised (fi) in a major-tonic mode, you are in lydian. If it is not, you are in major.
If is lowered (ra) in a minor-tonic mode, you are in phrygian. If is raised (la) in a minor-tonic mode,
you are in dorian. If neither nor is altered (te, le, re), you are in aeolian.
• Indian raga
• Arabic maqam and Turkish makam
• Balinese pelog and slendro
• Jewish prayer modes
• Persian dastgah
• Japanese scales
Each of these systems of pitch organization is related to the concept of mode discussed here, but each has
nuances and practices that distinguish them from the diatonic modes, even if the pitches are identical.
Further Reading
679 | DIATONIC MODES
Assignments
1. Identifying modes (.pdf, .mscz). Asks students to identify 20th-century modes versus major/minor,
circle inflected pitches, and explain how a pitch center is articulated. Music examples are transcribed
from the TV show Great British Bake Off (music by Tom Howe, © Accorder Music Publishing, used
with permission). Worksheet playlist
2. Additional beginner’s worksheets can be found in Introduction to Diatonic Modes and the Chromatic
“Scale.”
Media Attributions
Identifying Modes flowchart with Phrygian © Sarah Louden and Megan Lavengood is licensed under a CC BY-SA (Attribution
ShareAlike) license
Footnotes
COLLECTIONS | 680
COLLECTIONS
Mark Gotham; Megan Lavengood; Brian Moseley; and Kris Shaffer
KEY TAKEAWAYS
This chapter introduces a number of pitch collections that appealed to many composers in the 20th century:
• Olivier Messiaen’s “modes of limited transposition”: a group of scales that cannot be transposed in 12
unique ways
• The “distance model” of generating collections with a repeating pattern of pitch intervals
CHAPTER PLAYLIST
Beyond the use of major/minor and the diatonic modes, there are four new(ish) collections that occupy a
special place in the 20th century: the pentatonic, whole-tone, octatonic, and acoustic collections. This
chapter discusses these collections along with some important questions of modal properties and
extra-musical meaning.
681 | COLLECTIONS
In the 20th and 21st centuries, composers sometimes used the diatonic collection, but without making any
attempt to make a specific pitch sound like the the pitch center. Such examples are not tonal, nor are they
modal; instead, they are considered pandiatonic. Igor Stravinsky often wrote pandiatonic passages; many
can be heard throughout the opening of his ballet Petrushka.
Pentatonic Collection
The pentatonic collection is prevalent in music across the globe. It is a collection built with the interval
pattern ma2–ma2–mi3–ma2–mi3. The pentatonic collection can be described with reference to the
diatonic modes in multiple different ways (Example 1).
a. Using the scale degrees of a major scale, a pentatonic scale can be formed with .
b. If you think of the diatonic collection as a stack of perfect fifths (F, C, G, D, A, E, B), then the
pentatonic is a narrower form of the same collection: C, G, D, A, E.
c. Finally, if you visualize the piano, note that the complement of C, D, E, F, G, A, B, C (the white
notes) is G♭, A♭, B♭, D♭, E♭ (the black notes). The black-note collection is, once again, the
pentatonic.
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Example 1. (a–c) Three ways of generating a pentatonic collection, and (d) a rotation of the pentatonic
collection.
What the pentatonic collection removes from the diatonic is the two notes that create half steps ( and ,
if you are thinking in terms of major scale degrees). The absence of semitones arguably makes the
pentatonic more readily rotatable and considered as a collection, without a strong emphasis on a particular
note as tonic. Any member of the collection easily functions as a tonal center. For example, there are five
COLLECTIONS | 682
unique modes of the collection given in (a) of Example 1, formed by rotating the collection so that
each pitch class becomes tonic: C pentatonic (C, D, E, G, A), D pentatonic (D, E, G, A, C), E pentatonic
(E, G, A, C, D), and so on. Letter (d) of Example 1 gives an especially common rotation of the
pentatonic collection that is referred to as the minor pentatonic.
The pentatonic scale is especially common as a basis for melodic composition. One example can be heard
during the first movement of Chen Yi’s percussion concerto, at the entrance of the strings at 2:13. Notice
that the pentatonic melody is sometimes accompanied by atonal-sounding chords in the brass. Pentatonic
melodies don’t need to be harmonized within the pentatonic collection, and in fact often aren’t; after all,
there are only two possible triads in the pentatonic collection (C major and A minor, for example, in the
collection C–D–E–G–A).
Whole-Tone Collection
The whole-tone collection is exactly what it sounds like: a scale made up entirely of six whole steps.
Similar to the pentatonic scale, the whole-tone scale is rotationally ambiguous, since there is only one size
of step. Composers often exploit this ambiguity by using the whole-tone collection to produce an
unsettled feeling in the listener (in film and TV, one famous trope is to use the whole-tone scale to
accompany a dream sequence).
There are only two unique whole-tone collections: one that contains the even-numbered pitch classes [0,
2, 4, 6, 8, 10] and one that contains the odd-numbered pitch classes [1, 3, 5, 7, 9, 11]. If you need to
distinguish between these two collections in an analysis, you can use the abbreviations WT0 and WT1:
“WT” stands for “whole tone,” and the subscript number indicates the pitch C (0) or C♯ (1) (Example
2).
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Example 2. There are only two whole-tone collections. Transposing WT1 up a half step would yield WT0
again.
683 | COLLECTIONS
Octatonic Collection
The octatonic collection is built with an alternation of whole steps and half steps, leading to a total of
eight distinct pitches (Example 3). Jazz musicians refer to this as the diminished scale, as it fits well
with a fully diminished seventh chord. (Of course, there can be other scales that have eight distinct
pitches, but this is the one called the octatonic scale.)
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The interval content of this collection is very homogeneous, and this intervallic consistency leads to one
of its most interesting properties. As shown in Example 3, there are only three possible octatonic
collections. When we transpose the first collection above (OCT0,1) by 3—adding 3 to each of the integers
in the collection—<0, 1, 3, 4, 6, 7, 9, 10> becomes <3, 4, 6, 7, 9, 10, 0, 1>, which is the same as the first
collection, just starting on a different pitch. If you need to distinguish between these two collections in an
analysis, you can use the abbreviations OCT0,1, OCT1,2, and OCT2,3: “OCT” is an abbreviation of
“octatonic,” and the subscript numbers represent pitches that create a half step unique to that scale (C,C♯;
C♯,D; and D,E♭, respectively).
Joan Tower frequently uses the octatonic collection, and it is particularly audible in the opening of her
piece Silver Ladders.
Unlike the other collections discussed here, the octatonic collection appears with some frequency prior to
the 20th century, especially in Russia.1 The octatonic collection can produce several familiar triadic
harmonies, as shown in Example 4: eight major/minor triads (and four diminished triads, not shown),
and four each of every type of seventh chord except the major seventh chord. However, there are no
chords related by root motion by fifth, so no tonic/dominant motion is possible. Instead, there is a
plethora of root motion by third. Frédéric Chopin uses the octatonic over a B♭7 chord in his Ballade in G
minor (Example 5). Thanks to all those triadic harmonies, it’s a versatile mode that can imply tonal
associations while also inviting a freer movement among tonalities not traditionally regarded as being
closely related.
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Hexatonic Collection
The hexatonic collection is a six-note collection that is formed by alternating minor seconds and minor
thirds. The name “hexatonic” refers to its six notes, and while there are other possible scales with six
notes (for example, the blues scale), the name “hexatonic collection” always refers to this particular group
of notes. Like octatonic collections, hexatonic collections can only be transposed four times before
returning to the same group of notes again (Example 6), and they are similarly named according to their
lowest semitone (e.g., HEX0,1 is the hexatonic collection containing C–C♯).
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Again like octatonic collections, hexatonic collections contain triads but do not suggest a particular tonic
chord or home key. As shown in Example 7, each collection contains three major triads, three minor
685 | COLLECTIONS
triads, and two augmented triads. Juxtaposing two augmented triads that are one semitone apart is another
way of generating the hexatonic scale.
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Acoustic Collection
The acoustic collection is based on the lowest intervals of the overtone series. This is significant because
there has long been an association between those lowest intervals and the notion of musical consonance.
The result is a mode that resembles the major scale but with a and (Example 8).
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Example 8. The acoustic scale is derived from the notes of the overtone series.
transposition,” as he called them, are shown in the table in Example 9 and in notation in Example 10.
The numbers in parentheses refer to pitch intervals in semitones.
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These are not the only collections that have limited transpositions: other subsets/supersets of these
collections may also have this property. Even within this set, Mode 1 is a subset of Modes 3 and 6. 2
2. The acoustic scale does not have this property, so it does not appear.
687 | COLLECTIONS
• 1:2 = alternating semi and whole tones (the octatonic mode again)
• 1:3 = semitones and minor thirds, sometimes called the hexatonic mode/collection, or in
pitch-class set parlance, the “magic” hexachord
• 1:5 = semitones and perfect fourths
This style of organization is strongly associated with Béla Bartók, as we’ll see in the next chapter.
Other modes
This is just the tip of the iceberg, even for 20th-century classical music. Among the other main areas to
explore are:
• Microtonal modes, beloved of Ligeti and the spectral school, which focus on alternate tuning systems
and avoid any assumption of the equal-tempered 12.
• Synthetic modes, derived by alteration of diatonic, as in the non-standard key signatures of certain
movements in Bartók’s Mikrokosmos.
• One-off cases like the “scala enigmatica” of Verdi’s Ave Maria (which is hardly used as a scale/mode
in any other case).
• Correspondence to the natural overtone series. One hypothesis is that people like modes that see
the important pitches align with those low down in the harmonic series, and thus with what are
conventionally called consonances (octaves, fifths, etc.). Clearly the acoustic collection is a
particularly literal implementation of this idea.
• Symmetry is a key preoccupation of 20th-century composers. One reason for this is the desire to
create a new kind of order not rooted (pun intended…) in the “from-the-bass-up” world of the
overtone series and fundamental bass harmony. Symmetry can be internal to scale, as in the
rotational symmetry of the modes of limited transposition, or else between scales, as in Bartók’s
Cantata Profana.
• Maximal evenness. A prominent theory of modal construction emphasizes the even distribution of
pitches in the space.3 Think of the diatonic modes again. The diatonic collection is made up of
mostly whole tones, with only two semitones that are as far away from each other as possible. This
COLLECTIONS | 688
maximized spacing between the semitones means that the pitches of the diatonic collection are
maximally even.
Further reading
• Agmon, Eytan. 1990. “Equal Divisions of the Octave in a Scarlatti Sonata.” In Theory Only 11 (5):
1–8.
• Clough, John, and Jack Douthett. 1991. “Maximally Even Sets.” Journal of Music Theory 35, no.
1–2 (Spring–Autumn): 93–173.
Assignments
1. Worksheet on collections (.pdf, .mscz). Asks students to spell one example of each of the collections
from this chapter.
2. Analyze Lili Boulanger’s resplendent Hymne au Soleil. Identify modes and collections used, along
with related techniques. Scores can be found on IMSLP and MuseScore. Both include the original
French text and an English translation in the underlay.
Footnotes
KEY TAKEAWAYS
So far, most of our discussion has focused on defining modes, collections, and their properties. As always, there is
much more to analyzing with these materials than simply knowing terms. This chapter provides some guidance on
how to go from theory to practice.
Please note that this book covers modes from many different angles. For more information on modes, check
Introduction to Diatonic Modes (general), Chord-Scale Theory (jazz), Modal Schemas (pop), and Diatonic Modes
(20th/21st-c.).
CHAPTER PLAYLIST
In Theory
So, you’re faced with a new piece of music, and you get the sense that it might be worth considering a
modal view. It sure isn’t “tonal” in the common-practice sense, but neither does it seem “atonal,” “serial,”
or the like. How do you go about identifying the modes used, and making analytical observations on that
basis? 20th-century music has a wider range of possible modes and may not have a key signature or any
other notational shortcut for identifying the mode. As such, it’s especially important to be able to identify
modes from musical cues.
Firstly, let’s review some of the different considerations that can go into the definition of a mode:
ANALYZING WITH MODES, SCALES, AND COLLECTIONS | 690
No. 1 reminds us that modes can be transposed. While we often present the early modes in their
“white-note” transposition (with dorian on D, for instance), in 20th-century music, you can just as easily
have them on other pitches such as dorian on E and phrygian on D. This leads to the frankly confusing
terminology “D mode on G.” Don’t forget that you can also have chromatic notes in modal music—not
every pitch used needs to be in the scale. So the question is, how many exceptions are too many?
No. 2 helps to separate all the possibilities that No. 1 throws into the mix. If you only have white notes,
which of those white notes is the modal final? Any and all musical parameters might contribute to the
case for one of those pitches as tonic; for a useful starting point, try the widely applicable “first, last,
loudest, longest” maxim (Cohn 2012, 47, after Harrison 1994, 75ff.). Pitches that dominate in those ways
tend to be more salient. Do phrases tend to start and/or end on a certain pitch, or do they emphasize that
pitch in other ways, perhaps with strong metrical positions or by reserving it for the top of the melodic
contour?
No. 3 also speaks to this difficulty. For instance, in tonal music, you may find more instances of sol
than do , since it fits in both the tonic and dominant chords. 20th-century modes complicate this with
a more diverse set of candidates for hierarchical importance, but this can also help us to unpick the
different roles. “First” and “last” might be your tonic, while the dominant may be “loudest” and “longest.”
We might also use a less loaded term than “dominant” here. For instance, the church modes (discussed in
a previous chapter) had a “tenor” or “reciting tone” in an analogous role.
There are many reasons for emphasizing specific pitches in this way. One reason relevant to 20th-century
music is the notion of color notes, like fi in lydian or ra in phrygian. Another reason is to
establish a pitch class center. For listeners accustomed to common-practice tonality, the lydian fourth
(e.g., F♯ in C major) can very easily become a leading tone in the dominant (G major). Otherwise tonal
works written “in the lydian mode” can be highly ambiguous in this respect. Consider what you make of
Ludwig van Beethoven’s “Heiliger Dankgesang” from the Op. 132 quartet (1825) and Anton Bruckner’s
Os Justi (1879) to this effect.
Range considerations were fundamental to the definition of church modes in terms of authentic vs. plagal
forms, and this has been a key consideration for defining modes in many other types of music, as have
melodic shapes.
691 | ANALYZING WITH MODES, SCALES, AND COLLECTIONS
In Practice
The above considerations have to do with identifying a prevailing mode, but how does an analyst use this
information to create a compelling interpretation of the piece? Well, the challenge of coming up with a
modal reading can become part of that interpretation. Here are some starting points for pivoting from
identification to interpretation:
• Firstly, how easy was it to come up with a tonal reading? Is this a piece with its structure on display
or deeply hidden? What might that say about the emotional valence of the work?
• Can you characterize the mode in general and its use in this piece? Is the raised lydian fourth
“exciting” or even “aspirational”; is the phrygian second perhaps “lamenting”?
• How clearly and separately are these modes set out? When we move from one mode to another, are
there common tones, or even a common final? Just like in tonality, “modulations” among modes can
be regarded as close or remote, partly on this basis.
• How are the properties and distribution of modes related to wider considerations? Do mode changes
align with moments that seem like section boundaries for other reasons?
Consider the three moments below, which come from Béla Bartók’s From the Island of Bali. Is the same
mode in operation throughout, or does it change? What pitches are in/out of the mode(s)? Does a modal
final present itself? Are there any moments where two modes are combined? Some suggestions follow the
images, so decide on what you think before scrolling down to compare notes.
The first case is wonderfully ambiguous in relation to both mode and final. If you put the hands together,
the pitches constitute a neat octatonic mode, but if you keep them apart, then it’s the 1:5 distance model
mode often associated with Bartók, also known as set class (0167). There’s good Bartókian symmetry in
all of this, and very little sense of a single modal final emerging.
In the latter two cases, there is a strong tonic arrival on the first downbeat, suggesting G♭ and E♭ as the
respective tonics for these sections. However, notice how closely the pitches relate to the opening. First we
have [B, C, F, G♭], which were the exact pitches of the right hand at the start. (Do you spot the one
“chromatic” note in this reading? A𝄫 could be interpreted as a chromatic upper neighbor that doesn’t
really fit the mode.)
Later we have [A, B♭, D, E♭], which are a close variant on those of the left hand. This change indicates a
move from that opening ambiguity to a passage quite neatly redolent of E♭ major, which is swiftly undone
as the piece goes back to the technical and emotional place where it started.
So we have a balance between unity and variety, as well as trajectory for the piece overall.
For instance, we’ve been focusing on 20th-century instances of modal writing, but they do appear in
common-practice tonal music, often with associations back to the pre-tonal music from which those
modes came: for example, Beethoven’s use of dorian in the “Credo” of his Missa Solemnis (1824).
In addition to looking back, composers have also looked out, deliberately invoking folk and/or foreign
musics in the concert hall by the use of their mode. As always, this can be indicative of cultural
appreciation or appropriation. The mania for the exotic, Hispano-Arabic topic around the turn of the 20th
century (rarely more sophisticated than the use of the phrygian ra errs on the side of the latter.
693 | ANALYZING WITH MODES, SCALES, AND COLLECTIONS
Likewise, we can observe the nominally Hungarian music by composers like Brahms (looking at that
culture from outside), Liszt (keen to emphasize his own Hungarian roots as part of his brand), and Ligeti
(drawing on his own culture).
Specific modes also attract meanings from their inherent properties. We have already seen the whole-tone
modes’ un-rootedness, which lends itself most naturally to certain extramusical associations, as showcased
in Claude Debussy’s “Voiles” (1909). Likewise the octatonic is often invoked as some kind of exotic,
timeless, magical topic, as in the celesta arpeggios of “Dance of the Sugar Plum Fairy” from Pyotr Ilyich
Tchaikovsky’s The Nutcracker (1892).
Finally, and as always with meaning, apart from the materials itself and the composers’ intentions, it
ultimately comes down to your associations and inferences.
Further Reading
• Cohn, Richard. 2012. Audacious Euphony: Chromaticism and the Consonant Triad’s Second Nature.
New York: Oxford University Press.
• Harrison, Daniel. 1994. Harmonic Function in Tonal Music. Chicago: University of Chicago Press.
• Persichetti, Vincent. 1961. Twentieth-Century Harmony. New York: W. W. Norton.
Assignments
1. Analyze Lili Boulanger’s resplendent Hymne au Soleil. Identify modes and collections used, along
with related techniques and materials, and linking these (where you consider it appropriate) to
possible “meanings” of the work. Scores can be found on IMSLP and MuseScore. Both include the
original French text and an English translation in the underlay.
Media Attributions
Bartok1
Bartok2
Bartok3
IX. TWELVE-TONE MUSIC | 694
Organization
The chapters are organized as follows:
• Basics begins this section with some core definitions and ideas.
• Naming Conventions then deals in detail with the different conventions for naming rows and
transformations (including matrices). This is an important preparation for students preparing to read
other writings on twelve-tone music.
• Row Properties looks at some of the “special” rows that have attracted composers. It’s worth looking
at the Twelve-Tone Anthology in combination with this.
• Analysis Examples – Webern op. 21 and 24 turns to a more thorough kind of analysis, considering
two of the early “classics” both in terms of their technical details and in a wider, more contextual
695 | IX. TWELVE-TONE MUSIC
sense.
• Composing with Twelve Tones invites students to “learn by doing.” As we have emphasized
elsewhere in the textbook, it’s often helpful to get to know a topic by approaching it in different
ways: theoretical, analytical, and practical. Twelve-tone music is no different.
• History and Context concludes this section by “zooming out” to consider some of the wider context
around this music, and the motivations for writing it.
Anthology
The Anthology part of the textbook includes a dedicated Twelve-Tone Anthology that sets out hundreds
of examples of rows used in the repertoire according to their properties and discusses their relative rarity.
TWELVE-TONE BASICS | 696
KEY TAKEAWAYS
• Twelve-tone composition involves using all twelve pitch classes roughly equally. That means it (usually)
isn’t appropriate to look for a key, mode, tonic pitch, or other tonal elements.
• Composers often use a fixed ordering of the twelve pitch classes called a row, but also adapt it in various
ways, notably through:
◦ Transposition (T)
◦ Inversion (I)
◦ Retrograde (R)
◦ Retrograde inversion (RI)
• In practice, there is a great variety of how composers approach the task of composing with twelve tones.
CHAPTER PLAYLIST
Twelve-tone music is most often associated with a compositional technique, or style, called serialism,
though these terms are not equivalent:
• “Serialism” is a broad designator referring to the ordering of things. In television, for instance, a
serialized show is one in which the episodes are aired in a specific order to tell a continuous story.
Serialism in music involves putting musical elements in some kind of order, whether they are
pitches, durations, dynamics, or something else. So note that not all serial pieces use a twelve-tone
row.
• “Twelve-tone composition” refers more specifically to music based on orderings of the twelve
pitch classes.
697 | TWELVE-TONE BASICS
This style of composition is commonly associated with a group of composers (sometimes called the
“Second Viennese School”) whose members included Arnold Schoenberg, Anton Webern, and Alban
Berg.1 But twelve-tone compositional techniques and the ideas associated with them have been influential
for many composers, and serial and twelve-tone music is still being written today. Much of this music
shares similar axioms, which we outline in the following chapters, but it’s important to stress that
composers have used these basic ideas to cultivate a wide range of different approaches, and that the
emphasis for most composers is on the music, with the technique as an important but subsidiary
consideration.
Rows
Twelve-tone music is based on a series (sometimes called a row) that contains all twelve pitch classes in a
particular order. This order is not the same in each piece—in fact, there are 479,001,600 rows to choose
from!2 Some of these row forms have been used in multiple works, as they contain properties that several
composers may favor, while many others have never been used at all.
Operations
There are four main ways in which composers move a row around without fundamentally changing it. We
call these “operations” (in the mathematical sense rather than the medical one).
• Transposition (T). Take all the pitches and move them up or down by a specified number of
semitones. Transposition is a familiar process from tonal music, but note that (as in set theory) we’re
always working in transposition by semi-tones here and never diatonic steps.
• Inversion (I). Reverse the direction of the intervals: rising intervals becoming falling intervals, and
vice versa. Again, this is just like melodic inversion in other contexts, and once again, we’re only
dealing with exact inversion, preserving the interval size in terms of semitones (not using diatonic
inversion or generic intervals here).
• Retrograde (R). Reverse the order of pitches so the last comes first, and vice versa. This, too, has a
precedent in tonal music with the “retrograde” (also known as the “crab” or “cancrizans”) canon, for
instance, though it’s a lot rarer in tonal music than transposition and inversion.
• Retrograde inversion (RI). As the name suggests, this really involves combining two of the
1. The "First Viennese School" (by this logic) centers on Haydn, Mozart, and Beethoven.
2. This number comes from the mathematical expression 12! (read: "12 factorial"), which means 12 × 11 × 10 … × 2 × 1.
TWELVE-TONE BASICS | 698
operations described above: the retograde and the inversion. The order in which you do those
operations does matter, but we’ll return to that later on.
Twelve-tone rows that can be related to each other by transposition, inversion, and/or retrograde
operations are considered to be forms of the same row. Unless a row has certain properties that allow it to
map onto itself when transposed, inverted, or retrograded, there will be 48 forms of the row: the four
types—prime (P), inversion (I), retrograde (R), and retrograde inversion (RI)—each transposed to begin
on all of the twelve pitch classes. As such, a row produces a collection of 48 forms in what is called a
row class.
A fake example
To get a sense of the basic operations the composers perform on tone rows, let’s start with a fake
example: an ascending chromatic scale starting on C (Example 1). Composers tend to prefer more
interesting tone rows, but we’ll start with this simple case for illustration. Row forms also don’t usually
commit to placing pitches in a specific octave, but we’ll set it out in musical notation and with treble and
bass clefs to show the inversions nice and clearly.
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Example 1. A chromatic scale in four forms: prime, retrograde, inversion, and retrograde inversion.
Prime form
The prime form of the row (top left in Example 1 above) is the main form to which all other forms are
related. In some pieces, one form of the row will clearly dominate the texture. If that is not the case, we
generally choose the most salient row at the beginning of the work and label it P (for “prime”). If more
than one row seems equally prominent at the beginning, then simply choose one (flip a coin!). The
decision of which to call “prime” is not always important, but it’s useful to allocate a single row form to
serve as a point of reference.
Any row form that is the same as, or a strict transposition of, that opening prime form is also a prime
form. Once you have labeled the main prime form at the beginning of the piece, any subsequent row that
699 | TWELVE-TONE BASICS
is an exact transposition of that row is prime. Likewise, any row that exhibits the same succession of
ordered pitch-class intervals is also a prime form.
Since P can be transposed to any pitch-class level, we distinguish them with subscripts. There are multiple
common systems for deciding the numbering. The simplest, which we will follow in this book, is to
number the row by its starting pitch class. If the prime form begins on G (pitch class 7), it is P7; on B
(pitch class 11) it is P11. The Naming Conventions chapter has more on this subject.
Retrograde form
A retrograde form of the row takes a prime form and exactly reverses the pitch classes. Its interval
content, then, is the reverse of the prime forms. Retrograde forms are labeled R followed by a subscript
denoting the last pitch class in the row. This will ensure that if two row forms are exact retrogrades of
each other, they will have the same subscript.
For example, if a row has the exact reverse interval structure of the prime forms and ends on F♯ (6), it is
R6, regardless of its first pitch.
Inversion form
A row form that exactly inverts the interval structure of the prime form (for example, 3 semitones up
becomes 3 semitones down)3 is in inversion form. Inversion forms are labeled according to the first pitch
class of the row form. An inversion-form row that begins on E♭ (3) is I3.
Note that this label is not always the same as the inversion operation that produces it. If you begin with
P0, the inversion operation and the resulting row form will have the same subscript. Otherwise, they will
be different. Take care not to confuse them.
A real example
Now that we’ve got the basic idea, let’s see how this works in a real musical context, using the same layout
and taking as our example the row form in Elisabeth Lutyens’s Motet (Excerpta Tractati Logico-Philo
sophici), Op. 27.4
One or more interactive elements has been excluded from this version of the text. You can view
them online here: https://viva.pressbooks.pub/openmusictheory/?p=623
Example 2. The row form in Elisabeth Lutyens, Motet (Excerpta Tractati Logico-Philosophici), Op. 27.
• A prime form of the row (Pn) always appears along the top row left to right. For this explanation,
let’s assume we are beginning with P0.
• Because R0 is exactly the same as P0 in reverse, you already have R0 also on that top row, by reading
from right to left.
• I0 begins on the same pitch as P0, so we set that out in the other direction: down along the first
column, top to bottom.
• RI0 is to I0 as R0 is to P0, so again, we read RI forms along the same axis as I, in the opposite
direction: bottom to top.
Example 3 is the row matrix for the Lutyens Motet from Example 2. We’ll take another look at
matrices in the Naming Conventions chapter.
4. This is the row form given by Lutyens in the BL Add. Ms. 64789. manuscript (f.48b). Credit and thanks to Laurel Parsons for providing this.
701 | TWELVE-TONE BASICS
I0 I11 I3 I7 I8 I4 I2 I6 I5 I1 I9 I10
P0 0 11 3 7 8 4 2 6 5 1 9 10 R10
P1 1 0 4 8 9 5 3 7 6 2 10 11 R11
P9 9 8 0 4 5 1 11 3 2 10 6 7 R7
P5 5 4 8 0 1 9 7 11 10 6 2 3 R3
P4 4 3 7 11 0 8 6 10 9 5 1 2 R2
P8 8 7 11 3 4 0 10 2 1 9 5 6 R6
P10 10 9 1 5 6 2 0 4 3 11 7 8 R8
P6 6 5 9 1 2 10 8 0 11 7 3 4 R4
P7 7 6 10 2 3 11 9 1 0 8 4 5 R5
P11 11 10 2 6 7 3 1 5 4 0 8 9 R9
P3 3 2 6 10 11 7 5 9 8 4 0 1 R1
P2 2 1 5 9 10 6 4 8 7 3 11 0 RI0
RI2 RI1 RI5 RI9 RI10 RI6 RI4 RI8 RI7 RI3 RI11 RI0
Those are the basic “rules” of which all twelve-tone composers are at least aware, but as we said at the
outset, composers vary widely in what they actually do with this technique in practice. To that effect, let’s
take some “exceptional” examples right from the beginning.
Luigi Dallapiccola’s Piccola Musica Notturna (literally “little night music,” 1954) certainly features in the
canon of well-known twelve-tone works, but note how right from the beginning, and throughout, there is a
free and easy attitude to repeating pitches and even motivic figures. There is a row, but it unfolds
TWELVE-TONE BASICS | 702
gradually, undogmatically. This is key to Dallapiccola’s style, to the luxuriant atmosphere of this piece,
and to much “serial” music in which some form of deviation from strict practice is extremely common.
All told, to my ears at least, this piece has as much to do with the world of Claude Debussy (as a “night
time” complement to Debussy’s Prélude à l’après-midi d’un faune, perhaps?) as to the “strict” serialists.
Likewise, we also get music that’s clearly not twelve-tone serial, but that uses strict serial techniques.
Listen to The Lamb by John Tavener. The pitch classes in the soprano melody at the beginning (“Little
lamb, who made thee?”) are G, B, A, F♯, G. The soprano then repeats that melody for the second line
(“Dost thou know who made thee?”), while the altos sing the inversion:
Then the soprano sings a longer tune (“Gave thee life and bid thee feed / By the stream and o’er the
mead”) with the second half as a a strict retrograde of the first:
Again, we get this melody a second time (“Gave thee clothing of delight / Softest clothing wooly bright”)
with the altos now singing the inversion:
Clearly this is a highly serial way of writing. Then again, this passage has a very clear modal final on G,
and the two parts (soprano and alto separately) can be considered in terms of standard chord modes. (See
Diatonic Modes to review.)
What do we know?
So, there is a wide range of approaches to making music with the basics of the twelve-tone technique, and
it’s not always clear what counts. Those differences notwithstanding, at a minimum, twelve-tone rows are
used somehow in the construction of:
703 | TWELVE-TONE BASICS
• Themes. That said, note that serial themes are not always (or even often) exactly twelve notes in
length, or complete row statements.
• Motives. This is pertinent, for instance, in cases where the row form includes several iterations of a
smaller cell (see the Row Properties chapter for more information).
• Chords. As we’re generally not working within tonal constraints (and even when we occasionally
are), there are many different chordal configurations possible. The row’s properties give rise to the
particular construction of chords used.
Assignments
1. Chose any row from the Twelve-Tone Anthology that interests you and write out:
◦ The row matrix with all 48 row forms (i.e., with numbers on the grid as shown above)
◦ P0, R0, I0, RI0 in musical notation
Footnotes
NAMING CONVENTION | 704
KEY TAKEAWAYS
• This chapter goes through the different ways of representing twelve-tone material:
◦ pitches by pitch name or pitch class;
◦ rows and transformations with P0 starts on C (fixed zero) or P0 starts wherever we chose (moveable
zero)
◦ matrices, setting out these different row conventions.
• When reading other writing on twelve-tone music, be prepared for any of these conventions to be used.
But in your own work, simply choose one you feel comfortable with and use it consistently.
In analyzing twelve-tone music, there are different conventions for labeling rows, transformations, and
even pitches and intervals. This chapter compares the main approaches that you’re most likely to
encounter in analytical writings. The focus is on rows and matrices, but before we get to that, let’s deal
first with the pitches themselves.
Pitch
As we’ve seen earlier in the book, it is useful in some analytical contexts to use pitch-class notation
(integers from 0 for C to 11 for B) as an alternative to spelling out those pitches (e.g., C♯ vs D♭). This
convention is mostly associated with non-tonal music (including most twelve-tone music), where it can be
handy for performing the kinds of mathematical operations we’ve seen (in both pitch-class set analysis
and twelve-tone music) and for sidestepping questions of pitch spelling. There’s often still a logic to the
pitch spellings used in a twelve-tone piece, but that logic is often of a different and perhaps less
705 | NAMING CONVENTION
generalizable kind. For instance, using specific pitch spellings in a row-form representation usually doesn’t
reflect a hierarchy or tonality in the same way that the pitches of a scale do in tonal music.
Rows
For rows, the main difference in notation and labeling centers on a single choice about which pitch to
organize our rows around:
For instance, in the Basics of Twelve-Tone Theory chapter, we set out the row of Elisabeth
Lutyens’s Motet starting on C, which gave us the twelve-tone row 0–11–3–7–8–4–2–6–5–1–9–10.
Alternatively, we could set out the P0 starting on D, as the first voice to enter (alto) starts on D4 and
proceeds to sing the first hexachord of this prime-form row on that pitch level.1 That would give us a P0
of 2–1–5–9–10–6–4–8–7–3–11–0.
As we have set P0 to begin on C, I0 also begins on C, and R0 and RI0 will end on C. This separation of P0
and I0 from R0 and RI0 makes sense because we prefer P0 and R0 to be exact retrogrades of one other
(and likewise I0 and RI0). We could theoretically have an even more consistently “zero-centered” system
in which all of P0, I0, R0 and RI0 begin on C, but that’s not a convention that people have widely adopted.
In summary:
• P0 starts with C
• I0 starts with C (same pitch class as P0)
• R0 starts with the last note of P0 (by definition, not C)
• RI0 starts with the last note of I0 (by definition, not C)
1. The actual row distribution is a bit more complicated. See Parsons 1999 for an analysis and discussion.
NAMING CONVENTION | 706
In summary:
• P0 takes a transposition (and thus starts with a pitch) chosen by the analyst
• I0 still starts with the same note as P0
• R0 still starts with the last note of P0
• RI0 still starts with the last note of I0
And as is so often the case when multiple parallel naming conventions emerge, there are both benefits and
downsides to each approach. If you’re analyzing music that makes you want to assign P0 in a musically
sensitive way, then the moveable-zero convention may suit your purposes. But if you go down that route,
then you’ll probably feel compelled to come up with a “good” reason for the pitch level of P0 in all your
analyses, and that may not always be appropriate. The fixed-zero system has the benefit of clarity and
consistency. That’s probably why it’s become more common in recent scholarship, but that doesn’t
necessarily make it “better.”
Indeed, in many cases, it won’t even be clear which orientation should be P and which I (or R for that
matter). Unfortunately, there isn’t yet a widely recognized system for making such determinations.
Matrices
Before we wrap this up, there’s one final confusion to add to the pile: how to set out these conventions on
the row matrix. Here are three types.
707 | NAMING CONVENTION
Type 1
First, here’s a reminder of the matrix we saw for the Lutyens example in the last chapter (P0 starts on C
and is in the top row). This is probably the most common and standard form.
I0 I11 I3 I7 I8 I4 I2 I6 I5 I1 I9 I10
P0 0 11 3 7 8 4 2 6 5 1 9 10 R10
P1 1 0 4 8 9 5 3 7 6 2 10 11 R11
P9 9 8 0 4 5 1 11 3 2 10 6 7 R7
P5 5 4 8 0 1 9 7 11 10 6 2 3 R3
P4 4 3 7 11 0 8 6 10 9 5 1 2 R2
P8 8 7 11 3 4 0 10 2 1 9 5 6 R6
P10 10 9 1 5 6 2 0 4 3 11 7 8 R8
P6 6 5 9 1 2 10 8 0 11 7 3 4 R4
P7 7 6 10 2 3 11 9 1 0 8 4 5 R5
P11 11 10 2 6 7 3 1 5 4 0 8 9 R9
P3 3 2 6 10 11 7 5 9 8 4 0 1 R1
P2 2 1 5 9 10 6 4 8 7 3 11 0 RI0
RI2 RI1 RI5 RI9 RI10 RI6 RI4 RI8 RI7 RI3 RI11 RI0
Type 2
Now here’s the same matrix, with P0 still on the top row, but with that P0 starting on D. Note how the
lists of row forms stay the same (P0, P1, P9…), but the pitches have moved around.
NAMING CONVENTION | 708
I0 I11 I3 I7 I8 I4 I2 I6 I5 I1 I9 I10
P0 2 1 5 9 10 6 4 8 7 3 11 0 R10
P1 3 2 6 10 11 7 5 9 8 4 0 1 R11
P9 11 10 2 6 7 3 1 5 4 0 8 9 R7
P5 7 6 10 2 3 11 9 1 0 8 4 5 R3
P4 6 5 9 1 2 10 8 0 11 7 3 4 R2
P8 10 9 1 5 6 2 0 4 3 11 7 8 R6
P10 0 11 3 7 8 4 2 6 5 1 9 10 R8
P6 8 7 11 3 4 0 10 2 1 9 5 6 R4
P7 9 8 0 4 5 1 11 3 2 10 6 7 R5
P11 1 0 4 8 9 5 3 7 6 2 10 11 R9
P3 5 4 8 0 1 9 7 11 10 6 2 3 R1
P2 4 3 7 11 0 8 6 10 9 5 1 2 RI0
RI2 RI1 RI5 RI9 RI10 RI6 RI4 RI8 RI7 RI3 RI11 RI0
Type 3
Perhaps most confusing of all is a kind of hybrid version where we still have the D version on the top row,
but now we label it P2. So:
Note how this time, comparing it with the version above, the pitches have stayed the same, but the lists of
row forms have changed (Px, Py…).
709 | NAMING CONVENTION
I2 I1 I5 I9 I10 I6 I4 I8 I7 I3 I11 I0
P2 2 1 5 9 10 6 4 8 7 3 11 0 R2
P3 3 2 6 10 11 7 5 9 8 4 0 1 R3
P11 11 10 2 6 7 3 1 5 4 0 8 9 R11
P7 7 6 10 2 3 11 9 1 0 8 4 5 R7
P6 6 5 9 1 2 10 8 0 11 7 3 4 R6
P10 10 9 1 5 6 2 0 4 3 11 7 8 R10
P0 0 11 3 7 8 4 2 6 5 1 9 10 R0
P8 8 7 11 3 4 0 10 2 1 9 5 6 R8
P9 9 8 0 4 5 1 11 3 2 10 6 7 R9
P1 1 0 4 8 9 5 3 7 6 2 10 11 R1
P5 5 4 8 0 1 9 7 11 10 6 2 3 R5
P4 4 3 7 11 0 8 6 10 9 5 1 2 R4
RI2 RI1 RI5 RI9 RI10 RI6 RI4 RI8 RI7 RI3 RI11 RI0
Summary
In summary, the first row can read:
• P0, starting on 0
• P0, starting on n (here 2)
• Pn, starting on n
All of these naming and matrix-generating conventions are out there. It’s best simply to be aware of these
options and check that you have the right convention in mind when you come across one (especially
where the matrices neglect to explicitly label the row names).
Further Reading
• Parsons, Laurel, 1999. “Music and Text in Elisabeth Lutyens’s Wittgenstein Motet.” Canadian
University Music Review 20 (1): 71–100.
NAMING CONVENTION | 710
Assignments
1. Chose any row from the Twelve-Tone Anthology that interests you and write out the row matrix with
all 48 row forms (i.e., with numbers on the grid as shown above) in each of the three ways shown
above. (Then choose your favorite method and never do this again!)
Footnotes
711 | ROW PROPERTIES
ROW PROPERTIES
Mark Gotham and Brian Moseley
KEY TAKEAWAYS
• Some rows are used more by composers than others. Often this is because of the row’s properties.
• This chapter explains some row properties that are especially common:
◦ all interval
◦ derived rows
◦ Invariance
◦ Hexachordal combinatoriality
◦ Partially-ordered sets
• The Twelve-Tone Anthology has more detail on this topic.
Twelve-tone composers may view the notes in a tone row as equal, but they do not appear to feel the same
way about different row forms. Instead, rows with certain properties have disproportionately attracted
composers’ attention. This chapter surveys some of the special types of properties and row forms to look
out for. A recurring focus is on the properties of the smaller constituent parts of a row—its internal
segments. There are two ways to view these constituent parts: overlapping and discrete.
While all standard twelve-tone rows include all twelve distinct pitches, only some also feature all eleven
distinct intervals between neighboring pitches (Example 1). There are 1,928 distinct row forms with this
all interval property, but again, some of them have appealed to composers more than others. One
true-by-definition property of these rows is that there is a tritone between each pair of notes around the
central pair, i.e., between notes 1 and 12, 2 and 11, 3 and 10, 4 and 9, 5 and 8, and 6 and 7. In Example
1, for instance, the row starts with A and ends with D♯, and so on.
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This example of an all-interval row is a linear layout of the so-called “Grandmother chord” (credited to
Nicolas Slonimsky). To produce this succession of pitches, start with a semitone up (interval class 1), then
a tone down (interval class 10), and continue to alternate odd and even intervals with the odd intervals
getting successively larger and the even ones smaller. As a consequence, the resulting pitch succession can
be viewed as two interleaved chromatic scales (as shown in Example 1) which is essentially a chromatic
wedge and can therefore be seen to have precedents in tonal works such as fugues by Bach (BWV 548)
and Shostakovich (24 Preludes and Fugues, Op. 87, no. 15).1
In turning from overlapping to discrete segments, we also tend to turn our attention from considerations
of “all” to “only.” Specifically, it has been a preoccupation of some serial composers to find and use row
forms featuring several instances of only one pitch class set.
1. That the wedge is the subject of a fugue in both these cases, and therefore a central focus, recurring frequently throughout, perhaps
strengthens the connection.
713 | ROW PROPERTIES
Example 2 is a classic example from Anton Webern’s String Quartet, Op. 28. The brackets below the
notes indicate the three discrete tetrachords belonging to the same set class: (0123), a chromatic
tetrachord. Slurs above show a similar consistency in the discrete dyads, which are all semitones.
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Example 2. A row from Anton Webern’s String Quartet Op. 28, divided into discrete segments. Notice the
limited number of set classes and intervals.
Rows with this property are sometimes called derived rows, meaning that the whole row can be
considered to be made out of (“derived” from) one pitch-class set. It’s worth also noting the more specific
use of the term, where a new row with this property is derived more directly from an existing one with the
relevant set as one of its subsegments. For instance, the row above might have been derived from another
row that happened to have a (0123) subsegment in it.
From a compositional and listener-oriented perspective, derived rows are very suggestive. Because the
set-class content of a row doesn’t change when it’s transposed, inverted, etc., these set classes will
circulate constantly throughout a piece, even as different row forms are used. Therefore, a derived row
guarantees the regular recurrence of set classes, which can be helpful in cultivating a particular type of
unity.
(Segmental) Invariance
Invariance refers to the preservation of something. Any musical attribute (such as a series of intervals,
dynamics, rhythms, or pitches) may be kept the same from one context to another. While other parts of
the music change, the aspect in question is not varied: hence the term “invariant.” In twelve-tone theory,
we are mostly concerned with intervallic invariance and pitch-class segmental invariance. The first type,
intervallic invariance, is very common. Any time a row is transposed, the ordered intervallic content of
the row is unchanged. (Likewise, retrograde inversion creates retrograde intervallic invariance.)
Segmental invariance is rarer and warrants separate comment here. Where a pitch-class segment of a row
remains in place when that row is transformed, we say that the segment is “held invariant” (Example 3).
The upper staff reproduces the row as we saw it in Example 2 (with the discrete tetrachords shown),
and the lower staff sets out the same row transposed up four semitones (or, equivalently, down eight), i.e.,
ROW PROPERTIES | 714
as P4. Notice that these two different rows (P0 and P4) comprise the same tetrachords, not only in terms
of set class, but in terms of absolute pitches:
• The first four pitches of P0 (the first measure in the example) are the last four pitches of P4. This is
shown in light blue.
• The middle four pitches of P0 (the second measure in the example) are the first four pitches of P4.
This is shown in red.
• The last four pitches of P0 (the final measure in the example) are the middle four pitches of P4. This
is shown in navy.
We say that these tetrachords are invariant segments. These segments are held invariant because they
share the same relationship with one another as that shared between the rows: because the tetrachords are
related by T8, when the whole row is transposed by T8, those tetrachords are “held invariant.” Put another
way, when the first tetrachord is transposed up four semitones, it becomes the last tetrachord, so the same
thing happens when the whole row is transposed by that interval.
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1. Find an equivalent set-class elsewhere in the row. This may be a dyad, trichord, tetrachord, etc.
2. Determine the transpositional or inversional relationship between them.
3. When the row is transposed or inverted by that same relationship a segment will be held invariant.
Hexachords
While discussion of derived rows typically focuses on subsegments of three or four notes, the two discrete
hexachords of a row (i.e., the two halves, pitches 1–6 and 7–12) have attracted at least as much attention
from theorists and composers over the years, not least in terms of hexachordal combinatoriality.
715 | ROW PROPERTIES
Hexachordal combinatoriality
For a standard twelve-tone row with each pitch stated exactly once, the first hexachord (half) of
P0 complements the second half: they make up the total chromatic collection together. Since the first
hexachord of R0 has the same pitches as the second hexachord of P0 by definition, we can also observe
that the first hexachords of P0 and R0 are complementary—giving you the total chromatic collection. This
illustrates that we can also find complementary hexachords by comparing two row forms.
By definition, this relation holds between P0 and R0, and all other P–R and I–RI pairs (e.g., I4-RI4). This
“combinatoriality” relation becomes meaningful when it holds between rows related by other
transformations, i.e., between a P–P, P–I, or P–RI pair. Using Milton Babbitt’s terminology, we
distinguish between two degrees of this relation:
• Semi-combinatorial pairs are related by one such transformation: transposition (P–P), inversion
(P–I), or retrograde inversion (P–RI).
• All-combinatorial pairs are related by each such serial transformation. There are only six distinct
rows with this property where this relation holds between the row and transformations of itself.
Repertoire examples include the row of Webern’s Symphonie (as explored further in the next
chapter).
• Creates all-combinatorial rows unusually readily, for instance, by transposition in three ways (+/-2
and 6 semitones). Only the whole-tone collection (02468t) exceeds this, with combinatoriality by
transposition of any odd-numbered interval.
• Related to the 1:3 “distance model” mode discussed in the Collections chapter.
• Many internal triads: this set contains within it all the pitches of the hexatonic cycle discussed in the
neo-Riemannian chapter.
• Has only one possible five-note subset, set class (01458).
• Has only one possible seven-note superset: (0124589), which is the complement of that five-note
subset, (01458).
• Used in many pieces, including Webern’s Konzert (as discussed in the next chapter),
ROW PROPERTIES | 716
Schoenberg’s Ode to Napoleon (hence one of its names), and works by Maderna and Nono.
A key example of this is the idea of a “partially ordered” set (another term borrowed from mathematics),
which gives us a more flexible constraint than all twelve pitches being in a fixed order. Derived rows
provide a good introduction to this situation. As we’ve seen, derived rows comprise one context in which
we focus on the constituent segments (tetrachords, for instance) of a row and their set class. It’s a small
step from this to a “row” that is defined more by the content of those segments than by any specific
ordering.
Example 4 shows Webern’s Op. 28 row one more time (upper staff), and it creates a new row by
reversing each pair of pitches (lower staff). The second case has the same dyadic and tetrachordal
segments as the first, but the internal order of those segments has changed. By definition, we still have a
row with all twelve pitches, but a different one.
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Example 4. Partially re-ordered row created from Anton Webern’s row in String Quartet, Op. 28.
We provide the Webern example for illustration; really, this is a concept introduced later, by Milton
Babbitt, and the kinds of re-ordering can get a lot more complex. While this practice clearly deviates from
the “strict” definition of twelve pitches in a fixed order, what they share is a constant turning over of the
total chromatic collection (aggregate). Moreover, even in “strict” serialism, composers still use chords
(several pitches sounding at once), which necessitates thinking more in the partially ordered sense than in
the strictly serial sense. In short, at least some form of this thinking is very, very common indeed.
Finally, how significant is it for rows to be related by partial ordering? First, recall that there are hundreds
717 | ROW PROPERTIES
of millions of different orderings of the twelve pitches. Well, there are fewer when you fix the hexachords
in place (and fewer still for smaller subsegments), but still a lot! Here are some numbers:
So this alone might be considered weak grounds for meaningful relation between row forms, especially as
the interval content changes with each pitch permutation. As so often in analysis, it all comes down to
how the composer actually uses the property in practice.
Symmetrical interval progressions: While a strictly symmetrical succession of pitches is obviously not
possible (given that we don’t repeat pitches within the row), a symmetrical succession of intervals is, and
rows with this property are popular among some composers.
“Cyclic series” rows (George Perle): This term and property refer to rows in which the pairs of notes
separated by one all form the same interval, i.e., the interval between pitches 1 and 3 is the same as that
between 2 and 4, and so on.
Rows with more or fewer than twelve notes: Some composers have explored serial processes with tone
rows longer or shorter than twelve notes. Clearly this leads to slightly different properties (e.g., repeating
notes in the case of rows with more than twelve notes), but the compositional processes and priorities can
be the same. And as we noted at the start of this section, “serial” thought is not limited to twelve-tone
thinking anyway. Examples include:
Elizabeth Lutyens, Chamber Concerto, Op. 8, no. 1, mvmt. I: 3–2–5–6–11–0–7–1–9–10–2–6–8–5–4 (15 notes)
ROW PROPERTIES | 718
Assignments
1. Head to the Twelve-Tone Anthology and pick any row listed in the sections on derived rows (e.g.,
“6x Same Dyad (interval)” or “4x Same Trichord”).
◦ Write out the full row in musical notation.
◦ Put slur lines over each repeated segment (e.g., 4 x 3 notes in the “4x Same Trichord”).
◦ Separately (e.g., below), write out those subsegments as chords.
Footnotes
719 | WEBERN ANALYSES
KEY TAKEAWAYS
• When approaching twelve-tone music, it’s easy to get bogged down simply identifying row forms and lose
sight of the bigger picture.
◦ A list of row forms used in a twelve-tone work is similar to a list of keys in a tonal work—useful,
but not enough on its own to be called an analysis.
• This chapter considers two iconic works of early twelve-tone music – Webern’s Op. 21 and Op. 24 – with
analysis of both the
◦ technical details of constructing symmetrical row and composing serial canons, with
◦ wider issues about the work to consider, such as the meaning of a “Symphony” and “Concerto” in
this context.
• Scores may be found on IMSLP.org (Op. 21; Op. 24)
• “in choosing the most resonant of classical titles Webern stressed the extent to which it could still be
relevant to a work in which only certain structural principles remain valid.” (Whittall 1977, 163).
• “There is little or nothing in its formal procedures to compare with those of the traditional
symphony.” (Taruskin 2010, 728).
WEBERN ANALYSES | 720
Keep these questions in mind as we consider the nuts and bolts of the work.
Row form
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Example 1. The row of Op. 21, along with the trichordal and hexachordal divisions.
Webern frequently chooses what you might think of as “neat” row forms, and this work is no exception
(see Example 1). The row breaks up neatly into two equivalent hexachords that are instances not simply
of the same pitch-class set but of set 6-1 specifically: half a chromatic scale. In short, each fills the total
chromatic collection of half the twelve-tone space.
Further, those hexachords are each set out with one instance of trichord (013) and one of (014).
Altogether, the four trichord cells map out as (013), (014), (014), (013). These two trichords are further
linked by their shared melodic shape: each involves a third (major or minor) and a semitone.
Here is the row matrix, with the symmetry of P0 and R6 highlighted by showing the first six notes of each
in bold. 1
1. Note that this is sometimes set out in an alternative format, with P and I the other way around. Bailey (1991, appendix II) after Webern’s
sketches uses this alternative format. These kinds of decisions are often not clearly "better" one way or the other.
721 | WEBERN ANALYSES
I0 I9 I10 I11 I7 I8 I2 I1 I5 I4 I3 I6
P0 9 6 7 8 4 5 11 10 2 1 0 3 R0
P3 0 9 10 11 7 8 2 1 5 4 3 6 R3
P2 11 8 9 10 6 7 1 0 4 3 2 5 R2
P1 10 7 8 9 5 6 0 11 3 2 1 4 R1
P5 2 11 0 1 9 10 4 3 7 6 5 8 R5
P4 1 10 11 0 8 9 3 2 6 5 4 7 R4
P10 7 4 5 6 2 3 9 8 0 11 10 1 R10
P11 8 5 6 7 3 4 10 9 1 0 11 2 R11
P7 4 1 2 3 11 0 6 5 9 8 7 10 R7
P8 5 2 3 4 0 1 7 6 10 9 8 11 R8
P9 6 3 4 5 1 2 8 7 11 10 9 0 R9
P6 3 0 1 2 10 11 5 4 8 7 6 9 R6
RI0 RI9 RI10 RI11 RI7 RI8 RI2 RI1 RI5 RI4 RI3 RI6
Overall, the row is retrograde equivalent, which is to say, if you play it backwards (R), you have a
transposed version of the original (P). When we have equivalences of this kind, there are no longer 48
distinct row forms. Here we have pairs of equivalent rows, and so there are 24 distinct forms (48 divided
by 2).
Webern brings out this symmetrical row by overlapping the ends of row forms with the beginning of the
next.
Movement 1
Webern describes the first movement as a “double canon in contrary motion,” where “contrary motion”
means the same thing as “inversion.” You could think of the overall form as 𝄆A𝄇𝄆BA′𝄇 as follows:
• A′: “row recapitulation” from m. 43 (rows only, not motivic rhythm, etc.).
Does that remind you of something symphonic? The repeat markings and the material distribution are
loosely suggestive of the Exposition and Development–Recapitulation repeats in sonata form works, or at
least rounded binary.
So that might be chalked up in favor of the symphonic reading. On the other hand, the extensive
symmetry of the row doesn’t end there. Bailey (1991, 96) has described the middle section especially as a
symmetrical “tour de force.” Recapitulations and cyclic forms are one thing, but for Western classical
music, serious adherence to symmetry is a peculiarly 20th-century concept. Speaking about a chordal
version of this issue, the British composer Jonathan Harvey once described the symmetrical strategy of
moving the bass into the middle as “our revolution” (1982, 2).
Another key consideration at odds with the notion of sonata form is the extensive canons in each section.
For instance, in the opening, there’s a double canon between pairs of parts (P0 and I0; I8 and P4) as
follows:
Notice the similar timbral sequences in the two pairs. For instance, in the first pair, we have a horn part,
then a clarinet part, and finally a lower string instrument before returning symmetrically back the way we
came. Breaking up the melodic line in this way is sometimes called Klangfarbenmelodie (sound-color
melody) and is not unique to the atonalists. Mahler loved to share out melodies this way, for instance
(see Orchestration). Perhaps Webern’s most iconic example of this technique is his orchestration of J.S.
Bach’s Ricercar from the Musical Offering.
• Measures 1–11.
• Phrases divide into two groupings of 5.5 + 5.5 measures; m. 6 is the midpoint.
• Row I8 is in the clarinet; I2 in the other parts.
• Uses hexachordal combinatoriality.
• Measures 23–34.
• Phrases divide into 6 + 6 measures (midpoint at m. 29).
• However, there is a free third part (horn 1). The on-beats play P8 while the off-beats play I7, so the
eighth notes are alternating between the two rows.
• The ending elides with variation 3.
• Measures 34–44.
• Phrases divide into 1 + 4 + 1 + 4 + 1 measures; midpoint in m. 39.
• Symmetrical melodic figure in each part, and sixteenth-note motion.
Variation 4
• Measures 45–55.
• Webern himself describes this variation as the midpoint of the movement.
• Phrases divide into 5 + 1 + 5; m. 50 is the midpoint.
WEBERN ANALYSES | 724
• Measures 56–67.
• Pitches are presented in four-note cells:
◦ Viola, cello: [5, 6, 7, 8]
◦ Violins: [11, 0, 1, 2]
◦ Harp: [3, 4, 10, 9]
• These four-note cells create a twelve-tone aggregate, but the composition is not row-based.
• Each part has a symmetrical melodic figure.
• Measures 67–77.
• Canon at the quarter note between the bass clarinet and clarinet parts.
• Free third part (horn 1), the retrograde of the free part in Variation 2.
• Midpoint in m. 73.
• Measures 78–88.
• Triple canon: cello/violin 1, viola/violin 2, and clarinet/bass clarinet. Each line of the three canons is
distinguished by timbre and rhythm.
• Midpoint in m. 83.
• Measures 89–99.
• Phrases are divided into 5.5 + 5.5 measures, with m. 94 as the midpoint.
Issues
You’ll have noticed some recurring themes in the analysis above; perhaps the most all-pervasive among
them is the symmetry Webern adopts from the internal structure of the row, right up to the organization
of whole movements.
Does this make it thoroughly modern? Or does the symmetry contribute to a new kind of goal-directed
(teleological) music typical since at least Beethoven? How do we feel about the occasional direct historical
precedent like the entirely symmetrical Minuet and Trio in Haydn’s 47th symphony?
725 | WEBERN ANALYSES
Most importantly, what is the aural effect of all this symmetry? Did the Harvey quote above make you
bristle? There are reasons based in acoustics for why composers have historically tended to build up
chords from the actual bass after all. Similarly, we can’t really “hear” linear symmetry (hear in reverse)
the same way that we can see symmetry in a painting, for instance. That said, Webern has gone to
considerable lengths (at least in places) to illuminate the structure of the work. For Cook, “everything [in
the Symphonie] is designed to make the series audible” (1987, 295).
Perhaps we should consider this alongside other 20th-century “symphonies with a twist.” Think of
Stravinsky’s many “Symphonies” (“in C,” “of Psalms,” “of Winds”), none of them numbered in the
traditional way. If nothing else, these works seem to speak of a conviction to the musical traditions these
composers inherited, just as Schoenberg was so keen to locate his apparently radical, modernist works in
that tradition, and particularly as heir to the work of Brahms.
The row
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Example 4. The row of Webern’s Konzert (Op. 24) along with the trichordal and hexachordal divisions.
Once again, we have two equal hexachords of set class (014589) and a meaningful division into four
trichords. This time, those trichords are all instances of the same set class: (014). This structural division
is made abundantly clear in the first few measures, in which the row is set out in its four parts in separate
instruments, pulse values, and registers. This is followed by a rest in all instruments. You couldn’t hope to
a see a clearer row “exposition.”
But that’s not all. If you permute the order of those trichord cells, you can get other, related row forms:
WEBERN ANALYSES | 726
• Obviously, reversing the order of the cells can give you a P/R pair of rows (P = 1234; R = 4321).
• Additionally in this case, the order 2143 gives you an I row, and so the reverse of that (3412) is an
RI row.
That being the case, we have a set of four equivalent rows, and thus only twelve distinct row forms this
time. For instance, P0 is the same as RI7 starting that rotation from the seventh note, as shown by the bold
in the matrix below. This all amounts to a particularly clear and determined level of coherence.
Example 5 gives the row matrix. Again (and perhaps more surprisingly this time) this arrangement does
not correspond to the allocation of P0 by Webern in the sketches.
I0 I11 I3 I4 I8 I7 I9 I5 I6 I1 I2 I10
P0 11 8 2 3 7 6 8 4 5 0 1 9 R0
P1 0 11 3 4 8 7 9 5 6 1 2 10 R1
P9 8 7 11 0 4 3 5 1 2 9 10 6 R9
P8 7 6 10 11 3 2 4 0 1 8 9 5 R8
P4 3 2 6 7 11 10 0 8 9 4 5 1 R4
P5 4 3 7 8 0 11 1 9 10 5 6 2 R5
P3 2 1 5 6 10 9 11 7 8 3 4 0 R3
P7 6 5 9 10 2 1 3 11 0 7 8 4 R7
P6 5 4 8 9 1 0 2 10 11 6 7 3 R6
P11 10 9 1 2 6 5 7 3 4 11 0 8 R11
P10 9 8 0 1 5 4 6 2 3 10 11 7 R10
P2 1 0 4 5 9 8 10 6 7 2 3 11 R2
RI0 RI11 RI3 RI4 RI8 RI7 RI9 RI5 RI6 RI1 RI2 RI10
Cell
Each cell can also be understood as an ordered trichord, like a miniature three-note row. Each iteration of
the cell involves interval class 4 and interval class 1 in opposite directions. Across the four iterations in a
727 | WEBERN ANALYSES
row, we get each of the four ways of setting this out. In the case of P0, this involves <−1, +4>, <+4, −1>,
<−4, +1>, and <+1, −4>.
That being the case (and at the risk of confusing matters), we could think of the P, R, I, and RI versions
not just of each row, but of each cell. Continuing to work on the basis of P0, we have:
1. P: <−1, +4>
2. RI: <+4, −1>
3. R: <−4, +1>
4. I: <+1, −4>
Trichord 2 RI - I R
Trichord 3 R I - RI
Trichord 4 I R RI -
Example 6. Relationships between ordered trichords in the row for Op. 24.
It’s hardly surprising given all of this that Webern was a fan of the “Sator Square”: a two-dimensional
Latin palindrome that can be read in any direction and still make sense (Example 7).
That all said, the four-trichord approach is not the only way of using the
row. It’s focal in the first movement, while the second movement primarily
employs cells of two and four notes, highlighting interval class 1 (usually
set out as a major seventh).
Discussion
Once again, we have the looming question of a tradition with highly
codified expectations. What kind of concerto might this be? The idea of a Example 7. The Sator
Square.
piano concerto finds some support in the distribution of row forms across
the work. For instance, that first exposition of the row falls to instruments other than the piano, and then
there’s the full-ensemble rest and a second exposition of the row on the piano alone. Conceptually at least,
WEBERN ANALYSES | 728
this is a neat fit for the double exposition of concerto first movements—one of the main hallmarks by
which sonata form in concertos differs from other contexts.
Are we clutching at straws on the basis of just two statements of the row? Maybe, but then again, Webern
is no stranger to the practice of cultivating comparable processes on the very small and large scale, so it’s
worth paying attention to these kinds of clues as possible “statements of intention” in the same way that
we should take notice of the first highly chromatic event in a Schubert sonata.
In this work, the relationship between piano and orchestra continues to reward analytical attention. After
those first few measures, the first major section of the movement moves from that initial clear, successive
separation of piano from ensemble to a situation where they remain separate in terms of row forms, but
sound simultaneously. You can analyze the whole work in terms of this relation, and there are many
moments where there appears to be both a structural boundary and a change in the relation between piano
and ensemble. Examples include the separation in m. 50 and rejoining in m. 63.
Even if you find this line of reasoning compelling, you still face choices at every turn. For instance, you
may see the piano’s ubiquity in the slower, quieter second movement (highly reminiscent of the traditional
second movement) as a lyrical, dominant, soloistic part, or the opposite – in an accompanimental role.
Alternatively, if you reject all of this in favor of an equality among the instruments (matching the equality
among the tones, perhaps), then you may find more palatable the idea of reading this as a Concerto for
Orchestra?
As with all music, there’s more than one way to look at this piece, and as with all analysis, we’re much
more concerned with a view (“a way” of understanding the work) than trying to find comprehensive
solution (“the way”). In short, the analysis of twelve-tone music is just like other forms of analysis:
understanding the technical elements is necessary but not sufficient, and there’s always plenty of room for
creative vitality.
Further Reading
• Bailey, Kathryn. 1991. Twelve-Note Music of Anton Webern: Old Forms in a New Language.
Cambridge: Cambridge University Press.
• Cook, Nicholas. 1987. A Guide to Musical Analysis. London: Dent.
• Harvey, Jonathan. 1982. “Reflection after Composition.” Tempo, no. 140, 2–4.
• Taruskin, Richard. 2010. “In Search of Utopia.” In Music in the Early Twentieth Century, chapter 12.
New York: Oxford University Press. https://www.oxfordwesternmusic.com/view/Volume4/
actrade-9780195384840-div1-012010.xml
729 | WEBERN ANALYSES
• Whittall, Arnold. 1977. Music since the First World War. New York: Oxford University Press.
Assignments
• Try your own analysis of another work from this time, such as Webern’s Variations for piano, Op.
27, using a similar combination of technical row analysis with contextual discussion.
Media Attributions
Sator square © Megan Lavengood is licensed under a Public Domain license
Footnotes
COMPOSING WITH TWELVE TONES | 730
KEY TAKEAWAYS
This chapter goes through the composition of some new twelve-tone music. It can be useful to follow someone
else’s process closely in this way. It is certainly useful to try something similar yourself.
So far, we’ve seen some rows and serial properties in the abstract, and their usage in some existing pieces.
Now let’s complement that by writing a new piece. It’s worth reiterating that (like any other musical style
or technique) there are infinitely many ways of approaching composition with twelve-tone rows, and so
this can only be an example and not representative—indeed no more than a single analysis can be. All the
same, an example of writing with rows will be a helpful illustration of how we can navigate between
theory and practice. We can aspire to something like Béla Bartók’s marvelous Mikrokosmos collection:
short pieces with a clear compositional “brief” that are also rather interesting as “real” pieces.
Here, we’ll start by choosing and examining rows, then go on to write at least the start of some passages
that vary in how they approach the same material, especially in terms of how relatively “free” or “strict”
they are in their use of serial processes.
Choosing Rows
Let’s start by choosing some rows to work with. Among the many possible motivations for choosing rows,
I’m inclined to seek out those that:
For me, the “all-trichord” rows are a great fit for these criteria. Alan Marsden (2012, 162) defines these as
“12-note series which, when treated as circular, [contain] in the 12 sets of 3 consecutive pitch classes all
the 12 possible classes of trichord.”1
Marsden has demonstrated that there are exactly four distinct forms of this row:
Here they are as twelve-tone rows starting on C, and also with the corresponding trichords given and
labeled below:
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them online here: https://viva.pressbooks.pub/openmusictheory/?p=7289
Given that all standard tone rows feature all twelve pitches and the “all-interval” rows featuring all eleven
intervals are also familiar and common, you could view the all-trichord rows as a logical extension of
these familiar row properties. They are certainly useful insofar as our goal in composing with twelve tones
is to pursue maximal variance.
Perhaps most compellingly of all, Marsden concludes that he “never did find a convincing way to make
use of this in composition” (2012, 163). To some composers, that kind of comment is irresistible.
1. Note that the term "all-trichord rings" is sometimes used for this topic, with "all-trichord row" referring instead to rows without wrapping
around (and therefore omitting two of the trichords). See Robert Morris’s "Elementary Twelve-Tone Theory," for instance, and note the
definition (after Babbitt) of an all-trichord row as "A ten-trichord row that excludes SC 3-10[036] and 3- 12[048]."
COMPOSING WITH TWELVE TONES | 732
Example Compositions
Following are several example compositions and discussions of how a row can be used to generate the
pitch material for a musical composition.
• Repetition of a note or a trichord (but perhaps not other groupings like dyads and tetrachords).
• The specific rhythms and phrasings (as long as they typically emphasize grouping in threes).
• Registral and timbral variety for expressive range.
That starting premise could be realized in any number of different ways. Here’s an example opening for
solo viola that moves from the first trichord to the second (the two that are common to the start of all four
rows as set out above):
Many composers—serial and otherwise—find it helpful to set initial constraints in this way, partly
because it can give you license to approach the more detailed matters freely. The restrictions leave open a
wide range of possibilities for how to proceed. For instance, we might like to create an overall contour
that works up to a high point and then comes back down from there. Alternatively, we might prefer a
static and demonstrably constrained passage. It’s wide open.
pitch as the start of a new cycle for pitches 2-3-4. So if we’re repeating pitches 1-2-3-, then at some point
we have a 1-2-3-1- and the following 2 marks the beginning of a 2-3-4- cycle.
We can make this change after completing any number of 3-note cycles plus 1 note: that is, after 4 notes
(one cycle +1), or 7 (two cycles), 10, 13, 16, and so on. This should get us thinking about rhythm and
meter. Say we put this predominantly 3-grouping pattern into a duple meter like . That would lend the
music an attractive and familiar 3-against-4 metrical dissonance. Whatever meter we choose, we’ll have to
make adjustments for some of the cycle lengths: some will “fit” with the meter, and others will disrupt it.
For instance, in our duple meter, the 4 cycle could be “one beat” (e.g., four eighth notes as one beat in )
and 16 could be 2 measures (4 x 4 beats). By contrast, the 10 cycle means breaking up the meter a bit
(e.g., with a ), and the 7 stretches down to another, lower metrical level ( ).
Here’s a short passage realizing some of these ideas for string quartet, with each cycle now clearly marked
both by viola and cello pizzicato, and by moving the pattern from one violin to the other (which also gives
each player a welcome break!). Most of the cycles are 16 notes long, but there are some shorter ones too
to break up the flow, and to dwell on some of the trichords more than others. Again, the choice of which
is free.
COMPOSING WITH TWELVE TONES | 734
735 | COMPOSING WITH TWELVE TONES
We could also ensure that pitches aren’t repeated even when third and fourth voices enter—so, at the
trichord level. Our rows aren’t trichord-combinatorial, but given our existing hexachord-combinatorial
pair, we can get there by swapping the trichords of each row to make a new pair that, combined with the
existing two, will see all twelve pitches in each set of trichords.
More precisely, simply swapping trichords would break the ordering of these row and mean losing the
defining “all-trichord” property, though there’s still a way we can achieve the same thing while retaining a
structure consistent with the original row. Note that “swapping trichords of each half” means taking
trichords 1,2,3,4 and ending up with 2,1,4,3. To get from one to the other while retaining the same
ordering, we can retrograde and rotate by a half-cycle. So, for instance, for an ascending chromatic scale
row, we’d get this:
Row 1 2 3 4 5 6 7 8 9 10 11 12
So, applying this process to the initial row and a hexachord-combinatorial pair, we can get a solution like
the following:
2. Hexachord-combinatorial pair 7 8 9 10 11 12 1 2 3 4 5 6
4. R-rotation of 2. 12 11 10 9 8 7 6 5 4 3 2 1
• Any of the four rows by themselves (of course, they’re twelve-tone rows).
2. Readers unfamiliar with fugal writing may want to try the High Baroque Fugal Exposition chapter first.
COMPOSING WITH TWELVE TONES | 736
• The first half of the initial row and the hexachord-combinatorial one, the second halves of those two
rows, or the first or second halves of the rotated pair.
• Any of the discrete trichord subsets (e.g., pitches 1–3 of all rows combined).
This property is true by definition for any row, so it’s worth keeping in the compositional box of tricks.
Combinatoriality in practice
It’s all very well deciding that we’re going to use combinatorial pairs, but we need to know that at least
one of our rows actually has this property. In fact, they all do, though not equally: each row has at least
some rotations that are inversion-combinatorial (remember that rotating these rows retains the
all-important all-trichord property!), though rows 3 and 4 have slightly more such rotations than 1 and 2.
Here’s the list for row 3, for instance:
3 [10, 7, 4, 11, 9, 8, 3, 5, 1, 0, 2, 6]
6 [11, 9, 8, 3, 5, 1, 0, 2, 6, 10, 7, 4] I4
And here’s a demonstration of the rotation starting on the second pitch means we can rotate around the
trichords and still have I-combinatoriality (i.e., rotations 1, 4, 7, 10 from the table):
737 | COMPOSING WITH TWELVE TONES
COMPOSING WITH TWELVE TONES | 738
We could start on any one of those trichords/rotations for this property. Of those options, let’s start on the
second pitch, partly because it gives us the augmented triad, which seems like a good place from which to
launch: a symmetrical trichord for a fugato with inverse-related subject and countersubject.
Actual music!
All that remains is to write the music! Let’s keep the rows separate with different parts, points of entry
and rhythms. We begin with an exposition (mm. 1–8) that involves:
• A subject broken up into its four trichords, and with a 3-against-4 pattern similar to the one used in
the moto perpetuo.
• Each voice entering with the subject (of course), but transposed up a semitone each time.
• Countersubjects with complementary rhythms progressively filling in the gaps.
After the exposition, we explore the trichord rotation property discussed above: the cello plays the same
four trichords in a loop, with the rows overlapping by one trichord each time. This leads to the equivalent
rotations of the row in other parts (as shown in the row chart above). Additionally, because the cello has
kept the same pitches, the other parts also have to transpose to new pitch levels to preserve the
combinatoriality (unlike in the chart above where the top staff stays on the same pitch level and the others
adjust).
As is typical (indeed almost inevitable) for a fugato, the passage builds in density. Matching that, this
realization also increases the rate of change both through a poco a poco accelerando and by iteratively
shortening the phrase spans with this scheme for dropping rests:
739 | COMPOSING WITH TWELVE TONES
Rhythmic cycles
with progressive
compression.
Each X identifies
the rest that is cut
from the following
statement.
Next steps
Finally, after rotating around the four trichords, we rotate back one pitch to the original rotation of the
row that starts with the [0, 2, 6, 10] pattern common to the “start” of all four rows. This rotation certainly
changes things. We’ve been stuck in a particular segmentation of the row up to this point, and thus an
emphasis on only four of the twelve trichords. Rotating by one gets us to another set of four. If any of the
rows supported hexachordal combinatoriality for all three successive rotations (i.e., the last set of four),
then we might have built the passage around the three equally, but none of these rows have that property,
so instead we focus on one and use the moment of changing to the other one as a sign that the section is
ending. Again, this is simply one approach among many possibilities.
To conclude then, here is one realization of this piece. Here we start with the free fantasia (now called
simply “solo”), followed by the fugato and moto perpetuo, and end with a short section closer to the the
more relaxed spirit of the opening. Again, there is a wide range of options at every turn, from the choice
of a “free” or “strict” approach to the actual implementation in practice.
One or more interactive elements has been excluded from this version of the text. You can view
them online here: https://viva.pressbooks.pub/openmusictheory/?p=7289
4x4x4x4 by Mark.Gotham
Further reading
• Marsden, Alan (2012): “Final Response: Ontology, Epistemology, and Some Research Proposals.”
Journal of Mathematics and Music, 6(2): 161–67. doi:10.1080/17459737.2012.698157
Online Resources
• Robert Morris kindly provides a wealth of resources at this page. This includes the “Elementary
Twelve-Tone Theory” document.
Assignments
1. Try your hand at something similar to the above:
◦ Pick one or more rows that appeal to you.
741 | COMPOSING WITH TWELVE TONES
Don’t be shy. Whether or not you think of yourself as “a composer,” it’s always useful to learn by
doing, and composition is a great case in point.
Media Attributions
Solo © Mark Gotham
Moto perpetuo © Mark Gotham is licensed under a All Rights Reserved license
Footnotes
HISTORY AND CONTEXT | 742
KEY TAKEAWAYS
Serialism is much discussed and anthologized; in addition to all of the technical and analytical details, it’s worth
taking a moment at the end of this section to consider:
• where it came from: not only Schoenberg, but also Hauer and others
• what it’s “really” about: a new world order, and if so an equalising or totalising one?
• tonal precedents in Bach and Haydn, and “tonal tone rows” in (for example) Alban Berg, Hale Smith,
and Benjamin Britten
• “total” or “integral” serialism in (for example) Ruth Crawford Seeger, Milton Babbitt, Olivier
Messiaen, Karlheinz Stockhausen, Pierre Boulez.
Equal tones? A new world order? Maybe, but the method has served a wide range of composers with
correspondingly diverse aims, so it’s not so straightforward to summarize. There’s also a totalizing angle
here that’s rather less utopian. Schoenberg is famously alleged to have described “his” discovery as one
“which will ensure the supremacy of German music for the next hundred years” (qtd. in Stuckenschmidt
1977, 277). Schoenberg may or may not have actually said this, but Boulez definitely did later describe
743 | HISTORY AND CONTEXT
every composer to have remained “outside the serial experiments” since their discovery as “useless”
(“Schönberg est mort,” Score, 1952, reproduced in Notes of an Apprenticeship, 1968, 274).
A Series of Precedents?
There is a great deal of precedent for general forms of musical thinking pertinent to serial technique,
from simple melodic inversion to furiously complex crab canons, and certain works like Bach’s Art of
Fugue are notable partly for the strictness and comprehensiveness of design in general, and the healthy
dose of “mirror writing” in particular.
In these cases, the mirror is usually “horizontal,” giving versions of the twelve-tone technique’s I-form.
The R-form of retrograde symmetry (given by a “vertical” mirror, if you will) is a primarily 20th-century
concern, serial and otherwise. Non-serial 20th-century examples include a great deal of Bartók, the
prelude/postlude pair in Hindemith’s Ludus Tonalis, and Britten’s Cantata Academica mvt. 2 (tellingly
titled Alla rovescio). There are earlier examples, such as the Menuet al Roverso from Haydn’s Symphony
no. 47 in G, but they are very rare.
There are (equally rare and also rather dubious) cases of tonal works that are said to exhibit the
specifically twelve-tone practice of rotating through all the pitches. Often-cited examples include the
choice of keys in the development of the finale to Mozart’s Symphony no. 40.
Conversely, there are 20th-century composers who wrote music that is serially organized in the sense that
we would recognize, but in such a way as to embrace the sound world of an extended tonality (Example
1). Examples of this include:
• Alban Berg’s Violin Concerto, with its row centered on triads and fifths.
• Hale Smith’s Evocation, which the composer notes to have an “affinity” with jazz. Among the
“jazzy” and/or “tonal” elements of this piece is the foregrounding of set [0,2,7], which the scholar
Horace J. Maxile Jr. links to “the quartal harmonic and improvisational stylings of bop and post-bop
schools” (2004, 125).
• Benjamin Britten’s Turn of the Screw, which adopts a similarly quartal structure in the row from
which both the theme and tonal centers for the acts are serially organized.
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HISTORY AND CONTEXT | 744
Speaking of “tonal serialism,” the trappings of tonality are not limited to pitch: what composers do with
the other parameters is equally important. It’s often observed (usually critically) that Schoenberg’s early
serial works may have used the twelve-tone technique in the pitch domain, but still adopted tonal forms,
rhythms, and idioms such as waltzes.
Hauer’s theory as expressed in his Zwölftontechnik: Die Lehre von den Tropen (1926) is notable for its
early formalization of the twelve-tone technique and for organizing the millions of possibilities into 44
“tropes” (types) of tone rows in four groups based on symmetries among the unordered hexachords (with
the prefixes Poly-, Mono-, Endo-, and Exo-).
After the first generation of “classic” serialists, we start to see a wider range of serial practices emerge,
including a move toward “integral” or “total” serialism, which applies serial technique to parameters other
than pitch, particularly rhythm, dynamics, and articulation. I say “after,” but Ruth Crawford Seeger was
already writing what later came to be known as integral or total serialism as early as c. 1930.
The most frequently cited examples came later, in a burst around 1950:
There were also signs of this mentality already in those “classic” early works. For instance, in the first
movement of Webern’s Symphonie Op.21 (discussed further in this chapter), the exposition sees pitch
classes fixed in specific registers, and his Op. 27 Variations for Piano has pitches, durations, and dynamics
all aligned (for instance, B and G♯ are always eight notes, legato, and forte).
745 | X. ORCHESTRATION
X. ORCHESTRATION
Organization
The three chapters focus on:
1. Core principles of orchestration, organized into matters of succession (what follows what) and
simultaneity (what goes together at the same time).
2. Subtle color changes, taking a closer look at some more detailed aspects of those core principles.
3. Transcription from piano, beginning with a discussion of how to adapt piano music for orchestra in
principle, and then turning to four case studies.
• Skills and techniques associated with writing effective and idiomatic music for orchestra.
• Enhanced familiarity with and understanding of the orchestral repertoire.
• Repertoire from the 18th century to the present day, with a focus on late 19th- and early
20th-century repertoire, and primarily on tonal music.
Repertoire
Each chapter features many examples of repertoire to explore. Images will be included to illustrate short,
summative ideas; for longer works, there will be links to the relevant page on IMSLP.org. All works
receive a full title except symphonies which are often abbreviated by symphony number (Arabic numeral)
and movement number (lowercase Roman numeral): e.g. Beethoven 4/iv.
747 | CORE PRINCIPLES OF ORCHESTRATION
KEY TAKEAWAYS
We begin by thinking of orchestration very simply in terms of how to combine elements, both:
• “simultaneously” (or “vertically” if you prefer) for voicing chords, doubling melody lines, and handling
texture;
Voicing chords
As a rule of thumb for tutti orchestration, blend by treating each section as if it were self-contained. This
applies to the large sections (winds, brass, strings), and often also to the smaller sub-sections (e.g., flutes)
in the case of larger orchestras where there are greater numbers of each. For each section, follow the
principles you learned in four-part writing. That’s right, the principles you’ve already learned about
chordal writing still apply. Specifically, you’ll need to consider:
CORE PRINCIPLES OF ORCHESTRATION | 748
• The inclusion of all (or at least the most important) harmonic pitches.
• The number and prominence of each pitch, including avoiding the overdoubling of the third in a
triad.
• The gaps between voices:
◦ We now see the densest packing in the middle.
◦ Continue to use larger gaps in the bass register (e.g., the octaves given by cello and double bass
notated on the same pitch but sounding an octave apart).
◦ Continue to use smaller gaps higher up in the treble clef range.
◦ We tend to see more activity in the very highest registers in orchestral scores than in most other
contexts; it’s usually best to return to wider spacing in those highest registers.
We have terminology for the different types of chord spacing as summarized in Example 1:
Context determines the best choice among these. For a blended sound, we often use integrated
“interlocking” voicing, taking care to balance the different strengths of each instrument according to the
register; conversely, to achieve a different color for each note, use wider spacing. 1
Doubling lines
The approach to blending in doubling lines again involves finding a compatible balance of (equally strong)
instruments and registers. The second part (m.1 4ff.) of Mozart 40/iii is effectively a two-part invention
and an intriguing example of blended, balanced lines. Both of the two parts are played in each of the
three octaves, and by both winds and strings.
Mozart 40 iii
As always, this default is not a law like that of gravity in physics; composers will diverge from this
blended practice for creative and compositional effect in just the same way that they do with any other
1. For more textbook examples, see Adler (2002, 253); Piston (1955, 396).
749 | CORE PRINCIPLES OF ORCHESTRATION
parameter. Perhaps the most famous example of an odd doubling is provided by Schubert 8/i. The first
theme (m. 13) sees the extraordinary doubling of a single oboe and clarinet in unison. While some
commentators have seen this as an error, it’s probably deliberate on Schubert’s part as a way of creating
an unsettled feel that entirely befits the mood of the music. It also contrasts with a second theme (reh. A,
m. 42): a cello theme accompanied by the optimally blended viola and clarinet in thirds.
Schubert 8 i
Texture
The choice of instruments, register, and more can help support and define the wider texture. For instance:
• Polyphonic writing: Tends to see instruments and groups balanced and blended. Examples include
fugues and the Mozart invention just discussed.
• Melody and accompaniment: Foregrounds the melodic instrument by placing it in its best range,
often at the top of the texture (as in other contexts), and with other accompanimental parts
contrasting in:
◦ Timbre, accompanying a solo woodwind line by full strings, for instance.
◦ Register (as discussed).
◦ Texture, with less or a different kind of rhythmic activity. This is similar to the kind of
complementary rhythmic patterns you often find in polyphonic music: in both cases, we’re
trying to have more than one element at once, but keep them noticeably distinct.
Firstly, once again, everything you’ve learned about voice-leading still applies. (Yes, this will be a
recurring mantra.) Most of the time, it will be eminently possible to reduce apparently complex orchestral
scores down to a two-, three-, or four-part texture with clear and consistent doublings and with “correct”
voice-leading.
In handling successive sections, antiphony is a highly favored method for distributing material, creating
timbral variety, and articulating the form. This can take the form of whole blocks of material being
passed from strings to winds (common in early orchestral scores of the Baroque era), or of more subtle
CORE PRINCIPLES OF ORCHESTRATION | 750
effects. For instance, look at the first page of “In the Hall of the Mountain King” from Grieg’s Peer
Gynt suite:
At the repeat of the tune, the only variation is antiphony (strings-to-winds). The material (both tune and
accompaniment) and register are identical. Later, this strings-to-winds principle continues to the upper
voices as the register expands upward. Let’s take a closer look at that crescendo.
Crescendos
We have a range of tools at our disposal for achieving an effective orchestral crescendo. Apart from mere
dynamic markings, we can:
• Add instruments, often moving from the “lightest” to “heaviest” instruments: broadly,
strings-wind-brass-percussion (e.g., Grieg rehearsal mark A).
• Expand the overall range, often upward from the bass or outward from the center (e.g., Grieg
rehearsal marks A and B).
• Diversify the note values used, adding sustained, longer notes and/or tremolo, shorter ones,
perhaps through note repetitions (e.g., Grieg rehearsal mark B).
• Forces and register: We now have the full orchestral and full register in use except for one
instrument, the piccolo, which is reserved for the top C♯, four measures later. The piccolo is
removed at rehearsal mark C and reintroduced at rehearsal mark D for a similar effect. Likewise, the
final page briefly removes the bass for the piano passage before the final fff chord.
• Wider range of note values: The accompanimental figure (16th-16th-8th on the weak beats), first
introduced by the viola part at rehearsal mark A, has now become focal, adding rhythmic density to
the score. This is further enhanced by the upper strings playing the theme with repeated (sixteenth)
notes and the timpani roll. Conversely, the horns introduce longer (half) notes, lending a more
sustained sound to the previously staccato accompaniment.
As an aside, it’s worth noting that moving from lightest to heaviest instruments
(strings-winds-brass-percussion) is related to overall playing time: the strings generally play the most, the
percussion the least. This is partly for pragmatic reasons: brass players would keel over from exhaustion if
you had them play the string parts—there’s just too much playing time and not enough resting time in
751 | CORE PRINCIPLES OF ORCHESTRATION
between. You’ll find that the best choices for pragmatic reasons and musical ones often go together in this
way.
This holding back of a timbre is very often for loud and/or climactic moments, but not always. For
instance, reserving an entirely new sound until near the end of a work can be extremely effective. Perhaps
the most iconic example is to be found in Debussy’s Prélude à l’après-midi d’un faune, where the antique
cymbal is not used until near the end. (This is a “new” sonority for the piece, and even for Western
audiences of the time.) The crucial moment comes at reh. 10, (8’56” in the following recording), but
clearly the effect depends on listening to the wider context.
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them online here: https://viva.pressbooks.pub/openmusictheory/?p=2237#oembed-1
Dovetailing parts
Finally, in an approach somewhat complementary to antiphony, orchestrators will often “dovetail” parts:
share a continuous line out between different voices. This can be:
• At the opening, the flutes dovetail, overlapping by one note on the downbeat. This is easy to play,
and it allows them to share the long line. It could be more seamless, though, by slurring onto the
downbeat, rather than separating that note with a staccato. The resultant effect is of a fluid line, but
with the beats clearly demarcated.
• When the clarinets enter, we have dovetailing both within and between those subsections: the flute
continues as before, the clarinets follow suit, and this leads to further pairs of Fl.1 + Cl.2 and Cl.1,
Fl.2.
• The strings take a different approach at their entrance at m. 36. The line continues to be shared out
among the string parts, but the groupings break it up into clear 6+3+3 (2+1+1) rhythms. This
follows a period of syncopated accents in the winds.
This gives some sense of how much variety can be achieved within the simple dovetail pattern. It can get
even more detailed, as in the following passage from Rachmaninoff 3/ii (reh. 42). The example shows the
dense dovetailing among the oboes, bassoons, and violin parts. (Click here for scores on IMSLP to see
this accompaniment in context). This rhythm saturates the four options: every sixteenth sees the entry of
one part. It is both:
• dovetailed within the wind and string sections without overlap: i.e., one or other part is always
playing, but never both (oboes or bassoons; violins 1 or violins 2)
• and dovetailed between those sections with winds patterns starting on the 2nd and 4th sixteenths, and
violins starting on the 1st and 3rd (after the first beat).
The texture makes great use of the resources at hand, sparkles with detail, and gives the players
interesting parts to think about (an important and easily overlooked consideration).
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Assignments
1. Dovetailing: transcribe the sixteenth-notes part (piano right hand) of Louise Reichardt’s Unruhiger
Schlaf (12 Gesänge, no. 6) for two clarinets, dovetailing regularly every quarter or half note. A score
is available online here and for download here.
2. Look at the extract from Hensel’s Overture in C major below. How does the combination of bassoon
and ‘cello relate to topics discussed in this chapter?
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Further Reading
• For a recent article on this topic (even more recent than this chapter!), see McAdams, Stephen,
Meghan Goodchild, and Kit Soden. 2022. ‘A Taxonomy of Orchestral Grouping Effects Derived
from Principles of Auditory Perception’. Music Theory Online 28 (3). https://mtosmt.org/issues/
mto.22.28.3/mto.22.28.3.mcadams.html.
Media Attributions
C3 Chord Spacing Types
Footnotes
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KEY TAKEAWAYS
The previous chapter dealt with some important but relatively unsubtle color changes. Here, we hone in on some
of the finer methods for making detailed changes of this kind, organizing the chapter around the apparent motiva-
tions for these changes, seeking to create:
• a timbral cadence
Classical-era orchestral composers sometimes used wind parts in this way. Here’s an example from the
opening of Mozart’s Piano Concerto K453, movement 3. The strings begin, and the timbral cadences are
marked by the addition of winds (highlighted in the example).
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Mozart K453
Shostakovich provides some extraordinary 20th-century examples of this device. Consider the end of
Shostakovich 11/iii. The outer sections of this movement are effectively one long viola solo, and the
timbral addition of unison violins at the end is integral to formalizing the end of the theme. The melodic
contour and discontinuation of the countersubject are also contributing, but the harmony is deeply
ambiguous. In the following recording, the theme plays from 0’50” and the timbral cadences fall at the
ends of the sections (4’50” and 12’40”).
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This device is not unique to orchestral music. For instance, Blink 182 uses the same effect to close verses
in the song “I Miss You”: here the timbral cadence is achieved by the addition of the other vocalist (e.g.,
at 0’55”).
Brahms 2 iii
It is the oboe again that Brahms adds to round out the first cadence of Brahms 4/i. (Note also the
cello-viola dovetailing here.)
Brahms 4 i
striving for something similar in orchestral writing that casts some instruments in an “attacking” role
(shorter notes at the start) and others as “sustain” (longer notes starting together on the same pitches).
Examples abound and are not limited to the 20th century. For instance:
• Mozart: Magic Flute overture. When the brass parts enter, the horns are long, while the trumpets
and trombones are short.
• Mozart: Dies Irae (from the Requiem): again, trumpets and drums are short; others long.
• Beethoven: The opening of Symphony 1/i is an iconic example, and not only for the extraordinary
harmonies. The winds’ fp chords achieve the attack-sustain pair on their own, and are enhanced by
string pizzicato (attack only).
In the 20th century, Schoenberg’s groundbreaking “Farben” (no. 3 from Five Orchestral Pieces) includes
this effect (e.g., see the harp at reh. 2), and Britten uses it to magnificent effect in movement iii of the
Four Sea Interludes. Play the following example from c. 0’45”.
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Britten uses penetrating instruments for the attacks (including the harp again) and sets the resonance on
sustained flute lines, as shown in this small excerpt:
“Attack-sustain”
detail from
Britten’s Four Sea
Interludes
(Note the octave transposition of the harp harmonics.) Later in the movement (around reh. 3), the same
device appears with xylophone and piccolo on attack, and trumpet sustaining.
This practice is related to the wider device of employing different articulations on doublings of the same
melodic line. Clear examples include:
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• Debussy: La Mer / iii (fig. 55). The oboe has repeated notes; the flute does not.
• Sibelius: En Saga: m. 189, (viola pizz. + arco); m. 290 (trumpet staccato with oboe legato), then
oboe with viola.
This, in turn, is related to the practice of having string parts play melodies tremolo for loud sections as
seen in the Grieg example from the previous chapter.
Once again, it falls to the 20th century to furnish us with the truly iconic example of this process. Listen to
this short crescendo from niente from Berg’s Wozzeck (preferably on good speakers, and having warned
the neighbors!). Dramatically, this is the murder scene; musically, it is one huge orchestral crescendo on
the pitch B3. See if you can pick out some of the successively entering instruments, and then scroll down
for the answer.
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Summary of the
instrument
entrances in the
B3 unison of
Berg’s Wozzeck
In a landmark book about sound spectra, Robert Cogan described the beginning of this passage as
“almost entirely fundamental”: that is, almost a pure sine wave, with strictly minimized upper partials. We
begin pppp with the muted French horn: an entirely appropriate choice in that it has the least spectrally
active sound available in the standard symphony orchestra and, partly by definition, also the most distant
one. Not only do the players sit near the back, but their instrument projects the sound backwards, further
increasing the distance and ensuring that the majority of the audience hears primarily wall-reflected
sound. Between this and the use of a mute, a great deal of high-register spectral content is removed,
leaving that nearly pure fundamental. The mute on the solo violin, which is next to enter, has a similar
spectral-auditory effect. When the bass clarinet joins the sound, some higher spectra are introduced,
though few, as the instrument is high in its range and produces only odd-numbered partials. What follows
continues this crescendo not only of sound, but of instrument types and spectral content. Naturally, the
heavy brass are last to enter, burnishing the end to this spectral progression with brilliance.
We’ll end this chapter with an extraordinary example: Webern’s orchestration of Bach’s Ricercata from
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the Musical Offering. The work is at once a faithful, note-for-note transcription of the original and an
analysis-by-orchestration of its motives and melodic contour. It is more of a compositional orchestration
than an arrangement or transcription per se. The image below provides a reduction of the exposition.
There is a staff for each presentation of the theme (corresponding to the six entrances of the fugal voices).
A Musical Offering
Webern’s instrumental distribution of the fugal subject theme follows a palindromic, possibly even double
palindromic design. Dotted lines beneath each staff demonstrate the first, primary, clear and consistent
palindrome; those over the top set out the second, which is not so consistently used, and which may be
less effective in accounting for the last two instrumental choices than the square brackets that illuminate
how these two instruments often repeat an earlier pairing. The asterisks above the staff indicate notes
doubled by the harp, the first of which serves to articulate the first timbral recurrence (initiating the
palindrome), while the latter two identify the end of the theme. The diagonal arrows further speculate on
the possible relation between the successive instrumental timbres of the first answer and those that begin
the next two subject-answer statements.
Finally, the last two systems show how Sofia Gubaidulina’s violin concerto Offertorium takes up this
double palindromic instrumentation of Bach’s theme. That timbral design is not consistent throughout
(hence only presenting the first two instances of the theme), but instead relates to an overall formal
process that truncates one note from the beginning and end of the theme at each successive presentation.
This continues up to a central point, after which the process is symmetrically reversed.
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Clearly these are highly specific modernist examples in which symmetry is paramount, but again, we can
see pre-echoes of this kind of idea in pre-20th-century music. For instance, there are symmetrical timbral
schemes in:
• Schubert 8/ii: the melody moves from the clarinet (in minor) to oboe (major) in the exposition; the
process is reversed in the recapitulation (oboe-clarinet).
• Brahms 3/iii: the theme and accompaniment move from strings to winds in the first section and from
winds to strings in the reprise.
Both cases reflect their larger forms just as Webern and Gubaidulina do.
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Assignments
1. Coming soon!
Media Attributions
Ciii Britten
KEY TAKEAWAYS
When orchestrating piano music, it’s often best to think of this task in terms of translation rather than transcrip
tion, focusing on the core musical idea “behind” any (piano or orchestral) version, and asking:
• What is the piano effect trying to create? How might this (or something similar) be best achieved by the
orchestra?
• What extra rhythms—and perhaps parts—could be extracted from the harmony, register, accents.
The several examples focus primarily on works that are well known in both the piano and orchestral repertoires,
then end with my own orchestration of a piano piece by Bartók.
Some orchestral composers write for piano first, others write directly for orchestra,1 while others still
(perhaps most) sketch scores in a short-score format to begin with that is neither one nor the other. While
composers use a variety of approaches, it will be most useful for us to focus on the first task: orchestrating
from piano music. Among the reasons for this:
• There exists so much wonderful music in both piano and orchestral forms.
• It makes you consider closely the similarities and differences between two contexts.
It’s best to think of this task in terms of going back to the core (“pre-pianistic”) idea and rewriting,
re-realizing that idea for orchestra. You might like to think of this as analogous to translation, rather than
mere transcription.
1. For instance, see Rimsky-Korsakov's Preface to his iconic Principles of Orchestration, 1891.
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This chapter will begin with some basic principles, then move on to some magnificent examples of
piano-orchestral pairs in the repertoire. I’ll finish by putting my own neck on the block, going through an
orchestration of my own after a piano piece by Bartók.
Basic Principles
Firstly, start by reading the original closely—really closely. Ask yourself:
• What is the piano effect trying to create? How might this (or something similar) be best achieved by
the orchestra?
• What extra rhythms—and perhaps parts—could be extracted from the harmony, register, accents.
• Extending notes: If the piano’s sustain pedal is down, you may wish to add parts sustaining each of
the notes beyond their notated length (to the notated length of the pedal changes).
• Extracting accents: Accents of all kinds can be separated off into separate parts in the manner of the
“attack-sustain” effect discussed in the previous chapter, in which some parts play the music “as
written,” while others provide the attack only.
• Oscillating figures such as broken octaves. This is a pianistic solution that usually needs reworking
for other instrumental forces. Many other instruments can repeat notes more readily than the piano.
(Don’t forget to consider the register and rhythmic levels; as a rule of thumb, maintain at least those
of the original.)
• Arpeggiation. Large florid arpeggiations, by contrast, are better suited to the piano than most other
instruments. You will likely want to break them up into multiple parts, dovetailed together to give
the continuous impression of the original.
Brief examples
Let’s see this in practice with two examples from the piano repertoire. Consider how you would
orchestrate them, then compare your result with the possible solutions below (but remember that there are
always many different viable ways to do this—the solutions here are examples). Plan on realizing the
Chopin example for string quartet and the Beethoven for classical orchestra.
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Beethoven Op. 13
In the Chopin prelude, the left-hand distribution invites reworking for orchestral instruments. Here is a
solution that re-distributes the material over two parts (viola and cello). Even if you decide to do some
kind of redistribution in principle, there are a lot of different ways to realize it. I like this particular
solution because it separates “main” chord notes (cello) from a broken thirds figure (viola), and in so
doing, it brings out the very slight metrical dissonance hinted at in the original (here: in the cello vs.
in all other parts).
You may have noticed an elephant in the room here—I’ve changed the key. Whether and when it is
appropriate to do this depends on context. For an orchestration of all 24 preludes, it would be best to leave
the keys as they are; in doing just one or two, we’re freer to make changes like this move from F♯ to F in
order to “fit” better on the string instruments, including hitting more open strings in the cello (which helps
make some of the more unwieldly lines later on more practical).
Incidentally, earlier music is more likely to impel you to change keys between keyboard and orchestral
versions. At least Baroque and Classical composers generally used a narrower set of keys for their
orchestral works than they did in keyboard music.
Turning to the Beethoven, we have broken octaves in the left hand, a variable number of chord notes in
the right, a crescendo, a growing tessitura, and some sfz chords. Here is a solution with viola, cello, bass,
and timpani sharing that C pedal across three octaves and three different pulse values. Note also:
• Where parts are added: first on the sfz, then twice in the next measure on the basis of motivic
parallels and accelerating the rate of change.
• The use of horns in E♭ and trumpets in C—a common device for composers of the time working
with “natural” brass instruments (see the Fifth Symphony, for instance).
4. Stravinsky: “Danse Sacrale” from The Rite of Spring (piano and orchestral versions both by
Stravinsky)
5. Bartók: VIII from Eight Improvisations on Hungarian Peasant Songs (orch. Gotham)
Here are some extracts from Mahler 4/iv with red boxes highlighting orchestrations of the arpeggiated
accompaniment pattern. The extracts show Mahler creating a set of timbral variations on a single, simple
idea. (Note that the pages are each separate extracts from the movement; they don’t run continuously
together.)
As so often in Mahler, this music began life as a song forming part of a song cycle for voice and piano
and was only later integrated into this symphony. The harp features in each of these extracts and is almost
identical to the equivalent part of the original piano accompaniment, so we have that point of reference on
the score and can see what else Mahler does with it.
• At the start (first page, m. 1,) we have a rather lovely distribution that’s a long way from the simplest,
easiest option: the violas take the D3 alone, while the cellos take the short, fast B4-G2 leap across a
long glissando. Note further differences from the harp such as:
◦ all the dynamic and articulation markings added in those string parts
◦ the cohesive elements: overlapping the viola and cello parts, and the horn pedal on D4
(sounding pitch)
• In measure 4 (still on the first page), we start with clarinet 2 doubling the harp exactly, before
moving to …
• Rehearsal mark 1, with a distribution of the harp part on to the bass clarinet and clarinet 2. This
distribution resembles the opening in use of similarly paired parts (viola and cello; bass clarinet and
clarinet 2), and in the separation of the rhythm. The pitch distribution has changed (now ordered
G2-D3-B3), and the expressive glissando is gone. Cellos “double” the G and D, but on the beats, thus
slightly “missing” the original D and creating a slightly heterophonic effect.
• Later in the movement (on the next page, marked p. 341 in this score and at 3’28” in the recording
below), we see the cellos double the harp part directly. This G2-D3-B3 version allows cellos to use
two open strings, which makes for a gentle, easy spread that befits the mood. The Cor anglais now
picks up the D4 pedal.
• From rehearsal mark 12 (5’19”), the harp moves to a lower tessitura as part of the “winding down” at
the end of this symphony. Accordingly, we move from cellos down to double basses, who double the
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downbeats much as the cellos did at figure 1, and again with an open string available (just one this
time), but rhythmically simpler in this case, without the heterophonic effect.
• On the next and final page, you can see that this harp-bass doubling and the same low E1 pitch
(double bass open string) mark the final sonority of the symphony.
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Question: How much can you get out of one single line? What is appropriate to draw out of the original, or
simply to add?
Turn now to the opening of the orchestral score and note the following:
• m. 1: Addition of a new quarter-note part which is distributed over the trumpets on the one hand and
the rest of the orchestra on the other, thus giving rhythmic life to a “mere” succession of chords on
the beats. (See the Cruxifixus from the B minor Mass for another example of Bach using this
device.)
• m. 2: Orchestral parts join in the solo parts’ repeat of the opening rhythm. Note that they start on the
second eighth note of the measure, reflecting the original rhythm and jumping on the moving train of
sixteenth notes in that solo part.
• m. 4: A similar strategy, doubling the repeat of the solo line’s melodic idea, this time on the second
descent from D, and again from the exact position (second sixteenth note of the beat this time).
• mm. 9–12 following: Bringing out the melodic eighth-note motion with parallel thirds above and
below, alternating by the measure (mm. 9 and 11 above, mm. 10 and 12 below). Note how mm. 10
and 12 also resemble the opening rhythm, if not its contour.
• mm. 14–16: A similar process, all below, but alternating thirds and sixths (effectively “swapping” F♯
and D between solo and orchestra).
• m. (13,)16: The pedal D in the solo line (m. 13) moves into a separate bass pedal (m. 16).
• m. 20: Orchestral chords verticalize the cycle of fifth harmonies and reduce the orchestra’s metrical
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levels to measure-only.
Overall, note:
• How Bach has not only picked out implied lines, but been relatively free in the addition of germane
material to thicken out the orchestral version. This does not imply any deficiency in the original; it’s
Bach’s way of realizing the same material for different media.
• The key change from E for the violin to D for the orchestra (in connection with our discussion of the
Chopin example above).
• How consistent this piece is with Lester’s (1986, 138) observation that Bach will often project
multiple metrical levels simultaneously and explicitly: here we have very explicit pulses at sixteenth,
eighth, and quarter-note levels for most of the time.
Let’s look at the “Gnomus” movement as an example. The picture in this case depicts a sketch for a toy
nutcracker shaped as a deformed gnome; the music is accordingly fragmentary and ghoulish. Again, start
with the piano original and come up with your own ideas for how to orchestrate it; we’ll then go through
each successive piece of material in the movement as realized by Mussorgsky (M), Ravel (R), and
Stokowski (S). Mussorgsky and Ravel are on IMSLP; regrettably, the Stokowski is not.
• M: Note the notated sfz and remember the natural diminuendo of a piano chord’s decay.
• R: The existing parts provide the attack; two horns provide the sustain with explicitly notated
diminuendo. Note that the horns are muted the second time for the quieter version, and for timbral
variety.
• S: Tutti on pause notes; no diminuendo.
• M: Indicated by sfzs.
• R and S: Also use accents and some secondary (incomplete) parts.
• R: Subito p.
• S: Crescendo (sic, not diminuendo as in M) and the addition of timpani to the GP bar (then
diminuendo).
• M: Slow parallel writing with the low E♭ as a kind of pedal inviting separation.
• R and S: Indeed allocate some part to the E♭ pedal only.
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m. 60:
m. 72
• M: A spare treatment, with just two voices until the final chord.
• R (fig. 18): Addition of voices (note how those voices relate to the original pitches and which
metrical positions they start on).
• S: Adds in a longer version of the C♭, perhaps mindful of the other moments in which this
movement has focused on the single, sustained pitch. All part additions begin on downbeats, with the
primary additions on the penultimate measure.
• closely resembles Ravel’s more distinctive additions (including even, e.g., the glissando additions)
• more freely changes the material (in cutting all repeats, for instance)
• tends to joins up successive sections somewhat (sustaining through rests, for instance), perhaps
seeking to avoid this short work becoming too fragmentary
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• bass line considerations (and to a bass line that consists of few pitches)
• the orchestral crescendo, which has featured through this chapter and section
Here the material consists of strictly separate elements that are rhythmically reworked in a dizzying range
of ways. Fundamentally, however, we have a simple alternation between a bass part on the beats and a
treble response off-beat. The treble part takes a few different forms, mostly centered on short, sharp,
accented chords, but also intermittently including the classic Stravinsky crescendo: a short, rapid
crescendo from a metrically weak position to a strong one. This is not indicated in the piano version (it’s
not possible there for sustained chords) but is a highly distinctive feature of Stravinsky’s orchestral
writing, here with horns and trombones for the crescendo and more brass added to mark the downbeat.
Here we’re going to focus on the longer-range orchestral crescendo in the bass and ask:
Question: How would you score the bass in the main, “A” sections (of this “rondo”) as part of a gradual
orchestral crescendo?
Like many, I first encountered this music aurally (and was blown away by it, of course!). Later, when I
came to check out the score, the first thing that struck me was the bass line. I remembered the colossal
forces involved, and the alternation between bass and treble, and I suppose I just assumed that the
orchestration involved some kind of parity between the forces allocated to bass and treble. Instead, I
found the bass very lightly scored (at least initially) and gradually changing throughout, creating timbral
variety and a gradual crescendo both within sections (especially in the passage from reh. 186) and
between them. Here’s a brief summary of the process first entrances:
• Rehearsal mark 142 ff. (start): Double basses and timpani, initially alternating (i.e., only one at a
time!), then briefly together on the first octave downbeat at reh. 144. The tuba is then added, for a
new double bass and timpani alternation, the tuba siding with the basses (and the lower octave) until
reh. 146, where the double basses and timpani are reunited (no tuba) for the more melodic D–F
alternation.
• Rehearsal mark 167 ff. (c. 2’00’’ in the recording below) sees bassoon and contrabassoon initially
take the place of the tuba, and then alternate with it in the same pattern as before. Double basses and
timpani remain.
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• Rehearsal mark 180ff. (c. 3’00’’): A brief snatch of the A section here sees no bassoons, but tuba,
double basses, timpani and the introduction of the bass drum before the final section.
• Rehearsal mark 186ff. (c. 3’40”): This final section initially starts with all the action concentrated in
the bass register (i.e., both “bass” and “treble” from before). Bassoons and tubas split, covering both
the “treble” and “bass” between their members, so we’re now more in the territory of self-contained
subsections (rule of thumb from the first chapter than the more pointillistic approaches (see this
chapter) we’ve seen so far. The double basses and bass drum are in, but the timpani is removed for
the first time, returning only when the true treble range recommences at reh. 189.
• Rehearsal mark 190 sees the introduction of the bass clarinet, then two very low horns (VI and VIII)
at reh. 192.
• Rehearsal mark 195 finally sees the true tutti with the bass clarinet, third bassoon and
contrabassoons, horns VI and VIII, timpani, bass drum, and double basses, but not
tubas—reallocated to the heavy brass for the “treble” off-beats.
• At the end of all of this variety, the single, unequivocal sfff bass cluster chord seems an especially
fitting end, suitably prepared with equally garish flourishes in a genuinely treble register. Even here,
the final downbeat does not feature all the bass instruments, but adds cellos for the first time and
omits those of the wind section.
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I began this process with extreme attention to Bartók’s fascinating articulations and found more about
what he means by them through engaging with his other scores, and by chancing upon his own glossary of
articulations as used in his 1916 edition of J.S. Bach’s Anna Magdalena Notebook (see the title pages). In
orchestrating this work, apart from realizing the implications of the score (highly inviting to
orchestrators!), I also sought to realize something of Bartók’s own style.
• m. 1: Increase the sound and density of the opening flourish by the addition of octaves, by
introducing several simultaneous rhythmic modifications of the triplet, and by inviting the double
basses to play a snap (a.k.a. “Bartók”) pizz on their lowest string, preferably on the “correct” pitch
C0 (for basses with extensions), but if not, then still preferring the open string to shifting the pitch up
the octave.
• m. 2: For the repeated chords (with the piano’s pedal down), alter the octave to make use of the four
horns in a favorable range and to outline the outer voices of that chord with a battery of open strings.
• m. 5: Where the piano part sees doubled octaves, the orchestral version attracts concomitantly more.
• m. 6: Suddenly, the piano pedal comes off, so that’s a cue to thin the texture (removing the added
bass, for instance). The trumpets serve to mark that moment and contribute to the gradual move
from repeated off-beat chords to the more active figure and emerging secondary line.
• m. 9: “Con grazia” in this range and in this slightly rustic context calls for the oboe.
• m. 11: Suddenly the dynamics, texture, and tessitura change again. The glissando is another Bartók
hallmark and, in combination with the high E harmonic, adds a bravura flourish.
• m. 13: The alternation of two pitches in the bass register a fourth or fifth apart is very suggestive of
the timpani.
• m. 19–20: Here’s a chance to flex out dovetailing muscles as part of covering a large range with
crescendo.
• m. 21: Reserve something (percussion) for the final sff chord. The timpani flourish is a creative
addition which brings that soloistic part to a climactic close along with the wider section.
• m. 22: “Leggiero” is the main cue here. Use like timbres for the clusters. Oboes fit the leggiero bill
here, and flutes round the sound out a little.
• m. 23: The accent invites a little creative change: I opt for a solitary string pizz and sending flute up
one octave for this note only.
• m. 24: Cor anglais and solo cello duet sonority begins before the “true” duet from m. 28. (VC
(moving from oboe to VC-Cor 28 duet). Solo/altri exchange.
• m. 26: The equivalent accent to m. 23 is similar, but less directly implied by the piano part (deduced
from the solo line).
• m. 28: The articulation in the cello melody here is a little fussy, but should help to bring out the
section’s “capriciousness.”
TRANSCRIPTION FROM PIANO | 772
• m. 29: Yet another reworking of the accompaniment accent, here as a slightly different violin figure
(similar to both mm. 23 and 26 and the snare drum in m. 13).
• m. 35: The texture and register develop here, notably expanding the use of the woodwinds.
• m. 43: Bassoon and contrabassoon share the octave leaps of the original; double basses connect the
two somewhat with a semitone version.
• m. 46: The higher octave here allows us to return to a timbre and gesture from earlier on: the
“throwaway” high E harmonic on the violins.
• m. 48: Once again, the bass “line” is separated between the F pedal and the moving part.
• m. 51: A variety of solutions to the clear “attack-sustain” gesture here. The solo timbres are as
before, lending some continuity to avoid too excessively fragmentary a feel.
• m. 53: This two-voice invention with occasionally double octaves is an orchestrator’s dream.
Trombones take center stage, horns pick out the quarter-note exchange as a kind of “bell peal” which
is joined on every other measure by tubular bell (suitably enough!).
• m. 63: Changes to the horn parts bring out the rhythmic acceleration.
• m. 65: Ruomoso? Al talone? All down? The Rite of Spring looms large.
• m. 67: Subito mf reduced the strings to pizz, but introduces winds in preparation for the crescendo.
• m. 69: The big tune returns! Having flirted with a Rite of Spring–esque all down passage before, it
seems fitting to try the legato version here. Sound covered by brass and off-beats.
• m. 77: Note the move into a higher octave here (in both versions).
• m. 81: The sextuplet requires some reworking for orchestra: here some parts play all six notes, but in
close position and octave doublings; other parts (generally the lower ones) pick out a triplet version.
The snare drum continues this sextuplet through the downbeat (an addition to the original) up to the
final chord.
Assignments
1. Coming soon!
Footnotes
773 | ANTHOLOGY
ANTHOLOGY
Prerequisites
• Harmony
• Twelve-Tone Rows
While there are no prerequisites as such, these anthology
chapters clearly relate to specific textbook chapters. The
most relevant textbook chapters are always identified here
so you can easily move back and forth between textbook and anthology.
Organization
The chapters focus on:
1. Tonal (primarily chromatic) harmony. Sub-sections of the chapter provide examples of specific
chords like the augmented and Neapolitan sixths and links to scores online that can be played,
downloaded etc..
2. Twelve-tone rows in the repertoire
Other info
As the chapters note, these anthologies draw together examples identified bu human analysts. You should
expect to agree with some and disagree with others.
HARMONY ANTHOLOGY | 774
HARMONY ANTHOLOGY
Mark Gotham
KEY TAKEAWAYS
• This is an anthology of a different kind and at a larger scale than the usual provision. Instead of
showcasing a few, select examples (as the textbook chapters proper do), the goal here is to provide long
lists of cases that at least one analyst sees in terms of the chord under discussion.
• Harmonic analysis is a reductive and subjective task and you should fully expect to disagree with some of
the entries included here.
• The idea is to provide minimal curation, allowing you to roam freely among potentially relevant cases from
across a broad repertoire, making up your own mind about what counts as an ‘real’ example.
Throughout this textbook, we have provided short examples of the musical subjects under discussion such
as a specific chord or progression. These examples have included both simple, ‘prototypical’ versions to
clarify how the idea works in principle, and also moments from real pieces in the repertoire.
Inevitably, these chapters only have space for a few such examples, so this final, ‘anthology’ section seeks
to provide many more instances, enabling users to see a wider range of cases and with full context. No
textbook or anthology can hope to capture the full range of ways in which these chords are used. Indeed,
it’s not always clear whether a moment constitutes a ‘real’ example of the chord at hand. Hopefully, this at
least provides space to roam and explore those ‘edge cases’.
This first instalment of that vision focuses primarily on harmonic matters and on a corpus of nineteenth
century songs encoded as part of the OpenScore Lieder Corpus which releases its transcriptions under the
775 | HARMONY ANTHOLOGY
CC0 licence meaning that they can be used for any purpose whatsoever without restriction.1 The tables
below list moments identified as relevant by human analysts. So while much of the grunt work of collating
lists and retrieving examples etc. has been automated, the analysis itself has not.2
Please get in touch if you would like to see other chords or progressions represented here. For those
interested in the computational side, all source material (scores, analyses, code, etc.) is available here.
1. Here are links to the public-facing "version of record", the Github mirror (download all at once), the first report (2018), and the updated
report (2021).
2. For a longer discussion of (methods for) creating a digital age anthologies, you might like to check of a paper I published with DLfM in
2019, called ‘Moments Musicaux’.
HARMONY ANTHOLOGY | 776
A
Bonis, Mel Allons prier! 42 Ger65 6635424 .mscz .mxl
minor
Chaminade, Bb
Amoroso 7 Ger65 4999292 .mscz .mxl
Cé cile minor
Chaminade, Bb
Amoroso 8 Ger65 4999292 .mscz .mxl
Cé cile minor
Chaminade, Bb
Amoroso 23 Ger65 4999292 .mscz .mxl
Cé cile minor
Chaminade, Bb
Amoroso 24 Ger65 4999292 .mscz .mxl
Cé cile minor
Chaminade, Bb
Amoroso 39 Ger65 4999292 .mscz .mxl
Cé cile minor
Chaminade, Bb
Amoroso 40 Ger65 4999292 .mscz .mxl
Cé cile minor
777 | HARMONY ANTHOLOGY
Chaminade, G
Berceuse 26 It6/iv 6264559 .mscz .mxl
Cé cile minor
Chaminade, G
Berceuse 27 It6/iv 6264559 .mscz .mxl
Cé cile minor
Chaminade, G
Berceuse 28 It6/iv 6264559 .mscz .mxl
Cé cile minor
Chaminade, G
Berceuse 51 It6/iv 6264559 .mscz .mxl
Cé cile major
Chaminade, G
Berceuse 52 It6/iv 6264559 .mscz .mxl
Cé cile major
Chaminade, G
Berceuse 53 It6/iv 6264559 .mscz .mxl
Cé cile major
Chaminade, D
Sur la plage 24 It6 5000363 .mscz .mxl
Cé cile minor
Chaminade, D
Sur la plage 25 It6 5000363 .mscz .mxl
Cé cile minor
Bb
Chausson, Ernest 7 Mélodies, Op.2 7 Le Colibri 7 Fr43 5077780 .mscz .mxl
minor
Bb
Chausson, Ernest 7 Mélodies, Op.2 7 Le Colibri 35 Fr43 5077780 .mscz .mxl
minor
Hensel, Fanny E
5 Lieder, Op.10 1 Nach Sü den 6 Fr43 5000467 .mscz .mxl
(Mendelssohn) major
Hensel, Fanny E
5 Lieder, Op.10 1 Nach Sü den 8 Fr43 5000467 .mscz .mxl
(Mendelssohn) major
Hensel, Fanny E
5 Lieder, Op.10 1 Nach Sü den 37 Fr43 5000467 .mscz .mxl
(Mendelssohn) major
Hensel, Fanny E
5 Lieder, Op.10 1 Nach Sü den 39 Fr43 5000467 .mscz .mxl
(Mendelssohn) major
Hensel, Fanny C#
5 Lieder, Op.10 2 Vorwurf 5 It6 5000464 .mscz .mxl
(Mendelssohn) minor
Hensel, Fanny C#
5 Lieder, Op.10 2 Vorwurf 16 Ger65 5000464 .mscz .mxl
(Mendelssohn) minor
Hensel, Fanny C#
5 Lieder, Op.10 2 Vorwurf 17 Ger65 5000464 .mscz .mxl
(Mendelssohn) minor
Hensel, Fanny C#
5 Lieder, Op.10 2 Vorwurf 21 Ger65 5000464 .mscz .mxl
(Mendelssohn) minor
Hensel, Fanny G#
5 Lieder, Op.10 2 Vorwurf 34 Ger65 5000464 .mscz .mxl
(Mendelssohn) minor
Hensel, Fanny G#
5 Lieder, Op.10 2 Vorwurf 38 Ger65 5000464 .mscz .mxl
(Mendelssohn) minor
Hensel, Fanny G
5 Lieder, Op.10 4 Im Herbste 23 Ger65 5000459 .mscz .mxl
(Mendelssohn) minor
Hensel, Fanny G
6 Lieder, Op.1 1 Schwanenlied 17 Ger65 5100543 .mscz .mxl
(Mendelssohn) minor
779 | HARMONY ANTHOLOGY
Hensel, Fanny G
6 Lieder, Op.1 1 Schwanenlied 22 Ger65 5100543 .mscz .mxl
(Mendelssohn) minor
Hensel, Fanny G
6 Lieder, Op.1 1 Schwanenlied 44 Ger65 5100543 .mscz .mxl
(Mendelssohn) minor
Hensel, Fanny G
6 Lieder, Op.1 1 Schwanenlied 49 Ger65 5100543 .mscz .mxl
(Mendelssohn) minor
Hensel, Fanny B
6 Lieder, Op.1 4 Mayenlied 7 Ger65/I 5101299 .mscz .mxl
(Mendelssohn) major
Hensel, Fanny B
6 Lieder, Op.1 4 Mayenlied 26 Ger65/I 5101299 .mscz .mxl
(Mendelssohn) major
Hensel, Fanny G
6 Lieder, Op.9 2 Ferne 15 Ger65 5103883 .mscz .mxl
(Mendelssohn) minor
Hensel, Fanny C
6 Lieder, Op.9 6 Die Mainacht 8 It6 4986030 .mscz .mxl
(Mendelssohn) minor
Holmès, Augusta B
Les Heures 4 L’Heure d’Azur 20 Ger65 5001674 .mscz .mxl
Mary Anne major
B
Jaëll, Marie 4 Mélodies 2 Éternel amour 24 Ger65 5837811 .mscz .mxl
major
3 Abermals am B
Lang, Josephine 6 Lieder, Op.12 44 Fr43 6061301 .mscz .mxl
See major
3 Abermals am B
Lang, Josephine 6 Lieder, Op.12 80 Fr43 6061301 .mscz .mxl
See major
4 Lied (Immer
E
Lang, Josephine 6 Lieder, Op.25 sich rein kindlich 6 Ger65 4920211 .mscz .mxl
major
erfreu’n)
4 Lied (Immer
E
Lang, Josephine 6 Lieder, Op.25 sich rein kindlich 16 Ger65 4920211 .mscz .mxl
major
erfreu’n)
4 Lied (Immer
E
Lang, Josephine 6 Lieder, Op.25 sich rein kindlich 28 Ger65 4920211 .mscz .mxl
major
erfreu’n)
4 Lied (Immer
E
Lang, Josephine 6 Lieder, Op.25 sich rein kindlich 38 Ger65 4920211 .mscz .mxl
major
erfreu’n)
4 Lied (Immer
E
Lang, Josephine 6 Lieder, Op.25 sich rein kindlich 50 Ger65 4920211 .mscz .mxl
major
erfreu’n)
4 Lied (Immer
E
Lang, Josephine 6 Lieder, Op.25 sich rein kindlich 58 Ger65 4920211 .mscz .mxl
major
erfreu’n)
HARMONY ANTHOLOGY | 780
3 Wenn der
Ab
Mayer, Emilie 3 Lieder, Op.7 Abendstern die 19 Ger65 5841419 .mscz .mxl
major
Rosen
3 Wenn der
Ab
Mayer, Emilie 3 Lieder, Op.7 Abendstern die 23 Ger65/vi 5841419 .mscz .mxl
major
Rosen
Zwö lf Deutsche
Reichardt, und Italiä nische 10 Ida (aus Ariels Bb
9 Ger65 5002108 .mscz .mxl
Louise Romantische Offenbarungen) minor
Gesä nge
Zwö lf Deutsche
Reichardt, und Italiä nische 10 Ida (aus Ariels Eb
35 Ger65 5002108 .mscz .mxl
Louise Romantische Offenbarungen) minor
Gesä nge
Zwö lf Deutsche
Reichardt, und Italiä nische 10 Ida (aus Ariels Eb
43 Ger65 5002108 .mscz .mxl
Louise Romantische Offenbarungen) minor
Gesä nge
Zwö lf Deutsche
Reichardt, und Italiä nische 10 Ida (aus Ariels Eb
51 Ger65 5002108 .mscz .mxl
Louise Romantische Offenbarungen) minor
Gesä nge
Reichardt, G
Zwö lf Gesä nge 04 Vaters Klage 3 It6 5001870 .mscz .mxl
Louise minor
Das Rosenband, Ab
Schubert, Franz 11 It6/vi 5946872 .mscz .mxl
D.280 major
Das Rosenband, Ab
Schubert, Franz 27 It6/vi 5946872 .mscz .mxl
D.280 major
Die schö ne E
Schubert, Franz 02 Wohin 38 It6 4982535 .mscz .mxl
Mü llerin, D.795 minor
Die schö ne E
Schubert, Franz 02 Wohin 39 It6 4982535 .mscz .mxl
Mü llerin, D.795 minor
Die schö ne E
Schubert, Franz 02 Wohin 40 It6 4982535 .mscz .mxl
Mü llerin, D.795 minor
Die schö ne Bb
Schubert, Franz 12 Pause 39 It6 4985946 .mscz .mxl
Mü llerin, D.795 minor
Die schö ne Bb
Schubert, Franz 12 Pause 40 Fr43 4985946 .mscz .mxl
Mü llerin, D.795 minor
Die schö ne Bb
Schubert, Franz 12 Pause 66 Ger65 4985946 .mscz .mxl
Mü llerin, D.795 major
Die schö ne Bb
Schubert, Franz 12 Pause 74 Ger65 4985946 .mscz .mxl
Mü llerin, D.795 major
Schwanengesang, 02 Kriegers C
Schubert, Franz 14 Ger65 4986000 .mscz .mxl
D.957 Ahnung minor
Schwanengesang, 02 Kriegers C
Schubert, Franz 24 It6 4986000 .mscz .mxl
D.957 Ahnung minor
Schwanengesang, 02 Kriegers C
Schubert, Franz 111 Ger65 4986000 .mscz .mxl
D.957 Ahnung minor
Schwanengesang, 03 Bb
Schubert, Franz 65 Ger65 4985999 .mscz .mxl
D.957 Frühlingssehnsucht minor
Schwanengesang, G
Schubert, Franz 05 Aufenthalt 53 Ger65 4985990 .mscz .mxl
D.957 major
Schwanengesang, E
Schubert, Franz 05 Aufenthalt 108 Ger65 4985990 .mscz .mxl
D.957 minor
Schwanengesang, 13 Der B
Schubert, Franz 32 V43[b5] 4985964 .mscz .mxl
D.957 Doppelgänger minor
Schwanengesang, 13 Der B
Schubert, Franz 33 V43[b5] 4985964 .mscz .mxl
D.957 Doppelgänger minor
Schwanengesang, 13 Der B
Schubert, Franz 41 V43[b5] 4985964 .mscz .mxl
D.957 Doppelgänger minor
Schwanengesang, 13 Der B
Schubert, Franz 42 V43[b5] 4985964 .mscz .mxl
D.957 Doppelgänger minor
Schwanengesang, 13 Der B
Schubert, Franz 42 V43[b5] 4985964 .mscz .mxl
D.957 Doppelgänger minor
Schwanengesang, 13 Der B
Schubert, Franz 51 Ger65 4985964 .mscz .mxl
D.957 Doppelgänger minor
Winterreise, 02 Die A
Schubert, Franz 8 It 5015435 .mscz .mxl
D.911 Wetterfahne minor
Winterreise, 02 Die A
Schubert, Franz 27 It 5015435 .mscz .mxl
D.911 Wetterfahne minor
Winterreise, 02 Die A
Schubert, Franz 31 Ger65 5015435 .mscz .mxl
D.911 Wetterfahne major
Winterreise, 02 Die A
Schubert, Franz 37 It6 5015435 .mscz .mxl
D.911 Wetterfahne minor
Winterreise, 02 Die A
Schubert, Franz 43 Ger6 5015435 .mscz .mxl
D.911 Wetterfahne major
783 | HARMONY ANTHOLOGY
Winterreise, 03 Gefror’ne F
Schubert, Franz 22 It6 5015499 .mscz .mxl
D.911 Thränen minor
Winterreise, 03 Gefror’ne Ab
Schubert, Franz 26 It6 5015499 .mscz .mxl
D.911 Thränen minor
Winterreise, 03 Gefror’ne F
Schubert, Franz 37 Ger65 5015499 .mscz .mxl
D.911 Thränen minor
Winterreise, 03 Gefror’ne F
Schubert, Franz 47 Ger65 5015499 .mscz .mxl
D.911 Thränen minor
Winterreise, 05 Der E
Schubert, Franz 45 Ger65 5016466 .mscz .mxl
D.911 Lindenbaum minor
Winterreise, 05 Der E
Schubert, Franz 47 Ger6 5016466 .mscz .mxl
D.911 Lindenbaum minor
Winterreise, 05 Der E
Schubert, Franz 52 Ger6 5016466 .mscz .mxl
D.911 Lindenbaum minor
12 Einsamkeit
Winterreise, B
Schubert, Franz (Urspruengliche 32 Ger65 5023662 .mscz .mxl
D.911 minor
Fassung)
HARMONY ANTHOLOGY | 784
12 Einsamkeit
Winterreise, B
Schubert, Franz (Urspruengliche 34 Ger65 5023662 .mscz .mxl
D.911 minor
Fassung)
12 Einsamkeit
Winterreise, B
Schubert, Franz (Urspruengliche 35 Ger65 5023662 .mscz .mxl
D.911 minor
Fassung)
12 Einsamkeit
Winterreise, B
Schubert, Franz (Urspruengliche 44 Ger65 5023662 .mscz .mxl
D.911 minor
Fassung)
Winterreise, Eb
Schubert, Franz 13 Die Post 18 Ger65 5007176 .mscz .mxl
D.911 major
Winterreise, Gb
Schubert, Franz 13 Die Post 31 Fr43 5007176 .mscz .mxl
D.911 major
Winterreise, Eb
Schubert, Franz 13 Die Post 63 Ger65 5007176 .mscz .mxl
D.911 major
Winterreise, Gb
Schubert, Franz 13 Die Post 76 Fr43 5007176 .mscz .mxl
D.911 major
Winterreise, 14 Der greise Ab
Schubert, Franz 21 It6 5007178 .mscz .mxl
D.911 Kopf major
Winterreise, G
Schubert, Franz 15 Die Kraehe 22 It6 5007179 .mscz .mxl
D.911 major
Winterreise, 16 Letzte Eb
Schubert, Franz 21 Fr6 5007180 .mscz .mxl
D.911 Hoffnung minor
Winterreise, 16 Letzte Eb
Schubert, Franz 22 Fr43 5007180 .mscz .mxl
D.911 Hoffnung minor
Winterreise, 16 Letzte Eb
Schubert, Franz 22 Fr43 5007180 .mscz .mxl
D.911 Hoffnung minor
Winterreise, 16 Letzte Eb
Schubert, Franz 22 Fr43 5007180 .mscz .mxl
D.911 Hoffnung minor
Winterreise, 16 Letzte Eb
Schubert, Franz 23 Fr43 5007180 .mscz .mxl
D.911 Hoffnung minor
Winterreise, 16 Letzte Eb
Schubert, Franz 23 Fr43 5007180 .mscz .mxl
D.911 Hoffnung minor
Winterreise, 16 Letzte Eb
Schubert, Franz 23 Fr43 5007180 .mscz .mxl
D.911 Hoffnung minor
Winterreise, D
Schubert, Franz 17 Im Dorfe 42 It6 5007181 .mscz .mxl
D.911 major
Winterreise, G
Schubert, Franz 20 Der Wegweiser 38 Ger65 5009900 .mscz .mxl
D.911 minor
785 | HARMONY ANTHOLOGY
Winterreise, G
Schubert, Franz 20 Der Wegweiser 78 Ger65 5009900 .mscz .mxl
D.911 minor
12 Am
Schumann, Dichterliebe, Bb
leuchtenden 1 Ger65 4978395 .mscz .mxl
Robert Op.48 major
Sommermorgen
12 Am
Schumann, Dichterliebe, Bb
leuchtenden 6 Ger65 4978395 .mscz .mxl
Robert Op.48 major
Sommermorgen
12 Am
Schumann, Dichterliebe, Bb
leuchtenden 11 Ger65 4978395 .mscz .mxl
Robert Op.48 major
Sommermorgen
12 Am
Schumann, Dichterliebe, Bb
leuchtenden 19 Ger65 4978395 .mscz .mxl
Robert Op.48 major
Sommermorgen
12 Am
Schumann, Dichterliebe, Bb
leuchtenden 24 Ger65 4978395 .mscz .mxl
Robert Op.48 major
Sommermorgen
12 Am
Schumann, Dichterliebe, Bb
leuchtenden 26 Ger65 4978395 .mscz .mxl
Robert Op.48 major
Sommermorgen
14 Der
G
Wolf, Hugo Eichendorff-Lieder verzweifelte 7 Fr43 5052714 .mscz .mxl
minor
Liebhaber
HARMONY ANTHOLOGY | 786
14 Der
Eb
Wolf, Hugo Eichendorff-Lieder verzweifelte 24 Ger65 5052714 .mscz .mxl
major
Liebhaber
14 Der
G
Wolf, Hugo Eichendorff-Lieder verzweifelte 27 It6 5052714 .mscz .mxl
minor
Liebhaber
G
Wolf, Hugo Eichendorff-Lieder 20 Waldmädchen 32 Fr 5077482 .mscz .mxl
major
E
Wolf, Hugo Eichendorff-Lieder 20 Waldmädchen 45 Ger65 5077482 .mscz .mxl
major
G
Wolf, Hugo Eichendorff-Lieder 20 Waldmädchen 118 Ger65 5077482 .mscz .mxl
major
Zumsteeg, F
6 Lieder, Op.4 1 Die Kapelle 4 It6 6159729 .mscz .mxl
Emilie minor
Zumsteeg, Ab
6 Lieder, Op.4 1 Die Kapelle 16 Fr43 6159729 .mscz .mxl
Emilie minor
Zumsteeg, Ab
6 Lieder, Op.4 1 Die Kapelle 17 Fr43 6159729 .mscz .mxl
Emilie minor
Augmented Triads
Click here for this textbook’s chapter on this topic.
787 | HARMONY ANTHOLOGY
Brahms, Marienlieder, C
3 Marias Wallfahrt 0 III+6 8708688 .mscz .mxl 87
Johannes Op.22 minor
Brahms, Marienlieder, C
3 Marias Wallfahrt 8 III+6 8708688 .mscz .mxl 87
Johannes Op.22 minor
Chaminade, Bb
Amoroso 5 V+7 4999292 .mscz .mxl 49
Cé cile minor
Chaminade, Eb
Amoroso 13 V+7 4999292 .mscz .mxl 49
Cé cile major
Chaminade, Eb
Amoroso 14 I+64 4999292 .mscz .mxl 49
Cé cile major
Chaminade, Bb
Amoroso 21 V+7 4999292 .mscz .mxl 49
Cé cile minor
Chaminade, Eb
Amoroso 29 V+7 4999292 .mscz .mxl 49
Cé cile major
Chaminade, Eb
Amoroso 30 I+64 4999292 .mscz .mxl 49
Cé cile major
Chaminade, Bb
Amoroso 37 V+7 4999292 .mscz .mxl 49
Cé cile minor
Chaminade, Eb
Amoroso 45 V+7 4999292 .mscz .mxl 49
Cé cile major
Chaminade, Eb
Amoroso 46 I+64 4999292 .mscz .mxl 49
Cé cile major
Coleridge-Taylor, F
Oh, the Summer 26 III+6 6232117 .mscz .mxl 62
Samuel minor
Coleridge-Taylor, Ab
Oh, the Summer 42 V+7 6232117 .mscz .mxl 62
Samuel major
Coleridge-Taylor, F
Oh, the Summer 66 III+6 6232117 .mscz .mxl 62
Samuel minor
Coleridge-Taylor, Ab
Oh, the Summer 82 V+7 6232117 .mscz .mxl 62
Samuel major
HARMONY ANTHOLOGY | 788
Coleridge-Taylor, F
Oh, the Summer 106 III+6 6232117 .mscz .mxl 62
Samuel minor
B
Franz, Robert 6 Gesänge, Op.14 5 Liebesfrühling 18 III+6 4976682 .mscz .mxl 49
minor
Hensel, Fanny A
5 Lieder, Op.10 1 Nach Sü den 10 V+ 5000467 .mscz .mxl 50
(Mendelssohn) major
Hensel, Fanny A
5 Lieder, Op.10 1 Nach Sü den 12 V+6 5000467 .mscz .mxl 50
(Mendelssohn) major
Hensel, Fanny E
5 Lieder, Op.10 1 Nach Sü den 26 I+64 5000467 .mscz .mxl 50
(Mendelssohn) major
Hensel, Fanny A
5 Lieder, Op.10 1 Nach Sü den 41 V+ 5000467 .mscz .mxl 50
(Mendelssohn) major
Hensel, Fanny A
5 Lieder, Op.10 1 Nach Sü den 43 V+6 5000467 .mscz .mxl 50
(Mendelssohn) major
Hensel, Fanny G#
5 Lieder, Op.10 2 Vorwurf 44 III+ 5000464 .mscz .mxl 50
(Mendelssohn) minor
Hensel, Fanny G#
5 Lieder, Op.10 2 Vorwurf 45 III+ 5000464 .mscz .mxl 50
(Mendelssohn) minor
Hensel, Fanny A
5 Lieder, Op.10 5 Bergeslust 30 III+6 5000446 .mscz .mxl 50
(Mendelssohn) minor
Hensel, Fanny C
5 Lieder, Op.10 5 Bergeslust 35 V+6/vi 5000446 .mscz .mxl 50
(Mendelssohn) major
Hensel, Fanny C
5 Lieder, Op.10 5 Bergeslust 37 V+6/vi 5000446 .mscz .mxl 50
(Mendelssohn) major
Hensel, Fanny B
6 Lieder, Op.1 6 Gondellied 7 III+ 5101361 .mscz .mxl 51
(Mendelssohn) minor
789 | HARMONY ANTHOLOGY
Hensel, Fanny A
6 Lieder, Op.1 6 Gondellied 19 V+ 5101361 .mscz .mxl 51
(Mendelssohn) major
Hensel, Fanny B
6 Lieder, Op.1 6 Gondellied 24 III+ 5101361 .mscz .mxl 51
(Mendelssohn) minor
Hensel, Fanny C
6 Lieder, Op.9 6 Die Mainacht 10 III+ 4986030 .mscz .mxl 49
(Mendelssohn) minor
Hensel, Fanny Db
6 Lieder, Op.9 6 Die Mainacht 12 V+6 4986030 .mscz .mxl 49
(Mendelssohn) major
Holmès, Augusta B
Les Heures 4 L’Heure d’Azur 45 bVI+ 5001674 .mscz .mxl 50
Mary Anne major
Holmès, Augusta G
Les Heures 4 L’Heure d’Azur 47 bVI+ 5001674 .mscz .mxl 50
Mary Anne major
B
Jaëll, Marie 4 Mélodies 2 Éternel amour 3 I+64 5837811 .mscz .mxl 58
major
B
Jaëll, Marie 4 Mélodies 2 Éternel amour 28 I+64 5837811 .mscz .mxl 58
major
Db
Kralik, Mathilde Blumenlieder 1 Maiglöckchen 19 V+7 6165152 .mscz .mxl 61
major
Das Rosenband, Bb
Schubert, Franz 4 VI+ 5946872 .mscz .mxl 59
D.280 minor
Das Rosenband, Ab
Schubert, Franz 5 V+6 5946872 .mscz .mxl 59
D.280 major
Das Rosenband, Ab
Schubert, Franz 9 I+6 5946872 .mscz .mxl 59
D.280 major
Das Rosenband, Bb
Schubert, Franz 20 VI+ 5946872 .mscz .mxl 59
D.280 minor
Das Rosenband, Ab
Schubert, Franz 21 V+6 5946872 .mscz .mxl 59
D.280 major
791 | HARMONY ANTHOLOGY
Das Rosenband, Ab
Schubert, Franz 25 I+6 5946872 .mscz .mxl 59
D.280 major
6 Ellens Gesang
G
Schubert, Franz Op.52 III, D.839 (Ave 5 III+ 6389103 .mscz .mxl 63
minor
Maria)
Schwanengesang, E
Schubert, Franz 01 Liebesbotschaft 44 V+65 5077744 .mscz .mxl 50
D.957 minor
Schwanengesang, E
Schubert, Franz 01 Liebesbotschaft 45 V+65 5077744 .mscz .mxl 50
D.957 minor
Schwanengesang, 02 Kriegers C
Schubert, Franz 7 III+6 4986000 .mscz .mxl 49
D.957 Ahnung minor
Schwanengesang, 02 Kriegers A
Schubert, Franz 49 VI+6 4986000 .mscz .mxl 49
D.957 Ahnung minor
Schwanengesang, 02 Kriegers F
Schubert, Franz 74 V+6 4986000 .mscz .mxl 49
D.957 Ahnung major
Schwanengesang, 02 Kriegers F
Schubert, Franz 101 V+6 4986000 .mscz .mxl 49
D.957 Ahnung major
Schwanengesang, 02 Kriegers C
Schubert, Franz 119 III+6 4986000 .mscz .mxl 49
D.957 Ahnung minor
Schwanengesang, 03 Bb
Schubert, Franz 76 III+64 4985999 .mscz .mxl 49
D.957 Frühlingssehnsucht minor
Schwanengesang, G
Schubert, Franz 08 Der Atlas 2 III+64 4985985 .mscz .mxl 49
D.957 minor
Schwanengesang, G
Schubert, Franz 08 Der Atlas 3 III+64 4985985 .mscz .mxl 49
D.957 minor
Schwanengesang, G
Schubert, Franz 08 Der Atlas 15 III+64 4985985 .mscz .mxl 49
D.957 minor
Schwanengesang, G
Schubert, Franz 08 Der Atlas 53 III+64 4985985 .mscz .mxl 49
D.957 minor
Schwanengesang, G
Schubert, Franz 08 Der Atlas 54 III+64 4985985 .mscz .mxl 49
D.957 minor
Winterreise, 03 Gefror’ne Ab
Schubert, Franz 30 V+6 5015499 .mscz .mxl 50
D.911 Thränen major
Winterreise, 03 Gefror’ne Ab
Schubert, Franz 32 V+6 5015499 .mscz .mxl 50
D.911 Thränen major
Winterreise, 03 Gefror’ne Ab
Schubert, Franz 40 V+6 5015499 .mscz .mxl 50
D.911 Thränen major
Winterreise, 03 Gefror’ne Ab
Schubert, Franz 42 V+6 5015499 .mscz .mxl 50
D.911 Thränen major
HARMONY ANTHOLOGY | 792
Winterreise, C
Schubert, Franz 04 Erstarrung 1 III+64 5015573 .mscz .mxl 50
D.911 minor
Winterreise, C
Schubert, Franz 04 Erstarrung 103 III+64 5015573 .mscz .mxl 50
D.911 minor
Winterreise, B
Schubert, Franz 09 Irrlicht 9 III+6 5023438 .mscz .mxl 50
D.911 minor
Winterreise, B
Schubert, Franz 09 Irrlicht 21 III+6 5023438 .mscz .mxl 50
D.911 minor
Winterreise, Eb
Schubert, Franz 15 Die Kraehe 15 V+6 5007179 .mscz .mxl 50
D.911 major
Winterreise, Eb
Schubert, Franz 15 Die Kraehe 16 V+6 5007179 .mscz .mxl 50
D.911 major
Winterreise, Eb
Schubert, Franz 15 Die Kraehe 16 V+6 5007179 .mscz .mxl 50
D.911 major
Winterreise, Eb
Schubert, Franz 15 Die Kraehe 17 V+6 5007179 .mscz .mxl 50
D.911 major
Winterreise, Eb
Schubert, Franz 15 Die Kraehe 17 V+6 5007179 .mscz .mxl 50
D.911 major
Winterreise, F
Schubert, Franz 15 Die Kraehe 19 V+6 5007179 .mscz .mxl 50
D.911 major
Winterreise, F
Schubert, Franz 15 Die Kraehe 20 V+6 5007179 .mscz .mxl 50
D.911 major
Winterreise, F
Schubert, Franz 15 Die Kraehe 20 V+6 5007179 .mscz .mxl 50
D.911 major
Winterreise, F
Schubert, Franz 15 Die Kraehe 21 V+6 5007179 .mscz .mxl 50
D.911 major
Winterreise, F
Schubert, Franz 15 Die Kraehe 21 V+6 5007179 .mscz .mxl 50
D.911 major
Winterreise, A
Schubert, Franz 19 Täuschung 30 V+ 5009833 .mscz .mxl 50
D.911 major
Winterreise, Bb
Schubert, Franz 21 Das Wirthshaus 20 V+ 5013945 .mscz .mxl 50
D.911 minor
Winterreise, Ab
Schubert, Franz 21 Das Wirthshaus 24 V+ 5013945 .mscz .mxl 50
D.911 major
793 | HARMONY ANTHOLOGY
D
Schumann, Clara Die gute Nacht 26 III+43 5000388 .mscz .mxl 50
minor
1 Ich stand in Eb
Schumann, Clara 6 Lieder, Op.13 4 V+43 5133602 .mscz .mxl 51
dunklen Träumen major
1 Ich stand in Eb
Schumann, Clara 6 Lieder, Op.13 34 V+43 5133602 .mscz .mxl 51
dunklen Träumen major
Schumann, Dichterliebe, C
07 Ich grolle nicht 4 III+2/vi 4978382 .mscz .mxl 49
Robert Op.48 major
Schumann, Dichterliebe, C
07 Ich grolle nicht 22 III+2/vi 4978382 .mscz .mxl 49
Robert Op.48 major
Schumann, Dichterliebe, C
07 Ich grolle nicht 28 III+6/ii 4978382 .mscz .mxl 49
Robert Op.48 major
12 Am
Schumann, Dichterliebe, Bb
leuchtenden 16 I+2[b7] 4978395 .mscz .mxl 49
Robert Op.48 major
Sommermorgen
12 Am
Schumann, Dichterliebe, Bb
leuchtenden 21 V+ 4978395 .mscz .mxl 49
Robert Op.48 major
Sommermorgen
Schumann, Dichterliebe, 13 Ich hab’ im Cb
8 III+/vi 4978396 .mscz .mxl 49
Robert Op.48 Traum geweinet major
4 Sérénade à
6 Mélodies, VWV F
Viardot, Pauline Rosine, VWV 27 V+7 5989772 .mscz .mxl 59
1133-11371176 major
1137
4 Sérénade à
6 Mélodies, VWV F
Viardot, Pauline Rosine, VWV 71 V+7 5989772 .mscz .mxl 59
1133-11371176 major
1137
F#
Wolf, Hugo Eichendorff-Lieder 04 Das Ständchen 22 I+ 5024834 .mscz .mxl 50
major
F#
Wolf, Hugo Eichendorff-Lieder 04 Das Ständchen 28 I+ 5024834 .mscz .mxl 50
major
Bb
Wolf, Hugo Eichendorff-Lieder 04 Das Ständchen 34 I+ 5024834 .mscz .mxl 50
major
Bb
Wolf, Hugo Eichendorff-Lieder 04 Das Ständchen 40 I+ 5024834 .mscz .mxl 50
major
C
Wolf, Hugo Eichendorff-Lieder 13 Der Scholar 19 V+ 5052792 .mscz .mxl 50
major
F
Wolf, Hugo Eichendorff-Lieder 13 Der Scholar 19 III+7 5052792 .mscz .mxl 50
minor
G
Wolf, Hugo Eichendorff-Lieder 13 Der Scholar 20 III+7 5052792 .mscz .mxl 50
minor
14 Der
G
Wolf, Hugo Eichendorff-Lieder verzweifelte 2 III+7 5052714 .mscz .mxl 50
minor
Liebhaber
14 Der
G
Wolf, Hugo Eichendorff-Lieder verzweifelte 9 III+7 5052714 .mscz .mxl 50
minor
Liebhaber
14 Der
G
Wolf, Hugo Eichendorff-Lieder verzweifelte 32 I+6 5052714 .mscz .mxl 50
major
Liebhaber
G
Wolf, Hugo Eichendorff-Lieder 15 Unfall 23 III+2 5057804 .mscz .mxl 50
minor
G
Wolf, Hugo Eichendorff-Lieder 15 Unfall 24 III+43 5057804 .mscz .mxl 50
minor
795 | HARMONY ANTHOLOGY
B
Wolf, Hugo Eichendorff-Lieder 20 Waldmädchen 48 VI+64 5077482 .mscz .mxl 50
minor
G
Wolf, Hugo Eichendorff-Lieder 20 Waldmädchen 106 V+64 5077482 .mscz .mxl 50
major
C
Wolf, Hugo Eichendorff-Lieder 20 Waldmädchen 110 V+64 5077482 .mscz .mxl 50
major
C
Wolf, Hugo Eichendorff-Lieder 20 Waldmädchen 111 I+6 5077482 .mscz .mxl 50
major
C
Wolf, Hugo Eichendorff-Lieder 20 Waldmädchen 112 IV+ 5077482 .mscz .mxl 50
major
C
Wolf, Hugo Eichendorff-Lieder 20 Waldmädchen 114 IV+ 5077482 .mscz .mxl 50
major
Chaminade,
Sur la plage 5 5000363 .mscz .mxl 5000363_5
Cé cile
Chaminade,
Sur la plage 37 5000363 .mscz .mxl 5000363_37
Cé cile
Hensel, Fanny
3 Lieder 1 Sehnsucht 14 6012947 .mscz .mxl 6012947_14
(Mendelssohn)
Hensel, Fanny
3 Lieder 2 Verlust 14 6013106 .mscz .mxl 6013106_14
(Mendelssohn)
Hensel, Fanny
3 Lieder 2 Verlust 34 6013106 .mscz .mxl 6013106_34
(Mendelssohn)
Hensel, Fanny
5 Lieder, Op.10 3 Abendbild 42 4919798 .mscz .mxl 4919798_42
(Mendelssohn)
Hensel, Fanny
5 Lieder, Op.10 5 Bergeslust 15 5000446 .mscz .mxl 5000446_15
(Mendelssohn)
Hensel, Fanny
5 Lieder, Op.10 5 Bergeslust 56 5000446 .mscz .mxl 5000446_56
(Mendelssohn)
Hensel, Fanny
6 Lieder, Op.1 2 Wanderlied 17 5004632 .mscz .mxl 5004632_17
(Mendelssohn)
Hensel, Fanny
6 Lieder, Op.1 2 Wanderlied 27 5004632 .mscz .mxl 5004632_27
(Mendelssohn)
Hensel, Fanny 5
6 Lieder, Op.1 10 5004650 .mscz .mxl 5004650_10
(Mendelssohn) Morgenständchen
Hensel, Fanny 5
6 Lieder, Op.1 13 5004650 .mscz .mxl 5004650_13
(Mendelssohn) Morgenständchen
2 O lass mich
Mayer, Emilie 3 Lieder, Op.7 18 5840434 .mscz .mxl 5840434_18
dein gedenken
6 Er besucht den
Klostergarten
und den
Reichardt, Sechs Lieder von Kirchoff, über
6 5002078 .mscz .mxl 5002078_6
Louise Novalis, Op.4 den letztern
findet sich
folgendes
Gedicht
Die schö ne 18 Trockne
Schubert, Franz 36 4985949 .mscz .mxl 4985949_36
Mü llerin, D.795 Blumen
Schwanengesang, 02 Kriegers
Schubert, Franz 61 4986000 .mscz .mxl 4986000_61
D.957 Ahnung
Schwanengesang, 02 Kriegers
Schubert, Franz 62 4986000 .mscz .mxl 4986000_62
D.957 Ahnung
Schwanengesang, 02 Kriegers
Schubert, Franz 63 4986000 .mscz .mxl 4986000_63
D.957 Ahnung
Schwanengesang, 02 Kriegers
Schubert, Franz 64 4986000 .mscz .mxl 4986000_64
D.957 Ahnung
Schwanengesang, 02 Kriegers
Schubert, Franz 65 4986000 .mscz .mxl 4986000_65
D.957 Ahnung
Schwanengesang, 02 Kriegers
Schubert, Franz 66 4986000 .mscz .mxl 4986000_66
D.957 Ahnung
Schwanengesang, 02 Kriegers
Schubert, Franz 89 4986000 .mscz .mxl 4986000_89
D.957 Ahnung
Schwanengesang, 02 Kriegers
Schubert, Franz 90 4986000 .mscz .mxl 4986000_90
D.957 Ahnung
HARMONY ANTHOLOGY | 798
Schwanengesang, 02 Kriegers
Schubert, Franz 92 4986000 .mscz .mxl 4986000_92
D.957 Ahnung
Schwanengesang, 02 Kriegers
Schubert, Franz 93 4986000 .mscz .mxl 4986000_93
D.957 Ahnung
Winterreise,
Schubert, Franz 04 Erstarrung 3 5015573 .mscz .mxl 5015573_3
D.911
Winterreise,
Schubert, Franz 04 Erstarrung 37 5015573 .mscz .mxl 5015573_37
D.911
Winterreise,
Schubert, Franz 04 Erstarrung 94 5015573 .mscz .mxl 5015573_94
D.911
Winterreise,
Schubert, Franz 04 Erstarrung 101 5015573 .mscz .mxl 5015573_101
D.911
Winterreise,
Schubert, Franz 04 Erstarrung 105 5015573 .mscz .mxl 5015573_105
D.911
Winterreise, 05 Der
Schubert, Franz 49 5016466 .mscz .mxl 5016466_49
D.911 Lindenbaum
Winterreise, 05 Der
Schubert, Franz 49 5016466 .mscz .mxl 5016466_49
D.911 Lindenbaum
Winterreise, 05 Der
Schubert, Franz 49 5016466 .mscz .mxl 5016466_49
D.911 Lindenbaum
Winterreise,
Schubert, Franz 08 Rückblick 41 5015521 .mscz .mxl 5015521_41
D.911
Winterreise,
Schubert, Franz 08 Rückblick 45 5015521 .mscz .mxl 5015521_45
D.911
Winterreise,
Schubert, Franz 08 Rückblick 57 5015521 .mscz .mxl 5015521_57
D.911
12 Einsamkeit
Winterreise,
Schubert, Franz (Urspruengliche 16 5023662 .mscz .mxl 5023662_16
D.911
Fassung)
12 Einsamkeit
Winterreise,
Schubert, Franz (Urspruengliche 20 5023662 .mscz .mxl 5023662_20
D.911
Fassung)
Winterreise,
Schubert, Franz 13 Die Post 34 5007176 .mscz .mxl 5007176_34
D.911
Winterreise,
Schubert, Franz 13 Die Post 36 5007176 .mscz .mxl 5007176_36
D.911
Winterreise,
Schubert, Franz 13 Die Post 79 5007176 .mscz .mxl 5007176_79
D.911
799 | HARMONY ANTHOLOGY
Winterreise,
Schubert, Franz 13 Die Post 81 5007176 .mscz .mxl 5007176_81
D.911
Winterreise,
Schubert, Franz 15 Die Kraehe 36 5007179 .mscz .mxl 5007179_36
D.911
Winterreise, 16 Letzte
Schubert, Franz 19 5007180 .mscz .mxl 5007180_19
D.911 Hoffnung
Winterreise, 16 Letzte
Schubert, Franz 45 5007180 .mscz .mxl 5007180_45
D.911 Hoffnung
Winterreise, 16 Letzte
Schubert, Franz 45 5007180 .mscz .mxl 5007180_45
D.911 Hoffnung
Winterreise, 16 Letzte
Schubert, Franz 45 5007180 .mscz .mxl 5007180_45
D.911 Hoffnung
Winterreise,
Schubert, Franz 17 Im Dorfe 30 5007181 .mscz .mxl 5007181_30
D.911
Winterreise, 20 Der
Schubert, Franz 57 5009900 .mscz .mxl 5009900_57
D.911 Wegweiser
1 Ich stand in
Schumann, Clara 6 Lieder, Op.13 dunklen 26 5133602 .mscz .mxl 5133602_26
Träumen
4 Der Mond
Schumann, Clara 6 Lieder, Op.13 kommt still 26 5126921 .mscz .mxl 5126921_26
gegangen
15 Aus alten
Schumann, Dichterliebe,
Mä rchen winkt 101 4978398 .mscz .mxl 4978398_101
Robert Op.48
es
Modal Mixture
Click here for this textbook’s chapter on this topic.
This table provides examples of modal mixture which is much more difficult define robustly than is the
case for the Neapolitan sixth chords, for example. The list here provides examples where:
• Clearly mixed tone counts towards mixture and clearly non-mixed tone counts against it.
◦ E.g., F-Ab-C-E in C major has both a clearly mixed tone (Ab, the minor sixth) and a clearly
HARMONY ANTHOLOGY | 800
Complex eh?! I’ll provide a clear explanation and demonstration of all these options somewhere accessible
soon. For now, every entry on this this makes at least a reasonably strong case for mixture.
801 | HARMONY ANTHOLOGY
B
Bonis, Mel Allons prier! 27 bVI 6635424 .mscz .mx
major
B
Bonis, Mel Allons prier! 28 bVI 6635424 .mscz .mx
major
C
Bonis, Mel Allons prier! 33 iv64 6635424 .mscz .mx
major
A
Bonis, Mel Allons prier! 52 I 6635424 .mscz .mx
minor
A
Bonis, Mel Allons prier! 53 I 6635424 .mscz .mx
minor
A
Bonis, Mel Allons prier! 54 I 6635424 .mscz .mx
minor
Brahms, Marienlieder, G
3 Marias Wallfahrt 8 I 8708688 .mscz .mx
Johannes Op.22 minor
Brahms, Marienlieder, G
3 Marias Wallfahrt 16 I 8708688 .mscz .mx
Johannes Op.22 minor
Brahms, Marienlieder, C
3 Marias Wallfahrt 20 iv 8708688 .mscz .mx
Johannes Op.22 major
Brahms, Marienlieder, C
3 Marias Wallfahrt 23 I 8708688 .mscz .mx
Johannes Op.22 minor
Brahms, Marienlieder, C
3 Marias Wallfahrt 24 I 8708688 .mscz .mx
Johannes Op.22 minor
803 | HARMONY ANTHOLOGY
Brahms, Marienlieder, Bb
5 Ruf zur Maria 20 iv 8712648 .mscz .mx
Johannes Op.22 major
Brahms, Marienlieder, Bb
5 Ruf zur Maria 20 iiø7 8712648 .mscz .mx
Johannes Op.22 major
Chaminade, Bb
Amoroso 10 I 4999292 .mscz .mx
Cé cile minor
Chaminade, Bb
Amoroso 26 I 4999292 .mscz .mx
Cé cile minor
Chaminade, Bb
Amoroso 42 I 4999292 .mscz .mx
Cé cile minor
Chaminade, G
Berceuse 43 viio7 6264559 .mscz .mx
Cé cile major
HARMONY ANTHOLOGY | 804
Chaminade, G
Berceuse 44 viio7 6264559 .mscz .mx
Cé cile major
Chaminade, G
Berceuse 45 viio7 6264559 .mscz .mx
Cé cile major
Chaminade, G
Berceuse 50 viio7 6264559 .mscz .mx
Cé cile major
Chaminade, G
Berceuse 51 i 6264559 .mscz .mx
Cé cile major
Chaminade, G
Berceuse 52 i 6264559 .mscz .mx
Cé cile major
Chaminade, G
Berceuse 53 i 6264559 .mscz .mx
Cé cile major
Chaminade, D
Sur la plage 32 I 5000363 .mscz .mx
Cé cile minor
Chaminade, D
Sur la plage 33 I 5000363 .mscz .mx
Cé cile minor
Db
Chausson, Ernest 7 Mélodies, Op.2 7 Le Colibri 14 i6 5077780 .mscz .mx
major
Db
Chausson, Ernest 7 Mélodies, Op.2 7 Le Colibri 14 i 5077780 .mscz .mx
major
Db
Chausson, Ernest 7 Mélodies, Op.2 7 Le Colibri 27 iv 5077780 .mscz .mx
major
Coleridge-Taylor, Ab
Oh, the Summer 35 bVI6 6232117 .mscz .mx
Samuel major
Coleridge-Taylor, Ab
Oh, the Summer 36 bVI6 6232117 .mscz .mx
Samuel major
Coleridge-Taylor, Ab
Oh, the Summer 75 bVI6 6232117 .mscz .mx
Samuel major
Coleridge-Taylor, Ab
Oh, the Summer 76 bVI6 6232117 .mscz .mx
Samuel major
Hensel, Fanny D
3 Lieder 1 Sehnsucht 11 iiø2 6012947 .mscz .mx
(Mendelssohn) major
Hensel, Fanny D
3 Lieder 1 Sehnsucht 12 iiø65 6012947 .mscz .mx
(Mendelssohn) major
Hensel, Fanny D
3 Lieder 2 Verlust 5 I 6013106 .mscz .mx
(Mendelssohn) minor
Hensel, Fanny Bb
3 Lieder 2 Verlust 13 viio7 6013106 .mscz .mx
(Mendelssohn) major
Hensel, Fanny Bb
3 Lieder 2 Verlust 13 viio7 6013106 .mscz .mx
(Mendelssohn) major
Hensel, Fanny Bb
3 Lieder 2 Verlust 14 viio7 6013106 .mscz .mx
(Mendelssohn) major
Hensel, Fanny D
3 Lieder 2 Verlust 25 I 6013106 .mscz .mx
(Mendelssohn) minor
Hensel, Fanny Bb
3 Lieder 2 Verlust 33 viio7 6013106 .mscz .mx
(Mendelssohn) major
807 | HARMONY ANTHOLOGY
Hensel, Fanny Bb
3 Lieder 2 Verlust 33 viio7 6013106 .mscz .mx
(Mendelssohn) major
Hensel, Fanny E
5 Lieder, Op.10 1 Nach Sü den 16 iiø43 5000467 .mscz .mx
(Mendelssohn) major
Hensel, Fanny E
5 Lieder, Op.10 1 Nach Sü den 47 iiø43 5000467 .mscz .mx
(Mendelssohn) major
Hensel, Fanny C#
5 Lieder, Op.10 2 Vorwurf 25 Ger43 5000464 .mscz .mx
(Mendelssohn) major
Hensel, Fanny G#
5 Lieder, Op.10 2 Vorwurf 48 I 5000464 .mscz .mx
(Mendelssohn) minor
Hensel, Fanny G#
5 Lieder, Op.10 2 Vorwurf 49 I 5000464 .mscz .mx
(Mendelssohn) minor
Hensel, Fanny Eb
5 Lieder, Op.10 3 Abendbild 23 iio 4919798 .mscz .mx
(Mendelssohn) major
Hensel, Fanny Eb
5 Lieder, Op.10 3 Abendbild 25 iiø65 4919798 .mscz .mx
(Mendelssohn) major
Hensel, Fanny Bb
5 Lieder, Op.10 4 Im Herbste 10 iv64 5000459 .mscz .mx
(Mendelssohn) major
Hensel, Fanny Bb
5 Lieder, Op.10 4 Im Herbste 11 iiø2 5000459 .mscz .mx
(Mendelssohn) major
Hensel, Fanny Bb
5 Lieder, Op.10 4 Im Herbste 12 iiø2 5000459 .mscz .mx
(Mendelssohn) major
Hensel, Fanny G
5 Lieder, Op.10 4 Im Herbste 37 I 5000459 .mscz .mx
(Mendelssohn) minor
Hensel, Fanny G
5 Lieder, Op.10 4 Im Herbste 38 I 5000459 .mscz .mx
(Mendelssohn) minor
Hensel, Fanny A
5 Lieder, Op.10 5 Bergeslust 14 iiø43 5000446 .mscz .mx
(Mendelssohn) major
Hensel, Fanny A
5 Lieder, Op.10 5 Bergeslust 55 iiø43 5000446 .mscz .mx
(Mendelssohn) major
Hensel, Fanny A
5 Lieder, Op.10 5 Bergeslust 66 iiø65 5000446 .mscz .mx
(Mendelssohn) major
Hensel, Fanny G
6 Lieder, Op.1 1 Schwanenlied 24 I 5100543 .mscz .mx
(Mendelssohn) minor
Hensel, Fanny G
6 Lieder, Op.1 1 Schwanenlied 25 I 5100543 .mscz .mx
(Mendelssohn) minor
Hensel, Fanny G
6 Lieder, Op.1 1 Schwanenlied 26 I 5100543 .mscz .mx
(Mendelssohn) minor
HARMONY ANTHOLOGY | 808
Hensel, Fanny G
6 Lieder, Op.1 1 Schwanenlied 27 I 5100543 .mscz .mx
(Mendelssohn) minor
Hensel, Fanny G
6 Lieder, Op.1 1 Schwanenlied 51 I 5100543 .mscz .mx
(Mendelssohn) minor
Hensel, Fanny G
6 Lieder, Op.1 1 Schwanenlied 52 I 5100543 .mscz .mx
(Mendelssohn) minor
Hensel, Fanny G
6 Lieder, Op.1 1 Schwanenlied 53 I 5100543 .mscz .mx
(Mendelssohn) minor
Hensel, Fanny D
6 Lieder, Op.1 2 Wanderlied 15 viio2 5004632 .mscz .mx
(Mendelssohn) major
Hensel, Fanny D
6 Lieder, Op.1 2 Wanderlied 17 viio2 5004632 .mscz .mx
(Mendelssohn) major
Hensel, Fanny 5 B
6 Lieder, Op.1 7 viio65 5004650 .mscz .mx
(Mendelssohn) Morgenständchen major
Hensel, Fanny 5 E
6 Lieder, Op.1 17 vi 5004650 .mscz .mx
(Mendelssohn) Morgenständchen minor
Hensel, Fanny 5 E
6 Lieder, Op.1 33 viio7 5004650 .mscz .mx
(Mendelssohn) Morgenständchen major
Hensel, Fanny Eb
6 Lieder, Op.9 1 Die Ersehnte 3 viio7 4986023 .mscz .mx
(Mendelssohn) major
Hensel, Fanny Eb
6 Lieder, Op.9 1 Die Ersehnte 6 iv 4986023 .mscz .mx
(Mendelssohn) major
Hensel, Fanny Eb
6 Lieder, Op.9 1 Die Ersehnte 6 iio6 4986023 .mscz .mx
(Mendelssohn) major
Hensel, Fanny Eb
6 Lieder, Op.9 1 Die Ersehnte 6 viio7 4986023 .mscz .mx
(Mendelssohn) major
Hensel, Fanny Eb
6 Lieder, Op.9 1 Die Ersehnte 8 i64 4986023 .mscz .mx
(Mendelssohn) major
Holmès, Augusta B
Les Heures 4 L’Heure d’Azur 20 Ger65 5001674 .mscz .mx
Mary Anne major
Holmès, Augusta E
Les Heures 4 L’Heure d’Azur 26 i6 5001674 .mscz .mx
Mary Anne major
Holmès, Augusta E
Les Heures 4 L’Heure d’Azur 36 i6 5001674 .mscz .mx
Mary Anne major
Holmès, Augusta E
Les Heures 4 L’Heure d’Azur 55 i6 5001674 .mscz .mx
Mary Anne major
Holmès, Augusta B
Les Heures 4 L’Heure d’Azur 61 iv64 5001674 .mscz .mx
Mary Anne major
B
Jaëll, Marie 4 Mélodies 2 Éternel amour 24 Ger65 5837811 .mscz .mx
major
E
Kinkel, Johanna 6 Lieder, Op.10 1 Nachgefühl 3 iiø65 6177220 .mscz .mx
major
G
Kinkel, Johanna 6 Lieder, Op.15 2 Du nah’st! 17 iv 6247458 .mscz .mx
major
G
Kinkel, Johanna 6 Lieder, Op.15 2 Du nah’st! 17 viio65 6247458 .mscz .mx
major
G
Kinkel, Johanna 6 Lieder, Op.15 2 Du nah’st! 18 viio7 6247458 .mscz .mx
major
G
Kinkel, Johanna 6 Lieder, Op.15 2 Du nah’st! 18 i 6247458 .mscz .mx
major
G
Kinkel, Johanna 6 Lieder, Op.15 2 Du nah’st! 19 i 6247458 .mscz .mx
major
G
Kinkel, Johanna 6 Lieder, Op.15 2 Du nah’st! 21 i 6247458 .mscz .mx
major
G
Kinkel, Johanna 6 Lieder, Op.15 2 Du nah’st! 21 iio6 6247458 .mscz .mx
major
G
Kinkel, Johanna 6 Lieder, Op.15 2 Du nah’st! 23 i 6247458 .mscz .mx
major
Ab
Lang, Josephine 6 Lieder, Op.10 6 Abschied 29 iiø2 6073491 .mscz .mx
major
3 Abermals am B
Lang, Josephine 6 Lieder, Op.12 1 iv 6061301 .mscz .mx
See major
3 Abermals am B
Lang, Josephine 6 Lieder, Op.12 2 iv 6061301 .mscz .mx
See major
3 Abermals am B
Lang, Josephine 6 Lieder, Op.12 5 iv 6061301 .mscz .mx
See major
HARMONY ANTHOLOGY | 810
3 Abermals am B
Lang, Josephine 6 Lieder, Op.12 6 iv 6061301 .mscz .mx
See major
3 Abermals am B
Lang, Josephine 6 Lieder, Op.12 19 iv64[no1] 6061301 .mscz .mx
See major
3 Abermals am B
Lang, Josephine 6 Lieder, Op.12 20 iv64[no1] 6061301 .mscz .mx
See major
3 Abermals am B
Lang, Josephine 6 Lieder, Op.12 21 iv64[no1] 6061301 .mscz .mx
See major
3 Abermals am B
Lang, Josephine 6 Lieder, Op.12 22 iv64[no1] 6061301 .mscz .mx
See major
3 Abermals am Eb
Lang, Josephine 6 Lieder, Op.12 60 iv 6061301 .mscz .mx
See major
3 Abermals am Eb
Lang, Josephine 6 Lieder, Op.12 96 iv 6061301 .mscz .mx
See major
3 Abermals am B
Lang, Josephine 6 Lieder, Op.12 105 iv 6061301 .mscz .mx
See major
3 Abermals am B
Lang, Josephine 6 Lieder, Op.12 106 iv 6061301 .mscz .mx
See major
3 Abermals am B
Lang, Josephine 6 Lieder, Op.12 128 iv 6061301 .mscz .mx
See major
3 Abermals am B
Lang, Josephine 6 Lieder, Op.12 129 iv 6061301 .mscz .mx
See major
3 Abermals am B
Lang, Josephine 6 Lieder, Op.12 132 iv 6061301 .mscz .mx
See major
3 Abermals am B
Lang, Josephine 6 Lieder, Op.12 133 iv 6061301 .mscz .mx
See major
3 Abermals am B
Lang, Josephine 6 Lieder, Op.12 146 iv64[no1] 6061301 .mscz .mx
See major
3 Abermals am B
Lang, Josephine 6 Lieder, Op.12 147 iv64[no1] 6061301 .mscz .mx
See major
3 Abermals am B
Lang, Josephine 6 Lieder, Op.12 148 iv64[no1] 6061301 .mscz .mx
See major
3 Abermals am B
Lang, Josephine 6 Lieder, Op.12 149 iv64[no1] 6061301 .mscz .mx
See major
E
Lang, Josephine 6 Lieder, Op.13 3 Aus der Ferne 27 I 6077132 .mscz .mx
minor
E
Lang, Josephine 6 Lieder, Op.13 3 Aus der Ferne 28 I 6077132 .mscz .mx
minor
811 | HARMONY ANTHOLOGY
E
Lang, Josephine 6 Lieder, Op.13 3 Aus der Ferne 29 I 6077132 .mscz .mx
minor
E
Lang, Josephine 6 Lieder, Op.13 3 Aus der Ferne 30 I 6077132 .mscz .mx
minor
D
Lang, Josephine 6 Lieder, Op.13 3 Aus der Ferne 39 iiø65 6077132 .mscz .mx
major
D
Lang, Josephine 6 Lieder, Op.13 3 Aus der Ferne 40 iiø65 6077132 .mscz .mx
major
D
Lang, Josephine 6 Lieder, Op.13 3 Aus der Ferne 49 Vb9 6077132 .mscz .mx
major
4 Lied (Immer
E
Lang, Josephine 6 Lieder, Op.25 sich rein kindlich 6 Ger65 4920211 .mscz .mx
major
erfreu’n)
4 Lied (Immer
E
Lang, Josephine 6 Lieder, Op.25 sich rein kindlich 16 Ger65 4920211 .mscz .mx
major
erfreu’n)
4 Lied (Immer
E
Lang, Josephine 6 Lieder, Op.25 sich rein kindlich 28 Ger65 4920211 .mscz .mx
major
erfreu’n)
4 Lied (Immer
E
Lang, Josephine 6 Lieder, Op.25 sich rein kindlich 38 Ger65 4920211 .mscz .mx
major
erfreu’n)
4 Lied (Immer
E
Lang, Josephine 6 Lieder, Op.25 sich rein kindlich 50 Ger65 4920211 .mscz .mx
major
erfreu’n)
4 Lied (Immer
E
Lang, Josephine 6 Lieder, Op.25 sich rein kindlich 58 Ger65 4920211 .mscz .mx
major
erfreu’n)
Bb
Lang, Josephine 6 Lieder, Op.26 1 Wiegenlied 46 i 6117412 .mscz .mx
major
Bb
Lang, Josephine 6 Lieder, Op.26 1 Wiegenlied 47 i6 6117412 .mscz .mx
major
Bb
Lang, Josephine 6 Lieder, Op.26 1 Wiegenlied 94 viio43 6117412 .mscz .mx
major
Eb
Lang, Josephine 6 Lieder, Op.26 1 Wiegenlied 101 viø7 6117412 .mscz .mx
major
Eb
Lang, Josephine 6 Lieder, Op.26 1 Wiegenlied 102 viø7 6117412 .mscz .mx
major
3 Wenn der
Ab
Mayer, Emilie 3 Lieder, Op.7 Abendstern die 2 iv7 5841419 .mscz .mx
major
Rosen
3 Wenn der
Ab
Mayer, Emilie 3 Lieder, Op.7 Abendstern die 19 Ger65 5841419 .mscz .mx
major
Rosen
6 Er besucht den
Klostergarten und
Reichardt, Sechs Lieder von den Kirchoff, über Bb
9 viio43[no3] 5002078 .mscz .mx
Louise Novalis, Op.4 den letztern findet major
sich folgendes
Gedicht
6 Er besucht den
Klostergarten und
Reichardt, Sechs Lieder von den Kirchoff, über Bb
10 i 5002078 .mscz .mx
Louise Novalis, Op.4 den letztern findet major
sich folgendes
Gedicht
6 Er besucht den
Klostergarten und
Reichardt, Sechs Lieder von den Kirchoff, über Bb
11 viio43[no3] 5002078 .mscz .mx
Louise Novalis, Op.4 den letztern findet major
sich folgendes
Gedicht
6 Er besucht den
Klostergarten und
Reichardt, Sechs Lieder von den Kirchoff, über Bb
12 i 5002078 .mscz .mx
Louise Novalis, Op.4 den letztern findet major
sich folgendes
Gedicht
Zwö lf Deutsche
Reichardt, und Italiä nische 02 Wenn ich ihn Ab
6 viio43 5100067 .mscz .mx
Louise Romantische nur habe major
Gesä nge
HARMONY ANTHOLOGY | 814
Zwö lf Deutsche
Reichardt, und Italiä nische 10 Ida (aus Ariels Ab
33 i 5002108 .mscz .mx
Louise Romantische Offenbarungen) major
Gesä nge
Zwö lf Deutsche
Reichardt, und Italiä nische 10 Ida (aus Ariels Ab
34 i 5002108 .mscz .mx
Louise Romantische Offenbarungen) major
Gesä nge
Zwö lf Deutsche
Reichardt, und Italiä nische 10 Ida (aus Ariels Eb
45 I 5002108 .mscz .mx
Louise Romantische Offenbarungen) minor
Gesä nge
Zwö lf Deutsche
Reichardt, und Italiä nische 10 Ida (aus Ariels Eb
46 I 5002108 .mscz .mx
Louise Romantische Offenbarungen) minor
Gesä nge
Die schö ne Bb
Schubert, Franz 12 Pause 3 viio7 4985946 .mscz .mx
Mü llerin, D.795 major
Die schö ne Bb
Schubert, Franz 12 Pause 44 viio7 4985946 .mscz .mx
Mü llerin, D.795 major
Die schö ne Bb
Schubert, Franz 12 Pause 66 Ger65 4985946 .mscz .mx
Mü llerin, D.795 major
Die schö ne Bb
Schubert, Franz 12 Pause 74 Ger65 4985946 .mscz .mx
Mü llerin, D.795 major
Die schö ne Bb
Schubert, Franz 12 Pause 79 i 4985946 .mscz .mx
Mü llerin, D.795 major
6 Ellens Gesang
Bb
Schubert, Franz Op.52 III, D.839 (Ave 2 viio7 6389103 .mscz .mx
major
Maria)
6 Ellens Gesang
Bb
Schubert, Franz Op.52 III, D.839 (Ave 15 viio7 6389103 .mscz .mx
major
Maria)
Bb
Schubert, Franz Op.59 3 Du bist die Ruh 16 viio43 4919879 .mscz .mx
major
Bb
Schubert, Franz Op.59 3 Du bist die Ruh 18 viio65 4919879 .mscz .mx
major
Bb
Schubert, Franz Op.59 3 Du bist die Ruh 18 viio7 4919879 .mscz .mx
major
Bb
Schubert, Franz Op.59 3 Du bist die Ruh 20 viio43 4919879 .mscz .mx
major
Eb
Schubert, Franz Op.59 3 Du bist die Ruh 26 iiø 4919879 .mscz .mx
major
Eb
Schubert, Franz Op.59 3 Du bist die Ruh 28 iiø 4919879 .mscz .mx
major
Bb
Schubert, Franz Op.59 3 Du bist die Ruh 39 viio43 4919879 .mscz .mx
major
Bb
Schubert, Franz Op.59 3 Du bist die Ruh 41 viio65 4919879 .mscz .mx
major
Bb
Schubert, Franz Op.59 3 Du bist die Ruh 41 viio7 4919879 .mscz .mx
major
Bb
Schubert, Franz Op.59 3 Du bist die Ruh 43 viio43 4919879 .mscz .mx
major
Eb
Schubert, Franz Op.59 3 Du bist die Ruh 49 iiø 4919879 .mscz .mx
major
Eb
Schubert, Franz Op.59 3 Du bist die Ruh 51 iiø 4919879 .mscz .mx
major
Schwanengesang, E
Schubert, Franz 01 Liebesbotschaft 41 vi 5077744 .mscz .mx
D.957 minor
Schwanengesang, E
Schubert, Franz 01 Liebesbotschaft 42 vi 5077744 .mscz .mx
D.957 minor
HARMONY ANTHOLOGY | 816
Schwanengesang, E
Schubert, Franz 01 Liebesbotschaft 42 vi 5077744 .mscz .mx
D.957 minor
Schwanengesang, E
Schubert, Franz 01 Liebesbotschaft 44 I 5077744 .mscz .mx
D.957 minor
Schwanengesang, E
Schubert, Franz 01 Liebesbotschaft 45 I 5077744 .mscz .mx
D.957 minor
Schwanengesang, E
Schubert, Franz 01 Liebesbotschaft 46 vi6 5077744 .mscz .mx
D.957 minor
Schwanengesang, E
Schubert, Franz 01 Liebesbotschaft 46 vi 5077744 .mscz .mx
D.957 minor
Schwanengesang, 02 Kriegers Eb
Schubert, Franz 20 iv6 4986000 .mscz .mx
D.957 Ahnung major
Schwanengesang, 02 Kriegers Eb
Schubert, Franz 24 viio43 4986000 .mscz .mx
D.957 Ahnung major
Schwanengesang, 02 Kriegers F
Schubert, Franz 88 i 4986000 .mscz .mx
D.957 Ahnung major
Schwanengesang, 03 D
Schubert, Franz 49 I 4985999 .mscz .mx
D.957 Frühlingssehnsucht minor
Schwanengesang, 03 Ab
Schubert, Franz 51 i 4985999 .mscz .mx
D.957 Frühlingssehnsucht major
Schwanengesang, 03 Bb
Schubert, Franz 56 I64 4985999 .mscz .mx
D.957 Frühlingssehnsucht minor
Schwanengesang, 03 Eb
Schubert, Franz 83 iv 4985999 .mscz .mx
D.957 Frühlingssehnsucht major
Schwanengesang, 03 Bb
Schubert, Franz 96 iv 4985999 .mscz .mx
D.957 Frühlingssehnsucht major
Schwanengesang, 03 Bb
Schubert, Franz 102 iv64 4985999 .mscz .mx
D.957 Frühlingssehnsucht major
Schwanengesang, D
Schubert, Franz 04 Ständchen 29 iv 5004835 .mscz .mx
D.957 major
Schwanengesang, D
Schubert, Franz 04 Ständchen 41 i 5004835 .mscz .mx
D.957 major
Schwanengesang, D
Schubert, Franz 04 Ständchen 42 iio6 5004835 .mscz .mx
D.957 major
Schwanengesang, D
Schubert, Franz 04 Ständchen 45 iv 5004835 .mscz .mx
D.957 major
Schwanengesang, E
Schubert, Franz 05 Aufenthalt 18 I 4985990 .mscz .mx
D.957 minor
817 | HARMONY ANTHOLOGY
Schwanengesang, G
Schubert, Franz 05 Aufenthalt 53 Ger65 4985990 .mscz .mx
D.957 major
Schwanengesang, G
Schubert, Franz 05 Aufenthalt 60 viio43 4985990 .mscz .mx
D.957 major
Schwanengesang, G
Schubert, Franz 05 Aufenthalt 68 viio43 4985990 .mscz .mx
D.957 major
Schwanengesang, G
Schubert, Franz 05 Aufenthalt 72 viio43 4985990 .mscz .mx
D.957 major
Schwanengesang, G
Schubert, Franz 05 Aufenthalt 73 viio43 4985990 .mscz .mx
D.957 major
Schwanengesang, E
Schubert, Franz 05 Aufenthalt 122 I 4985990 .mscz .mx
D.957 minor
Schwanengesang, D
Schubert, Franz 06 In der Ferne 24 I6 4985987 .mscz .mx
D.957 minor
Schwanengesang, D
Schubert, Franz 06 In der Ferne 53 I6 4985987 .mscz .mx
D.957 minor
Schwanengesang, B
Schubert, Franz 06 In der Ferne 74 iiø2 4985987 .mscz .mx
D.957 major
Schwanengesang, D
Schubert, Franz 06 In der Ferne 83 I6 4985987 .mscz .mx
D.957 minor
Schwanengesang, B
Schubert, Franz 06 In der Ferne 90 viio2 4985987 .mscz .mx
D.957 major
Schwanengesang, B
Schubert, Franz 06 In der Ferne 91 viio2 4985987 .mscz .mx
D.957 major
Schwanengesang, B
Schubert, Franz 06 In der Ferne 93 viio2 4985987 .mscz .mx
D.957 major
Schwanengesang, B
Schubert, Franz 06 In der Ferne 94 viio2 4985987 .mscz .mx
D.957 major
Schwanengesang, B
Schubert, Franz 06 In der Ferne 111 i 4985987 .mscz .mx
D.957 major
Schwanengesang, B
Schubert, Franz 06 In der Ferne 113 i64 4985987 .mscz .mx
D.957 major
Schwanengesang, B
Schubert, Franz 06 In der Ferne 115 i 4985987 .mscz .mx
D.957 major
Schwanengesang, Eb
Schubert, Franz 07 Abschied 148 i 4978506 .mscz .mx
D.957 major
Schwanengesang, B
Schubert, Franz 08 Der Atlas 25 viio2 4985985 .mscz .mx
D.957 major
HARMONY ANTHOLOGY | 818
Schwanengesang, B
Schubert, Franz 08 Der Atlas 29 viio2 4985985 .mscz .mx
D.957 major
Schwanengesang, Gb
Schubert, Franz 09 Ihr Bild 20 iv6 4985984 .mscz .mx
D.957 major
Schwanengesang, Bb
Schubert, Franz 09 Ihr Bild 35 iv6 4985984 .mscz .mx
D.957 major
Schwanengesang, Bb
Schubert, Franz 09 Ihr Bild 35 i64 4985984 .mscz .mx
D.957 major
Schwanengesang, Bb
Schubert, Franz 09 Ihr Bild 36 i 4985984 .mscz .mx
D.957 major
Schwanengesang, 10 Das Ab
Schubert, Franz 19 viio7 5098612 .mscz .mx
D.957 Fischermädchen major
Schwanengesang, 10 Das Cb
Schubert, Franz 27 viio65 5098612 .mscz .mx
D.957 Fischermädchen major
Schwanengesang, 10 Das Cb
Schubert, Franz 40 viio7 5098612 .mscz .mx
D.957 Fischermädchen major
Schwanengesang, 10 Das Ab
Schubert, Franz 61 viio7 5098612 .mscz .mx
D.957 Fischermädchen major
Schwanengesang, C
Schubert, Franz 12 Am Meer 1 Ger43 4985965 .mscz .mx
D.957 major
Schwanengesang, C
Schubert, Franz 12 Am Meer 2 Ger43 4985965 .mscz .mx
D.957 major
Schwanengesang, C
Schubert, Franz 12 Am Meer 12 i 4985965 .mscz .mx
D.957 major
Schwanengesang, C
Schubert, Franz 12 Am Meer 18 iiø2 4985965 .mscz .mx
D.957 major
Schwanengesang, C
Schubert, Franz 12 Am Meer 22 i64 4985965 .mscz .mx
D.957 major
Schwanengesang, C
Schubert, Franz 12 Am Meer 23 i64 4985965 .mscz .mx
D.957 major
Schwanengesang, C
Schubert, Franz 12 Am Meer 33 i 4985965 .mscz .mx
D.957 major
Schwanengesang, C
Schubert, Franz 12 Am Meer 39 iiø2 4985965 .mscz .mx
D.957 major
Schwanengesang, C
Schubert, Franz 12 Am Meer 44 Ger43 4985965 .mscz .mx
D.957 major
Schwanengesang, C
Schubert, Franz 12 Am Meer 45 Ger43 4985965 .mscz .mx
D.957 major
819 | HARMONY ANTHOLOGY
Schwanengesang, 13 Der B
Schubert, Franz 62 I 4985964 .mscz .mx
D.957 Doppelgänger minor
Schwanengesang, B
Schubert, Franz 14 Die Taubenpost 14 iv64 4985962 .mscz .mx
D.957 major
Schwanengesang, B
Schubert, Franz 14 Die Taubenpost 14 viio2 4985962 .mscz .mx
D.957 major
Schwanengesang, G
Schubert, Franz 14 Die Taubenpost 31 i64 4985962 .mscz .mx
D.957 major
Schwanengesang, B
Schubert, Franz 14 Die Taubenpost 60 iv64 4985962 .mscz .mx
D.957 major
Schwanengesang, B
Schubert, Franz 14 Die Taubenpost 60 viio2 4985962 .mscz .mx
D.957 major
Schwanengesang, A
Schubert, Franz 14 Die Taubenpost 82 i6 4985962 .mscz .mx
D.957 major
Winterreise, 02 Die C
Schubert, Franz 11 viio2 5015435 .mscz .mx
D.911 Wetterfahne major
Winterreise, 02 Die A
Schubert, Franz 31 Ger65 5015435 .mscz .mx
D.911 Wetterfahne major
Winterreise, 02 Die A
Schubert, Franz 43 Ger6 5015435 .mscz .mx
D.911 Wetterfahne major
Winterreise, 03 Gefror’ne Ab
Schubert, Franz 4 iiø2 5015499 .mscz .mx
D.911 Thränen major
Winterreise, 03 Gefror’ne Ab
Schubert, Franz 5 i 5015499 .mscz .mx
D.911 Thränen major
Winterreise, 03 Gefror’ne Ab
Schubert, Franz 6 iio6 5015499 .mscz .mx
D.911 Thränen major
Winterreise, 03 Gefror’ne Ab
Schubert, Franz 6 iio 5015499 .mscz .mx
D.911 Thränen major
Winterreise, 03 Gefror’ne Ab
Schubert, Franz 12 iiø2 5015499 .mscz .mx
D.911 Thränen major
Winterreise, Ab
Schubert, Franz 04 Erstarrung 46 i64 5015573 .mscz .mx
D.911 major
Winterreise, Ab
Schubert, Franz 04 Erstarrung 54 iio6 5015573 .mscz .mx
D.911 major
Winterreise, Ab
Schubert, Franz 04 Erstarrung 58 iio6 5015573 .mscz .mx
D.911 major
Winterreise, 05 Der E
Schubert, Franz 54 iv6 5016466 .mscz .mx
D.911 Lindenbaum major
HARMONY ANTHOLOGY | 820
Winterreise, 05 Der E
Schubert, Franz 55 iv6 5016466 .mscz .mx
D.911 Lindenbaum major
Winterreise, 05 Der E
Schubert, Franz 56 iio64[no3] 5016466 .mscz .mx
D.911 Lindenbaum major
Winterreise, A
Schubert, Franz 06 Wasserfluth 19 viio2 5016512 .mscz .mx
D.911 major
Winterreise, A
Schubert, Franz 06 Wasserfluth 23 viio2 5016512 .mscz .mx
D.911 major
Winterreise, A
Schubert, Franz 06 Wasserfluth 25 viio2 5016512 .mscz .mx
D.911 major
Winterreise, E
Schubert, Franz 07 Auf dem Flusse 25 viio7 5015410 .mscz .mx
D.911 major
Winterreise, E
Schubert, Franz 07 Auf dem Flusse 33 viio7 5015410 .mscz .mx
D.911 major
Winterreise, E
Schubert, Franz 07 Auf dem Flusse 39 i6 5015410 .mscz .mx
D.911 major
Winterreise, G
Schubert, Franz 08 Rückblick 27 I 5015521 .mscz .mx
D.911 minor
12 Einsamkeit
Winterreise, A
Schubert, Franz (Urspruengliche 25 I 5023662 .mscz .mx
D.911 minor
Fassung)
821 | HARMONY ANTHOLOGY
12 Einsamkeit
Winterreise, A
Schubert, Franz (Urspruengliche 27 I 5023662 .mscz .mx
D.911 minor
Fassung)
12 Einsamkeit
Winterreise, A
Schubert, Franz (Urspruengliche 28 I 5023662 .mscz .mx
D.911 minor
Fassung)
12 Einsamkeit
Winterreise, G
Schubert, Franz (Urspruengliche 37 I 5023662 .mscz .mx
D.911 minor
Fassung)
12 Einsamkeit
Winterreise, A
Schubert, Franz (Urspruengliche 39 I 5023662 .mscz .mx
D.911 minor
Fassung)
12 Einsamkeit
Winterreise, A
Schubert, Franz (Urspruengliche 40 I 5023662 .mscz .mx
D.911 minor
Fassung)
Winterreise, Eb
Schubert, Franz 13 Die Post 18 Ger65 5007176 .mscz .mx
D.911 major
Winterreise, Eb
Schubert, Franz 13 Die Post 27 i 5007176 .mscz .mx
D.911 major
Winterreise, Eb
Schubert, Franz 13 Die Post 28 i 5007176 .mscz .mx
D.911 major
Winterreise, Eb
Schubert, Franz 13 Die Post 29 i 5007176 .mscz .mx
D.911 major
Winterreise, Eb
Schubert, Franz 13 Die Post 63 Ger65 5007176 .mscz .mx
D.911 major
Winterreise, Eb
Schubert, Franz 13 Die Post 72 i 5007176 .mscz .mx
D.911 major
Winterreise, Eb
Schubert, Franz 13 Die Post 73 i 5007176 .mscz .mx
D.911 major
Winterreise, Eb
Schubert, Franz 13 Die Post 74 i 5007176 .mscz .mx
D.911 major
Winterreise, 14 Der greise Ab
Schubert, Franz 22 i6 5007178 .mscz .mx
D.911 Kopf major
Winterreise, C
Schubert, Franz 15 Die Kraehe 1 I6 5007179 .mscz .mx
D.911 minor
Winterreise, Eb
Schubert, Franz 15 Die Kraehe 14 viio43 5007179 .mscz .mx
D.911 major
Winterreise, Eb
Schubert, Franz 15 Die Kraehe 14 iv 5007179 .mscz .mx
D.911 major
HARMONY ANTHOLOGY | 822
Winterreise, C
Schubert, Franz 15 Die Kraehe 18 I6 5007179 .mscz .mx
D.911 minor
Winterreise, C
Schubert, Franz 15 Die Kraehe 19 I6 5007179 .mscz .mx
D.911 minor
Winterreise, C
Schubert, Franz 15 Die Kraehe 38 I6 5007179 .mscz .mx
D.911 minor
Winterreise, 16 Letzte Eb
Schubert, Franz 7 I 5007180 .mscz .mx
D.911 Hoffnung minor
Winterreise, 16 Letzte Eb
Schubert, Franz 7 I64 5007180 .mscz .mx
D.911 Hoffnung minor
Winterreise, 16 Letzte Eb
Schubert, Franz 8 I 5007180 .mscz .mx
D.911 Hoffnung minor
Winterreise, 16 Letzte Eb
Schubert, Franz 11 I 5007180 .mscz .mx
D.911 Hoffnung minor
Winterreise, 16 Letzte Eb
Schubert, Franz 41 i64 5007180 .mscz .mx
D.911 Hoffnung major
Winterreise, 16 Letzte Eb
Schubert, Franz 46 iv 5007180 .mscz .mx
D.911 Hoffnung major
Winterreise, D
Schubert, Franz 17 Im Dorfe 9 iiø65 5007181 .mscz .mx
D.911 major
Winterreise, D
Schubert, Franz 17 Im Dorfe 10 iiø65 5007181 .mscz .mx
D.911 major
Winterreise, D
Schubert, Franz 17 Im Dorfe 13 Vb9 5007181 .mscz .mx
D.911 major
Winterreise, D
Schubert, Franz 17 Im Dorfe 16 i64 5007181 .mscz .mx
D.911 major
Winterreise, D
Schubert, Franz 17 Im Dorfe 29 viio2 5007181 .mscz .mx
D.911 major
Winterreise, D
Schubert, Franz 17 Im Dorfe 30 viio2 5007181 .mscz .mx
D.911 major
Winterreise, D
Schubert, Franz 17 Im Dorfe 33 iiø65 5007181 .mscz .mx
D.911 major
Winterreise, D
Schubert, Franz 17 Im Dorfe 34 iiø65 5007181 .mscz .mx
D.911 major
Winterreise, D
Schubert, Franz 17 Im Dorfe 44 i64 5007181 .mscz .mx
D.911 major
18 Der
Winterreise, D
Schubert, Franz stuermische 1 I6 5007182 .mscz .mx
D.911 minor
Morgen
823 | HARMONY ANTHOLOGY
18 Der
Winterreise, Bb
Schubert, Franz stuermische 10 iiø2 5007182 .mscz .mx
D.911 major
Morgen
18 Der
Winterreise, Bb
Schubert, Franz stuermische 12 iiø2 5007182 .mscz .mx
D.911 major
Morgen
18 Der
Winterreise, Bb
Schubert, Franz stuermische 13 iiø43 5007182 .mscz .mx
D.911 major
Morgen
Winterreise, A
Schubert, Franz 19 Täuschung 22 i 5009833 .mscz .mx
D.911 major
Winterreise, A
Schubert, Franz 19 Täuschung 23 i 5009833 .mscz .mx
D.911 major
Winterreise, F
Schubert, Franz 21 Das Wirthshaus 8 iv 5013945 .mscz .mx
D.911 major
Winterreise, F
Schubert, Franz 21 Das Wirthshaus 8 iio6 5013945 .mscz .mx
D.911 major
Winterreise, F
Schubert, Franz 21 Das Wirthshaus 14 iio6 5013945 .mscz .mx
D.911 major
Winterreise, F
Schubert, Franz 21 Das Wirthshaus 18 viio65 5013945 .mscz .mx
D.911 major
Winterreise, Bb
Schubert, Franz 21 Das Wirthshaus 20 I64 5013945 .mscz .mx
D.911 minor
Winterreise, Bb
Schubert, Franz 21 Das Wirthshaus 20 I64 5013945 .mscz .mx
D.911 minor
Winterreise, F
Schubert, Franz 21 Das Wirthshaus 26 i 5013945 .mscz .mx
D.911 major
Winterreise, A
Schubert, Franz 22 Muth 32 I 5013969 .mscz .mx
D.911 minor
D
Schumann, Clara Die gute Nacht 14 viio7 5000388 .mscz .mx
major
Bb
Schumann, Clara Die gute Nacht 33 viio7 5000388 .mscz .mx
major
D
Schumann, Clara Die gute Nacht 38 iv6 5000388 .mscz .mx
major
D
Schumann, Clara Die gute Nacht 38 iiø43 5000388 .mscz .mx
major
1 Ich stand in Eb
Schumann, Clara 6 Lieder, Op.13 1 iiø2 5133602 .mscz .mx
dunklen Träumen major
HARMONY ANTHOLOGY | 824
1 Ich stand in Eb
Schumann, Clara 6 Lieder, Op.13 6 iiø2 5133602 .mscz .mx
dunklen Träumen major
Eb
Schumann, Clara 6 Lieder, Op.13 3 Liebeszauber 39 iv64 5126774 .mscz .mx
major
Eb
Schumann, Clara 6 Lieder, Op.13 3 Liebeszauber 40 iiø2 5126774 .mscz .mx
major
Eb
Schumann, Clara 6 Lieder, Op.13 3 Liebeszauber 41 iv64 5126774 .mscz .mx
major
Eb
Schumann, Clara 6 Lieder, Op.13 3 Liebeszauber 42 iiø2 5126774 .mscz .mx
major
Eb
Schumann, Clara 6 Lieder, Op.13 3 Liebeszauber 44 iiø2 5126774 .mscz .mx
major
Eb
Schumann, Clara 6 Lieder, Op.13 3 Liebeszauber 51 viio2 5126774 .mscz .mx
major
4 Der Mond
Db
Schumann, Clara 6 Lieder, Op.13 kommt still 28 iv6 5126921 .mscz .mx
major
gegangen
4 Der Mond
Db
Schumann, Clara 6 Lieder, Op.13 kommt still 29 iiø2 5126921 .mscz .mx
major
gegangen
4 Der Mond
Db
Schumann, Clara 6 Lieder, Op.13 kommt still 30 iv6 5126921 .mscz .mx
major
gegangen
4 Der Mond
Db
Schumann, Clara 6 Lieder, Op.13 kommt still 31 iv 5126921 .mscz .mx
major
gegangen
4 Der Mond
Db
Schumann, Clara 6 Lieder, Op.13 kommt still 31 viio7 5126921 .mscz .mx
major
gegangen
6 Die stille Ab
Schumann, Clara 6 Lieder, Op.13 16 iv 5130634 .mscz .mx
Lotosblume major
6 Die stille Ab
Schumann, Clara 6 Lieder, Op.13 34 i 5130634 .mscz .mx
Lotosblume major
6 Die stille Db
Schumann, Clara 6 Lieder, Op.13 39 iiø7 5130634 .mscz .mx
Lotosblume major
6 Die stille Ab
Schumann, Clara 6 Lieder, Op.13 42 iiø7 5130634 .mscz .mx
Lotosblume major
04 Liebst du um Db
Schumann, Clara Lieder, Op.12 5 i6 5000397 .mscz .mx
Schö nheit major
825 | HARMONY ANTHOLOGY
04 Liebst du um Db
Schumann, Clara Lieder, Op.12 13 i6 5000397 .mscz .mx
Schö nheit major
04 Liebst du um Db
Schumann, Clara Lieder, Op.12 21 i6 5000397 .mscz .mx
Schö nheit major
04 Liebst du um Db
Schumann, Clara Lieder, Op.12 29 i6 5000397 .mscz .mx
Schö nheit major
04 Liebst du um Db
Schumann, Clara Lieder, Op.12 33 iio 5000397 .mscz .mx
Schö nheit major
04 Liebst du um Db
Schumann, Clara Lieder, Op.12 33 iiø2 5000397 .mscz .mx
Schö nheit major
04 Liebst du um Db
Schumann, Clara Lieder, Op.12 35 iv 5000397 .mscz .mx
Schö nheit major
04 Liebst du um Db
Schumann, Clara Lieder, Op.12 37 iiø65 5000397 .mscz .mx
Schö nheit major
Schumann, Dichterliebe, C
07 Ich grolle nicht 3 iiø7 4978382 .mscz .mx
Robert Op.48 major
Schumann, Dichterliebe, C
07 Ich grolle nicht 8 viio7 4978382 .mscz .mx
Robert Op.48 major
Schumann, Dichterliebe, C
07 Ich grolle nicht 21 iiø7 4978382 .mscz .mx
Robert Op.48 major
Schumann, Dichterliebe, C
07 Ich grolle nicht 26 viio7 4978382 .mscz .mx
Robert Op.48 major
Schumann, Dichterliebe, C
07 Ich grolle nicht 27 viio43 4978382 .mscz .mx
Robert Op.48 major
Schumann, Dichterliebe, C
07 Ich grolle nicht 29 iiø7 4978382 .mscz .mx
Robert Op.48 major
12 Am
Schumann, Dichterliebe, Bb
leuchtenden 1 Ger65 4978395 .mscz .mx
Robert Op.48 major
Sommermorgen
12 Am
Schumann, Dichterliebe, Bb
leuchtenden 6 Ger65 4978395 .mscz .mx
Robert Op.48 major
Sommermorgen
12 Am
Schumann, Dichterliebe, Bb
leuchtenden 11 Ger65 4978395 .mscz .mx
Robert Op.48 major
Sommermorgen
12 Am
Schumann, Dichterliebe, G
leuchtenden 19 i 4978395 .mscz .mx
Robert Op.48 major
Sommermorgen
12 Am
Schumann, Dichterliebe, Bb
leuchtenden 19 Ger65 4978395 .mscz .mx
Robert Op.48 major
Sommermorgen
12 Am
Schumann, Dichterliebe, Bb
leuchtenden 24 Ger65 4978395 .mscz .mx
Robert Op.48 major
Sommermorgen
12 Am
Schumann, Dichterliebe, Bb
leuchtenden 26 Ger65 4978395 .mscz .mx
Robert Op.48 major
Sommermorgen
Schumann, Dichterliebe, 13 Ich hab’ im Db
30 i64 4978396 .mscz .mx
Robert Op.48 Traum geweinet major
Schumann, Dichterliebe, 14 Allnächtlich im B
11 viio7 4978397 .mscz .mx
Robert Op.48 Traume major
4 Sérénade à
6 Mélodies, VWV F
Viardot, Pauline Rosine, VWV 24 Vb9 5989772 .mscz .mx
1133-11371176 major
1137
4 Sérénade à
6 Mélodies, VWV F
Viardot, Pauline Rosine, VWV 25 bVI2 5989772 .mscz .mx
1133-11371176 major
1137
4 Sérénade à
6 Mélodies, VWV F
Viardot, Pauline Rosine, VWV 26 bVI64 5989772 .mscz .mx
1133-11371176 major
1137
4 Sérénade à
6 Mélodies, VWV F
Viardot, Pauline Rosine, VWV 37 Ger7 5989772 .mscz .mx
1133-11371176 major
1137
4 Sérénade à
6 Mélodies, VWV F
Viardot, Pauline Rosine, VWV 68 Vb9 5989772 .mscz .mx
1133-11371176 major
1137
4 Sérénade à
6 Mélodies, VWV F
Viardot, Pauline Rosine, VWV 69 bVI2 5989772 .mscz .mx
1133-11371176 major
1137
4 Sérénade à
6 Mélodies, VWV F
Viardot, Pauline Rosine, VWV 70 bVI64 5989772 .mscz .mx
1133-11371176 major
1137
4 Sérénade à
6 Mélodies, VWV F
Viardot, Pauline Rosine, VWV 81 Ger7 5989772 .mscz .mx
1133-11371176 major
1137
D
Wolf, Hugo Eichendorff-Lieder 04 Das Ständchen 1 i[add4] 5024834 .mscz .mx
major
D
Wolf, Hugo Eichendorff-Lieder 04 Das Ständchen 2 i[add4] 5024834 .mscz .mx
major
D
Wolf, Hugo Eichendorff-Lieder 04 Das Ständchen 12 iiø2 5024834 .mscz .mx
major
D
Wolf, Hugo Eichendorff-Lieder 04 Das Ständchen 18 iiø2 5024834 .mscz .mx
major
F#
Wolf, Hugo Eichendorff-Lieder 04 Das Ständchen 23 iv 5024834 .mscz .mx
major
F#
Wolf, Hugo Eichendorff-Lieder 04 Das Ständchen 26 iiø2 5024834 .mscz .mx
major
F#
Wolf, Hugo Eichendorff-Lieder 04 Das Ständchen 29 iv 5024834 .mscz .mx
major
HARMONY ANTHOLOGY | 828
Bb
Wolf, Hugo Eichendorff-Lieder 04 Das Ständchen 35 iv 5024834 .mscz .mx
major
Bb
Wolf, Hugo Eichendorff-Lieder 04 Das Ständchen 41 iv 5024834 .mscz .mx
major
Bb
Wolf, Hugo Eichendorff-Lieder 04 Das Ständchen 43 iv 5024834 .mscz .mx
major
D
Wolf, Hugo Eichendorff-Lieder 04 Das Ständchen 44 V7b9 5024834 .mscz .mx
major
D
Wolf, Hugo Eichendorff-Lieder 04 Das Ständchen 50 iiø2 5024834 .mscz .mx
major
D
Wolf, Hugo Eichendorff-Lieder 04 Das Ständchen 56 iiø2 5024834 .mscz .mx
major
F#
Wolf, Hugo Eichendorff-Lieder 08 Nachtzauber 1 iio6 5039817 .mscz .mx
major
F#
Wolf, Hugo Eichendorff-Lieder 08 Nachtzauber 2 iio6 5039817 .mscz .mx
major
F#
Wolf, Hugo Eichendorff-Lieder 08 Nachtzauber 3 iio6 5039817 .mscz .mx
major
F#
Wolf, Hugo Eichendorff-Lieder 08 Nachtzauber 7 i 5039817 .mscz .mx
major
F#
Wolf, Hugo Eichendorff-Lieder 08 Nachtzauber 8 Ger43 5039817 .mscz .mx
major
B
Wolf, Hugo Eichendorff-Lieder 08 Nachtzauber 15 iv6 5039817 .mscz .mx
major
B
Wolf, Hugo Eichendorff-Lieder 08 Nachtzauber 22 viio2 5039817 .mscz .mx
major
B
Wolf, Hugo Eichendorff-Lieder 08 Nachtzauber 23 viio7 5039817 .mscz .mx
major
B
Wolf, Hugo Eichendorff-Lieder 08 Nachtzauber 23 iv 5039817 .mscz .mx
major
B
Wolf, Hugo Eichendorff-Lieder 08 Nachtzauber 24 iv 5039817 .mscz .mx
major
B
Wolf, Hugo Eichendorff-Lieder 08 Nachtzauber 25 i64 5039817 .mscz .mx
major
Bb
Wolf, Hugo Eichendorff-Lieder 08 Nachtzauber 28 i 5039817 .mscz .mx
major
F#
Wolf, Hugo Eichendorff-Lieder 08 Nachtzauber 28 iv 5039817 .mscz .mx
major
829 | HARMONY ANTHOLOGY
F#
Wolf, Hugo Eichendorff-Lieder 08 Nachtzauber 29 iio 5039817 .mscz .mx
major
F#
Wolf, Hugo Eichendorff-Lieder 08 Nachtzauber 31 iio64 5039817 .mscz .mx
major
F#
Wolf, Hugo Eichendorff-Lieder 08 Nachtzauber 32 iio64 5039817 .mscz .mx
major
F#
Wolf, Hugo Eichendorff-Lieder 08 Nachtzauber 33 iio64 5039817 .mscz .mx
major
F#
Wolf, Hugo Eichendorff-Lieder 08 Nachtzauber 36 i 5039817 .mscz .mx
major
F#
Wolf, Hugo Eichendorff-Lieder 08 Nachtzauber 37 Ger43 5039817 .mscz .mx
major
B
Wolf, Hugo Eichendorff-Lieder 08 Nachtzauber 44 iv6 5039817 .mscz .mx
major
B
Wolf, Hugo Eichendorff-Lieder 08 Nachtzauber 51 viio2 5039817 .mscz .mx
major
B
Wolf, Hugo Eichendorff-Lieder 08 Nachtzauber 52 viio7 5039817 .mscz .mx
major
B
Wolf, Hugo Eichendorff-Lieder 08 Nachtzauber 52 iv 5039817 .mscz .mx
major
B
Wolf, Hugo Eichendorff-Lieder 08 Nachtzauber 53 iv 5039817 .mscz .mx
major
B
Wolf, Hugo Eichendorff-Lieder 08 Nachtzauber 54 i64 5039817 .mscz .mx
major
Bb
Wolf, Hugo Eichendorff-Lieder 08 Nachtzauber 57 i 5039817 .mscz .mx
major
F#
Wolf, Hugo Eichendorff-Lieder 08 Nachtzauber 57 iv 5039817 .mscz .mx
major
F#
Wolf, Hugo Eichendorff-Lieder 08 Nachtzauber 58 iio 5039817 .mscz .mx
major
F#
Wolf, Hugo Eichendorff-Lieder 08 Nachtzauber 60 iio64 5039817 .mscz .mx
major
F#
Wolf, Hugo Eichendorff-Lieder 08 Nachtzauber 62 iio64 5039817 .mscz .mx
major
A
Wolf, Hugo Eichendorff-Lieder 13 Der Scholar 44 I 5052792 .mscz .mx
minor
A
Wolf, Hugo Eichendorff-Lieder 13 Der Scholar 45 I 5052792 .mscz .mx
minor
HARMONY ANTHOLOGY | 830
A
Wolf, Hugo Eichendorff-Lieder 13 Der Scholar 46 I 5052792 .mscz .mx
minor
A
Wolf, Hugo Eichendorff-Lieder 13 Der Scholar 47 I 5052792 .mscz .mx
minor
A
Wolf, Hugo Eichendorff-Lieder 13 Der Scholar 48 I 5052792 .mscz .mx
minor
14 Der
Eb
Wolf, Hugo Eichendorff-Lieder verzweifelte 23 IV6b5 5052714 .mscz .mx
major
Liebhaber
14 Der
Eb
Wolf, Hugo Eichendorff-Lieder verzweifelte 24 Ger65 5052714 .mscz .mx
major
Liebhaber
D
Wolf, Hugo Eichendorff-Lieder 15 Unfall 1 I64 5057804 .mscz .mx
minor
E
Wolf, Hugo Eichendorff-Lieder 15 Unfall 4 I 5057804 .mscz .mx
minor
E
Wolf, Hugo Eichendorff-Lieder 15 Unfall 4 I 5057804 .mscz .mx
minor
D
Wolf, Hugo Eichendorff-Lieder 15 Unfall 5 I64 5057804 .mscz .mx
minor
F
Wolf, Hugo Eichendorff-Lieder 15 Unfall 7 iv 5057804 .mscz .mx
major
F
Wolf, Hugo Eichendorff-Lieder 15 Unfall 7 iv 5057804 .mscz .mx
major
A
Wolf, Hugo Eichendorff-Lieder 15 Unfall 12 I 5057804 .mscz .mx
minor
A
Wolf, Hugo Eichendorff-Lieder 15 Unfall 12 I 5057804 .mscz .mx
minor
Bb
Wolf, Hugo Eichendorff-Lieder 15 Unfall 18 I 5057804 .mscz .mx
minor
Bb
Wolf, Hugo Eichendorff-Lieder 15 Unfall 20 viiø43 5057804 .mscz .mx
minor
Bb
Wolf, Hugo Eichendorff-Lieder 15 Unfall 23 I 5057804 .mscz .mx
minor
G
Wolf, Hugo Eichendorff-Lieder 20 Waldmädchen 7 Ger43 5077482 .mscz .mx
major
B
Wolf, Hugo Eichendorff-Lieder 20 Waldmädchen 13 iio6 5077482 .mscz .mx
major
831 | HARMONY ANTHOLOGY
B
Wolf, Hugo Eichendorff-Lieder 20 Waldmädchen 15 iio64 5077482 .mscz .mx
major
G
Wolf, Hugo Eichendorff-Lieder 20 Waldmädchen 28 viio65 5077482 .mscz .mx
major
G
Wolf, Hugo Eichendorff-Lieder 20 Waldmädchen 36 viio65 5077482 .mscz .mx
major
E
Wolf, Hugo Eichendorff-Lieder 20 Waldmädchen 43 i 5077482 .mscz .mx
major
E
Wolf, Hugo Eichendorff-Lieder 20 Waldmädchen 44 Ger43 5077482 .mscz .mx
major
E
Wolf, Hugo Eichendorff-Lieder 20 Waldmädchen 45 Ger65 5077482 .mscz .mx
major
E
Wolf, Hugo Eichendorff-Lieder 20 Waldmädchen 52 Ger43 5077482 .mscz .mx
major
E
Wolf, Hugo Eichendorff-Lieder 20 Waldmädchen 53 bVI 5077482 .mscz .mx
major
C#
Wolf, Hugo Eichendorff-Lieder 20 Waldmädchen 70 i6 5077482 .mscz .mx
major
B
Wolf, Hugo Eichendorff-Lieder 20 Waldmädchen 76 viio65 5077482 .mscz .mx
major
B
Wolf, Hugo Eichendorff-Lieder 20 Waldmädchen 84 viio65 5077482 .mscz .mx
major
G
Wolf, Hugo Eichendorff-Lieder 20 Waldmädchen 93 Ger43 5077482 .mscz .mx
major
B
Wolf, Hugo Eichendorff-Lieder 20 Waldmädchen 99 iio6 5077482 .mscz .mx
major
B
Wolf, Hugo Eichendorff-Lieder 20 Waldmädchen 101 iio64 5077482 .mscz .mx
major
G
Wolf, Hugo Eichendorff-Lieder 20 Waldmädchen 115 viio7 5077482 .mscz .mx
major
G
Wolf, Hugo Eichendorff-Lieder 20 Waldmädchen 116 viio7 5077482 .mscz .mx
major
G
Wolf, Hugo Eichendorff-Lieder 20 Waldmädchen 117 viio7 5077482 .mscz .mx
major
G
Wolf, Hugo Eichendorff-Lieder 20 Waldmädchen 118 Ger65 5077482 .mscz .mx
major
G
Wolf, Hugo Eichendorff-Lieder 20 Waldmädchen 122 viio7 5077482 .mscz .mx
major
HARMONY ANTHOLOGY | 832
G
Wolf, Hugo Eichendorff-Lieder 20 Waldmädchen 123 viio7 5077482 .mscz .mx
major
G
Wolf, Hugo Eichendorff-Lieder 20 Waldmädchen 140 viio7 5077482 .mscz .mx
major
Zumsteeg, Ab
6 Lieder, Op.4 1 Die Kapelle 21 I 6159729 .mscz .mx
Emilie minor
Chaminade, G
Berceuse 23 bII 6264559 .mscz .mxl 62645
Cé cile minor
Chaminade, G
Berceuse 24 bII 6264559 .mscz .mxl 62645
Cé cile minor
Chaminade, G
Berceuse 25 bII 6264559 .mscz .mxl 62645
Cé cile minor
Chaminade, G
Berceuse 48 bII 6264559 .mscz .mxl 62645
Cé cile major
Chaminade, G
Berceuse 49 bII 6264559 .mscz .mxl 62645
Cé cile major
Chaminade, G
Berceuse 50 bII 6264559 .mscz .mxl 62645
Cé cile major
Chaminade, D
Sur la plage 22 bII#7 5000363 .mscz .mxl 50003
Cé cile minor
1 Oh what
Coleridge-Taylor, 6 Sorrow Songs, E
comes over the 19 bII6 6189652 .mscz .mxl 61896
Samuel Op.57 minor
Sea
Hensel, Fanny G
5 Lieder, Op.10 4 Im Herbste 31 bII6 5000459 .mscz .mxl 50004
(Mendelssohn) minor
Hensel, Fanny G
6 Lieder, Op.9 2 Ferne 20 bII65 5103883 .mscz .mxl 51038
(Mendelssohn) minor
Schwanengesang, B
Schubert, Franz 05 Aufenthalt 48 bII65 4985990 .mscz .mxl 49859
D.957 minor
Schwanengesang, B
Schubert, Franz 05 Aufenthalt 52 bII65 4985990 .mscz .mxl 49859
D.957 minor
Schwanengesang, B
Schubert, Franz 05 Aufenthalt 103 bII65 4985990 .mscz .mxl 49859
D.957 minor
HARMONY ANTHOLOGY | 834
Schwanengesang, B
Schubert, Franz 05 Aufenthalt 107 bII65 4985990 .mscz .mxl 49859
D.957 minor
Schwanengesang, B
Schubert, Franz 06 In der Ferne 112 bII 4985987 .mscz .mxl 49859
D.957 major
Schwanengesang, C
Schubert, Franz 11 Die Stadt 32 bII6 4985973 .mscz .mxl 49859
D.957 minor
Schwanengesang, 13 Der B
Schubert, Franz 59 bII 4985964 .mscz .mxl 49859
D.957 Doppelgänger minor
Winterreise, C
Schubert, Franz 04 Erstarrung 6 bII 5015573 .mscz .mxl 50155
D.911 minor
Winterreise, 11 A
Schubert, Franz 23 bII2[#7] 5023603 .mscz .mxl 50236
D.911 Frühlingstraum minor
Winterreise, 11 A
Schubert, Franz 67 bII2[#7] 5023603 .mscz .mxl 50236
D.911 Frühlingstraum minor
Winterreise, C
Schubert, Franz 15 Die Kraehe 3 bII 5007179 .mscz .mxl 50071
D.911 minor
Winterreise, C
Schubert, Franz 15 Die Kraehe 4 bII6 5007179 .mscz .mxl 50071
D.911 minor
Winterreise, C
Schubert, Franz 15 Die Kraehe 40 bII 5007179 .mscz .mxl 50071
D.911 minor
Winterreise, C
Schubert, Franz 15 Die Kraehe 41 bII6 5007179 .mscz .mxl 50071
D.911 minor
Winterreise, 20 Der G
Schubert, Franz 11 bII64 5009900 .mscz .mxl 50099
D.911 Wegweiser minor
Winterreise, 20 Der F
Schubert, Franz 13 bII64 5009900 .mscz .mxl 50099
D.911 Wegweiser minor
Winterreise, 20 Der G
Schubert, Franz 46 bII64 5009900 .mscz .mxl 50099
D.911 Wegweiser minor
Winterreise, 20 Der F
Schubert, Franz 48 bII64 5009900 .mscz .mxl 50099
D.911 Wegweiser minor
Winterreise, 20 Der G
Schubert, Franz 66 bII6 5009900 .mscz .mxl 50099
D.911 Wegweiser minor
Winterreise, 20 Der G
Schubert, Franz 76 bII6 5009900 .mscz .mxl 50099
D.911 Wegweiser minor
4 Auf einem A
Schumann, Clara 6 Lieder, Op.23 28 bII6 5142672 .mscz .mxl 51426
grü nen Hü gel minor
06 Im Rhein,
Schumann, Dichterliebe, E
im heiligen 14 bII6 4978379 .mscz .mxl 49783
Robert Op.48 minor
Strome
835 | HARMONY ANTHOLOGY
06 Im Rhein,
Schumann, Dichterliebe, D
im heiligen 27 bII6 4978379 .mscz .mxl 49783
Robert Op.48 minor
Strome
06 Im Rhein,
Schumann, Dichterliebe, C
im heiligen 29 bII6 4978379 .mscz .mxl 49783
Robert Op.48 minor
Strome
08 Und
Schumann, Dichterliebe, A
wü ssten’s die 3 bII 4978387 .mscz .mxl 49783
Robert Op.48 minor
Blumen
08 Und
Schumann, Dichterliebe, A
wü ssten’s die 4 bII6 4978387 .mscz .mxl 49783
Robert Op.48 minor
Blumen
08 Und
Schumann, Dichterliebe, A
wü ssten’s die 11 bII 4978387 .mscz .mxl 49783
Robert Op.48 minor
Blumen
08 Und
Schumann, Dichterliebe, A
wü ssten’s die 12 bII6 4978387 .mscz .mxl 49783
Robert Op.48 minor
Blumen
08 Und
Schumann, Dichterliebe, A
wü ssten’s die 19 bII 4978387 .mscz .mxl 49783
Robert Op.48 minor
Blumen
08 Und
Schumann, Dichterliebe, A
wü ssten’s die 20 bII6 4978387 .mscz .mxl 49783
Robert Op.48 minor
Blumen
A
Wolf, Hugo Eichendorff-Lieder 13 Der Scholar 43 bII6 5052792 .mscz .mxl 50527
minor
14 Der
G
Wolf, Hugo Eichendorff-Lieder verzweifelte 4 bII#7 5052714 .mscz .mxl 50527
minor
Liebhaber
14 Der
G
Wolf, Hugo Eichendorff-Lieder verzweifelte 9 bII#7 5052714 .mscz .mxl 50527
minor
Liebhaber
HARMONY ANTHOLOGY | 836
14 Der
F
Wolf, Hugo Eichendorff-Lieder verzweifelte 19 bII 5052714 .mscz .mxl 50527
major
Liebhaber
14 Der
F
Wolf, Hugo Eichendorff-Lieder verzweifelte 21 bII 5052714 .mscz .mxl 50527
major
Liebhaber
F#
Wolf, Hugo Eichendorff-Lieder 19 Die Nacht 4 bII 5052801 .mscz .mxl 50528
minor
F#
Wolf, Hugo Eichendorff-Lieder 19 Die Nacht 8 bII 5052801 .mscz .mxl 50528
minor
F#
Wolf, Hugo Eichendorff-Lieder 19 Die Nacht 19 bII 5052801 .mscz .mxl 50528
minor
20 G
Wolf, Hugo Eichendorff-Lieder 23 bII 5077482 .mscz .mxl 50774
Waldmädchen major
20 G
Wolf, Hugo Eichendorff-Lieder 27 bII 5077482 .mscz .mxl 50774
Waldmädchen major
20 G
Wolf, Hugo Eichendorff-Lieder 31 bII 5077482 .mscz .mxl 50774
Waldmädchen major
20 G
Wolf, Hugo Eichendorff-Lieder 35 bII 5077482 .mscz .mxl 50774
Waldmädchen major
20 G
Wolf, Hugo Eichendorff-Lieder 39 bII 5077482 .mscz .mxl 50774
Waldmädchen major
20 B
Wolf, Hugo Eichendorff-Lieder 75 bII 5077482 .mscz .mxl 50774
Waldmädchen major
20 B
Wolf, Hugo Eichendorff-Lieder 79 bII 5077482 .mscz .mxl 50774
Waldmädchen major
20 B
Wolf, Hugo Eichendorff-Lieder 83 bII 5077482 .mscz .mxl 50774
Waldmädchen major
20 B
Wolf, Hugo Eichendorff-Lieder 87 bII 5077482 .mscz .mxl 50774
Waldmädchen major
Early Choral Early_Choral Applied Early_Choral Augmented Early_Choral Aug 6 Early_Choral Cto
Keyboard_Other
Keyboard Other Keyboard_Other Applied Keyboard_Other Aug 6 Keyboard_Other C
Augmented
OpenScore-LiederCorpus OpenScore-LiederCorpus OpenScore-LiederCorpus OpenScore-Liede
OpenScore-LiederCorpus
Applied Augmented Aug 6 Cto7
Piano_Sonatas
Piano_Sonatas Piano_Sonatas Applied Piano_Sonatas Aug 6 Piano_Sonatas Ct
Augmented
Footnotes
METER ANTHOLOGY | 838
METER ANTHOLOGY
Mark Gotham
This is a placeholder chapter for forthcoming lists of moments that are notable for particular metrical
techniques.
In the meantime, here is a list (from Gotham 2019) of passages in mixed meters (5s, 7s, … ). The list is
organised chronologically by year of composition and limited to notated music and cases in which a single
mixed metrical pattern is sustained for at least four iterations such that it might realistically be internalised
by a listener as a meter.
These (imperfect) criteria are intended to define a meaningful boundary for the collection guided by what
meter ‘is’.
839 | METER ANTHOLOGY
Opus/ Time
Composer Work Year Movement Bar / range Div
number signature
Quotes as
specified;
"?"
otherwise as
deduced
Cancionero Proportio
Escobar, Pedro Barbieri Las mis penas,
Musical de 1516-20 quintupla [5/ 3+2
de No.48 madre
Palacio 2]
Cancionero Proportio
Barb. No. Amor con
Encina, Juan del Musical de 1516-20 quintupla [5/ 3+2
79 fortuna
Palacio 2]
Cancionero Proportio
Barb. No.
Anon. Musical de 1516-20 Pensad ora’n al quintupla [5/ 3+2
102
Palacio 2]
Cancionero Proportio
Barb. No. Dos ánades,
Encina, Juan del Musical de 1516-20 quintupla [5/ 3+2
115 madre
Palacio 2]
Cancionero Proportio
Barb. No. De ser mal
Fernández, Diego Musical de 1516-20 quintupla [5/ 3+2
132 casada
Palacio 2]
Cancionero Proportio
Barb. No. Con amores,
Encina, Juan del Musical de 1516-20 quintupla [5/ 3+2
215 mi madre
Palacio 2]
Cancionero Proportio
Barb. No. Tan buen
Encina, Juan del Musical de 1516-20 quintupla [5/ 3+2
403 ganadico
Palacio 2]
21 In
Tye, Christopher 1525 approx. Trust [5/2] ?
Nomines
21 In
Tye, Christopher 1525 approx. Sit Fast [5/2] ?
Nomines
Strogers,
In Nomine 1578 approx. [5/2]
Nicholas
In Nomine
Parsley, Osbert "upon 5 1578 approx. [5/2]
minims"
"Alla breve"
1610–25 [Actually
Bull, John In Nomine K28 All but final section 2+2
approx. 11/4:
4+4+3/4]
METER ANTHOLOGY | 840
Opus/ Time
Composer Work Year Movement Bar / range Div
number signature
"2/4"
Piano Sonata Movt 3
Haydn (attrib.) 1767? Hob.XVI:12 (7-time
No.12 (Finale)
hypermetre)
"Come, stain
The Gypsies
your cheeks
Reeve, William (a Glee for 3 1796? "5/4"
with nut or
voices)
berry"
841 | METER ANTHOLOGY
Opus/ Time
Composer Work Year Movement Bar / range Div
number signature
Thirty-six
Reicha, Antoine 1803 No.20 "5/8" 3+2
Fugues
"[Cut
Thirty-six
Reicha, Antoine 1803 No.24 common] et 2+2
Fugues
3/4"
Thirty-six
Reicha, Antoine 1803 No.28 "6/8 et 2/4" 3+3
Fugues
3 String Trios,
Shield, William No.1 in F 1811 3: Scherzo "5/4" 3+2
major
Act 2, No.8,
"La dame
Boieldieu, Cavatine
blanche" 1825 Allegretto section "5/4" [3+
François-Adrien “Viens,
(opera)
gentille dame"
Chopin, Piano sonata
1828 op.4 3 "5/4" ?
Fryderyk No.1
Act 3, No.15
Life for the "Nuptial
Glinka, Mikhail 1834–36 "5/4" [2+
Tsar (opera) chorus and
scene"
Prinz Eugen,
der edle Ritter
Loewe, Carl (Ballad for 1844 op.92 "5/4" ?
voice and
piano)
Deuxième
Alkan, No.1, Air à
recueil 1849 op.32, no.2 Including trio "5/4" 3+2
Charles-Valentin cinq temps
d’impromptus
Deuxième
Alkan, No.2, Air à
recueil 1849 op.32, no.2 "5/8" 3+2
Charles-Valentin cinq temps
d’impromptus
Deuxième
Alkan, No.3, Air à
recueil 1849 op.32, no.2 "5/16" 3+2
Charles-Valentin cinq temps
d’impromptus
Deuxième
Alkan, No.4, Air à
recueil 1849 op.32, no.2 "7/4" 2+2
Charles-Valentin sept temps
d’impromptus
METER ANTHOLOGY | 842
Opus/ Time
Composer Work Year Movement Bar / range Div
number signature
Harmonies
4: Pensée des
Lizst, Franz poetiques et 1849/53 S.173/4 b.1-19, 66-76 "5/4" ?
morts
religieuses III
Rhythmische
Hiller, Ferdinand Studien for 1851 op.53 No.5 "5/4" 2+3
piano
Rhythmische
Hiller, Ferdinand Studien for 1851 op.53 No.7 b.43-106, 151-193 "6/8, 9/8" 2+3
piano
Saint-Saëns, Trois
1852 op.1 No.3, Prière "11/4" ?
Charles-Camille morceaux
Variations on
Brahms, Theme, "3/4, C[4/
a Hungarian 1853–56? op.21, No.2 (<) 3+2
Johannes Variations 1-8 4]" (=7/4)
Song
Conjuration of
L'enfance du "7/4 (3/4+4/
Berlioz, Hector 1854 op.25 soothsayers, 3+2
Christ 4)"
Scene 4
Serenade
N.5, "2/4, 3/
Hiller, Ferdinand (Piano Trio 1855? op.64 b.1-32 and elsewhere 2+3
Intermezzo 4"=5/4
No. 4)
Act 2, Scene
Les Troyens 1, "Combat de 3+2
Berlioz, Hector 1856–58 H.133 b.17-29 "5/8"
(opera) ceste" (Pas de div
lutteurs)
Central
Alkan, Petit Caprice, moderato
1857 op.42 "5/4" 2+3
Charles-Valentin Réconciliation section
including trio
Dante
Liszt, Franz 1857 S.109 Fig.R and S ff. "5/4" 2+3
Symphony
Dante 3+4
Liszt, Franz 1857 S.109 Fig.V-X "7/4"
Symphony div
843 | METER ANTHOLOGY
Opus/ Time
Composer Work Year Movement Bar / range Div
number signature
Der Thurm zu
Rubinstein, Babel (The "How fiercely
1868–69 op.80 After Fig.E "5/4" ?
Anton Tower of …" section
Babel)
65 Russian
Prokunin, Vasily
Folk Songs "2/4" alt. "3/
(ed. 1872 No.54 2+3
for voice and 4"=5/4
Tchaikovsky)
piano
String quartet
Tchaikovsky, "6/8[x2], 9/
No.2 in F 1874 op.22 2 (Scherzo) 2+2
Pyotr Il′yich 8"
major
"3/4, 2/
4[x2]" (=7/
Brahms, Piano Trio in
1886 op.101 3 4); later "9/ 3+2
Johannes C minor
8+6/8"
(=15/8).
Movt.2,
Borodin, Symphony
1886–7 Scherzo (not "5/8" [2+
Alexander No.3
the trio)
METER ANTHOLOGY | 844
Opus/ Time
Composer Work Year Movement Bar / range Div
number signature
"2/2"
Scriabin,
24 Preludes 1888-96 op.11 no.1 1 (actually 10/ 5+5
Alexander
8)
Scriabin, 3+2
24 Preludes 1888-96 op.11 no.14 14 "15/8"
Alexander 5/8
Scriabin,
24 Preludes 1888-96 op.11 no.16 16 > "5/8, 4/8" ?
Alexander
Scriabin,
24 Preludes 1888-96 op.11 no.24 24 > "6/8, 5/8" 3+3
Alexander
Tchaikovsky, Symphony
1893 op.74 2 "5/4" 2+3
Pyotr Il′yich No.6
No.1,
Sibelius, Jean Six Partsongs 1893-1914*** op.18 “Sortunut "5/4" ?
ääni”
No.3,
Sibelius, Jean Six Partsongs 1893-1914*** op.18 "5/4" 3+2
“Venematka”
Laulun mahti
Sibelius, Jean (/
(arr. of ballad 1895 JS 118 b.1-16 "3/4, 4/4" 3+2
Vihtol)
by J. Vihtol)
Fantasiestücke
Coleridge-Taylor, Movt. 2,
for string 1895 op.5 Two outer sections. "5/4" ?
Samuel "Serenade"
quartet
Schließe mir
1900 version
Berg, Alban Zwei Lieder die Augen 9 bars "5/4" 3+2
(not 1925)
beide
Scriabin,
4 Preludes 1903 op.33 no.4 4 "5/4" ?
Alexander
845 | METER ANTHOLOGY
Opus/ Time
Composer Work Year Movement Bar / range Div
number signature
Movt 5: “La
Ravel, Maurice Miroirs 1904–05 vallée des b.20-27 "5/4" ?
cloches"
Act 1, No.7,
Pierné, Gabriel Ramuntcho 1907 "5/8" 3+2
10
Act 2, No.14
Pierné, Gabriel Ramuntcho 1907 Fig. L-Q, "5/8" 3+2
No.15
Act 3, No.18,
Pierné, Gabriel Ramuntcho 1907 "5/8" 3+2
19
Outer sections:
Start until
Rachmaninoff, The Isle of the Fig.13+4 2+3
1908 op.29 "5/8"
Sergey Dead (Tranquillo), also
and Fig.23-3
(Largo) to end.
Stanchinsky, Prelude in
1908 "21/16" 7x3
Alexei Lydian Mode
Rig Veda
Movt 1. Battle
Holst, Gustav Collection, 1908–10 op.26, H.97 "5/4" 3+2
Hymn
Group 1
Rig Veda
Movt 3.
Holst, Gustav Collection, 1908–10 op.26, H.97 "7/4" 4+3
Funeral Hymn
Group 1
Rig Veda
Movt 5. To
Holst, Gustav Collection, 1909 op.26, H.98 b.1-18, 24ff. "5/4" (10/4) 3+2
Agni
Group 2
Opus/ Time
Composer Work Year Movement Bar / range Div
number signature
Piano Sonata
No.2 in E
Medtner, Nikolai 1911 op.25 no.2 Allegro (m.38ff.) "15/8" ?
minor ("Night
Wind")
Stanchinsky,
Sketch 1911–13 op.1 Movt 1 "5/4" ?
Alexei
Stanchinsky,
Sketch 1911–13 op.1 Movt 5 "11/8"
Alexei
"17/8 (4/
Stanchinsky,
Sketch 1911–13 op.1 Movt 6 8+4/8+5/
Alexei
8+4/8)"
Stanchinsky,
Sketch 1911–13 op.1 Movt 7 "10/8" Var
Alexei
Stanchinsky,
Sketch 1911–13 op.1 Movt 11 "7/4" Var
Alexei
Tableau IV:
The ?2+
Stravinsky, Igor Petrushka 1911, 1947 "The Mummers" "5/8"
Shrovetide con
Fair
2+2
Stanchinsky, Piano Sonata
1912 Movt 2 "11/8" init
Alexei No.2
3+3
Scriabin,
2 Preludes 1913 op.67 1 "5/8" 3+2
Alexander
"7/4 (3/4+4/
Sibelius, Jean På berget 1914 op.84 no.2 3+2
4)"
Piano Trio in
Ravel, Maurice 1914 op.67 1 8/8 3+2
A minor
Holst, Gustav The Planets 1914 op.32 Mars "5/4" [3+
847 | METER ANTHOLOGY
Opus/ Time
Composer Work Year Movement Bar / range Div
number signature
"5/4, 3 beats
Holst, Gustav The Planets 1914 op.32 Neptune followed by 3+2
2"
15 Hungarian "3/4[x2], 2/
Sz. 71, BB
Bartók, Béla Peasant Songs 1914-18 No.4 4[x2]" (=10/ 3+3
79
and Dances 4)
15 Hungarian
Sz. 71, BB
Bartók, Béla Peasant Songs 1914-18 No.6 (Ballade) First and last sections "7/8" 2+3
79
and Dances
Romanian
Sz.57,
Bartók, Béla Christmas 1915 Series 1 no 3 "4/8+3/8"
BB.67
Carols
Romanian
Sz.57,
Bartók, Béla Christmas 1915 Series 2 no 9 "4/8+3/8" 2+2
BB.67
Carols
Movt 2, "Sur
Pierné, Gabriel Piano Quintet 1917 op.41 un rythme de Fig.26-42, 47-end "5/8" 3+2
Zortzico"
"5/4" and
Frontispiece
Ravel, Maurice 1918 "15/8" ?
for two pianos
(triplets)
Dance of
The Perfect
Holst, Gustav 1918–22 op.39 spirits of earth "7/8" 2+2
Fool
(two sections)
Bulgarian
Vladigerov,
Rhapsody, 1922, 28 op.16 Start - Fig.3, Fig.22-26 "5/16" 2+3
Pancho
‘Vardar’
Movt. 2,
Octet for
Stravinsky, Igor 1923, 52 Variation E "5/8"
winds
(Fig. 51-6)
Sz.107, BB
Bartók, Béla Mikrokosmos 1926-39 20(67) 8/8 "3+
105
"7/8"
Sz.107, BB
Bartók, Béla Mikrokosmos 1926-39 31(97) (actually 7/ 2+3
105
4)
Sz.107, BB
Bartók, Béla Mikrokosmos 1926-39 32(98) "7/8" 2+2
105
METER ANTHOLOGY | 848
Opus/ Time
Composer Work Year Movement Bar / range Div
number signature
Sz.107, BB
Bartók, Béla Mikrokosmos 1926-39 33(113) "7/8" 2+2
105
48: In the
Sz.107, BB
Bartók, Béla Mikrokosmos 1926-39 Mixolydian "5/4" Bo
105
Mode
Sz.107, BB 113: Bulgarian
Bartók, Béla Mikrokosmos 1926-39 "7/8" 2+2
105 Rhythm 1
Sz.107, BB 115: Bulgarian 2+3
Bartók, Béla Mikrokosmos 1926-39 "5/8"
105 Rhythm 2 pla
148: Six
Sz.107, BB dances in "4+
Bartók, Béla Mikrokosmos 1926-39 9/8
105 Bulgarian [2+
Rhythm no. 1
149: Six
Sz.107, BB dances in
Bartók, Béla Mikrokosmos 1926-39 7/8 "2+
105 Bulgarian
rhythm no. 2
150: Six
Sz.107, BB dances in
Bartók, Béla Mikrokosmos 1926-39 "5/8" 2+3
105 Bulgarian
rhythm no. 3
151: Six
Sz.107, BB dances in
Bartók, Béla Mikrokosmos 1926-39 8/8 "3+
105 Bulgarian
rhythm no. 4
152: Six
Sz.107, BB dances in
Bartók, Béla Mikrokosmos 1926-39 9/8 "2+
105 Bulgarian
rhythm no. 5
153: Six
Sz.107, BB dances in
Bartók, Béla Mikrokosmos 1926-39 8/8 "3+
105 Bulgarian
rhythm no. 6
Fantaisie
basque for "Zortzico"
Pierné, Gabriel 1927 op.49 Fig. 17-21 "5/8" 3+2
violin and section
orchestra
849 | METER ANTHOLOGY
Opus/ Time
Composer Work Year Movement Bar / range Div
number signature
One passage
Piano Sonata Movt 4, "Claro
Chávez, Carlos 1928 18 bars of 2{1/ 2+3
No.3 y Conciso"
2}/8=5/16.
Double
Concerto for Movt 2:
Holst, Gustav 1929 op.49 "5/4" ?
Two Violins "Lament"
and Orchestra
Double
Movt 3:
Concerto for 11th and 18th
Holst, Gustav 1929 op.49 "Variations on "5/4" ?
Two Violins variations
a Ground"
and Orchestra
Double
Movt 3:
Concerto for 13th and 17th
Holst, Gustav 1929 op.49 "Variations on "7/4" [3+
Two Violins variations
a Ground"
and Orchestra
Roslavets,
Legend 1930 Middle section "5/4" 2+3
Nikolai
Three passages,
A Choral op.51,
Holst, Gustav 1930 b.70–98 (fig. IV ff.), "7/4" ?
Fantasia H.177
179–85, 201–209
44 Duos for 2 No. 19: A "3+3+2/8"
Bartók, Béla 1931 Sz.98 Outer sections "3+
Violins Fairly Tale [8/8]
"5/8"
No. 31: New actually 5/
44 Duos for 2
Bartók, Béla 1931 Sz.98 Year's Song 8+5/8+5/ 2+3
Violins
No.4 8+3/8 [18/
8]
Don
No.1,
Quichotte a
Ravel, Maurice 1932–33 “Chanson "6/8, 3/4" [3+
Dulcinée
Romanesque”
(song cycle)
Don
No.2,
Quichotte a
Ravel, Maurice 1932–33 "Chanson "5/4" ?
Dulcinée
épique"
(song cycle)
Sinfonía de
Various
Antígona
Chávez, Carlos 1933 passages eg. "5/8" 3+2
(Symphony
Fig. 6-10
No.1)
METER ANTHOLOGY | 850
Opus/ Time
Composer Work Year Movement Bar / range Div
number signature
Movt 3,
String Quartet Sz.102, BB "4+2+3" (9/
Bartók, Béla 1934 Scherzo: alla 2+2
no.5 110 8)
bulgarese
Movt 3,
String Quartet Sz.102, BB "3+2+2+3"
Bartók, Béla 1934 Scherzo: alla Trio 3+2
no.5 110 (10/8)
bulgarese
Various
passages in the
Chávez, Carlos Sinfonía india 1935–36 opening "5/8" 3+2
section and
from 81ff.
Sonata for
Movt 2, Lento b.1-143 (with
David Diamond violoncello 1936-8 "5/8" 3+2
Assai exceptions)
and piano
[21/16]: 7/8
Revueltas, [as before]
Sensemayá 1938 R.48, 67 Fig.29-33 4+4
Silvestre alt. 7/
16(4+3)
“8+5/8”
Sz.111, BB
Bartók, Béla Contrasts 1938 3: Sebes b.132-168 (half-bar 3+2
116
notated)
851 | METER ANTHOLOGY
Opus/ Time
Composer Work Year Movement Bar / range Div
number signature
24 Preludes
Roslavets,
for violin and 1941–42 Movt 4 Con moto sections "5/4" 3+2
Nikolai
piano
24 Preludes
Roslavets,
for violin and 1941–42 Movt 8 "4/4+3/4" 2+2
Nikolai
piano
24 Preludes
Roslavets,
for violin and 1941–42 Movt 9 "5/8" 3+2
Nikolai
piano
24 Preludes
Roslavets,
for violin and 1941–42 Movt 19 "4/8+3/8" 2+2
Nikolai
piano
Movt 4: Fugue
Hindemith, Paul Ludus Tonalis 1942 "5/8" Bo
Secunda in G
Passacaglia
Piston, Walter 1943 "5/8" 3+2
for piano
No. 5: In the
12 American
Alberto First
Preludes for 1944 "7/8" 2+2
Ginastera Pentatonic
piano
Minor Mode
"2/4, 5/8"
Appalachian 2+2
Copland, Aaron 1944 Reh. 31–32 alternating
Spring line
[9/8]
End of Act 1,
Britten, Peter Grimes
1945 op.33 "Old Joe Has Fig.79-83 "7/4" "2+
Benjamin (opera)
Gone Fishing"
Bachianas
Villa-Lobos,
Brasileiras 1945 Pt 2: Fugue "11/8"
Heitor
No. 9
Suite de
Ginastera, "11/8 (6/ Bo
danzas 1946, 56 Movt 3
Alberto 8+5/8)" 3+2
Criollas
METER ANTHOLOGY | 852
Opus/ Time
Composer Work Year Movement Bar / range Div
number signature
"2/4, 3/4"
Clarinet
Copland, Aaron 1948 379-391 alternating 2+3
Concerto
[5/4]
Villa-Lobos, Movt 3, "Très "7/4 (3/4+4/
Fantasia 1948 Fig.0-7, 10-12 3+2
Heitor Animé" 4)"
Symphony
Part I.
Bernstein, No. 2: The
1949, 65 Variation IV: "5/8" 3+2
Leonard Age of
Più mosso
Anxiety
Symphony "[Cut
Part I.
Bernstein, No. 2: The common
1949, 65 Variation X: 2+2
Leonard Age of time], 3/4"
Più mosso
Anxiety (=7/4)
Symphony
Bernstein, No. 2: The Part IIb,
1949, 65 Fig. 35 "2/4+3/8" 2+2
Leonard Age of Masque
Anxiety
Symphony
Bernstein, No. 2: The Part IIc,
1949, 65 Fig. J 7/4 (4+3) 2+2
Leonard Age of Epilogue
Anxiety
Movt 7:
Britten, A Spring
1949 op.44 ‘Waters "5/4" ?
Benjamin Symphony
Above!’
Twenty-Four
Shostakovich, Fugue 12 in g#
Preludes and 1950–51 op.87 "5/4" Bo
Dmitri minor
Fugues
Twenty-Four
Shostakovich, Prelude 14 in ?3+
Preludes and 1950–51 op.87 "7/4"
Dmitri eb minor 2+2
Fugues
Twenty-Four
Shostakovich, Fugue 17 in
Preludes and 1950–51 op.87 "5/4" ?
Dmitri Ab major
Fugues
Twenty-Four
Shostakovich, Fugue 19 in
Preludes and 1950–51 op.87 "5/4" ?2+
Dmitri Eb major
Fugues
Musica "7/8"
Ligeti, György 1951–53 No. 8 2+3
Ricercata (x2=14/8)
853 | METER ANTHOLOGY
Opus/ Time
Composer Work Year Movement Bar / range Div
number signature
Act 1, Scene
Britten, Gloriana
1952–3, 66 op.53 1, No.2: The Fig. M-end (16 bars) "5/4" 2+3
Benjamin (opera)
Tournament
Act 1, Scene
Britten, Gloriana 1, No.8:
1952–3, 66 op.53 Fig. Aa-end (13 bars) "5/4" 2+3
Benjamin (opera) Ensemble of
Reconciliation
Act 1, Scene
Britten, Gloriana
1952–3, 66 op.53 2, No.2: The All (21 bars) "5/4" ?
Benjamin (opera)
Queen's Song
Act 3, Scene
Britten, Gloriana 1, No.4: The
1952–3, 66 op.53 All "5/4" ?
Benjamin (opera) Dressing-Table
Song
Act 3, Scene
Britten, Gloriana
1952–3, 66 op.53 3, No.7: Fig. Bb-end (13 bars) "5/4" 2+3
Benjamin (opera)
Epilogue
Six bagatelles
"7/8"
Ligeti, György for wind 1953 IV 2+3
(x2=14/8)
quintet
Canticle III
Britten, Theme and
("Still Falls 1954 op.55 "5/4" ?
Benjamin Variation IV
the Rain")
Movt I,
Bernstein, 2nd of Fig.M to N,
Serenade 1954 "Phaedrus: "2/4+3/8" 2+2
Leonard Fig. U
Pausanias"
"5/16" (with
Bernstein, Movt IV,
Serenade 1954 b.5ff dotted line Bo
Leonard "Agathon"
divisions)
Movt V, "V. "5/4" (with
Bernstein,
Serenade 1954 Socrates: Fig.2 dotted line Bo
Leonard
Alcibiades" divisions)
[Cut
Bernstein, On the common
1954 Fig. c.2-10 2+2
Leonard waterfront time] and
3/4
Piano
Shostakovich, Second subject
Concerto 1957 op.102 3 7/8 2+2
Dmitri (bb***)
No.2
METER ANTHOLOGY | 854
Opus/ Time
Composer Work Year Movement Bar / range Div
number signature
Cantata
Britten, academica, Movt 5:
1959 op.62 "5/8" Bo
Benjamin Carmen Duettino
basiliense
"9/8
Blue Rondo a
Brubeck, Dave 1960 Outer sections (2+2+2+3/ 2+2
la Turk
8)"
Three's a
Brubeck, Dave 1962 "7/4" ?
Crowd
Far More
Brubeck, Dave 1961 "5/4" 3+2
Blue
Castillian
Brubeck, Dave 1962 "5/4" 3+2
Drums
Castillian
Brubeck, Dave 1962 "5/4" 3+2
Blues
Unsquare
Brubeck, Dave 1962 "7/4" 2+2
Dance
855 | METER ANTHOLOGY
Opus/ Time
Composer Work Year Movement Bar / range Div
number signature
6: Libera me,
Britten, "2/2 + 3/2"
War Requiem 1962 Op.66 boys choir Fig.128-131 2+3
Benjamin (= 5/2)
section
Britten,
Curlew River 1964 op.71 Fig.30/61 "5/16" 2+3
Benjamin
Britten,
Curlew River 1964 op.71 Fig.69/143 "7/4" ?
Benjamin
"7/4", "[Cut
Bernstein, Chichester
1965 Part 1 b.11-end(117) common] + 4+3
Leonard Psalms
3/4"
Bernstein, Chichester
1965 Part 3 b.20-57 "10/4" "2+
Leonard Psalms
Opus/ Time
Composer Work Year Movement Bar / range Div
number signature
The light in
Brubeck, Dave 1968 Movement Iic "5/4" 3+2
the wilderness
Movement 7:
La fiesta de la "2+
Brubeck, Dave 1976 Behold! The to fig.F "7/4"
posada line
holy one.
Movement 14:
La fiesta de la
Brubeck, Dave 1976 God’s Love Except last 4 bars "5/4" 3+2
posada
Made Visible
Hungarian
"9/8" and
Ligeti, György Rock 1978 "2+
"2+2+3+2"
(Chaconne)
Octet (Eight
Reich, Steve 1979 (83) "5/4" 3+2
Lines)
857 | METER ANTHOLOGY
Opus/ Time
Composer Work Year Movement Bar / range Div
number signature
4/4 (3+3+2)
Movt 2,
[sic] and "3+
Ligeti, György Horn trio 1982 Vivacissimo
"323" for "3+
molto ritmico
the ostinato
Movt 4,
Ligeti, György Horn trio 1982 "5/8" 3+2
Lamento
Andriessen,
Trepidus 1983 "5/8" Bo
Louis
Quiet as the
Brubeck, Dave Nocturnes 1987 "5/4" 3+2
Moon
Concerto for
Maxwell Davies,
Trumpet and 1988 Movt 1 Start and Fig.D "4/4+3/8" "2+
Peter
Orchestra
Rihm, Wolfgang In-schrift 1995 b.191-271 "5/4" Bo
"12/
Hamburg 1998–99, rev.
Ligeti, György 1: Praeludium 8=2+3+4+3/ 2+3
Concerto 2003
8"
3: Aria,
Hamburg 1998–99, rev. "9/
Ligeti, György Aksak, b.12-end 2+2
Concerto 2003 8=4+3+2/8"
Hoketus
"16/8=3/
Hamburg 1998–99, rev.
Ligeti, György 5: Spectra 8+3/4+3/ 3+2
Concerto 2003
8+2/4"
Opus/ Time
Composer Work Year Movement Bar / range Div
number signature
Pluto, the
Matthew, Colin 2000 "5/4" 3+2
Renewer
Movt 1: ‘Flat
Roth, Alec Ponticelli 2007 "10/8" Mo
Bridge’
TWELVE-TONE ANTHOLOGY
Mark Gotham
This page provides a list of rows used in the repertoire in the form of a:
As the twelve-tone part of this textbook is at pains to point out, it’s not always straightforward (or indeed
musically relevant) to identify a single main row. Indeed it’s not always clear what counts as ‘serial’. That
being the case, no list of this kind can aim to be ‘definitive’. All the same, it’s very useful to see at least
some rows gathered together and compared.1
1. For more on the preparation of this list, please see the open access research publication linked to this dataset: Gotham and Yust, DLfM
2021. The code and latest version of record for the list are hosted in this repository and the research paper is open access to all when
approached from this contents page. In addition to Jason Yust, I would also like to thank the creators of foregoing lists of this kind (notably
the Schoenberg-Berg-Webern collection here and a wiki here), the hundreds of analysts whose work is represented here, and the scholars
who contributed entries to this new, combined and enlarged collection: Elizabeth West Marvin, David Maw, Rachel Mitchell, Sam Reenan,
and Laurel Parsons. To contribute your own corrections or new entry to this list, please email me (Mark Gotham) at < FirstName [dot]
LastName [at] tu-dortmund [dot] de > with all the relevant information: Row; Composer (Last Name(s), First Name(s)); Composition
including opus number; Year; Source (e.g. URL or PDF). The row can be in any consistent text or numerical format such as
‘A-Gs-G-Cs-F-Fs-C-E-Eb-D-B-Bb’ or [0, 11, 10, 4, 8, 9, 3, 7, 6, 5, 2, 1].
12-TONE ANTHOLOGY | 860
Tabular List
861 | 12-TONE ANTHOLOGY
Adorno,
Totenlied auf den Kater 1932-33 0 7 6 3 11 5 8 4 10 9 1 2
Theodor W.
Symphony 9 [Bbm],
Atterberg,
Op.54, 'Sinfonia 1955-56 0 1 5 6 7 4 8 11 10 9 2 3
Kurt
visionaria'
Babbitt,
All Set 1957 0 4 5 11 6 10 7 3 1 2 9 8
Milton
Babbitt,
Arie da Capo 1974 0 7 8 6 2 1 10 5 11 9 4 3
Milton
Babbitt, Composition for Four
1948 0 3 11 2 10 1 7 4 8 5 9 6
Milton Instruments
Babbitt,
Du, row i 1951 0 9 2 10 11 1 7 5 4 8 3 6
Milton
Babbitt,
Du, row ii 1956 0 5 2 10 9 7 1 3 4 8 11 6
Milton
Babbitt,
Groupwise 1983 0 5 4 6 10 11 2 9 3 1 8 7
Milton
Babbitt, My Complements to
1978 0 3 7 8 11 4 2 6 1 9 10 5
Milton Roger
Babbitt,
Paraphrases 1979 0 11 3 10 8 1 7 5 4 6 2 9
Milton
Babbitt,
Partitions 1957 0 7 9 10 2 11 5 8 4 3 1 6
Milton
Babbitt,
Philomel 1964 0 1 11 3 8 6 9 10 5 4 7 2
Milton
Babbitt,
Post-Partions 1966 0 5 10 9 1 6 11 8 4 2 7 3
Milton
Babbitt,
Relata I 1965 0 1 11 2 10 3 9 8 4 6 7 5
Milton
Babbitt,
Relata II 1968 0 1 11 2 10 3 9 8 4 6 7 5
Milton
Babbitt,
Semi-simple variations 1956 0 8 1 10 9 11 5 3 4 7 2 6
Milton
Babbitt,
Sounds and Words 1960 0 9 2 4 8 3 11 10 1 7 5 6
Milton
Babbitt,
String Quartet, No.2 1954 0 3 11 4 1 2 8 10 5 9 7 6
Milton
Babbitt,
String Quartet, No.3 1970 0 11 6 7 5 1 10 2 9 3 4 8
Milton
Babbitt,
String Quartet, No.4 1970 0 2 9 7 11 10 1 8 4 3 5 6
Milton
Babbitt,
Tableaux 1972 0 11 4 6 10 5 2 1 7 9 8 3
Milton
Babbitt,
The Crowded Air 1988 0 8 5 7 10 6 11 1 9 3 2 4
Milton
Babbitt, The Widow's Lament in
1951 0 11 9 2 10 7 1 4 8 3 5 6
Milton Springtime
863 | 12-TONE ANTHOLOGY
Babbitt,
Vision and Prayer 1961 0 11 8 3 7 4 10 9 2 6 1 5
Milton
Babbitt,
Woodwind Quartet 1953 0 3 1 2 11 10 8 9 5 7 6 4
Milton
Bach, Johann
Chromatische Fantasie 1717? 0 3 6 9 11 2 5 8 10 1 4 7
Sebastian
Barber,
Piano Sonata, Op.26 1949 0 8 4 11 3 7 1 9 5 10 2 6
Samuel
Beecroft, Improvvisazioni
1961 0 1 11 9 3 2 7 6 10 8 4 5
Norma Concertanti, No.1
Bennett,
Richard Five Studies for Piano 1962 0 3 5 6 11 9 4 2 7 8 10 1
Rodney
Bennett,
Richard Symphony 1965 0 2 9 8 3 5 6 1 7 11 10 4
Rodney
Lulu, Countess
Berg, Alban 1927-35 0 5 2 10 1 7 8 6 11 4 9 3
Geschwitz
Berio,
Chamber Music 1953 0 9 3 5 7 10 2 11 4 6 8 1
Luciano
Berio,
Cinque Variazioni 1952-53 0 2 4 1 3 5 8 10 6 7 9 11
Luciano
Berio,
Sequenza I 1958 0 11 10 9 8 7 4 6 5 3 1 2
Luciano
Canciones y Baladas,
Carlos, Juan 1936 0 4 10 6 3 8 7 2 5 9 1 11
Balada II
A Symphony of Three
Carter, Elliott 1976 0 8 7 10 4 5 2 9 11 3 1 6
Orchestras
Carter, Elliott Caténaires 2006 0 8 5 3 7 9 10 4 11 2 1 6
Piano Concerto,
Carter, Elliott 1964-65 0 7 4 11 6 10 3 9 1 8 5 2
Orchestra
Coltrane,
Miles Mode 1962 0 3 5 2 7 9 10 8 1 11 6 4
John
Copland,
Connotations, row 1 1962 0 1 3 6 2 9 8 5 10 4 11 7
Aaron
Copland,
Connotations, row 2 1962 0 7 9 6 2 3 8 11 10 4 5 1
Aaron
Copland,
Inscape, ("Row 2") 1967 0 7 3 9 2 4 6 10 5 8 11 1
Aaron
Copland,
Piano Fantasy 1952-57 0 7 2 10 8 3 6 4 11 9 1 5
Aaron
Cordero,
Soliloquios 1975 0 1 5 11 3 2 9 8 4 10 6 7
Roque
Cordero,
Sonata breve 1966 0 1 4 11 10 7 5 8 9 6 3 2
Roque
Cordero,
Tres mensajes breves 1966 0 11 10 7 1 2 3 6 5 4 8 9
Roque
Cordero,
Violin Concerto mvt 1-3 1962 0 11 6 4 8 7 5 1 3 2 10 9
Roque
Dallapiccola,
Canti di Liberazione 1951-55 0 1 5 8 10 4 3 7 9 2 11 6
Luigi
Dallapiccola,
Cinque canti 1956 0 11 5 8 6 2 7 3 1 4 10 9
Luigi
Dallapiccola, Cinque fragment di
1942 0 2 8 6 7 9 10 3 1 11 4 5
Luigi Saffo, No.4
Dallapiccola,
Commiato 1972 0 6 5 3 9 11 10 8 7 1 2 4
Luigi
Dallapiccola,
Dialoghi 1959-60 0 1 10 2 6 4 5 3 7 11 8 9
Luigi
Dallapiccola,
Due studi, 'Fanfare' 1951 0 1 7 9 10 3 4 2 8 11 6 5
Luigi
Dallapiccola,
Goethe-Lieder, No.2 1953 0 1 11 9 3 8 6 7 2 5 4 10
Luigi
Dallapiccola,
Il Prigioniero, "Hope" 1949 0 1 2 3 11 5 4 10 6 7 9 8
Luigi
12-TONE ANTHOLOGY | 868
Dallapiccola,
Il Prigioniero, "Liberty" 1949 0 2 5 8 10 1 3 6 9 11 4 7
Luigi
Dallapiccola,
Il prigioniero, "Prayer" 1949 0 3 6 11 9 2 1 7 8 4 5 10
Luigi
Dallapiccola,
Job 1950 0 1 5 7 8 11 2 10 4 6 9 3
Luigi
Dallapiccola,
Parole di San Paolo 1964 0 8 9 10 4 3 6 7 5 11 2 1
Luigi
Dallapiccola,
Piccola musica notturna 1954 0 9 1 3 4 11 2 8 7 5 10 6
Luigi
Dallapiccola,
Preghiere 1962 0 11 2 3 8 9 7 6 1 5 4 10
Luigi
Dallapiccola,
Requiescant 1957-58 0 2 1 3 4 6 7 9 8 10 5 11
Luigi
Dallapiccola,
Tempus, 'Exhortatio' 1970-71 0 11 9 3 5 6 4 7 8 2 1 10
Luigi
Dallapiccola,
Tempus, 'Ploratus' 1970-71 0 1 7 6 10 4 3 2 5 11 9 8
Luigi
Dallapiccola,
Tre poemi 1948 0 8 9 6 3 1 2 11 7 5 4 10
Luigi
Dallapiccola,
Ulisse [opera] 1960-1968 0 2 1 3 9 8 11 10 4 6 5 7
Luigi
Dallapiccola,
Variazioni per orchestra 1954 0 1 5 8 10 4 3 7 9 2 11 6
Luigi
David, Johann Sonata for violin, Op.58,
1963 0 2 3 9 11 10 5 8 1 6 4 7
Nepomuk No.1
869 | 12-TONE ANTHOLOGY
David, Johann
Symphony, No.8, Op.59 1964-1965 0 5 9 2 6 11 3 4 7 8 10 1
Nepomuk
Denisov,
Variations 1961 0 1 9 6 8 10 4 3 7 11 5 2
Edison
Dzubay,
Di,Con[ver(gence,sions)] 1988 0 9 8 4 7 6 1 10 3 5 11 2
David
Chamber Symphony /
Eisler, Hanns Film music for "White 1940 0 8 2 10 11 5 6 1 4 9 7 3
Flood", row 2
Deutsche Symphonie,
Eisler, Hanns 1936-47 0 10 5 6 11 7 1 4 2 8 9 3
mvt 4
Deutsche Symphonie,
Eisler, Hanns 1936-47 0 1 3 5 8 9 6 11 10 4 2 7
mvt 5
Deutsche Symphonie,
Eisler, Hanns 1936-47 0 11 8 5 2 1 4 3 10 7 6 9
mvt 7
871 | 12-TONE ANTHOLOGY
Deutsche Symphonie,
Eisler, Hanns 1936-47 0 3 1 11 2 10 8 9 6 7 5 4
mvt 8
Deutsche Symphonie,
Eisler, Hanns 1936-47 0 4 1 10 8 6 3 11 9 2 5 7
mvt 9
Deutsche Symphonie,
Eisler, Hanns 1936-47 0 10 6 1 11 7 5 8 9 3 4 2
mvts 1, 10
Deutsche Symphonie,
Eisler, Hanns 1936-47 0 3 11 9 5 8 4 7 6 2 1 10
mvts 2, 6
Kleine Symphonie,
Eisler, Hanns 1931 0 10 11 8 5 4 1 2 3 9 7 6
Op.29, mvt 1
Ferneyhough,
Superscriptio 1981 0 3 5 6 1 11 8 9 2 4 7 10
Brian
Finney, Ross
Concerto for Alto Sax 1974 0 1 3 4 6 9 11 10 8 7 5 2
Lee
Fantasy in Two
Finney, Ross
Movements for solo 1958 0 1 3 5 4 2 11 10 8 6 7 9
Lee
violin
Finney, Ross Sonata Quasi una
1961 0 1 3 2 4 5 6 7 9 8 10 11
Lee Fantasia
'Jünglingstrauer' für
Florey, Hans 1983/10/16 0 11 2 8 9 4 10 1 6 5 3 7
Singstimme und Klavier
Fünfstimmiger Kanon
Florey, Hans mit Krebs (für Gerhard 1985/6/27 0 3 10 6 1 5 11 2 9 7 4 8
Zeller)
Fünfstimmiger Kanon
Florey, Hans 1985/3/19 0 9 7 2 10 6 1 4 5 8 3 11
mit Sonnenquadrat
Griechisch-lateinisches
Quadrat der Ordnung 4
Florey, Hans 2001/1977 0 9 3 7 4 10 2 6 1 8 11 5
mit Fuge in
Klangnotation
Florey, Hans Hexaeder für Klavier 1986/1/21 0 9 4 8 5 10 11 3 2 6 1 7
12-TONE ANTHOLOGY | 874
Zwölftonspiel für
Florey, Hans Streichquartett. 3. 1965/12/3 0 10 2 5 3 4 1 8 9 6 7 11
Dezember 1965
Fortner,
Sieben Elegien 1951 0 10 5 8 1 11 9 6 7 4 2 3
Wolfgang
Gerhard,
Capriccio for Solo Flute 1949 0 11 9 3 1 10 8 6 4 7 2 5
Roberto
Gerhard,
Concert for 8 1962 0 8 11 2 1 4 9 6 3 10 5 7
Roberto
Concerto for
Gerhard, Harpsichord, String
1955-56 0 2 8 7 11 5 1 4 3 6 9 10
Roberto Orchestra, and
Percussion
875 | 12-TONE ANTHOLOGY
Gerhard,
Gemini 1966 0 11 3 1 5 4 8 6 7 2 9 10
Roberto
Gerhard,
Hymnody 1963 0 10 11 8 2 9 4 5 1 6 7 3
Roberto
Gerhard,
Leo 1969 0 2 1 6 5 7 3 8 9 10 4 11
Roberto
Gerhard,
Libra 1968 0 6 1 7 2 8 4 9 5 10 11 3
Roberto
Gerhard,
Nonet 1956-57 0 11 1 3 5 4 10 8 2 7 9 6
Roberto
Gerhard,
String Quartet 1950-55 0 7 8 2 6 10 9 11 4 5 1 3
Roberto
Gerhard,
String Quartet, No.2 1961 0 1 5 2 8 7 10 9 6 11 4 3
Roberto
Gerhard,
Symphony, No.1 1952-53 0 11 8 5 10 9 6 3 4 2 1 7
Roberto
Gerhard,
Symphony, No.2 1957-59 0 8 1 7 5 6 10 11 2 3 9 4
Roberto
Gerhard,
The Plague 1963-64 0 1 9 11 8 10 4 5 6 2 3 7
Roberto
Gerhard,
Three Impromptus 1950 0 8 1 10 4 6 7 5 3 2 9 11
Roberto
Ginastera,
Quintet, Op.29, mvt.III 1963 0 7 3 10 2 6 9 1 4 8 11 5
Alberto
Ginastera,
Violin Concerto, Op.30 1963 0 11 2 3 4 1 6 5 8 9 10 7
Alberto
Goehr,
Little Symphony, Op.15 1963 0 3 7 10 6 4 5 2 9 8 11 1
Alexander
Goehr,
Piano Trio, Op.20 1966 0 6 7 4 3 8 5 9 11 2 10 1
Alexander
Goehr,
Violin Concerto, Op.13 1962 0 8 2 1 3 11 5 10 7 6 4 9
Alexander
'Opus 2 for 13
Goeyvaerts,
Instruments' aka 1951 0 7 6 5 8 9 4 3 10 11 2 1
Karel
'Nummer 2'
Sonata for Two Pianos,
Goeyvaerts,
aka 'Opus 1', 'Nummer 1950-51 0 8 1 11 10 4 6 5 2 7 3 9
Karel
1'
12-TONE ANTHOLOGY | 878
Goeyvaerts,
Violin concerto, No.2 1951/1950 0 11 7 1 2 9 10 8 5 6 3 4
Karel
Gotham,
4x4x4x4, row 1 2021 0 2 6 10 5 3 8 9 11 7 4 1
Mark
Gotham,
4x4x4x4, row 2 2021 0 2 6 10 11 9 8 3 5 1 4 7
Mark
Gotham,
4x4x4x4, row 3 2021 0 2 6 10 7 4 11 9 8 3 5 1
Mark
Gotham,
4x4x4x4, row 4 2021 0 2 6 10 1 4 5 3 8 9 11 7
Mark
Gotham,
Move On! 2022 0 4 3 10 6 9 1 5 2 8 11 7
Mark
'Klangspirale' für 13
Hamel, Peter
Spieler oder drei 1977 0 10 5 9 3 4 1 6 8 11 2 7
Michael
Orchestergruppen
A Twelve-Tone Morning
Harrison, Lou 1944-45 0 2 3 4 9 8 7 10 11 6 5 1
After to Amuse Henry
Harrison, Lou Rapunzel 1952 0 11 4 3 7 6 10 9 2 1 8 5
Hartmann,
Karl Symphony, No.4 1947-1948 0 1 3 2 11 4 5 10 7 6 8 9
Amadeus
XXXII. Zwölftonspiel;
Hauer, Jose
für Violine, Bratsche und 1946/8/19 0 2 6 1 10 9 5 8 11 7 4 3
Matthias
Cello
'Almanach 1957'
Hauer, Josef
[Zwölftonspiel] für vier 1956 0 2 6 5 1 9 8 3 7 4 10 11
Matthias
Violinen
'Atonale Musik'.
Hauer, Josef
Klavierstücke 1922., 1920-1922 0 7 4 9 5 8 3 11 2 6 1 10
Matthias
Op.20
'Empedokles',
dramatische Gesänge in
Hauer, Josef
zwei Teilen für Soli 1935/6-09 0 6 10 5 7 9 1 4 11 8 3 2
Matthias
Männerchor und
Orchester; Opus 68
Hauer, Josef 'Kaleidoskop' für
1956/8/20 0 9 6 7 3 8 2 4 11 1 5 10
Matthias Orchester
'Wandlungen'
(chamber-oratorio for
stage or concert, for six
Hauer, Josef
solo-voices, choir and 1927/12/5 0 5 11 4 10 1 6 8 9 3 7 2
Matthias
orchestra; after words of
Friedrich Hölderlin),
Op.53
Hauer, Josef
Baustein 1920 0 8 11 1 6 10 4 2 3 5 9 7
Matthias
12-TONE ANTHOLOGY | 880
Hauer, Josef
Erste Suite für Orchester 1924/6 0 7 5 10 1 11 9 4 6 2 8 3
Matthias
Harmonie - Melodie -
Rhythmus - in
kristallischer Bindung -
Hauer, Josef
im vierfachen 1956/8/23 0 2 10 9 6 5 1 4 7 11 8 3
Matthias
Kontrapunkt
[Zwölftonspiel] für
Zwölftonorchester
Hausmusik
Hauer, Josef [Zwölftonspiel] für
1958/9/11 0 9 6 11 4 1 10 5 2 8 3 7
Matthias Klavier zu vier Händen.
September 1958
Hausmusik
Hauer, Josef
[Zwölftonspiel] für zwei 1955/4/6 0 1 5 3 7 10 9 6 11 4 2 8
Matthias
Violinen und Klavier
Hauer, Josef
Hölderlinrezitation 1949/4/30 0 4 1 2 11 7 5 10 3 6 8 9
Matthias
Kammermusik
[Zwölftonspiel] für
Flöte, Oboe,
Hauer, Josef
Baßklarinette, Fagott, 1957/1/24 0 9 3 7 5 10 1 6 11 4 2 8
Matthias
zwei Violinen, Bratsche,
Cello und Klavier zu vier
Händen. 24. Jänner 1957
Hauer, Josef
Klavierkonzert, Op.55 1928/4-5 0 1 9 2 10 3 5 11 7 8 4 6
Matthias
Klavierstücke mit
Überschriften nach
Hauer, Josef
Worten von Friedrich 1923 0 6 11 10 9 5 2 3 7 1 4 8
Matthias
Hölderlin, Op.25 ;,
No.10
Labyrinthischer Tanz
Hauer, Josef [Zwölftonspiel] für
1952/11/16 0 3 8 7 2 10 6 1 11 9 4 5
Matthias Klavier zu vier Händen.
16. November 1952
Langsamer Walzer
Hauer, Josef [Zwölftonspiel] für
1957/1/10 0 8 10 2 3 6 1 9 7 4 11 5
Matthias Orchester. 10. Jänner
1957
881 | 12-TONE ANTHOLOGY
Langsamer Walzer
Hauer, Josef [Zwölftonspiel] für
1957/1/19 0 10 1 5 7 2 9 11 6 3 8 4
Matthias Orchester. 19. Jänner
1957
Langsamer Walzer
[Zwölftonspiel] für zwei
Hauer, Josef
Violinen, Bratsche, Cello 1955/9/24 0 6 2 11 10 7 3 4 5 9 1 8
Matthias
und Klavier zu zwei
Händen
Lateinische Messe,
Hauer, Josef Op.46 für gemischten
1926 0 8 5 4 11 7 1 3 10 2 6 9
Matthias Chor, Orchester und
Orgel
Hauer, Josef
Nomos 1919 0 5 7 3 9 6 11 2 8 4 1 10
Matthias
Hauer, Josef
Nomos, Op.19 (bb.1-36) 1919/8/25-29 0 5 7 3 9 6 11 2 8 4 1 10
Matthias
Hauer, Josef Nomos, Op.19
1919/8/25-29 0 7 4 2 1 10 9 11 8 6 3 5
Matthias (bb.101-102)
Hauer, Josef Nomos, Op.19
1919/8/25-29 0 3 9 10 8 1 6 7 2 11 5 4
Matthias (bb.103-105)
Hauer, Josef Nomos, Op.19
1919/8/25-29 0 10 6 1 7 4 9 5 3 8 11 2
Matthias (bb.106-108)
Hauer, Josef Nomos, Op.19
1919/8/25-29 0 5 9 8 4 3 10 2 1 7 6 11
Matthias (bb.111-113)
Hauer, Josef Nomos, Op.19
1919/8/25-29 0 4 5 11 7 10 3 9 6 2 1 8
Matthias (bb.117-118)
Hauer, Josef
Nomos, Op.19 (row 1) 1919/8/25-29 0 8 9 5 4 6 10 11 7 1 2 3
Matthias
Hauer, Josef
Nomos, Op.19 (row 2) 1919/8/25-29 0 6 10 4 3 2 8 7 11 9 5 1
Matthias
Paraphonie
Hauer, Josef
[Zwölftonspiel] für 1947/4/24 0 4 10 5 8 1 11 7 2 9 6 3
Matthias
Bratsche und Klavier
Hauer, Josef Romantische Phantasie
1925/6 0 10 8 5 1 9 4 11 3 7 6 2
Matthias für Orchester
Sakraler Tanz
Hauer, Josef
[Zwölftonspiel] für 1957/3/2 0 3 10 8 5 2 9 1 11 6 4 7
Matthias
Orchester
Sieben Charakterstücke
Hauer, Josef
mit Überschriften für 1928/5/17 0 7 10 11 4 6 8 3 5 2 9 1
Matthias
Violine allein, Op.56
Streichquartett
Hauer, Josef
[Zwölftonspiel]. 27. 1956/8/27 0 6 11 8 3 7 2 10 4 1 9 5
Matthias
August 1956
Symphonische Stücke
Hauer, Josef für Streichorchester,
1926/12 0 4 6 3 2 8 1 11 10 7 9 5
Matthias Klavier und Harmonium,
Op.49
889 | 12-TONE ANTHOLOGY
Tanz [Zwölftonspiel] im
Hauer, Josef langsamen 3/4 Takt für
1958/5/26 0 2 9 6 1 4 10 3 7 5 11 8
Matthias Klavier zu vier Händen.
26. Mai 1958
Tanz [Zwölftonspiel] im
langsamen 3/4 Takt für
Hauer, Josef
Violine, Bratsche und 1958/9/6 0 9 6 11 4 1 10 5 2 8 3 7
Matthias
Klavier zu vier Händen.
6. September 1958
Tanz [Zwölftonspiel] im
langsamen 3/4 Takt für
Hauer, Josef
zwei Violinen, zwei 1958/6/9 0 9 3 7 4 10 2 6 1 8 11 5
Matthias
Bratschen und Klavier zu
zwei Händen
Tanz [Zwölftonspiel] im
langsamen 4/4 Takt für
Hauer, Josef
zwei Violinen, zwei 1958/8/28 0 8 3 11 2 7 5 9 1 6 4 10
Matthias
Bratschen und Klavier.
August 1958
Hauer, Josef
Tanz für Violine allein 1954 0 7 3 4 10 9 2 8 11 1 6 5
Matthias
XXXII. Zwölftonspiel
Hauer, Josef für Violine, zwei
1946/8/12 0 7 4 3 11 2 5 1 10 9 6 8
Matthias Bratschen und Cello (2/
2)
XXXII. Zwölftonspiel;
Hauer, Josef
für Violine, Bratsche und 1946/8/19 0 3 7 4 1 5 6 9 2 10 8 11
Matthias
Cello
Zwölftonmusik
[Zwölftonspiel] für
Hauer, Josef
Klavier zu vier Händen. 1959/2 0 9 3 7 4 10 2 6 1 8 11 5
Matthias
Februar 1959
(Fragment)
Zwölftonspiel
(Langsamer Walzer) 8.
Hauer, Josef Oktober 1956; für zwei
1956/10/8 0 1 10 9 3 8 5 6 11 2 4 7
Matthias Violinen, Bratsche, Cello
und Klavier zu vier
Händen
Zwölftonspiel
(Weihnachten 1947) für
Hauer, Josef
Klarinette, Violine, 1948/6/2 0 6 2 10 8 3 11 4 9 7 5 1
Matthias
Bratsche, Cello und
Klavier
Zwölftonspiel 10. Juli
Hauer, Josef
1957; für Klavier zu vier 1956/7/10 0 8 10 6 2 11 1 3 9 4 7 5
Matthias
Händen
Zwölftonspiel 15. Juni
1957; für Flöte, Oboe,
Hauer, Josef Bassklarinette, Fagott, 2
1957/6/15 0 8 11 6 9 5 7 1 3 2 4 10
Matthias Violinen, Viola,
Violoncello & Klavier
vierhändig
Zwölftonspiel 15. Juni
1957; für Flöte, Oboe,
Hauer, Josef Bassklarinette, Fagott,
1957/6/15 0 6 4 8 3 11 9 2 7 1 10 5
Matthias zwei Violinen, Viola,
Violoncello & Klavier
vierhändig
Zwölftonspiel 17. August
Hauer, Josef
1957; für zwei Violinen 1957/8/17 0 5 8 4 9 3 11 7 2 6 1 10
Matthias
und Klavier
Zwölftonspiel 17.
September 1956; für
Hauer, Josef
zwei Violinen, Bratsche, 1956/9/17 0 5 7 1 6 3 9 8 2 10 4 11
Matthias
Cello und Klavier zu
zwei Händen
Zwölftonspiel 2. Juni
Hauer, Josef
1948 für Streichquartett 1948/6/2 0 3 10 6 2 11 1 4 7 9 5 8
Matthias
und Klavier
Zwölftonspiel 5.
Hauer, Josef September 1957; für
1957/9/5 0 4 2 9 10 6 11 1 7 3 8 5
Matthias Violine, Bratsche und
Klavier
Zwölftonspiel 7. April
Hauer, Josef 1957; für zwei Violinen,
1957/4/7 0 6 2 9 10 4 11 3 7 1 5 8
Matthias Bratsche, Cello und
Klavier zu vier Händen
Zwölftonspiel 8. Juni
Hauer, Josef
1957; für Klavier zu vier 1957/7/8 0 5 11 4 9 2 6 3 10 8 1 7
Matthias
Händen
Zwölftonspiel 9.
September 1957; für vier
Hauer, Josef
Solostimmen [S, A, T, 1957/9/9 0 4 2 9 10 6 11 1 7 3 8 5
Matthias
B], Violine, Bratsche
und Klavier
Zwölftonspiel April
Hauer, Josef
1956; für Klavier zu vier 1956/4/22 0 5 7 2 8 4 10 3 9 11 6 1
Matthias
Händen
Zwölftonspiel Jänner
Hauer, Josef
1957; für zwei Violinen, 1957/1/30 0 10 6 2 8 3 5 7 9 4 1 11
Matthias
Bratsche und Cello
893 | 12-TONE ANTHOLOGY
Zwölftonspiel März
Hauer, Josef
1958; für 1958/3/21 0 5 10 4 1 7 2 11 8 3 6 9
Matthias
Kammerorchester
Zwölftonspiel November
Hauer, Josef
1957; für zwei Violinen 1957/10/10 0 6 3 9 1 5 11 8 10 7 2 4
Matthias
und Klavier
Zwölftonspiel Oktober
Hauer, Josef
1956; für Klavier zu vier 1956/10/22 0 9 6 2 8 3 10 5 1 11 7 4
Matthias
Händen
Hauer, Josef Zwölftonspiel Oktober
1957/10 0 2 4 10 9 3 6 11 7 1 5 8
Matthias 1957; für Heimorchester
Zwölftonspiel für
Hauer, Josef
Cembalo oder Klavier. 1947/7/13 0 5 10 4 7 6 2 1 9 8 3 11
Matthias
13. Juni 1947
Zwölftonspiel für
Hauer, Josef
Orchester. September 1957/9/22 0 8 6 10 5 7 2 4 1 9 11 3
Matthias
1957
Zwölftonspiel für
Hauer, Josef
Violine, Cello und 1957/8/13 0 10 6 1 8 3 11 7 2 5 9 4
Matthias
Klavier zu vier Händen
Zwölftonspiel für
Hauer, Josef
Violine, Viola und 1957/9 0 5 9 4 7 10 3 6 1 11 8 2
Matthias
Klavier. September 1957
Zwölftonspiel in drei
Hauer, Josef Teilen für zwei Violinen,
1953/7/31 0 10 7 2 8 6 3 4 9 11 1 5
Matthias Bratsche und Cello. 31.
Juli 1953
[Zwölftonspiel] 'Johann
Hauer, Josef Sebastian Bach hat das
1952/11/2 0 10 5 4 2 9 8 1 3 11 6 7
Matthias Wohltemperierte Klavier
im Himmel vollendet ...'
12-TONE ANTHOLOGY | 898
Hauer, Josef
twelve-tone-row-example 1920 0 2 5 11 1 10 4 8 7 3 6 9
Matthias
'Die vollständige
Ordnung der
Hendler,
symmetrischen 1979/9 0 1 2 3 4 5 11 10 9 8 7 6
Maximilian
zwölftönigen Modi',
No.1
'Die vollständige
Ordnung der
Hendler,
symmetrischen 1979/9 0 4 6 7 8 10 9 5 3 2 1 11
Maximilian
zwölftönigen Modi',
No.10
'Die vollständige
Ordnung der
Hendler,
symmetrischen 1979/9 0 4 5 6 8 9 7 3 2 1 11 10
Maximilian
zwölftönigen Modi',
No.11
'Die vollständige
Ordnung der
Hendler,
symmetrischen 1979/9 0 3 6 7 9 10 11 8 5 4 2 1
Maximilian
zwölftönigen Modi',
No.12
'Die vollständige
Ordnung der
Hendler,
symmetrischen 1979/9 0 3 5 7 8 10 9 6 4 2 1 11
Maximilian
zwölftönigen Modi',
No.13
'Die vollständige
Ordnung der
Hendler,
symmetrischen 1979/9 0 2 5 7 8 10 11 9 6 4 3 1
Maximilian
zwölftönigen Modi',
No.14
'Die vollständige
Ordnung der
Hendler,
symmetrischen 1979/9 0 1 3 6 7 9 11 10 8 5 4 2
Maximilian
zwölftönigen Modi',
No.15
'Die vollständige
Ordnung der
Hendler,
symmetrischen 1979/9 0 1 3 5 7 10 9 8 6 4 2 11
Maximilian
zwölftönigen Modi',
No.16
'Die vollständige
Ordnung der
Hendler,
symmetrischen 1979/9 0 1 3 5 8 9 7 6 4 2 11 10
Maximilian
zwölftönigen Modi',
No.17
899 | 12-TONE ANTHOLOGY
'Die vollständige
Ordnung der
Hendler,
symmetrischen 1979/9 0 3 4 6 9 10 11 8 7 5 2 1
Maximilian
zwölftönigen Modi',
No.18
'Die vollständige
Ordnung der
Hendler,
symmetrischen 1979/9 0 1 4 5 8 9 11 10 7 6 3 2
Maximilian
zwölftönigen Modi',
No.19
'Die vollständige
Ordnung der
Hendler,
symmetrischen 1979/9 0 1 2 3 4 10 9 8 7 6 5 11
Maximilian
zwölftönigen Modi',
No.2
'Die vollständige
Ordnung der
Hendler,
symmetrischen 1979/9 0 1 2 5 7 8 11 10 9 6 4 3
Maximilian
zwölftönigen Modi',
No.20
'Die vollständige
Ordnung der
Hendler,
symmetrischen 1979/9 0 1 2 5 6 10 9 8 7 4 3 11
Maximilian
zwölftönigen Modi',
No.21
'Die vollständige
Ordnung der
Hendler,
symmetrischen 1979/9 0 1 2 4 8 9 7 6 5 3 11 10
Maximilian
zwölftönigen Modi',
No.22
'Die vollständige
Ordnung der
Hendler,
symmetrischen 1979/9 0 3 4 5 9 10 11 8 7 6 2 1
Maximilian
zwölftönigen Modi',
No.23
'Die vollständige
Ordnung der
Hendler,
symmetrischen 1979/9 0 3 4 7 8 10 9 6 5 2 1 11
Maximilian
zwölftönigen Modi',
No.24
'Die vollständige
Ordnung der
Hendler,
symmetrischen 1979/9 0 3 5 6 8 9 7 4 2 1 11 10
Maximilian
zwölftönigen Modi',
No.25
12-TONE ANTHOLOGY | 900
'Die vollständige
Ordnung der
Hendler,
symmetrischen 1979/9 0 3 4 6 7 8 5 2 1 11 10 9
Maximilian
zwölftönigen Modi',
No.26
'Die vollständige
Ordnung der
Hendler,
symmetrischen 1979/9 0 2 4 5 6 7 3 1 11 10 9 8
Maximilian
zwölftönigen Modi',
No.27
'Die vollständige
Ordnung der
Hendler,
symmetrischen 1979/9 0 5 7 8 9 10 11 6 4 3 2 1
Maximilian
zwölftönigen Modi',
No.28
'Die vollständige
Ordnung der
Hendler,
symmetrischen 1979/9 0 1 6 7 8 9 11 10 5 4 3 2
Maximilian
zwölftönigen Modi',
No.29
'Die vollständige
Ordnung der
Hendler,
symmetrischen 1979/9 0 2 3 4 5 10 11 9 8 7 6 1
Maximilian
zwölftönigen Modi',
No.3
'Die vollständige
Ordnung der
Hendler,
symmetrischen 1979/9 0 1 2 6 7 8 11 10 9 5 4 3
Maximilian
zwölftönigen Modi',
No.30
'Die vollständige
Ordnung der
Hendler,
symmetrischen 1979/9 0 1 2 3 6 7 11 10 9 8 5 4
Maximilian
zwölftönigen Modi',
No.31
'Die vollständige
Ordnung der
Hendler,
symmetrischen 1979/9 0 1 2 3 4 6 11 10 9 8 7 5
Maximilian
zwölftönigen Modi',
No.32
'Die vollständige
Ordnung der
Hendler,
symmetrischen 1979/9 0 2 3 4 8 10 9 7 6 5 1 11
Maximilian
zwölftönigen Modi',
No.4
901 | 12-TONE ANTHOLOGY
'Die vollständige
Ordnung der
Hendler,
symmetrischen 1979/9 0 2 4 5 8 10 11 9 7 6 3 1
Maximilian
zwölftönigen Modi',
No.5
'Die vollständige
Ordnung der
Hendler,
symmetrischen 1979/9 0 2 4 6 8 10 9 7 5 3 1 11
Maximilian
zwölftönigen Modi',
No.6
'Die vollständige
Ordnung der
Hendler,
symmetrischen 1979/9 0 2 4 6 8 9 7 5 3 1 11 10
Maximilian
zwölftönigen Modi',
No.7
'Die vollständige
Ordnung der
Hendler,
symmetrischen 1979/9 0 2 4 6 7 8 5 3 1 11 10 9
Maximilian
zwölftönigen Modi',
No.8
'Die vollständige
Ordnung der
Hendler,
symmetrischen 1979/9 0 4 6 8 9 10 11 7 5 3 2 1
Maximilian
zwölftönigen Modi',
No.9
Hindemith,
Ludus Tonalis 1942 0 7 5 9 4 3 8 2 10 1 11 6
Paul
Kahn, Erich
Short Piano Piece 1951 0 3 11 10 8 6 2 7 9 4 5 1
Itor
Kalodiki,
Six Sketches for piano 2004 0 7 6 1 2 9 8 3 4 11 5 10
Georgia
Die Maschine: Eine
Klein, Fritz extonale Selbstsatire, 1921 0 11 7 4 2 9 3 8 10 1 5 6
Op.1
Lamentatio Jeremiae
Krenek, Ernst 1941 0 2 4 5 8 10 6 7 9 11 1 3
Prophetae, Op.93, row 1
Lamentatio Jeremiae
Krenek, Ernst 1941 0 2 3 6 8 10 5 7 9 11 1 4
Prophetae, Op.93, row 2
Lamentatio Jeremiae
Krenek, Ernst 1941 0 1 4 6 8 10 5 7 9 11 2 3
Prophetae, Op.93, row 3
Lamentatio Jeremiae
Krenek, Ernst 1941 0 3 5 7 9 11 6 8 10 1 2 4
Prophetae, Op.93, row 4
12-TONE ANTHOLOGY | 904
Lamentatio Jeremiae
Krenek, Ernst 1941 0 2 4 6 8 9 5 7 10 11 1 3
Prophetae, Op.93, row 5
Lamentatio Jeremiae
Krenek, Ernst 1941 0 2 4 6 7 10 5 8 9 11 1 3
Prophetae, Op.93, row 6
Quaestio temporis,
Krenek, Ernst 1959 0 3 11 4 2 1 7 8 10 5 9 6
Op.170
Sechs Vermessene,
Krenek, Ernst 1958 0 3 1 6 2 4 10 5 9 7 8 11
Op.168
Twelve Short
Krenek, Ernst 1938 0 9 4 5 6 7 3 10 1 8 11 2
Piano-Pieces, Op.83
Zwölf Variationen in
Krenek, Ernst 1937 0 1 3 10 2 5 11 7 4 9 6 8
Drei Satzen
Zwölf Variationen in
Krenek, Ernst 1957/1940/1937 0 1 3 10 2 5 11 7 4 9 8 6
Drei Sätzen, Op.79
905 | 12-TONE ANTHOLOGY
twelve-tone-row in a
display case of
Krenek, Ernst 1985/8/8 0 3 5 4 8 9 6 10 11 1 7 2
'Steinerner Saal' in the
'Musikverein' of Vienna
Lackner,
'Der Winter' 2005/11/20 0 6 3 5 9 11 7 1 4 2 10 8
Peter
'Euphorbia obesa'.
Lackner,
Kanon für Oboe, 2000/4/16 0 10 2 6 8 4 1 9 11 3 7 5
Peter
Englischhorn und Fagott.
Lackner,
'Flügelaltar' für Klavier 1983/7/15 0 9 11 10 2 7 1 8 4 5 3 6
Peter
'Lied des
Harfenmädchens II' für
Lackner,
Flöte, Klarinette, 2005/10/19 0 3 5 11 7 10 1 8 4 9 6 2
Peter
Posaune, Violine, Cello
und Klavier
'Lied des
Lackner, Harfenmädchens' für
0 3 5 11 7 10 1 8 4 9 6 2
Peter Frauenstimme und
Klavier
Lackner,
1. Kanonzyklus 1994/4/7 0 7 5 9 1 3 11 8 4 6 10 2
Peter
Lackner,
2. Kanonzyklus 1993/7 0 10 2 7 9 5 11 3 1 8 4 6
Peter
Lackner,
3. Kanonzyklus 1994/1/1 0 6 8 10 1 3 5 11 9 7 4 2
Peter
Lackner,
4. Kanonzyklus 1991/7/21 0 5 3 7 11 1 9 4 6 2 10 8
Peter
Lackner,
5. Kanonzyklus 1994/6 0 7 11 9 1 3 5 8 10 6 2 4
Peter
Lackner,
Kanon 'kgV(3,5,7)' 1986/5/5 0 3 10 9 6 5 2 11 4 8 1 7
Peter
Lackner,
Kanon T2 à 6 1992 0 5 2 7 4 9 6 11 8 1 10 3
Peter
Lackner,
Kanon T3 à 4 1992 0 2 7 3 5 10 6 8 1 9 11 4
Peter
Lackner,
Kanon T4 á 3 1992 0 5 7 2 4 9 11 6 8 1 3 10
Peter
Lackner,
Kanon T6 á 2 1992 0 10 8 3 1 5 6 4 2 9 7 11
Peter
Lackner,
Kanon for 836017 2010/9/24 0 2 10 7 5 1 3 9 11 4 6 8
Peter
Lackner, Kanon für B. L., 7.
2017/10/7 0 9 10 5 3 7 11 2 1 6 8 4
Peter Oktober 2017
Kanon für
Lackner,
Blockflötenquartett. 2005/4/27 0 10 11 3 1 2 8 7 9 5 4 6
Peter
April 2005
Lackner,
Kanon für Klavier 1989/27/6 0 6 8 10 1 3 5 11 9 7 4 2
Peter
Kanon für
Lackner,
Klavierquartett. 27. 1991/4/27 0 6 3 5 9 11 7 1 4 2 10 8
Peter
April 1991
Kanon für
Lackner,
Klavierquartett. 27. Juni 1991/6/27 0 2 6 9 11 3 7 5 1 10 8 4
Peter
1991
Lackner,
Kanon für Klaviertrio 0 2 4 9 5 7 3 1 11 6 10 8
Peter
Kanon für
Lackner,
Schrammel-Quartett. 2002/11 0 4 6 3 11 9 1 5 8 2 10 7
Peter
November 2002
Kanon für
Lackner,
Schwegelpfeife in A und 1991/1 0 9 7 2 10 4 3 6 8 1 5 11
Peter
Geige
Kanon für
Lackner,
Streichquartett. 18. Mai 1993/5/18 0 11 4 7 1 10 5 6 2 3 9 8
Peter
1993
Kanon für
Lackner,
Streichquartett. 2003/9/22 0 8 10 4 2 6 9 1 11 5 7 3
Peter
22.September 2003
Kanon für
Lackner,
Streichquartett. 3. Jänner 1990/1/3 0 6 4 8 11 3 1 7 9 5 2 10
Peter
1990
Kanon für
Lackner,
Streichquartett. 5. 1992/12/5 0 5 9 4 11 8 2 7 1 10 3 6
Peter
Dezember 1992
Kanon für
Lackner,
Tenor-Hackbrett. 19. 2014/3/19 0 8 4 6 9 1 11 3 7 5 2 10
Peter
März 2014
Lackner,
Kanon für Violine solo 1988/11/16 0 11 2 7 10 9 3 4 1 8 5 6
Peter
Lackner,
Kanon für drei Bratschen 1991/12/31 0 11 3 10 6 2 7 8 4 9 1 5
Peter
Lackner,
Kanon für zwei Violinen 1988/4/23 0 7 4 5 9 2 3 8 11 10 6 1
Peter
Lackner,
Kanon à 3 1992/9/9 0 11 6 10 2 7 3 4 9 5 1 8
Peter
Lackner,
Kanon á 4 2012/1989 0 4 2 8 11 7 10 5 9 1 3 6
Peter
Lackner, Kanon á 5 für Klaus
1993/1/28 0 2 10 8 6 11 3 1 5 7 9 4
Peter Chudoba
Lackner,
Krebs-Kanon à 4 1993/3/2 0 8 5 7 3 9 1 11 2 6 4 10
Peter
Lackner,
Reihenspiel für Orgel 1982/8-9 0 9 6 11 5 4 10 7 2 1 8 3
Peter
Salambo-Kanon (à 4);
Lackner,
Bad Aussee, 2. Februar 2008/2/12 0 6 9 2 8 10 4 7 1 11 3 5
Peter
2008
Lackner,
Sponsions-Kanon 2007/1/5 0 4 1 10 3 7 9 5 8 11 6 2
Peter
Lackner,
Vier Klavierstücke 1988 1988 0 1 10 11 8 7 9 5 6 4 2 3
Peter
kgV (3,4)
Lackner,
[zweistimmiger Kanon 1987 0 10 2 3 5 7 1 11 9 8 4 6
Peter
für Klavier]
Lang,
Der Reigen 2012 0 5 1 4 2 3 9 8 10 7 11 6
Bernhard
HIOB Musiktheater für
Lang,
Orchester, Chor und 2017-2022 0 9 11 10 5 8 6 7 2 3 1 4
Bernhard
Solisten
Hemma (Music Theatre
Lang,
Hemma Klagenfurt 2014/6/24 0 5 10 2 3 1 7 9 8 4 11 6
Bernhard
2015)
Träumerei of Jiuzhai
Li, Bao-Shu 0 5 7 2 4 11 9 6 3 1 8 10
Gou
Ligeti,
Le Grand Macabre 1975-77,96 0 6 5 11 10 4 9 3 2 8 7 1
György
A Family of
Lu, Shi-Lin 0 2 9 7 4 6 11 8 1 3 10 5
Red-Crowned Cranes
Luo,
Chang'e 0 7 5 2 10 9 3 4 8 11 1 6
Zhong-Rong
913 | 12-TONE ANTHOLOGY
Luo,
Dusk, row 1 0 2 7 5 10 8 6 3 1 11 9 4
Zhong-Rong
Luo,
Dusk, row 2 0 3 7 5 8 10 1 11 6 2 4 9
Zhong-Rong
Luo,
Evening 0 2 7 5 10 8 6 3 1 11 9 4
Zhong-Rong
Luo,
Morning Glory 0 2 5 9 7 10 3 11 1 4 6 8
Zhong-Rong
Luo,
Sonatina, mvt 2 0 2 5 7 4 11 6 8 1 3 9 10
Zhong-Rong
Luo,
Sonatina, mvt 3 0 2 7 4 11 8 5 9 10 1 3 6
Zhong-Rong
Luo,
String Quartet, No.2 1985 0 3 5 10 6 8 11 1 9 2 4 7
Zhong-Rong
Essence Of Our
Lutyens,
Happinesses, Op.69, mvt 1968 0 11 1 10 2 3 8 9 5 6 4 7
Elisabeth
II, Part I
Lutyens,
Islands, Op.80 1970 0 11 7 3 8 10 9 6 4 5 1 2
Elisabeth
12-TONE ANTHOLOGY | 914
Lutyens,
O Saisons, O Châteaux! 1946 0 11 10 4 8 9 3 7 6 5 2 1
Elisabeth
Lutyens,
Présages, Op.53 1965 0 1 11 2 10 8 5 3 4 7 9 6
Elisabeth
Lutyens,
Quincunx, Op.44 1960 0 6 11 1 5 2 7 3 4 9 10 8
Elisabeth
Lutyens,
The Valley of Hatsu'se 1965 0 6 11 10 8 7 9 1 3 2 4 5
Elisabeth
Maderna,
Quartetto 1955 0 7 2 3 6 9 10 1 4 5 8 11
Bruno
Maderna, Streichquartett
1955 0 7 2 3 6 9 10 1 4 5 8 11
Bruno (Basisreihe 1)
Maderna, Streichquartett
1955 0 7 10 1 6 3 11 4 9 2 5 8
Bruno (Basisreihe 2)
Mamlok,
Haiku Settings, No.5 1967 0 11 8 7 4 3 5 6 9 10 1 2
Ursula
Mamlok,
Panta Rhei 1981 0 7 4 11 8 3 10 9 6 2 5 1
Ursula
915 | 12-TONE ANTHOLOGY
Martino,
Fantasy Variations 1962 0 3 1 10 2 8 11 5 6 9 7 4
Donald
Martino,
Notturno (Row A) 1973 0 11 10 2 6 1 5 9 4 8 3 7
Donald
Martino,
Notturno (Row B) 1973 0 7 11 10 9 8 2 1 6 3 4 5
Donald
Zwölftonspiel für
Matthias,
Holzbläser, Streicher und 1951/4/27 0 4 9 11 7 2 3 6 8 10 5 1
Hauer Josef
Klavier. April 1951
Matthias,
Salambo, Op.60 1929 0 6 9 2 8 10 4 7 1 11 3 5
Josef
Messiaen,
Le Merle noir 1951 0 5 11 6 1 9 7 3 4 2 8 10
Olivier
Messiaen,
Livre d'orgue 1951 0 1 11 2 10 3 9 4 8 5 7 6
Olivier
Mittendorfer,
aleatoric row 2012/12/28 0 2 7 1 8 6 10 5 4 11 3 9
Josef
Moevs,
Musica da Camera 1965 0 1 11 3 4 2 9 10 8 7 5 6
Robert
Morris,
14 Little Piano Pieces 2002 0 5 1 9 10 11 2 7 3 4 6 8
Robert
Morris,
Along a Rocky Path 1993 0 9 10 3 4 2 8 1 6 7 11 5
Robert
12-TONE ANTHOLOGY | 916
Morris,
Arabesque 1979 0 6 7 1 3 10 8 9 4 5 11 2
Robert
Morris,
Arc 1988 0 1 8 2 4 3 11 10 6 7 5 9
Robert
Morris,
Badlands 1991 0 5 6 9 4 7 1 8 3 11 2 10
Robert
Morris,
Beautiful Beast 2007 0 1 3 6 5 10 7 4 9 8 11 2
Robert
Morris,
Brush 2011 0 11 6 10 7 8 3 2 5 4 9 1
Robert
Morris,
By Far 1995 0 1 4 11 3 2 6 7 5 10 8 9
Robert
Morris,
Canonic Variations 1992 0 3 11 1 4 8 5 6 9 10 2 7
Robert
Morris,
Clash 1987 0 3 11 10 8 1 7 9 2 6 4 5
Robert
Morris,
Cold Mountain Songs 1993 0 1 2 5 6 3 7 8 10 9 11 4
Robert
Morris, Concerto for Piano and
1994 0 1 6 11 7 5 10 8 4 3 2 9
Robert Strings
Morris,
Cuts 1984 0 10 11 7 3 8 6 9 4 5 1 2
Robert
Morris,
Entanglements 1998 0 3 10 5 11 6 1 7 9 2 8 4
Robert
Morris,
Exchanges 1982 0 4 3 1 9 5 8 6 2 10 11 7
Robert
Morris,
Four Fold Heart Sutra 1984 0 6 7 2 11 1 10 4 9 5 8 3
Robert
Morris,
Four Play Nine 2012 0 3 2 1 8 7 10 5 4 11 6 9
Robert
917 | 12-TONE ANTHOLOGY
Morris,
Four Tangled Groves 2008 0 8 11 2 7 9 10 5 4 1 3 6
Robert
Morris,
Four or Five Mirrors 1990 0 11 2 3 7 1 6 5 9 8 10 4
Robert
Morris,
In Variations 1981 0 2 9 11 5 3 4 6 10 8 7 1
Robert
Morris,
Inscape 1996 0 1 10 7 11 5 9 4 2 3 8 6
Robert
Morris,
Inter Alia 1980 0 1 11 5 3 4 9 10 8 2 7 6
Robert
Morris,
Knot Lilacs 2006 0 1 4 2 9 5 11 3 8 10 7 6
Robert
Morris,
MA 1992 0 1 5 6 4 11 8 7 9 2 10 3
Robert
Morris,
Night Sky Scroll 1985 0 11 4 3 9 5 8 2 1 7 6 10
Robert
Morris,
Not Lilacs 1974 0 1 4 2 9 5 11 3 8 10 7 6
Robert
Morris,
On the Go 1999 0 9 2 3 5 8 10 11 1 4 7 6
Robert
Morris,
Out and Out 1989 0 11 6 3 7 9 5 8 1 2 10 4
Robert
Morris,
Pari Passu, row 1 1988 0 6 10 11 2 3 9 1 7 8 4 5
Robert
Morris,
Refrains 1995 0 3 4 2 6 10 1 8 11 7 5 9
Robert
Morris,
Roundelay, row 1 2007 0 7 4 11 9 2 6 3 10 5 8 1
Robert
Morris,
Roundelay, row 2 2007 0 5 9 7 8 10 4 11 1 6 2 3
Robert
Morris,
Roundelay, row 3 2007 0 10 9 3 4 6 8 11 2 7 1 5
Robert
Morris,
Roundelay, row 4 2007 0 3 11 10 7 2 6 9 5 4 1 8
Robert
Morris,
Roundelay, row 5 2007 0 3 11 4 1 2 8 10 5 9 7 6
Robert
Morris,
Roundelay, row 6 2007 0 10 5 11 4 6 8 7 2 3 9 1
Robert
12-TONE ANTHOLOGY | 918
Morris,
Something New 1998 0 9 4 8 11 7 3 6 10 5 2 1
Robert
Morris,
Sung Song 2002 0 3 7 6 9 2 10 5 1 8 4 11
Robert
Morris,
Terrane 1989 0 11 1 3 2 5 6 4 9 7 8 10
Robert
Morris,
Three Musicians 1989 0 9 7 6 8 1 11 2 4 5 3 10
Robert
Morris,
Tigers and Lilies 1979 0 1 7 2 8 10 5 3 4 9 6 11
Robert
Morris,
Traces 1990 0 11 10 4 9 6 3 8 5 7 2 1
Robert
Morris,
Twelve Bell Canons 2004 0 11 2 10 3 5 9 1 4 7 8 6
Robert
Morris,
Tête‐à‐Tête 1999 0 3 11 10 1 8 2 6 9 5 4 7
Robert
Morris,
Vignette 1999 0 3 11 10 7 6 5 2 1 8 9 4
Robert
Morris,
Zoe 1996 0 8 6 3 1 9 7 10 4 2 5 11
Robert
Morris,
…gradually… 2010 0 1 8 3 5 4 6 7 9 11 2 10
Robert
Musgrave,
Triptych, Song 1 1959 0 11 9 6 5 2 10 1 8 7 3 4
Thea
'Achat' für
Nierhaus,
Streichorchester (bzw. 1993/12/5 0 4 3 11 2 6 5 9 8 7 10 1
Gerhard
Streichsextett und Orgel)
Nierhaus,
'Polg' - für Orchester 1991 0 3 1 7 11 2 10 4 8 5 9 6
Gerhard
Composizione per
Nono, Luigi 1951 0 1 7 6 2 8 4 3 5 10 11 9
orchestra, No.1
919 | 12-TONE ANTHOLOGY
La terra e la compagna
Nono, Luigi 1957 0 9 6 3 1 4 7 10 11 8 5 2
(sketch), Series 3
La terra e la compagna
Nono, Luigi 1957 0 2 9 5 6 8 3 11 1 10 4 7
(sketch), Series 4
La terra e la compagna
Nono, Luigi 1957 0 7 2 4 9 10 5 1 6 11 8 3
(sketch), Series 5
La terra e la compagna
Nono, Luigi 1957 0 3 7 8 2 11 4 6 9 1 10 5
(sketch), Series 6
La terra e la compagna
Nono, Luigi 1957 0 5 3 10 7 1 8 9 2 6 11 4
(sketch), Series 7
La terra e la compagna
Nono, Luigi 1957 0 4 5 11 3 6 10 2 7 9 1 8
(sketch), Series 8
Variazioni canoniche
Nono, Luigi sulla serie dell'Op.41 di 1950 0 1 9 8 4 5 7 6 10 11 3 2
Arnold Schönberg
Sinfonia di Sfere
Panufnik,
(Symphony, No.5), 1975 0 4 8 11 3 7 10 2 6 9 1 5
Andrzej
Chord 1
Sinfonia di Sfere
Panufnik,
(Symphony, No.5), 1975 0 3 6 9 11 2 5 8 10 1 4 7
Andrzej
Chord 2
12-TONE ANTHOLOGY | 920
Papaioannou,
Pygmalion 1952 0 2 7 5 8 11 9 6 10 3 1 4
Yannis
Papaioannou,
Sonata 1958 0 2 9 8 1 6 4 3 11 10 7 5
Yannis
Papaioannou,
Songs of the Lake, No.1 1950 0 8 5 7 6 11 2 10 1 3 9 4
Yannis
Papaioannou,
Songs of the Lake, No.2 1950 0 7 4 6 5 1 9 2 8 10 3 11
Yannis
Papaioannou,
Songs of the Lake, No.3 1950 0 11 8 1 6 7 2 10 3 4 9 5
Yannis
Papaioannou,
Songs of the Lake, No.4 1950 0 5 11 9 6 10 7 2 3 1 4 8
Yannis
Papaioannou,
Suite, "XP" 1958 0 4 2 1 6 8 3 9 7 10 5 11
Yannis
Papaioannou,
Suite, "YP" 1958 0 10 9 8 1 4 5 7 3 6 2 11
Yannis
Papaioannou,
Suite, Basic row 1958 0 1 3 10 4 6 9 5 2 8 7 11
Yannis
Papaioannou,
Symphony, No.3 1953 0 1 5 6 9 11 8 7 3 10 2 4
Yannis
Pentland,
String Quartet, No.3 1969 0 11 3 6 5 9 10 8 1 2 7 4
Barbara
Preßl,
'N.N.,8' für Klavier und
Hermann 1986/8 0 1 8 11 3 9 6 5 7 2 4 10
Orgel
Markus
'Sonnenuntergänge nach
meinem Tode'; Fünf
Preßl,
Haikus nach Günther
Hermann 1994/7 0 4 7 9 8 2 6 10 5 11 1 3
Klinge für Sprechgesang,
Markus
Alt-Saxophon und
Crotales
Preßl,
'Zisterne' für
Hermann 1994/7/17 0 10 6 3 11 8 2 1 7 9 5 4
Alt-Blockflöte allein
Markus
Preßl,
Hermann 6. Symphonie aus Es 1990 0 6 1 7 5 8 9 11 3 2 4 10
Markus
Preßl,
Fier Fafeln für Fier
Hermann 1994/6/13 0 10 5 4 7 3 9 2 11 6 8 1
Fiolen
Markus
Preßl,
Hermann Finstersonnen 1994/7 0 3 9 6 11 5 1 2 7 8 10 4
Markus
Preßl,
Hermann Ithaka 1994/8/1 0 9 7 10 6 4 2 5 8 3 1 11
Markus
Preßl, N. N. 50; 'Die
Hermann Zeremonie des 1992/6/17 0 9 4 2 7 5 8 1 6 3 11 10
Markus Abschieds'
N. N. 59 oder 'Der
Preßl,
Ortsverlasser' für
Hermann 1992/8/31 0 10 3 7 8 9 4 5 6 2 11 1
Cembalo und
Markus
Orgelpositiv
Preßl,
Fier Fafeln für Fier
Herrmann 1994/6/13 0 7 8 11 9 4 6 10 1 5 3 2
Fiolen
Markus
Reynolds,
Ambages 1965 0 1 4 5 7 6 8 9 10 11 2 3
Roger
Riegebauer,
Toccata 1987 0 3 1 2 11 10 4 5 8 7 9 6
Sigrid
Rinner, Ernst
Missa DO-SI-MI-LA 1989 0 11 4 9 3 2 10 1 8 7 5 6
Christian
Rochberg,
Sonata-Fantasia 1956 0 11 10 4 5 6 9 8 7 1 2 3
George
Rochberg,
Symphony, No.2 1955-56 0 8 1 4 9 5 6 2 3 10 11 7
George
Rochberg,
Twelve Bagatelles, i 1952 0 1 7 11 5 4 10 2 6 3 8 9
George
Santoro,
Preludes 18-20 1963 0 9 1 3 2 8 10 4 6 5 7 11
Claudio
Santoro,
Six Piano Pieces 1946 0 10 4 1 11 2 5 6 3 9 7 8
Claudio
Santoro,
Sonata 1942 1942 0 2 3 6 7 11 1 9 4 8 5 10
Claudio
Santoro,
Sonata, No.1 1945 0 10 3 8 11 1 2 9 7 4 5 6
Claudio
923 | 12-TONE ANTHOLOGY
Santoro,
Sonatina, No.2 1963 0 11 1 5 6 3 7 8 9 2 4 10
Claudio
Schnittke,
Concerto Grosso, No.3 1985 0 5 1 4 10 8 11 9 3 6 2 7
Alfred
Schnittke,
Serenade 1968 0 1 7 3 10 9 8 6 5 11 4 2
Alfred
Schnittke,
String Quartet, No.4 1989 0 11 10 1 3 2 4 9 8 6 5 7
Alfred
Schnittke,
Viola Concerto 1985 0 11 5 2 1 6 3 8 7 4 10 9
Alfred
925 | 12-TONE ANTHOLOGY
Schnittke,
Violin Sonata 2 1968 0 10 11 9 6 8 7 5 4 1 2 3
Alfred
A Survivor From
Schoenberg,
Warsaw, Op.46 1947 0 1 6 2 10 9 4 7 3 8 11 5
Arnold
(alternative)
Schoenberg, Accompaniment to a
1930 0 3 11 1 10 9 6 8 7 5 2 4
Arnold Film Scene, Op.34
Schoenberg,
Die Jakobsleiter 1917,22 0 1 4 3 7 6 11 2 10 9 5 8
Arnold
Schoenberg,
Moses und Aron 1930-32 0 1 7 5 6 4 10 8 9 11 2 3
Arnold
Ode To Napoleon
Schoenberg,
Buonaparte, Op.41 (view 1942 0 11 3 4 8 7 2 1 5 6 10 9
Arnold
1)
12-TONE ANTHOLOGY | 926
Ode To Napoleon
Schoenberg,
Buonaparte, Op.41 (view 1942 0 1 9 8 4 5 7 6 10 11 3 2
Arnold
2)
Schoenberg,
Piano Concerto, Op.42 1942 0 7 11 2 1 9 3 5 10 6 8 4
Arnold
Schoenberg,
Suite for Piano, Op.25 1921-23 0 1 3 9 2 11 4 10 7 8 5 6
Arnold
Schoenberg,
Suite, Op.29 1925 0 4 3 7 11 8 9 6 5 1 2 10
Arnold
Schoenberg,
Violin Concerto, Op.36 1934,36 0 1 6 2 7 9 3 4 10 11 5 8
Arnold
Schoenberg,
Violin Phantasy, Op.47 1949 0 11 3 1 7 9 6 2 10 5 8 4
Arnold
Schoenberg,
Wind Quintet, Op.26 1923-24 0 4 6 8 10 9 7 11 1 3 5 2
Arnold
Schuller,
Transformation 1957 0 2 4 3 8 11 9 6 5 10 7 1
Gunther
Schwantner,
Elixir (Consortium VIII) 1975 0 8 4 3 7 11 10 6 9 5 1 2
Joseph
Schwantner,
Modus Caelestis (A) 1972 0 6 7 1 11 5 4 10 8 2 3 9
Joseph
Schwantner,
Modus Caelestis (R) 1972 0 6 7 2 4 1 9 11 3 5 8 10
Joseph
Schwantner,
Modus Caelestis (m. 39) 1972 0 6 11 10 5 9 4 8 3 2 7 1
Joseph
Seiber,
String Quartet, No.2 1934-35 0 2 3 1 4 11 5 10 7 9 8 6
Mátyás
Seiber,
Ulysses 1950 0 3 4 7 8 11 1 10 9 6 5 2
Mátyás
Scherzo für
Sengstschmid,
Blockflötenquartett, 1967 0 7 9 4 6 1 8 2 11 5 3 10
Johann
Op.28
Shapey,
String Quartet, No.9 1995 0 8 9 3 5 1 2 6 4 10 11 7
Ralph
No. 340
Infra-Inter-Ultrapolation
Slonimsky,
(Ditone Progression; 1947 0 11 2 9 4 3 6 1 8 7 10 5
Nicholas
Equal Division of One
Octave into Three Parts)
No. 348
Infra-Inter-Ultrapolation
Slonimsky,
(Ditone Progression; 1947 0 10 1 7 4 2 5 11 8 6 9 3
Nicholas
Equal Division of One
Octave into Three Parts)
No. 359
Infra-Inter-Ultrapolation
Slonimsky,
(Ditone Progression; 1947 0 10 3 9 4 2 7 1 8 6 11 5
Nicholas
Equal Division of One
Octave into Three Parts)
No. 370
Infra-Inter-Ultrapolation
Slonimsky,
(Ditone Progression; 1947 0 7 1 6 4 11 5 10 8 3 9 2
Nicholas
Equal Division of One
Octave into Three Parts)
No. 371
Infra-Inter-Ultrapolation
Slonimsky,
(Ditone Progression; 1947 0 7 2 5 4 11 6 9 8 3 10 1
Nicholas
Equal Division of One
Octave into Three Parts)
No. 485
Infra-Interpolation
Slonimsky,
(Sesquitone Progression; 1947 0 10 2 3 1 5 6 4 8 9 7 11
Nicholas
Equal Division of One
Octave into Four Parts)
No. 493
Inter-Ultrapolation
Slonimsky,
(Sesquitone Progression; 1947 0 1 5 3 4 8 6 7 11 9 10 2
Nicholas
Equal Division of One
Octave into Four Parts)
No. 499
Inter-Ultrapolation
Slonimsky,
(Sesquitone Progression; 1947 0 2 7 3 5 10 6 8 1 9 11 4
Nicholas
Equal Division of One
Octave into Four Parts)
949 | 12-TONE ANTHOLOGY
No. 500
Infra-Ultrapolation
Slonimsky,
(Sesquitone Progression; 1947 0 11 4 3 2 7 6 5 10 9 8 1
Nicholas
Equal Division of One
Octave into Four Parts)
No. 503
Infra-Ultrapolation
Slonimsky,
(Sesquitone Progression; 1947 0 11 7 3 2 10 6 5 1 9 8 4
Nicholas
Equal Division of One
Octave into Four Parts)
No. 505
Infra-Ultrapolation
Slonimsky,
(Sesquitone Progression; 1947 0 10 5 3 1 8 6 4 11 9 7 2
Nicholas
Equal Division of One
Octave into Four Parts)
No. 508
Infra-Ultrapolation
Slonimsky,
(Sesquitone Progression; 1947 0 10 8 3 1 11 6 4 2 9 7 5
Nicholas
Equal Division of One
Octave into Four Parts)
No. 512
Infra-Ultrapolation
Slonimsky,
(Sesquitone Progression; 1947 0 8 4 3 11 7 6 2 10 9 5 1
Nicholas
Equal Division of One
Octave into Four Parts)
No. 655-657
Permutations (Semitone
Slonimsky,
Progression; Equal 1947 0 11 10 9 8 7 6 5 4 3 2 1
Nicholas
Division of One Octave
into Twelve Parts)
No. 685 Interpolation of
Three Notes (Quadritone
Slonimsky,
Progression; Equal 1947 0 1 3 6 8 9 11 2 4 5 7 10
Nicholas
Division of Two Octaves
into Three Parts)
No. 734
Inter-Infra-Ultrapolation
Slonimsky, (Quadritone Progression;
1947 0 5 11 10 8 1 7 6 4 9 3 2
Nicholas Equal Division of Two
Octaves into Three
Parts)
No. 735
Inter-Infra-Ultrapolation
Slonimsky, (Quadritone Progression;
1947 0 6 9 11 8 2 5 7 4 10 1 3
Nicholas Equal Division of Two
Octaves into Three
Parts)
No. 736
Inter-Infra-Ultrapolation
Slonimsky, (Quadritone Progression;
1947 0 2 7 9 8 10 3 5 4 6 11 1
Nicholas Equal Division of Two
Octaves into Three
Parts)
No. 746 Interpolation of
Two Notes
Slonimsky, (Sesquiquadritone
1947 0 1 5 9 10 2 6 7 11 3 4 8
Nicholas Progression; Equal
Division of Three
Octaves into Four Parts)
No. 749 Interpolation of
Two Notes
Slonimsky, (Sesquiquadritone
1947 0 2 7 9 11 4 6 8 1 3 5 10
Nicholas Progression; Equal
Division of Three
Octaves into Four Parts)
No. 753 Interpolation of
Two Notes
Slonimsky, (Sesquiquadritone
1947 0 4 8 9 1 5 6 10 2 3 7 11
Nicholas Progression; Equal
Division of Three
Octaves into Four Parts)
No. 793
Infra-Ultrapolation
Slonimsky, (Sesquiquadritone
1947 0 11 10 9 8 7 6 5 4 3 2 1
Nicholas Progression; Equal
Division of Three
Octaves into Four Parts)
953 | 12-TONE ANTHOLOGY
No. 794
Infra-Ultrapolation
Slonimsky, (Sesquiquadritone
1947 0 10 11 9 7 8 6 4 5 3 1 2
Nicholas Progression; Equal
Division of Three
Octaves into Four Parts)
No. 795
Infra-Ultrapolation
Slonimsky, (Sesquiquadritone
1947 0 8 1 9 5 10 6 2 7 3 11 4
Nicholas Progression; Equal
Division of Three
Octaves into Four Parts)
No. 799
Infra-Infrapolation
Slonimsky, (Sesquiquadritone
1947 0 2 7 9 11 4 6 8 1 3 5 10
Nicholas Progression; Equal
Division of Three
Octaves into Four Parts)
No. 813 Interpolation of
Three Notes
Slonimsky, (Quinquetone
1947 0 3 6 9 10 1 4 7 8 11 2 5
Nicholas Progression; Equal
Division of Five Octaves
into Six Parts)
No. 822 Ultrapolation of
One Note (Quinquetone
Slonimsky,
Progression; Equal 1947 0 11 10 9 8 7 6 5 4 3 2 1
Nicholas
Division of Five Octaves
into Six Parts)
No. 903
Inter-Ultrapolation
Slonimsky, (Quinquetone
1947 0 4 8 5 9 1 10 2 6 3 7 11
Nicholas Progression; Equal
Division of Five Octaves
into Six Parts)
No. 909
Infra-Inter-Ultrapolation
Slonimsky, (Quinquetone
1947 0 9 3 6 5 2 8 11 10 7 1 4
Nicholas Progression; Equal
Division of Five Octaves
into Six Parts)
No. 997
Infra-Interpolation
Slonimsky, (Diapente Progression;
1947 0 8 4 7 3 11 2 10 6 9 5 1
Nicholas Equal Division of Seven
Octaves into Twelve
Parts)
Spinner,
Cantata, Op.11 1955-57 0 9 1 10 2 3 11 5 6 7 4 8
Leopold
Spinner,
Die Nacht, Op.29 1978-79 0 4 1 2 5 6 7 10 8 9 11 3
Leopold
Spinner,
Drei Lieder, Op.15 1959 0 2 3 9 6 10 8 4 7 5 1 11
Leopold
Spinner,
Drei Lieder, Op.16 1960 0 9 8 5 4 3 6 7 10 1 2 11
Leopold
Spinner,
Fantasy for Piano, Op.9 1953-54 0 1 4 5 2 3 8 9 6 7 10 11
Leopold
955 | 12-TONE ANTHOLOGY
Spinner,
Fünf Lieder, Op.25 1973 0 9 11 2 1 5 7 6 10 8 4 3
Leopold
Spinner,
Fünf Lieder, Op.8 1953 0 3 4 7 8 5 11 9 10 2 6 1
Leopold
Spinner,
Ouverture for Orchestra 1944 0 4 3 5 1 7 11 6 10 8 2 9
Leopold
Spinner, Ouverture for Orchestra,
1948-49 0 11 2 10 8 1 7 5 6 9 3 4
Leopold Op.5
Spinner, Prelude and Variations
1960-62 0 9 10 7 8 4 5 6 2 3 1 11
Leopold for Orchestra, Op.18
Spinner,
Quintet, Op.14 1959-63 0 6 4 2 8 5 1 9 10 11 7 3
Leopold
Spinner,
Ricercata, Op.21 1964-65 0 11 8 10 2 1 4 3 7 9 6 5
Leopold
Spinner,
Schilflieder, Op.27 1974-75 0 3 1 10 11 7 5 6 2 4 8 9
Leopold
Spinner,
Sonata for Piano, Op.3 1942-45 0 9 8 6 7 10 1 4 5 3 2 11
Leopold
Spinner, Sonata for Violin and
1936 0 7 6 1 3 8 5 10 2 9 4 11
Leopold Piano, Op.1
Spinner,
String Quartet, Op.2 1941 0 1 7 6 11 10 4 5 8 9 3 2
Leopold
12-TONE ANTHOLOGY | 956
Spinner,
Zwei Lieder 1935-36 0 1 3 6 5 2 4 8 9 7 11 10
Leopold
Spinner,
Zwei Lieder, Op.24 1970-71 0 11 1 4 3 7 5 6 9 8 10 2
Leopold
Stockhausen,
'Mantra' 1970 0 2 11 7 8 5 10 6 4 3 1 9
Karlheinz
Stockhausen,
Choral 1950 0 1 10 6 8 3 5 2 4 11 9 7
Karlheinz
Stockhausen,
Gruppen 1955-57 0 8 1 10 9 11 5 3 4 7 2 6
Karlheinz
Klavierstück "V.5 or
Stockhausen,
Pre-VI" (row of original 1954-55 0 8 1 11 10 7 5 9 4 6 3 2
Karlheinz
1954 version)
Stockhausen,
Klavierstück IV row 3 1952 0 7 1 10 11 9 5 8 4 3 2 6
Karlheinz
Stockhausen,
Klavierstück IV, row 1 1952 0 11 4 10 9 5 8 6 2 1 7 3
Karlheinz
Stockhausen,
Klavierstück IV, row 2 1952 0 3 5 1 2 6 4 10 7 8 11 9
Karlheinz
Stockhausen,
Klavierstück IX 1954-55 0 8 1 10 9 11 5 3 4 7 2 6
Karlheinz
Stockhausen,
Klavierstück VII 1954-55 0 8 1 10 9 11 5 3 4 7 2 6
Karlheinz
Stockhausen,
Klavierstück VIII 1954-55 0 8 1 11 10 7 5 9 4 6 3 2
Karlheinz
Stockhausen,
Klavierstück X 1954-55 0 8 1 10 9 11 5 3 4 7 2 6
Karlheinz
957 | 12-TONE ANTHOLOGY
Stockhausen,
Kreuzspiel 1951 0 10 9 11 7 2 8 1 4 6 5 3
Karlheinz
Stockhausen,
Licht, Eve formula 1977-2003 0 4 3 2 5 6 10 11 9 1 7 8
Karlheinz
Stockhausen,
Plus-Minus 1963,74 0 1 7 9 8 6 3 10 2 5 11 4
Karlheinz
Stockhausen,
Tierkreis, Aquarius 1974-75 0 3 5 4 11 10 9 8 7 6 2 1
Karlheinz
Stockhausen,
Tierkreis, Aries 1974-75 0 3 2 9 7 8 11 6 1 5 4 10
Karlheinz
Stockhausen,
Tierkreis, Cancer 1974-75 0 7 11 10 9 8 3 6 4 1 5 2
Karlheinz
Stockhausen,
Tierkreis, Capricorn 1974-75 0 9 2 8 7 5 6 1 3 4 10 11
Karlheinz
Stockhausen,
Tierkreis, Gemini 1974-75 0 4 5 10 7 6 1 8 11 2 9 3
Karlheinz
Stockhausen,
Tierkreis, Leo 1974-75 0 5 11 6 3 2 8 7 9 10 4 1
Karlheinz
Stockhausen,
Tierkreis, Sagittarius 1974-75 0 6 5 2 3 4 7 8 9 10 11 1
Karlheinz
Stockhausen,
Tierkreis, Scorpio 1974-75 0 4 3 11 7 8 10 9 2 5 1 6
Karlheinz
Stravinsky,
Abraham & Isaac 1963 0 1 3 5 6 2 4 8 7 9 11 10
Igor
Stravinsky,
Canticum Sacrum, II 1955 0 11 9 6 10 8 7 5 2 4 3 1
Igor
Stravinsky,
Elegy for J.F.K. 1964 0 6 4 2 8 9 3 1 11 10 7 5
Igor
Stravinsky,
The Flood 1962 0 10 11 5 2 4 3 1 9 8 6 7
Igor
Soundshots, "Whirring
Talma, Louise 1974 0 2 5 1 10 11 7 8 9 6 3 4
Pin Wheels"
Three Bagatelles,
Talma, Louise 1955 0 1 3 5 10 4 9 7 2 6 11 8
Bagatelle 1
Three Bagatelles,
Talma, Louise 1955 0 8 1 2 7 4 10 11 3 6 9 5
Bagatelle 2
Three Bagatelles,
Talma, Louise 1955 0 3 4 1 5 8 10 7 2 11 6 9
Bagatelle 3
MIKRO-ALLAXI
Toufektsis,
(EpiEnteka II), für 15 2006 0 8 3 7 2 4 10 11 1 6 9 5
Orestis
Musiker
Tranchell,
Twice a Kiss sketch 2 1950/03/18 0 9 1 2 4 8 3 11 5 6 7 10
Peter
Tranchell,
Twice a Kiss sketch 3 1950/03/18 0 1 2 4 8 9 7 5 3 6 10 11
Peter
Urbanner,
Adagio 1966 0 3 1 11 10 9 8 7 6 4 2 5
Erich
Walker,
Spatials 1961 0 3 9 11 2 8 7 5 4 1 10 6
George
Walton,
Symphony, No.2 1957-60 0 3 7 8 2 11 6 5 9 10 4 1
William
A Dilapidated
Wang, Xi-Lin 0 4 6 3 2 10 11 5 8 9 7 1
Tombstone
Fantasia (Variations),
Weber, Ben 1946 0 1 5 9 10 2 6 11 7 4 3 8
Op.25
3 Volkstexte, "Armer
Webern,
Sunder, Du", Op.17, 1924-25 0 11 6 7 4 5 8 9 10 1 2 3
Anton
No.1
3 Volkstexte, "Heiland,
Webern,
Unsere Missetaten...", 1925 0 9 8 7 11 10 4 5 6 3 2 1
Anton
Op.17, No.3
Webern,
Das Augenlicht, Op.26 1935 0 2 1 4 3 7 8 5 9 6 10 11
Anton
Webern,
Kinderstück 1924 0 1 9 8 7 10 11 6 5 4 3 2
Anton
Webern,
Klavierstück 1925 0 1 2 11 10 4 5 6 9 8 7 3
Anton
12-TONE ANTHOLOGY | 962
Webern,
String Quartet, Op.28 1937-38 0 11 2 1 5 6 3 4 8 7 10 9
Anton
Webern,
String Trio, Op.20 1926-27 0 11 6 5 10 9 1 2 7 8 4 3
Anton
Webern,
Symphony, Op.21 1927-28 0 3 2 1 5 4 10 11 7 8 9 6
Anton
Webern, Three Songs on Texts by
1934 0 9 8 11 6 10 7 4 3 5 2 1
Anton Hildegard Jone, Op.25
Webern,
Three Songs, Op.23 1933-34 0 7 11 8 2 10 6 9 5 4 1 3
Anton
Webern, Variations for Orchestra,
1940 0 1 4 3 2 5 6 9 8 7 10 11
Anton Op.30
Webern, Variations for Piano,
1936 0 8 7 11 10 9 3 1 4 2 6 5
Anton Op.27
Weiss,
Prelude for Piano, No.11 1927 0 6 4 11 1 3 10 8 9 7 5 2
Adolph
Wuorinen,
Piano Concerto, No.3 1983 0 5 2 1 11 3 10 9 4 6 8 7
Charles
Wuorinen,
Second Sonata, Voice 2 1976 0 2 10 9 11 1 6 4 7 5 3 8
Charles
Wuorinen,
Second Sonata, Voice 3 1976 0 2 4 3 5 1 9 7 11 10 8 6
Charles
Wuorinen,
Sonata for Piano 1969 0 3 2 4 5 1 11 8 9 7 6 10
Charles
12-TONE ANTHOLOGY | 964
Wuorinen,
Third Piano Sonata 1986 0 7 5 2 10 9 3 4 8 11 1 6
Charles
An einen
Zenk, Ludwig Springbrunnnen, Op.6, 1935 0 2 3 7 6 10 9 1 5 11 4 8
No.1
Zillig,
Die Windsbraut 1940 0 3 7 9 10 2 5 11 1 4 6 8
Wilfried
Zimmerman,
Perspektiven 1955-56 0 2 10 8 4 6 3 1 5 7 11 9
Bernd Alois
Musical Notation
One or more interactive elements has been excluded from this version of the text. You can view
them online here: https://viva.pressbooks.pub/openmusictheory/?p=6498
Anthology
The full list of rows above presents examples of repertoire row usages.
The following sections interpret that list somewhat, looking for the presence of certain properties. For a
longer introduction to what these properties mean, please see the Row Properties chapter.
Re-used Rows
We begin with rows used more than once in this collection. This takes account of transposition (by
12-TONE ANTHOLOGY | 966
comparing P0 forms), but not inversion or retrograde equivalence. This list is short and largely limited to
“famous” rows like the so-called “mother” chord (Berg, Ginastera, Klein) and cases of homage such as
the Boulez-Messiaen and Payne-Lutyens pairs.
1. [0, 3, 11, 2, 10, 1, 7, 4, 8, 5, 9, 6]: Babbitt, Milton: Composition for Four Instruments; Schwantner,
Joseph: In Aeternum (Derived Row)
2. [0, 1, 11, 2, 10, 3, 9, 8, 4, 6, 7, 5]: Babbitt, Milton: Relata I; Babbitt, Milton: Relata II
3. [0, 8, 1, 10, 9, 11, 5, 3, 4, 7, 2, 6]: Babbitt, Milton: Semi-simple variations; Stockhausen, Karlheinz:
Gruppen; Stockhausen, Karlheinz: Klavierstück IX; Stockhausen, Karlheinz: Klavierstück VII;
Stockhausen, Karlheinz: Klavierstück X
4. [0, 3, 11, 4, 1, 2, 8, 10, 5, 9, 7, 6]: Babbitt, Milton: String Quartet, No.2; Morris, Robert:
Roundelay, row 5
5. [0, 3, 6, 9, 11, 2, 5, 8, 10, 1, 4, 7]: Bach, Johann Sebastian: Chromatische Fantasie; Panufnik,
Andrzej: Sinfonia di Sfere (Symphony, No.5), Chord 2
6. [0, 3, 4, 7, 8, 11, 1, 10, 9, 6, 5, 2]: Baker, David: “Status Symbol” from “The Black Experience”;
Seiber, Mátyás: Ulysses; Spinner, Leopold: String Quartet, No.2, Op.7
7. [0, 8, 4, 11, 3, 7, 1, 9, 5, 10, 2, 6]: Barber, Samuel: Piano Sonata, Op.26; Slonimsky, Nicholas: No.
1242a Mutually Exclusive Diminished-Seventh Chords (Twelve-Tone Spirals)
8. [0, 11, 7, 4, 2, 9, 3, 8, 10, 1, 5, 6]: Berg, Alban: Lyric Suite, Primary Row / mvt I; Berg, Alban:
Schliesse mir die Augen Beide; Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row
Class III; Klein, Fritz: Die Maschine: Eine extonale Selbstsatire, Op.1; Klein, Fritz Heinrich:
Variationen, Op.14; Slonimsky, Nicholas: No. 1317 Invertible Dodecaphonic Progressions – With all
Different Intervals. (Mother Chord)
9. [0, 2, 4, 5, 7, 9, 6, 8, 10, 11, 1, 3]: Berg, Alban: Lyric Suite, mvt I; Eisler, Hanns: Der Zweck der
Musik; Slonimsky, Nicholas: No. 1293a Two Major Hexachords (Miscellaneous Dodecaphonic
Patterns)
10. [0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11]: Boulez, Pierre: Le Marteau sans Maître, cycle of Bourreaux de
solitude; Lackner, Peter: INITIUM TRIPLEX. 28. Juni 2016; für drei Tasteninstrumente; Lackner,
Peter: Kanon für drei Klaviere. 28. 6. 2016; Slonimsky, Nicholas: No. 648-654 Permutations
(Semitone Progression; Equal Division of One Octave into Twelve Parts); Wolpe, Stefan: Four
Studies on Basic Rows, No.4, “Basic Row” 1
11. [0, 11, 6, 5, 4, 3, 1, 10, 9, 7, 2, 8]: Boulez, Pierre: Structures Ia; Messiaen, Olivier: Mode de valeurs
et d’intensités, Series 1
12. [0, 5, 2, 7, 4, 9, 6, 11, 8, 1, 10, 3]: Britten, Benjamin: The Turn of the Screw; Lackner, Peter: Kanon
T2 à 6; Slonimsky, Nicholas: No. 1219a Fourths (Twelve-Tone Patterns); Slonimsky, Nicholas: No.
572 Ultrapolation of One Note (Whole-Tone Progression; Equal Division of One Octave into Six
Parts); Wolpe, Stefan: Four Studies on Basic Rows, No.4, “Basic Row” 5
967 | 12-TONE ANTHOLOGY
13. [0, 8, 4, 3, 11, 7, 6, 2, 10, 9, 5, 1]: Carter, Elliott: String Quartet, No.2 (sketch) 2; Slonimsky,
Nicholas: No. 1269b Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually
Exclusive Triads); Slonimsky, Nicholas: No. 407 Ultrapolation of Two Notes (Sesquitone
Progression; Equal Division of One Octave into Four Parts); Slonimsky, Nicholas: No. 469
Infrapolation of Two Notes (Sesquitone Progression; Equal Division of One Octave into Four Parts);
Slonimsky, Nicholas: No. 512 Infra-Ultrapolation (Sesquitone Progression; Equal Division of One
Octave into Four Parts)
14. [0, 1, 5, 8, 10, 4, 3, 7, 9, 2, 11, 6]: Dallapiccola, Luigi: Canti di Liberazione; Dallapiccola, Luigi:
Quaderno musicale di Annalibera; Dallapiccola, Luigi: Variazioni per orchestra
15. [0, 6, 11, 10, 1, 3, 5, 8, 7, 2, 4, 9]: Davies, Peter Maxwell: Five Pieces for Piano, Op.2, No.1;
Davies, Peter Maxwell: Five Pieces for Piano, Op.2, No.1 (first row)
16. [0, 11, 2, 1, 4, 3, 6, 5, 8, 7, 10, 9]: Eisler, Hanns: Praeludium und Fuge über B-A-C-H for String
Trio, Op.46; Slonimsky, Nicholas: No. 578 Ultrapolation of One Note (Whole-Tone Progression;
Equal Division of One Octave into Six Parts); Slonimsky, Nicholas: No. 579 Ultrapolation of One
Note (Whole-Tone Progression; Equal Division of One Octave into Six Parts); Wolpe, Stefan: Four
Studies on Basic Rows, No.4, “Basic Row” 11
17. [0, 11, 1, 10, 2, 9, 3, 8, 4, 7, 5, 6]: Fine, Vivian: Chaconne for piano; Ginastera, Alberto: Quintet,
Op.29, Row Class VII S; Slonimsky, Nicholas: No. 1232a (Twelve-Tone Spirals); Slonimsky,
Nicholas: No. 1233a (Twelve-Tone Spirals); Slonimsky, Nicholas: No. 1234a (Twelve-Tone Spirals);
Slonimsky, Nicholas: No. 1235a (Twelve-Tone Spirals); Slonimsky, Nicholas: No. 1318 Invertible
Dodecaphonic Progressions – With all Different Intervals. (Grandmother Chord)
18. [0, 9, 3, 7, 4, 10, 2, 6, 1, 8, 11, 5]: Florey, Hans: Griechisch-lateinisches Quadrat der Ordnung 4 mit
Fuge in Klangnotation; Hauer, Josef Matthias: Tanz [Zwölftonspiel] im langsamen 3/4 Takt für zwei
Violinen, zwei Bratschen und Klavier zu zwei Händen; Hauer, Josef Matthias: Zwölftonmusik
[Zwölftonspiel] für Klavier zu vier Händen. Februar 1959 (Fragment)
19. [0, 1, 4, 6, 5, 3, 11, 10, 9, 7, 8, 2]: Florey, Hans: Kanonvariationen; Hauer, Josef Matthias: 1.
canonic Example from the theoretical work ‘Zwölftontechnik’
20. [0, 4, 6, 3, 8, 9, 7, 2, 1, 5, 11, 10]: Florey, Hans: Kleiner Doppelkanon; Florey, Hans: Magisches
Quadrat der Ordnung 3
21. [0, 10, 1, 7, 4, 6, 5, 8, 3, 9, 2, 11]: Florey, Hans: Magischer Würfel mit 6 Spiegelpunkten; Florey,
Hans: Sechs Kanonzyklen einunddesselben magischen Quadrates
22. [0, 5, 1, 4, 2, 3, 9, 8, 10, 7, 11, 6]: Gielen, Michael: Six Songs, for bass, violin, viola, clarinet, bass
clarinet, and piano; Lang, Bernhard: Der Reigen; Slonimsky, Nicholas: No. 1310 Invertible
Dodecaphonic Progressions – With all Different Intervals
23. [0, 11, 2, 3, 4, 1, 6, 5, 8, 9, 10, 7]: Ginastera, Alberto: Don Rodrigo, Op.31, Row Class 2; Ginastera,
Alberto: Violin Concerto, Op.30
24. [0, 11, 1, 8, 2, 7, 5, 6, 4, 9, 3, 10]: Ginastera, Alberto: Quintet, Op.29, Row Class III 2; Ginastera,
12-TONE ANTHOLOGY | 968
Klavier; Hauer, Josef Matthias: Zwölftonspiel 31. August 1948; für Violine und Klavier; 2. Fassung;
Hauer, Josef Matthias: Zwölftonspiel für Violine und Cembalo [Klavier]. 27. August 1948
36. [0, 4, 2, 9, 10, 6, 11, 1, 7, 3, 8, 5]: Hauer, Josef Matthias: Zwölftonspiel 5. September 1957; für
Violine, Bratsche und Klavier; Hauer, Josef Matthias: Zwölftonspiel 9. September 1957; für vier
Solostimmen [S, A, T, B], Violine, Bratsche und Klavier
37. [0, 10, 7, 2, 8, 6, 3, 4, 9, 11, 1, 5]: Hauer, Josef Matthias: Zwölftonspiel für Flöte, Horn, Violine,
Bratsche, Cello und Klavier; Hauer, Josef Matthias: Zwölftonspiel für Violine und Klavier; Hauer,
Josef Matthias: Zwölftonspiel für zwei Violinen, Bratsche und Cello (‘Ins Räumliche übertragen’). 3.
September 1953; Hauer, Josef Matthias: Zwölftonspiel in drei Teilen für zwei Violinen, Bratsche
und Cello. 31. Juli 1953
38. [0, 6, 11, 4, 2, 9, 3, 1, 5, 7, 10, 8]: Hauer, Josef Matthias: Zwölftonspiel für Klavier. 11. Juni 1955;
Hauer, Josef Matthias: Zwölftonspiel für Klavier zu vier Händen. Mai 1955
39. [0, 5, 7, 4, 6, 1, 9, 3, 8, 11, 10, 2]: Hauer, Josef Matthias: Zwölftonspiel für Orchester. 28. 9. 1954;
hauer, Josef Matthias: Zwölftonspiel für Oechester. 28. 9. 1954
40. [0, 1, 2, 3, 4, 5, 11, 10, 9, 8, 7, 6]: Hendler, Maximilian: ‘Die vollständige Ordnung der
symmetrischen zwölftönigen Modi’, No.1; Slonimsky, Nicholas: No. 642 Permutations (Semitone
Progression; Equal Division of One Octave into Twelve Parts)
41. [0, 4, 3, 11, 10, 9, 1, 7, 8, 6, 2, 5]: Krenek, Ernst: Studies in Counterpoint; Krenek, Ernst: Studies in
Counterpoint (i); Krenek, Ernst: Suite, Op.84 for solo cello
42. [0, 3, 10, 4, 9, 11, 8, 7, 5, 1, 2, 6]: Krenek, Ernst: Studies in Counterpoint (ii); Krenek, Ernst:
Symeon, der Stylit
43. [0, 6, 3, 5, 9, 11, 7, 1, 4, 2, 10, 8]: Lackner, Peter: ‘Der Winter’; Lackner, Peter: Kanon für
Klavierquartett. 27. April 1991
44. [0, 10, 2, 6, 8, 4, 1, 9, 11, 3, 7, 5]: Lackner, Peter: ‘Euphorbia obesa’. Kanon für Oboe, Englischhorn
und Fagott.; Lackner, Peter: Kanon für zwei Violinen und Klavier. 1. Dezember 2004
45. [0, 3, 5, 11, 7, 10, 1, 8, 4, 9, 6, 2]: Lackner, Peter: ‘Lied des Harfenmädchens’ für Frauenstimme
und Klavier; Lackner, Peter: ‘Lied des Harfenmädchens II’ für Flöte, Klarinette, Posaune, Violine,
Cello und Klavier
46. [0, 4, 2, 8, 11, 7, 10, 5, 9, 1, 3, 6]: Lackner, Peter: ‘Ständchen’ für zwei Violinen und zwei
Bratschen. 1913,2013; Lackner, Peter: Kanon für Violine, Bratsche und Klavier; Lackner, Peter:
Kanon á 4
47. [0, 3, 6, 2, 9, 11, 7, 4, 1, 5, 10, 8]: Lackner, Peter: ‘Wo ist der Freund’ (erstes Lied aus dem Zyklus
‘Wilde Erdbeeren’ für Singstimme und Klavier); Lackner, Peter: Moebius-Band für Flöte, Violine,
Violoncello und Klavier; Lackner, Peter: Moebius-Band für sechs Violinen
48. [0, 10, 2, 7, 9, 5, 11, 3, 1, 8, 4, 6]: Lackner, Peter: 2. Kanonzyklus; Lackner, Peter: Kanon für Flöte
und Elektronik. Februar 1999
49. [0, 6, 8, 10, 1, 3, 5, 11, 9, 7, 4, 2]: Lackner, Peter: 3. Kanonzyklus; Lackner, Peter: Kanon für
12-TONE ANTHOLOGY | 970
Klavier
50. [0, 5, 3, 7, 11, 1, 9, 4, 6, 2, 10, 8]: Lackner, Peter: 4. Kanonzyklus; Lackner, Peter: Kanon für Flöte,
Akkordeon, zwei Violinen, Bratsche und Klavier; Lackner, Peter: Kanon für Klavier. April 2000
51. [0, 8, 10, 4, 2, 6, 9, 1, 11, 5, 7, 3]: Lackner, Peter: KANON für A, O & Gsellmanns Weltmaschine.
8. Oktober 1958,2008; Lackner, Peter: Kanon für Streichquartett. 22.September 2003
52. [0, 2, 7, 3, 5, 10, 6, 8, 1, 9, 11, 4]: Lackner, Peter: Kanon T3 à 4; Slonimsky, Nicholas: No. 499
Inter-Ultrapolation (Sesquitone Progression; Equal Division of One Octave into Four Parts)
53. [0, 2, 9, 10, 6, 5, 1, 11, 4, 3, 7, 8]: Lackner, Peter: Kanon für Cello und Klavier; Lackner, Peter:
Kanon für Klavier. 5. April 1989; Lackner, Peter: Kanon für Violine und Violoncello
54. [0, 1, 10, 7, 9, 4, 5, 11, 8, 6, 2, 3]: Lackner, Peter: Kanon für Klavier zu vier Händen. Frühling
1984; Lackner, Peter: Kanon für zwei Violinen und Klavier. Frühjahr 1984
55. [0, 11, 3, 10, 6, 2, 7, 8, 4, 9, 1, 5]: Lackner, Peter: Kanon für acht Instrumente. Dezember 1991,
März 2007; Lackner, Peter: Kanon für drei Bratschen
56. [0, 4, 8, 11, 3, 7, 10, 2, 6, 9, 1, 5]: Liszt, Franz: Eine Faust Symphonie; Panufnik, Andrzej: Sinfonia
di Sfere (Symphony, No.5), Chord 1; Slonimsky, Nicholas: No. 1271a Quadritonal Arpeggios
(Division of Twelve Tones into Four Mutually Exclusive Triads)
57. [0, 7, 5, 2, 10, 9, 3, 4, 8, 11, 1, 6]: Luo, Zhong-Rong: Chang’e; Slonimsky, Nicholas: No. 1246a
Crossing Fourths (Crossing Intervals); Wuorinen, Charles: Third Piano Sonata
58. [0, 2, 7, 5, 10, 8, 6, 3, 1, 11, 9, 4]: Luo, Zhong-Rong: Dusk, row 1; Luo, Zhong-Rong: Evening
59. [0, 2, 5, 7, 4, 11, 6, 8, 1, 3, 9, 10]: Luo, Zhong-Rong: Sonatina, mvt 2; Luo, Zhong-Rong: String
Quartet, No.3, row 2
60. [0, 6, 5, 11, 10, 4, 3, 9, 8, 2, 1, 7]: Lutosławski, Witold: Musique Funébre (Funeral Music);
Schnittke, Alfred: Piano Sonata, No.1, mvt 2, mm. 72-76; Slonimsky, Nicholas: No. 875
Infrapolation of One Note (Quinquetone Progression; Equal Division of Five Octaves into Six Parts)
61. [0, 6, 11, 10, 8, 7, 9, 1, 3, 2, 4, 5]: Lutyens, Elisabeth: The Valley of Hatsu’se; Payne, Antony:
Miniature Variations on a Theme of E.L.
62. [0, 7, 2, 3, 6, 9, 10, 1, 4, 5, 8, 11]: Maderna, Bruno: Quartetto; Maderna, Bruno: Streichquartett
(Basisreihe 1)
63. [0, 1, 11, 2, 10, 3, 9, 4, 8, 5, 7, 6]: Messiaen, Olivier: Livre d’orgue; Nono, Luigi: Canti per tredeci;
Nono, Luigi: Cori di Didone; Nono, Luigi: Il canto sospeso; Nono, Luigi: La terra e la compagna
(sketch), Series 1; Zimmermann, Bernd Alois: ‘Ich wandte mich um und sah alles Unrecht das
geschah unter der Sonne’
64. [0, 1, 4, 2, 9, 5, 11, 3, 8, 10, 7, 6]: Morris, Robert: Knot Lilacs; Morris, Robert: Not Lilacs;
Slonimsky, Nicholas: No. 1302 Invertible Dodecaphonic Progressions – With all Different Intervals
65. [0, 6, 1, 7, 2, 8, 3, 9, 4, 10, 5, 11]: Nono, Luigi: Ha venido; Wolpe, Stefan: Four Studies on Basic
Rows, No.4, “Basic Row” 6
66. [0, 1, 3, 2, 4, 5, 7, 6, 8, 9, 11, 10]: Nono, Luigi: Intolleranza, Tenor 2; Slonimsky, Nicholas: No. 637
971 | 12-TONE ANTHOLOGY
Permutations (Semitone Progression; Equal Division of One Octave into Twelve Parts)
67. [0, 1, 9, 8, 4, 5, 7, 6, 10, 11, 3, 2]: Nono, Luigi: Variazioni canoniche sulla serie dell’Op.41 di
Arnold Schönberg; Schoenberg, Arnold: Ode To Napoleon Buonaparte, Op.41 (view 2)
68. [0, 7, 2, 9, 4, 11, 6, 1, 8, 3, 10, 5]: Sande, Henrik: 4032 Töne für Klavier sechshändig; Slonimsky,
Nicholas: No. 1220a Fifths (Twelve-Tone Patterns); Slonimsky, Nicholas: No. 1221a Fifths
(Twelve-Tone Patterns); Slonimsky, Nicholas: No. 1222aFifths (Twelve-Tone Patterns); Slonimsky,
Nicholas: No. 574 Ultrapolation of One Note (Whole-Tone Progression; Equal Division of One
Octave into Six Parts); Wolpe, Stefan: Four Studies on Basic Rows, No.4, “Basic Row” 7
69. [0, 2, 3, 6, 7, 11, 1, 9, 4, 8, 5, 10]: Santoro, Claudio: Invenções a duas vozes (Two-Part inventions);
Santoro, Claudio: Sonata 1942
70. [0, 5, 1, 4, 10, 8, 11, 9, 3, 6, 2, 7]: Schnittke, Alfred: Concerto Grosso, No.3, monogram 1;
Schnittke, Alfred: Concerto Grosso, No.3
71. [0, 3, 6, 9, 10, 1, 4, 7, 8, 11, 2, 5]: Schnittke, Alfred: Sonata, No.2 for Cello and Piano, mvt 2, new
row; Slonimsky, Nicholas: No. 813 Interpolation of Three Notes (Quinquetone Progression; Equal
Division of Five Octaves into Six Parts)
72. [0, 11, 9, 7, 2, 4, 6, 5, 3, 1, 8, 10]: Slonimsky, Nicholas: No. 1237a Converging and Diverging
Whole-Tone Scales (Twelve-Tone Spirals); Slonimsky, Nicholas: No. 1297a Two Major Hexachords
(Miscellaneous Dodecaphonic Patterns)
73. [0, 11, 2, 9, 4, 7, 6, 5, 8, 3, 10, 1]: Slonimsky, Nicholas: No. 1239a Converging and Diverging
Whole-Tone Scales (Twelve-Tone Spirals); Slonimsky, Nicholas: No. 1250a Crossing Seconds
(Crossing Intervals)
74. [0, 3, 6, 9, 1, 4, 7, 10, 2, 5, 8, 11]: Slonimsky, Nicholas: No. 1265 Quadritonal Arpeggios (Division
of Twelve Tones into Four Mutually Exclusive Triads); Slonimsky, Nicholas: No. 1265a Quadritonal
Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads)
75. [0, 4, 8, 9, 1, 5, 6, 10, 2, 3, 7, 11]: Slonimsky, Nicholas: No. 1269a Quadritonal Arpeggios (Division
of Twelve Tones into Four Mutually Exclusive Triads); Slonimsky, Nicholas: No. 753 Interpolation
of Two Notes (Sesquiquadritone Progression; Equal Division of Three Octaves into Four Parts)
76. [0, 8, 4, 1, 9, 5, 2, 10, 6, 3, 11, 7]: Slonimsky, Nicholas: No. 1271b Quadritonal Arpeggios (Division
of Twelve Tones into Four Mutually Exclusive Triads); Wolpe, Stefan: Four Studies on Basic Rows,
No.4, “Basic Row” 8
77. [0, 11, 1, 10, 2, 9, 6, 5, 7, 4, 8, 3]: Slonimsky, Nicholas: No. 1298a Two Major Hexachords
(Miscellaneous Dodecaphonic Patterns); Slonimsky, Nicholas: No. 1300a Two Major Hexachords
(Miscellaneous Dodecaphonic Patterns)
78. [0, 3, 8, 4, 7, 5, 6, 9, 2, 10, 1, 11]: Slonimsky, Nicholas: No. 1298b Two Major Hexachords
(Miscellaneous Dodecaphonic Patterns); Slonimsky, Nicholas: No. 1300b Two Major Hexachords
(Miscellaneous Dodecaphonic Patterns)
79. [0, 3, 9, 6, 4, 7, 1, 10, 8, 11, 5, 2]: Slonimsky, Nicholas: No. 388 Miscellaneous Patterns
12-TONE ANTHOLOGY | 972
[Diminished Seventh Chords] (Ditone Progression; Equal Division of One Octave into Three Parts);
Slonimsky, Nicholas: No. 390 Miscellaneous Patterns [Diminished Seventh Chords] (Ditone
Progression; Equal Division of One Octave into Three Parts)
80. [0, 9, 3, 6, 4, 1, 7, 10, 8, 5, 11, 2]: Slonimsky, Nicholas: No. 389 Miscellaneous Patterns
[Diminished Seventh Chords] (Ditone Progression; Equal Division of One Octave into Three Parts);
Slonimsky, Nicholas: No. 391 Miscellaneous Patterns [Diminished Seventh Chords] (Ditone
Progression; Equal Division of One Octave into Three Parts)
81. [0, 8, 7, 3, 11, 10, 6, 2, 1, 9, 5, 4]: Slonimsky, Nicholas: No. 410 Ultrapolation of Two Notes
(Sesquitone Progression; Equal Division of One Octave into Four Parts); Slonimsky, Nicholas: No.
466 Infrapolation of Two Notes (Sesquitone Progression; Equal Division of One Octave into Four
Parts)
82. [0, 10, 5, 3, 1, 8, 6, 4, 11, 9, 7, 2]: Slonimsky, Nicholas: No. 415 Ultrapolation of Two Notes
(Sesquitone Progression; Equal Division of One Octave into Four Parts); Slonimsky, Nicholas: No.
505 Infra-Ultrapolation (Sesquitone Progression; Equal Division of One Octave into Four Parts)
83. [0, 11, 4, 3, 2, 7, 6, 5, 10, 9, 8, 1]: Slonimsky, Nicholas: No. 417 Ultrapolation of Two Notes
(Sesquitone Progression; Equal Division of One Octave into Four Parts); Slonimsky, Nicholas: No.
500 Infra-Ultrapolation (Sesquitone Progression; Equal Division of One Octave into Four Parts)
84. [0, 11, 7, 3, 2, 10, 6, 5, 1, 9, 8, 4]: Slonimsky, Nicholas: No. 420 Ultrapolation of Two Notes
(Sesquitone Progression; Equal Division of One Octave into Four Parts); Slonimsky, Nicholas: No.
456 Infrapolation of Two Notes (Sesquitone Progression; Equal Division of One Octave into Four
Parts); Slonimsky, Nicholas: No. 503 Infra-Ultrapolation (Sesquitone Progression; Equal Division of
One Octave into Four Parts)
85. [0, 10, 8, 3, 1, 11, 6, 4, 2, 9, 7, 5]: Slonimsky, Nicholas: No. 459 Infrapolation of Two Notes
(Sesquitone Progression; Equal Division of One Octave into Four Parts); Slonimsky, Nicholas: No.
508 Infra-Ultrapolation (Sesquitone Progression; Equal Division of One Octave into Four Parts)
86. [0, 6, 7, 8, 9, 10, 11, 5, 4, 3, 2, 1]: Slonimsky, Nicholas: No. 643 Permutations (Semitone
Progression; Equal Division of One Octave into Twelve Parts); Slonimsky, Nicholas: No. 644
Permutations (Semitone Progression; Equal Division of One Octave into Twelve Parts)
87. [0, 2, 7, 9, 11, 4, 6, 8, 1, 3, 5, 10]: Slonimsky, Nicholas: No. 749 Interpolation of Two Notes
(Sesquiquadritone Progression; Equal Division of Three Octaves into Four Parts); Slonimsky,
Nicholas: No. 799 Infra-Infrapolation (Sesquiquadritone Progression; Equal Division of Three
Octaves into Four Parts)
88. [0, 8, 1, 11, 10, 7, 5, 9, 4, 6, 3, 2]: Stockhausen, Karlheinz: Klavierstück “V.5 or Pre-VI” (row of
original 1954 version); Stockhausen, Karlheinz: Klavierstück VIII
89. [0, 11, 3, 2, 9, 1, 7, 8, 4, 10, 5, 6]: Zappa, Frank: Brown Shoes Don’t Make It; Zappa, Frank: Waltz
973 | 12-TONE ANTHOLOGY
All-Interval
All-interval rows go through all 11 different intervals (1, 2, 3, … 11) between neighbouring pitches in the
row.
56. Slonimsky, Nicholas: No. 1310 Invertible Dodecaphonic Progressions – With all Different Intervals,
[0, 5, 1, 4, 2, 3, 9, 8, 10, 7, 11, 6]
57. Slonimsky, Nicholas: No. 1311 Invertible Dodecaphonic Progressions – With all Different Intervals,
[0, 7, 9, 10, 2, 5, 11, 8, 4, 3, 1, 6]
58. Slonimsky, Nicholas: No. 1312 Invertible Dodecaphonic Progressions – With all Different Intervals,
[0, 7, 10, 2, 3, 5, 11, 9, 8, 4, 1, 6]
59. Slonimsky, Nicholas: No. 1313 Invertible Dodecaphonic Progressions – With all Different Intervals,
[0, 7, 11, 2, 4, 3, 9, 10, 8, 5, 1, 6]
60. Slonimsky, Nicholas: No. 1314 Invertible Dodecaphonic Progressions – With all Different Intervals.
(White-Key Row of Six Notes), [0, 2, 7, 4, 5, 9, 3, 11, 10, 1, 8, 6]
61. Slonimsky, Nicholas: No. 1315 Invertible Dodecaphonic Progressions – With all Different Intervals.
(White-Key Row of Six Notes), [0, 4, 5, 2, 7, 9, 3, 1, 8, 11, 10, 6]
62. Slonimsky, Nicholas: No. 1317 Invertible Dodecaphonic Progressions – With all Different Intervals.
(Mother Chord), [0, 11, 7, 4, 2, 9, 3, 8, 10, 1, 5, 6]
63. Slonimsky, Nicholas: No. 1318 Invertible Dodecaphonic Progressions – With all Different Intervals.
(Grandmother Chord), [0, 11, 1, 10, 2, 9, 3, 8, 4, 7, 5, 6]
64. Stockhausen, Karlheinz: Gruppen, [0, 8, 1, 10, 9, 11, 5, 3, 4, 7, 2, 6]
65. Stockhausen, Karlheinz: Klavierstück IX, [0, 8, 1, 10, 9, 11, 5, 3, 4, 7, 2, 6]
66. Stockhausen, Karlheinz: Klavierstück VII, [0, 8, 1, 10, 9, 11, 5, 3, 4, 7, 2, 6]
67. Stockhausen, Karlheinz: Klavierstück X, [0, 8, 1, 10, 9, 11, 5, 3, 4, 7, 2, 6]
68. Wuorinen, Charles: Third Piano Sonata, [0, 7, 5, 2, 10, 9, 3, 4, 8, 11, 1, 6]
69. Zimmermann, Bernd Alois: ‘Ich wandte mich um und sah alles Unrecht das geschah unter der
Sonne’, [0, 1, 11, 2, 10, 3, 9, 4, 8, 5, 7, 6]
Self Retrograde
We turn now to classes of row symmetry, beginning with self retrograde rows for which the prime form is
transposition-equivalent to its retrograde. The section after this one deals with retrograde inversion
symmetry, and rotational symmetry is included as part of the following sections on derived rows (starting
with “6x Same Dyad”).
37. Lang, Bernhard: Hemma (Music Theatre Hemma Klagenfurt 2015), [0, 5, 10, 2, 3, 1, 7, 9, 8, 4, 11,
6]
38. Lang, Bernhard: Monadologie XIII a; ‘The Saucy Maid’, [0, 1, 5, 2, 4, 9, 3, 10, 8, 11, 7, 6]
39. Lang, Klaus: ‘Von der Ligurischen Küste zum Trasimenischen See’; Trauermusik für Violine und
Klavier, [0, 5, 9, 8, 10, 7, 1, 4, 2, 3, 11, 6]
40. Luo, Zhong-Rong: Chang’e, [0, 7, 5, 2, 10, 9, 3, 4, 8, 11, 1, 6]
41. Messiaen, Olivier: Livre d’orgue, [0, 1, 11, 2, 10, 3, 9, 4, 8, 5, 7, 6]
42. Morris, Robert: Knot Lilacs, [0, 1, 4, 2, 9, 5, 11, 3, 8, 10, 7, 6]
43. Morris, Robert: Not Lilacs, [0, 1, 4, 2, 9, 5, 11, 3, 8, 10, 7, 6]
44. Nono, Luigi: Canti per tredeci, [0, 1, 11, 2, 10, 3, 9, 4, 8, 5, 7, 6]
45. Nono, Luigi: Cori di Didone, [0, 1, 11, 2, 10, 3, 9, 4, 8, 5, 7, 6]
46. Nono, Luigi: Il canto sospeso, [0, 1, 11, 2, 10, 3, 9, 4, 8, 5, 7, 6]
47. Nono, Luigi: La terra e la compagna (sketch), Series 1, [0, 1, 11, 2, 10, 3, 9, 4, 8, 5, 7, 6]
48. Riegebauer, Sigrid: Toccata, [0, 3, 1, 2, 11, 10, 4, 5, 8, 7, 9, 6]
49. Schnittke, Alfred: Concerto Grosso, No.3, monogram 3, [0, 11, 2, 1, 3, 4, 10, 9, 7, 8, 5, 6]
50. Schnittke, Alfred: Sonata, No.2 for Cello and Piano, mvt 2, [0, 2, 3, 1, 4, 5, 11, 10, 7, 9, 8, 6]
51. Schnittke, Alfred: String Quartet, No.1, [0, 2, 1, 10, 3, 11, 5, 9, 4, 7, 8, 6]
52. Schwantner, Joseph: In Aeternum (Derived Row), [0, 3, 11, 2, 10, 1, 7, 4, 8, 5, 9, 6]
53. Seiber, Mátyás: String Quartet, No.2, [0, 2, 3, 1, 4, 11, 5, 10, 7, 9, 8, 6]
54. Slonimsky, Nicholas: No. 1215a Fourths (Twelve-Tone Patterns), [0, 5, 10, 3, 8, 1, 7, 2, 9, 4, 11, 6]
55. Slonimsky, Nicholas: No. 1229a Major Sevenths (Twelve-Tone Patterns), [0, 11, 10, 9, 8, 7, 1, 2, 3,
4, 5, 6]
56. Slonimsky, Nicholas: No. 1231a Major Sevenths (Twelve-Tone Patterns), [0, 11, 4, 3, 8, 7, 1, 2, 9,
10, 5, 6]
57. Slonimsky, Nicholas: No. 1232a (Twelve-Tone Spirals), [0, 11, 1, 10, 2, 9, 3, 8, 4, 7, 5, 6]
58. Slonimsky, Nicholas: No. 1233a (Twelve-Tone Spirals), [0, 11, 1, 10, 2, 9, 3, 8, 4, 7, 5, 6]
59. Slonimsky, Nicholas: No. 1234a (Twelve-Tone Spirals), [0, 11, 1, 10, 2, 9, 3, 8, 4, 7, 5, 6]
60. Slonimsky, Nicholas: No. 1235a (Twelve-Tone Spirals), [0, 11, 1, 10, 2, 9, 3, 8, 4, 7, 5, 6]
61. Slonimsky, Nicholas: No. 1242a Mutually Exclusive Diminished-Seventh Chords (Twelve-Tone
Spirals), [0, 8, 4, 11, 3, 7, 1, 9, 5, 10, 2, 6]
62. Slonimsky, Nicholas: No. 1245a Crossing Fifths (Crossing Intervals), [0, 5, 7, 10, 2, 3, 9, 8, 4, 1, 11,
6]
63. Slonimsky, Nicholas: No. 1246a Crossing Fourths (Crossing Intervals), [0, 7, 5, 2, 10, 9, 3, 4, 8, 11,
1, 6]
64. Slonimsky, Nicholas: No. 1301 Invertible Dodecaphonic Progressions – With all Different Intervals,
[0, 1, 4, 8, 3, 5, 11, 9, 2, 10, 7, 6]
65. Slonimsky, Nicholas: No. 1302 Invertible Dodecaphonic Progressions – With all Different Intervals,
12-TONE ANTHOLOGY | 978
85. Spinner, Leopold: Sonatina for Cello and Piano, Op.26, [0, 1, 11, 2, 4, 3, 9, 10, 8, 5, 7, 6]
86. Spinner, Leopold: Sonatina for Wind Instruments, Op.23, [0, 9, 1, 5, 4, 2, 8, 10, 11, 7, 3, 6]
87. Stockhausen, Karlheinz: Gruppen, [0, 8, 1, 10, 9, 11, 5, 3, 4, 7, 2, 6]
88. Stockhausen, Karlheinz: Klavierstück IX, [0, 8, 1, 10, 9, 11, 5, 3, 4, 7, 2, 6]
89. Stockhausen, Karlheinz: Klavierstück VII, [0, 8, 1, 10, 9, 11, 5, 3, 4, 7, 2, 6]
90. Stockhausen, Karlheinz: Klavierstück X, [0, 8, 1, 10, 9, 11, 5, 3, 4, 7, 2, 6]
91. Webern, Anton: Symphony, Op.21, [0, 3, 2, 1, 5, 4, 10, 11, 7, 8, 9, 6]
92. Wuorinen, Charles: Third Piano Sonata, [0, 7, 5, 2, 10, 9, 3, 4, 8, 11, 1, 6]
93. Zimmermann, Bernd Alois: ‘Ich wandte mich um und sah alles Unrecht das geschah unter der
Sonne’, [0, 1, 11, 2, 10, 3, 9, 4, 8, 5, 7, 6]
20. Fano, Michel: Sonata for Two Pianos, [0, 6, 10, 7, 9, 8, 3, 2, 4, 1, 5, 11]
21. Finney, Ross Lee: Sonata Quasi una Fantasia, [0, 1, 3, 2, 4, 5, 6, 7, 9, 8, 10, 11]
22. Ginastera, Alberto: Don Rodrigo, Op.31, Row Class 4, [0, 9, 10, 11, 6, 5, 8, 7, 2, 3, 4, 1]
23. Ginastera, Alberto: Quintet, Op.29, Row Class III 1, [0, 11, 1, 8, 2, 7, 10, 3, 9, 4, 6, 5]
24. Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class III S, [0, 6, 11, 5, 8, 2, 7, 1,
4, 10, 3, 9]
25. Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class II 1, [0, 11, 10, 9, 8, 7, 6,
5, 4, 3, 2, 1]
26. Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class II 2, [0, 3, 6, 9, 2, 5, 8, 11,
4, 7, 10, 1]
27. Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class II 4, [0, 2, 1, 5, 3, 4, 7, 8,
6, 10, 9, 11]
28. Hartmann, Karl Amadeus: Symphony, No.4, [0, 1, 3, 2, 11, 4, 5, 10, 7, 6, 8, 9]
29. Krenek, Ernst: Lamentatio Jeremiae Prophetae, Op.93, row 3, [0, 1, 4, 6, 8, 10, 5, 7, 9, 11, 2, 3]
30. Krenek, Ernst: Lamentatio Jeremiae Prophetae, Op.93, row 6, [0, 2, 4, 6, 7, 10, 5, 8, 9, 11, 1, 3]
31. Krenek, Ernst: Symphonic Elegy for String Orchestra, Op.105, [0, 1, 9, 11, 10, 2, 3, 7, 6, 8, 4, 5]
32. Lackner, Peter: ‘Euphorbia obesa’. Kanon für Oboe, Englischhorn und Fagott., [0, 10, 2, 6, 8, 4, 1,
9, 11, 3, 7, 5]
33. Lackner, Peter: INITIUM TRIPLEX. 28. Juni 2016; für drei Tasteninstrumente, [0, 1, 2, 3, 4, 5, 6,
7, 8, 9, 10, 11]
34. Lackner, Peter: KANON für A, O & Gsellmanns Weltmaschine. 8. Oktober 1958,2008, [0, 8, 10, 4,
2, 6, 9, 1, 11, 5, 7, 3]
35. Lackner, Peter: Kanon T2 à 6, [0, 5, 2, 7, 4, 9, 6, 11, 8, 1, 10, 3]
36. Lackner, Peter: Kanon für Klavier. 15. Juni 1992, [0, 10, 3, 8, 6, 5, 2, 1, 11, 4, 9, 7]
37. Lackner, Peter: Kanon für Schwegel, diatonisches Hackbrett und Violine, [0, 8, 4, 10, 6, 2, 5, 1, 9, 3,
11, 7]
38. Lackner, Peter: Kanon für Streichquartett. 22.September 2003, [0, 8, 10, 4, 2, 6, 9, 1, 11, 5, 7, 3]
39. Lackner, Peter: Kanon für drei Klaviere. 28. 6. 2016, [0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11]
40. Lackner, Peter: Kanon für zwei Gitarren. September 2001, [0, 5, 3, 9, 11, 6, 7, 2, 4, 10, 8, 1]
41. Lackner, Peter: Kanon für zwei Violinen und Klavier. 1. Dezember 2004, [0, 10, 2, 6, 8, 4, 1, 9, 11,
3, 7, 5]
42. Lackner, Peter: TACET (drittes Lied aus dem Zyklus ‘Wilde Erdbeeren’), [0, 2, 9, 5, 8, 11, 4, 7, 10,
6, 1, 3]
43. Leibowitz, René: Trois pièces pour piano, Op.19, [0, 4, 3, 1, 2, 5, 6, 9, 10, 8, 7, 11]
44. Ligeti, György: Le Grand Macabre, [0, 6, 5, 11, 10, 4, 9, 3, 2, 8, 7, 1]
45. Liszt, Franz: Eine Faust Symphonie, [0, 4, 8, 11, 3, 7, 10, 2, 6, 9, 1, 5]
46. Luo, Zhong-Rong: String Quartet, No.2, [0, 3, 5, 10, 6, 8, 11, 1, 9, 2, 4, 7]
981 | 12-TONE ANTHOLOGY
47. Lutosławski, Witold: Musique Funébre (Funeral Music), [0, 6, 5, 11, 10, 4, 3, 9, 8, 2, 1, 7]
48. Maderna, Bruno: Improvvisazione N. 1, [0, 11, 4, 8, 3, 2, 7, 6, 1, 5, 10, 9]
49. Nono, Luigi: Ha venido, [0, 6, 1, 7, 2, 8, 3, 9, 4, 10, 5, 11]
50. Nono, Luigi: Intolleranza, Alto, [0, 6, 7, 1, 2, 8, 9, 3, 4, 10, 11, 5]
51. Nono, Luigi: Intolleranza, Baritone, [0, 2, 7, 9, 4, 6, 11, 1, 8, 10, 3, 5]
52. Nono, Luigi: Intolleranza, Tenor 1, [0, 6, 11, 5, 10, 4, 9, 3, 8, 2, 7, 1]
53. Nono, Luigi: Sarà dolce tacere, [0, 10, 5, 3, 8, 6, 1, 11, 4, 2, 9, 7]
54. Panufnik, Andrzej: Sinfonia di Sfere (Symphony, No.5), Chord 1, [0, 4, 8, 11, 3, 7, 10, 2, 6, 9, 1, 5]
55. Panufnik, Andrzej: Sinfonia di Sfere (Symphony, No.5), Chord 2, [0, 3, 6, 9, 11, 2, 5, 8, 10, 1, 4, 7]
56. Sande, Henrik: 4032 Töne für Klavier sechshändig, [0, 7, 2, 9, 4, 11, 6, 1, 8, 3, 10, 5]
57. Schnittke, Alfred: Concerto, No.2 for Violin and Chamber Orchestra, [0, 11, 1, 2, 10, 3, 4, 9, 5, 6,
8, 7]
58. Schnittke, Alfred: Concerto Grosso, No.3, (mvt 3, 4), row 6, [0, 11, 2, 1, 9, 10, 7, 8, 4, 3, 6, 5]
59. Schnittke, Alfred: Concerto Grosso, No.3, monogram 1, [0, 5, 1, 4, 10, 8, 11, 9, 3, 6, 2, 7]
60. Schnittke, Alfred: Concerto Grosso, No.3, [0, 5, 1, 4, 10, 8, 11, 9, 3, 6, 2, 7]
61. Schnittke, Alfred: Piano Sonata, No.1, mvt 2, mm. 72-76, [0, 6, 5, 11, 10, 4, 3, 9, 8, 2, 1, 7]
62. Schnittke, Alfred: Sonata, No.1 for Violin and Piano, mvt 1, [0, 3, 6, 10, 2, 11, 8, 5, 9, 1, 4, 7]
63. Schnittke, Alfred: Sonata, No.2 for Cello and Piano, mvt 2, new row, [0, 3, 6, 9, 10, 1, 4, 7, 8, 11, 2,
5]
64. Schnittke, Alfred: String Quartet, No.4, mvt 4, m.31, [0, 11, 9, 10, 8, 7, 6, 5, 3, 4, 2, 1]
65. Schnittke, Alfred: Viola Concerto, [0, 11, 5, 2, 1, 6, 3, 8, 7, 4, 10, 9]
66. Schoenberg, Arnold: Ode To Napoleon Buonaparte, Op.41 (view 1), [0, 11, 3, 4, 8, 7, 2, 1, 5, 6, 10,
9]
67. Schoenberg, Arnold: Serenade, mvt 5, “Tanzscene”, Op.24, [0, 1, 3, 6, 7, 9, 8, 10, 11, 2, 4, 5]
68. Schwantner, Joseph: …and the mountains rising nowhere, [0, 11, 8, 7, 4, 3, 2, 1, 10, 9, 6, 5]
69. Schwantner, Joseph: Elixir (Consortium VIII), m.22, [0, 1, 4, 5, 8, 9, 6, 7, 10, 11, 2, 3]
70. Schwantner, Joseph: Modus Caelestis (A), [0, 6, 7, 1, 11, 5, 4, 10, 8, 2, 3, 9]
71. Schwantner, Joseph: Modus Caelestis (m. 39), [0, 6, 11, 10, 5, 9, 4, 8, 3, 2, 7, 1]
72. Slonimsky, Nicholas: No. 1214a Thirds (Twelve-Tone Patterns), [0, 4, 8, 11, 3, 7, 6, 10, 2, 5, 9, 1]
73. Slonimsky, Nicholas: No. 1216a Foutths (Twelve-Tone Patterns), [0, 5, 10, 3, 7, 2, 9, 4, 8, 1, 6, 11]
74. Slonimsky, Nicholas: No. 1217a Fourths (Twelve-Tone Patterns), [0, 5, 10, 3, 11, 6, 1, 8, 4, 9, 2, 7]
75. Slonimsky, Nicholas: No. 1218a Fourths (Twelve-Tone Patterns), [0, 5, 10, 3, 8, 1, 6, 11, 4, 9, 2, 7]
76. Slonimsky, Nicholas: No. 1219a Fourths (Twelve-Tone Patterns), [0, 5, 2, 7, 4, 9, 6, 11, 8, 1, 10, 3]
77. Slonimsky, Nicholas: No. 1220a Fifths (Twelve-Tone Patterns), [0, 7, 2, 9, 4, 11, 6, 1, 8, 3, 10, 5]
78. Slonimsky, Nicholas: No. 1221a Fifths (Twelve-Tone Patterns), [0, 7, 2, 9, 4, 11, 6, 1, 8, 3, 10, 5]
79. Slonimsky, Nicholas: No. 1222aFifths (Twelve-Tone Patterns), [0, 7, 2, 9, 4, 11, 6, 1, 8, 3, 10, 5]
80. Slonimsky, Nicholas: No. 1224a Sixths (Twelve-Tone Patterns), [0, 9, 6, 3, 7, 10, 1, 4, 8, 5, 2, 11]
12-TONE ANTHOLOGY | 982
81. Slonimsky, Nicholas: No. 1254a Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 4, 7, 10, 2, 5, 8, 11, 3, 6, 9, 1]
82. Slonimsky, Nicholas: No. 1255a [Slonimsky: Moto Perpetuo] Quadritonal Arpeggios (Division of
Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 7, 10, 1, 6, 9, 2, 5, 8, 11, 3]
83. Slonimsky, Nicholas: No. 1258b Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 8, 5, 3, 11, 7, 2, 10, 6, 4, 1, 9]
84. Slonimsky, Nicholas: No. 1260a Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 4, 7, 10, 2, 6, 9, 1, 5, 8, 11, 3]
85. Slonimsky, Nicholas: No. 1265 Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 3, 6, 9, 1, 4, 7, 10, 2, 5, 8, 11]
86. Slonimsky, Nicholas: No. 1265a Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 3, 6, 9, 1, 4, 7, 10, 2, 5, 8, 11]
87. Slonimsky, Nicholas: No. 1266a Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 3, 6, 9, 2, 5, 8, 11, 4, 7, 10, 1]
88. Slonimsky, Nicholas: No. 1269a Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 4, 8, 9, 1, 5, 6, 10, 2, 3, 7, 11]
89. Slonimsky, Nicholas: No. 1269b Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 8, 4, 3, 11, 7, 6, 2, 10, 9, 5, 1]
90. Slonimsky, Nicholas: No. 1270a Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 4, 8, 10, 2, 6, 7, 11, 3, 5, 9, 1]
91. Slonimsky, Nicholas: No. 1270b Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 8, 4, 2, 10, 6, 3, 11, 7, 5, 1, 9]
92. Slonimsky, Nicholas: No. 1271a Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 4, 8, 11, 3, 7, 10, 2, 6, 9, 1, 5]
93. Slonimsky, Nicholas: No. 1271b Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 8, 4, 1, 9, 5, 2, 10, 6, 3, 11, 7]
94. Slonimsky, Nicholas: No. 1293a Two Major Hexachords (Miscellaneous Dodecaphonic Patterns),
[0, 2, 4, 5, 7, 9, 6, 8, 10, 11, 1, 3]
95. Slonimsky, Nicholas: No. 1296a Two Major Hexachords (Miscellaneous Dodecaphonic Patterns),
[0, 7, 8, 3, 4, 11, 6, 1, 2, 9, 10, 5]
96. Slonimsky, Nicholas: No. 230 Ultrapolation of Three Notes (Ditone Progression; Equal Division of
One Octave into Three Parts), [0, 6, 5, 11, 4, 10, 9, 3, 8, 2, 1, 7]
97. Slonimsky, Nicholas: No. 258 Infrapolation of Three Notes (Ditone Progression; Equal Division of
One Octave into Three Parts), [0, 11, 10, 9, 4, 3, 2, 1, 8, 7, 6, 5]
98. Slonimsky, Nicholas: No. 270 Infrapolation of Three Notes (Ditone Progression; Equal Division of
One Octave into Three Parts), [0, 10, 9, 7, 4, 2, 1, 11, 8, 6, 5, 3]
99. Slonimsky, Nicholas: No. 277 Infrapolation of Three Notes (Ditone Progression; Equal Division of
983 | 12-TONE ANTHOLOGY
118. Slonimsky, Nicholas: No. 736 Inter-Infra-Ultrapolation (Quadritone Progression; Equal Division of
Two Octaves into Three Parts), [0, 2, 7, 9, 8, 10, 3, 5, 4, 6, 11, 1]
119. Slonimsky, Nicholas: No. 753 Interpolation of Two Notes (Sesquiquadritone Progression; Equal
Division of Three Octaves into Four Parts), [0, 4, 8, 9, 1, 5, 6, 10, 2, 3, 7, 11]
120. Slonimsky, Nicholas: No. 793 Infra-Ultrapolation (Sesquiquadritone Progression; Equal Division of
Three Octaves into Four Parts), [0, 11, 10, 9, 8, 7, 6, 5, 4, 3, 2, 1]
121. Slonimsky, Nicholas: No. 813 Interpolation of Three Notes (Quinquetone Progression; Equal
Division of Five Octaves into Six Parts), [0, 3, 6, 9, 10, 1, 4, 7, 8, 11, 2, 5]
122. Slonimsky, Nicholas: No. 822 Ultrapolation of One Note (Quinquetone Progression; Equal Division
of Five Octaves into Six Parts), [0, 11, 10, 9, 8, 7, 6, 5, 4, 3, 2, 1]
123. Slonimsky, Nicholas: No. 823 Ultrapolation of One Note (Quinquetone Progression; Equal Division
of Five Octaves into Six Parts), [0, 1, 10, 11, 8, 9, 6, 7, 4, 5, 2, 3]
124. Slonimsky, Nicholas: No. 824 Infrapolation of One Note (Quinquetone Progression; Equal Division
of Five Octaves into Six Parts), [0, 11, 10, 9, 8, 7, 6, 5, 4, 3, 2, 1]
125. Slonimsky, Nicholas: No. 875 Infrapolation of One Note (Quinquetone Progression; Equal Division
of Five Octaves into Six Parts), [0, 6, 5, 11, 10, 4, 3, 9, 8, 2, 1, 7]
126. Slonimsky, Nicholas: No. 903 Inter-Ultrapolation (Quinquetone Progression; Equal Division of Five
Octaves into Six Parts), [0, 4, 8, 5, 9, 1, 10, 2, 6, 3, 7, 11]
127. Slonimsky, Nicholas: No. 997 Infra-Interpolation (Diapente Progression; Equal Division of Seven
Octaves into Twelve Parts), [0, 8, 4, 7, 3, 11, 2, 10, 6, 9, 5, 1]
128. Spinner, Leopold: Fantasy for Piano, Op.9 , [0, 1, 4, 5, 2, 3, 8, 9, 6, 7, 10, 11]
129. Spinner, Leopold: Ricercata, Op.21, [0, 11, 8, 10, 2, 1, 4, 3, 7, 9, 6, 5]
130. Spinner, Leopold: Sonata for Piano, Op.3, [0, 9, 8, 6, 7, 10, 1, 4, 5, 3, 2, 11]
131. Spinner, Leopold: Trio for Violin, Cello, and Piano, Op.6, [0, 1, 7, 4, 10, 9, 6, 5, 11, 8, 2, 3]
132. Spinner, Leopold: Variations for Violin and Piano, Op.19, [0, 8, 9, 1, 2, 4, 3, 5, 6, 10, 11, 7]
133. Urbanner, Erich: Adagio, [0, 3, 1, 11, 10, 9, 8, 7, 6, 4, 2, 5]
134. Wang, Jian-Zhong: Five Pieces for Piano no. 1, “Pastorale” (variant), [0, 3, 5, 7, 4, 2, 11, 9, 6, 8, 10,
1]
135. Webern, Anton: Cantata I, Op.29, [0, 8, 11, 10, 2, 1, 4, 3, 7, 6, 9, 5]
136. Webern, Anton: String Quartet, Op.28, [0, 11, 2, 1, 5, 6, 3, 4, 8, 7, 10, 9]
137. Webern, Anton: Variations for Orchestra, Op.30, [0, 1, 4, 3, 2, 5, 6, 9, 8, 7, 10, 11]
138. Wolpe, Stefan: Four Studies on Basic Rows, No.4, “Basic Row” 1, [0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11]
139. Wolpe, Stefan: Four Studies on Basic Rows, No.4, “Basic Row” 10, [0, 10, 1, 11, 4, 2, 5, 3, 8, 6, 9,
7]
140. Wolpe, Stefan: Four Studies on Basic Rows, No.4, “Basic Row” 11, [0, 11, 2, 1, 4, 3, 6, 5, 8, 7, 10,
9]
141. Wolpe, Stefan: Four Studies on Basic Rows, No.4, “Basic Row” 2, [0, 2, 4, 6, 8, 10, 11, 1, 3, 5, 7, 9]
985 | 12-TONE ANTHOLOGY
142. Wolpe, Stefan: Four Studies on Basic Rows, No.4, “Basic Row” 3, [0, 3, 1, 4, 2, 5, 6, 9, 7, 10, 8, 11]
143. Wolpe, Stefan: Four Studies on Basic Rows, No.4, “Basic Row” 4, [0, 4, 8, 2, 6, 10, 3, 7, 11, 5, 9, 1]
144. Wolpe, Stefan: Four Studies on Basic Rows, No.4, “Basic Row” 5, [0, 5, 2, 7, 4, 9, 6, 11, 8, 1, 10, 3]
145. Wolpe, Stefan: Four Studies on Basic Rows, No.4, “Basic Row” 6, [0, 6, 1, 7, 2, 8, 3, 9, 4, 10, 5, 11]
146. Wolpe, Stefan: Four Studies on Basic Rows, No.4, “Basic Row” 7, [0, 7, 2, 9, 4, 11, 6, 1, 8, 3, 10, 5]
147. Wolpe, Stefan: Four Studies on Basic Rows, No.4, “Basic Row” 8, [0, 8, 4, 1, 9, 5, 2, 10, 6, 3, 11, 7]
148. Wolpe, Stefan: Four Studies on Basic Rows, No.4, “Basic Row” 9, [0, 9, 1, 10, 2, 11, 6, 3, 7, 4, 8, 5]
149. Zillig, Wilfried: Das Opfer, [0, 11, 3, 4, 8, 7, 10, 9, 1, 2, 6, 5]
1. Babbitt, Milton: Composition for Four Instruments, [0, 3, 11, 2, 10, 1, 7, 4, 8, 5, 9, 6], pc set (0, 3)
2. Babbitt, Milton: Composition for Four Instruments, row ii, [0, 9, 11, 2, 4, 1, 7, 10, 8, 5, 3, 6], pc set
(0, 3)
3. Bach, Johann Sebastian: Chromatische Fantasie, [0, 3, 6, 9, 11, 2, 5, 8, 10, 1, 4, 7], pc set (0, 3)
4. Baker, David: “Status Symbol” from “The Black Experience”, [0, 3, 4, 7, 8, 11, 1, 10, 9, 6, 5, 2], pc
set (0, 3)
5. Bartók, Béla: String Quartet, No.4, [0, 5, 6, 11, 4, 9, 10, 3, 8, 1, 2, 7], pc set (0, 5)
6. Boulez, Pierre: Le Marteau sans Maître, cycle of Bourreaux de solitude, [0, 1, 2, 3, 4, 5, 6, 7, 8, 9,
10, 11], pc set (0, 1), self-rotational interval pattern 1-1-
7. Britten, Benjamin: The Turn of the Screw, [0, 5, 2, 7, 4, 9, 6, 11, 8, 1, 10, 3], pc set (0, 5),
self-rotational interval pattern 5-9-
8. Carter, Elliott: String Quartet, No.2 (sketch) 3, [0, 2, 4, 6, 8, 10, 1, 3, 5, 7, 9, 11], pc set (0, 2)
9. Denisov, Edison: Concerto for Guitar and Orchestra, Row 1, [0, 6, 10, 4, 8, 2, 3, 9, 1, 7, 11, 5], pc
set (0, 6)
10. Denisov, Edison: Octet for Winds, mvt 2, row B, [0, 6, 11, 5, 4, 10, 9, 3, 2, 8, 1, 7], pc set (0, 6)
11. Eisler, Hanns: Praeludium und Fuge über B-A-C-H for String Trio, Op.46, [0, 11, 2, 1, 4, 3, 6, 5, 8,
7, 10, 9], pc set (0, 1), self-rotational interval pattern 11-3-
12. Finney, Ross Lee: Sonata Quasi una Fantasia, [0, 1, 3, 2, 4, 5, 6, 7, 9, 8, 10, 11], pc set (0, 1)
13. Ginastera, Alberto: Don Rodrigo, Op.31, Row Class 8, [0, 1, 7, 6, 8, 9, 3, 2, 4, 5, 11, 10], pc set (0,
1)
14. Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class III S, [0, 6, 11, 5, 8, 2, 7, 1,
12-TONE ANTHOLOGY | 986
35. Lutosławski, Witold: Musique Funébre (Funeral Music), [0, 6, 5, 11, 10, 4, 3, 9, 8, 2, 1, 7], pc set
(0, 6), self-rotational interval pattern 6-11-
36. Mamlok, Ursula: Haiku Settings, No.5, [0, 11, 8, 7, 4, 3, 5, 6, 9, 10, 1, 2], pc set (0, 1)
37. Nono, Luigi: Ha venido, [0, 6, 1, 7, 2, 8, 3, 9, 4, 10, 5, 11], pc set (0, 6), self-rotational interval
pattern 6-7-
38. Nono, Luigi: Intolleranza, Alto, [0, 6, 7, 1, 2, 8, 9, 3, 4, 10, 11, 5], pc set (0, 6), self-rotational
interval pattern 6-1-
39. Nono, Luigi: Intolleranza, Baritone, [0, 2, 7, 9, 4, 6, 11, 1, 8, 10, 3, 5], pc set (0, 2)
40. Nono, Luigi: Intolleranza, Soprano 1, [0, 3, 4, 7, 8, 5, 6, 9, 10, 1, 2, 11], pc set (0, 3)
41. Nono, Luigi: Intolleranza, Tenor 1, [0, 6, 11, 5, 10, 4, 9, 3, 8, 2, 7, 1], pc set (0, 6), self-rotational
interval pattern 6-5-
42. Nono, Luigi: Intolleranza, Tenor 2, [0, 1, 3, 2, 4, 5, 7, 6, 8, 9, 11, 10], pc set (0, 1)
43. Nono, Luigi: La terra e la compagna (sketch), Series 2, [0, 6, 1, 7, 11, 5, 2, 8, 10, 4, 3, 9], pc set (0,
6)
44. Nono, Luigi: La terra e la compagna (sketch), Series 3, [0, 9, 6, 3, 1, 4, 7, 10, 11, 8, 5, 2], pc set (0,
3)
45. Nono, Luigi: Sarà dolce tacere, [0, 10, 5, 3, 8, 6, 1, 11, 4, 2, 9, 7], pc set (0, 2)
46. Nono, Luigi: Variazioni canoniche sulla serie dell’Op.41 di Arnold Schönberg, [0, 1, 9, 8, 4, 5, 7, 6,
10, 11, 3, 2], pc set (0, 1)
47. Panufnik, Andrzej: Sinfonia di Sfere (Symphony, No.5), Chord 2, [0, 3, 6, 9, 11, 2, 5, 8, 10, 1, 4, 7],
pc set (0, 3)
48. Pärt, Arvo: Diagrams, [0, 11, 2, 1, 3, 4, 9, 10, 7, 8, 6, 5], pc set (0, 1)
49. Reynolds, Roger: Ambages, [0, 1, 4, 5, 7, 6, 8, 9, 10, 11, 2, 3], pc set (0, 1)
50. Rochberg, George: String Quartet, No.2 with soprano solo, [0, 11, 6, 5, 1, 2, 8, 7, 3, 4, 9, 10], pc set
(0, 1)
51. Sande, Henrik: 4032 Töne für Klavier sechshändig, [0, 7, 2, 9, 4, 11, 6, 1, 8, 3, 10, 5], pc set (0, 5),
self-rotational interval pattern 7-7-
52. Schnittke, Alfred: Concerto Grosso, No.1, mvt 2, [0, 11, 2, 1, 8, 7, 10, 9, 6, 5, 4, 3], pc set (0, 1)
53. Schnittke, Alfred: Concerto Grosso, No.3, (mvt 3, 4), row 6, [0, 11, 2, 1, 9, 10, 7, 8, 4, 3, 6, 5], pc
set (0, 1)
54. Schnittke, Alfred: Concerto Grosso, No.3, monogram 3, [0, 11, 2, 1, 3, 4, 10, 9, 7, 8, 5, 6], pc set
(0, 1)
55. Schnittke, Alfred: Piano Sonata, No.1, mvt 2, mm. 72-76, [0, 6, 5, 11, 10, 4, 3, 9, 8, 2, 1, 7], pc set
(0, 6), self-rotational interval pattern 6-11-
56. Schnittke, Alfred: Sonata, No.1 for Violin and Piano, mvt 2, [0, 3, 7, 10, 2, 11, 6, 9, 1, 4, 8, 5], pc
set (0, 3)
57. Schnittke, Alfred: Sonata, No.2 for Cello and Piano, mvt 2, new row, [0, 3, 6, 9, 10, 1, 4, 7, 8, 11, 2,
12-TONE ANTHOLOGY | 988
80. Slonimsky, Nicholas: No. 1229a Major Sevenths (Twelve-Tone Patterns), [0, 11, 10, 9, 8, 7, 1, 2, 3,
4, 5, 6], pc set (0, 1)
81. Slonimsky, Nicholas: No. 1230a Major Sevenths (Twelve-Tone Patterns), [0, 11, 3, 4, 8, 7, 1, 2, 6,
5, 9, 10], pc set (0, 1)
82. Slonimsky, Nicholas: No. 1231a Major Sevenths (Twelve-Tone Patterns), [0, 11, 4, 3, 8, 7, 1, 2, 9,
10, 5, 6], pc set (0, 1)
83. Slonimsky, Nicholas: No. 1265 Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 3, 6, 9, 1, 4, 7, 10, 2, 5, 8, 11], pc set (0, 3)
84. Slonimsky, Nicholas: No. 1265a Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 3, 6, 9, 1, 4, 7, 10, 2, 5, 8, 11], pc set (0, 3)
85. Slonimsky, Nicholas: No. 1266a Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 3, 6, 9, 2, 5, 8, 11, 4, 7, 10, 1], pc set (0, 3)
86. Slonimsky, Nicholas: No. 1294a Two Major Hexachords (Miscellaneous Dodecaphonic Patterns),
[0, 9, 4, 7, 5, 2, 6, 3, 10, 1, 11, 8], pc set (0, 3)
87. Slonimsky, Nicholas: No. 1296a Two Major Hexachords (Miscellaneous Dodecaphonic Patterns),
[0, 7, 8, 3, 4, 11, 6, 1, 2, 9, 10, 5], pc set (0, 5)
88. Slonimsky, Nicholas: No. 230 Ultrapolation of Three Notes (Ditone Progression; Equal Division of
One Octave into Three Parts), [0, 6, 5, 11, 4, 10, 9, 3, 8, 2, 1, 7], pc set (0, 6)
89. Slonimsky, Nicholas: No. 258 Infrapolation of Three Notes (Ditone Progression; Equal Division of
One Octave into Three Parts), [0, 11, 10, 9, 4, 3, 2, 1, 8, 7, 6, 5], pc set (0, 1)
90. Slonimsky, Nicholas: No. 270 Infrapolation of Three Notes (Ditone Progression; Equal Division of
One Octave into Three Parts), [0, 10, 9, 7, 4, 2, 1, 11, 8, 6, 5, 3], pc set (0, 2)
91. Slonimsky, Nicholas: No. 277 Infrapolation of Three Notes (Ditone Progression; Equal Division of
One Octave into Three Parts), [0, 10, 7, 5, 4, 2, 11, 9, 8, 6, 3, 1], pc set (0, 2)
92. Slonimsky, Nicholas: No. 370 Infra-Inter-Ultrapolation (Ditone Progression; Equal Division of One
Octave into Three Parts), [0, 7, 1, 6, 4, 11, 5, 10, 8, 3, 9, 2], pc set (0, 5)
93. Slonimsky, Nicholas: No. 388 Miscellaneous Patterns [Diminished Seventh Chords] (Ditone
Progression; Equal Division of One Octave into Three Parts), [0, 3, 9, 6, 4, 7, 1, 10, 8, 11, 5, 2], pc
set (0, 3)
94. Slonimsky, Nicholas: No. 389 Miscellaneous Patterns [Diminished Seventh Chords] (Ditone
Progression; Equal Division of One Octave into Three Parts), [0, 9, 3, 6, 4, 1, 7, 10, 8, 5, 11, 2], pc
set (0, 3)
95. Slonimsky, Nicholas: No. 390 Miscellaneous Patterns [Diminished Seventh Chords] (Ditone
Progression; Equal Division of One Octave into Three Parts), [0, 3, 9, 6, 4, 7, 1, 10, 8, 11, 5, 2], pc
set (0, 3)
96. Slonimsky, Nicholas: No. 391 Miscellaneous Patterns [Diminished Seventh Chords] (Ditone
Progression; Equal Division of One Octave into Three Parts), [0, 9, 3, 6, 4, 1, 7, 10, 8, 5, 11, 2], pc
12-TONE ANTHOLOGY | 990
set (0, 3)
97. Slonimsky, Nicholas: No. 570 Ultrapolation of One Note (Whole-Tone Progression; Equal Division
of One Octave into Six Parts), [0, 3, 2, 5, 4, 7, 6, 9, 8, 11, 10, 1], pc set (0, 3), self-rotational
interval pattern 3-11-
98. Slonimsky, Nicholas: No. 572 Ultrapolation of One Note (Whole-Tone Progression; Equal Division
of One Octave into Six Parts), [0, 5, 2, 7, 4, 9, 6, 11, 8, 1, 10, 3], pc set (0, 5), self-rotational
interval pattern 5-9-
99. Slonimsky, Nicholas: No. 574 Ultrapolation of One Note (Whole-Tone Progression; Equal Division
of One Octave into Six Parts), [0, 7, 2, 9, 4, 11, 6, 1, 8, 3, 10, 5], pc set (0, 5), self-rotational
interval pattern 7-7-
100. Slonimsky, Nicholas: No. 576 Ultrapolation of One Note (Whole-Tone Progression; Equal Division
of One Octave into Six Parts), [0, 9, 2, 11, 4, 1, 6, 3, 8, 5, 10, 7], pc set (0, 3), self-rotational
interval pattern 9-5-
101. Slonimsky, Nicholas: No. 578 Ultrapolation of One Note (Whole-Tone Progression; Equal Division
of One Octave into Six Parts), [0, 11, 2, 1, 4, 3, 6, 5, 8, 7, 10, 9], pc set (0, 1), self-rotational
interval pattern 11-3-
102. Slonimsky, Nicholas: No. 579 Ultrapolation of One Note (Whole-Tone Progression; Equal Division
of One Octave into Six Parts), [0, 11, 2, 1, 4, 3, 6, 5, 8, 7, 10, 9], pc set (0, 1), self-rotational
interval pattern 11-3-
103. Slonimsky, Nicholas: No. 637 Permutations (Semitone Progression; Equal Division of One Octave
into Twelve Parts), [0, 1, 3, 2, 4, 5, 7, 6, 8, 9, 11, 10], pc set (0, 1)
104. Slonimsky, Nicholas: No. 638 Permutations (Semitone Progression; Equal Division of One Octave
into Twelve Parts), [0, 11, 9, 10, 4, 3, 1, 2, 8, 7, 5, 6], pc set (0, 1)
105. Slonimsky, Nicholas: No. 641 Permutations (Semitone Progression; Equal Division of One Octave
into Twelve Parts), [0, 1, 2, 3, 7, 6, 5, 4, 8, 9, 10, 11], pc set (0, 1)
106. Slonimsky, Nicholas: No. 642 Permutations (Semitone Progression; Equal Division of One Octave
into Twelve Parts), [0, 1, 2, 3, 4, 5, 11, 10, 9, 8, 7, 6], pc set (0, 1)
107. Slonimsky, Nicholas: No. 645 Permutations (Semitone Progression; Equal Division of One Octave
into Twelve Parts), [0, 1, 11, 10, 8, 9, 7, 6, 4, 5, 3, 2], pc set (0, 1)
108. Slonimsky, Nicholas: No. 648-654 Permutations (Semitone Progression; Equal Division of One
Octave into Twelve Parts), [0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11], pc set (0, 1), self-rotational interval
pattern 1-1-
109. Slonimsky, Nicholas: No. 655-657 Permutations (Semitone Progression; Equal Division of One
Octave into Twelve Parts), [0, 11, 10, 9, 8, 7, 6, 5, 4, 3, 2, 1], pc set (0, 1), self-rotational interval
pattern 11-11-
110. Slonimsky, Nicholas: No. 692 Interpolation of Three Notes (Quadritone Progression; Equal Division
of Two Octaves into Three Parts), [0, 2, 3, 5, 8, 10, 11, 1, 4, 6, 7, 9], pc set (0, 2)
991 | 12-TONE ANTHOLOGY
111. Slonimsky, Nicholas: No. 698 Interpolation of Three Notes (Quadritone Progression; Equal Division
of Two Octaves into Three Parts), [0, 2, 5, 7, 8, 10, 1, 3, 4, 6, 9, 11], pc set (0, 2)
112. Slonimsky, Nicholas: No. 736 Inter-Infra-Ultrapolation (Quadritone Progression; Equal Division of
Two Octaves into Three Parts), [0, 2, 7, 9, 8, 10, 3, 5, 4, 6, 11, 1], pc set (0, 2)
113. Slonimsky, Nicholas: No. 793 Infra-Ultrapolation (Sesquiquadritone Progression; Equal Division of
Three Octaves into Four Parts), [0, 11, 10, 9, 8, 7, 6, 5, 4, 3, 2, 1], pc set (0, 1), self-rotational
interval pattern 11-11-
114. Slonimsky, Nicholas: No. 813 Interpolation of Three Notes (Quinquetone Progression; Equal
Division of Five Octaves into Six Parts), [0, 3, 6, 9, 10, 1, 4, 7, 8, 11, 2, 5], pc set (0, 3)
115. Slonimsky, Nicholas: No. 822 Ultrapolation of One Note (Quinquetone Progression; Equal Division
of Five Octaves into Six Parts), [0, 11, 10, 9, 8, 7, 6, 5, 4, 3, 2, 1], pc set (0, 1), self-rotational
interval pattern 11-11-
116. Slonimsky, Nicholas: No. 823 Ultrapolation of One Note (Quinquetone Progression; Equal Division
of Five Octaves into Six Parts), [0, 1, 10, 11, 8, 9, 6, 7, 4, 5, 2, 3], pc set (0, 1), self-rotational
interval pattern 1-9-
117. Slonimsky, Nicholas: No. 824 Infrapolation of One Note (Quinquetone Progression; Equal Division
of Five Octaves into Six Parts), [0, 11, 10, 9, 8, 7, 6, 5, 4, 3, 2, 1], pc set (0, 1), self-rotational
interval pattern 11-11-
118. Slonimsky, Nicholas: No. 875 Infrapolation of One Note (Quinquetone Progression; Equal Division
of Five Octaves into Six Parts), [0, 6, 5, 11, 10, 4, 3, 9, 8, 2, 1, 7], pc set (0, 6), self-rotational
interval pattern 6-11-
119. Slonimsky, Nicholas: No. 909 Infra-Inter-Ultrapolation (Quinquetone Progression; Equal Division of
Five Octaves into Six Parts), [0, 9, 3, 6, 5, 2, 8, 11, 10, 7, 1, 4], pc set (0, 3)
120. Spinner, Leopold: Fantasy for Piano, Op.9 , [0, 1, 4, 5, 2, 3, 8, 9, 6, 7, 10, 11], pc set (0, 1)
121. Spinner, Leopold: Sonata for Clarinet and Piano, Op.17, [0, 3, 4, 1, 2, 5, 11, 8, 7, 10, 9, 6], pc set
(0, 3)
122. Spinner, Leopold: Sonata for Violin and Piano, Op.1, [0, 7, 6, 1, 3, 8, 5, 10, 2, 9, 4, 11], pc set (0, 5)
123. Spinner, Leopold: String Quartet, No.2, Op.7, [0, 3, 4, 7, 8, 11, 1, 10, 9, 6, 5, 2], pc set (0, 3)
124. Spinner, Leopold: String Quartet, Op.2, [0, 1, 7, 6, 11, 10, 4, 5, 8, 9, 3, 2], pc set (0, 1)
125. Talma, Louise: Three Bagatelles, Bagatelle 3, [0, 3, 4, 1, 5, 8, 10, 7, 2, 11, 6, 9], pc set (0, 3)
126. Webern, Anton: String Quartet, Op.28, [0, 11, 2, 1, 5, 6, 3, 4, 8, 7, 10, 9], pc set (0, 1)
127. Webern, Anton: String Trio, Op.20, [0, 11, 6, 5, 10, 9, 1, 2, 7, 8, 4, 3], pc set (0, 1)
128. Wolpe, Stefan: Four Studies on Basic Rows, No.1 – Study on Tritones, [0, 6, 7, 1, 2, 8, 11, 5, 10, 4,
9, 3], pc set (0, 6)
129. Wolpe, Stefan: Four Studies on Basic Rows, No.4, “Basic Row” 1, [0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10,
11], pc set (0, 1), self-rotational interval pattern 1-1-
130. Wolpe, Stefan: Four Studies on Basic Rows, No.4, “Basic Row” 10, [0, 10, 1, 11, 4, 2, 5, 3, 8, 6, 9,
12-TONE ANTHOLOGY | 992
4x Same Trichord
Now for cases of 4x the same trichord (pitches 1-3, 4-6, 7-9 and 10-12).
1. Apostel, Hans Erich: Fischerhaus-Serenade, Op.45, [0, 4, 8, 3, 11, 7, 1, 9, 5, 2, 10, 6], pc set (0, 4,
8)
2. Babbitt, Milton: Composition for Four Instruments, [0, 3, 11, 2, 10, 1, 7, 4, 8, 5, 9, 6], pc set (0, 1,
4)
3. Babbitt, Milton: Composition for Four Instruments, row i, [0, 10, 9, 8, 7, 5, 11, 1, 2, 3, 4, 6], pc set
(0, 1, 3)
4. Babbitt, Milton: Composition for Four Instruments, row ii, [0, 9, 11, 2, 4, 1, 7, 10, 8, 5, 3, 6], pc set
(0, 1, 3)
5. Babbitt, Milton: Composition for Four Instruments, row iii, [0, 4, 3, 8, 7, 11, 5, 1, 2, 9, 10, 6], pc set
(0, 1, 4)
6. Babbitt, Milton: Composition for Four Instruments, row iv, [0, 4, 1, 8, 5, 9, 3, 11, 2, 7, 10, 6], pc set
(0, 1, 4)
7. Baker, David: “Status Symbol” from “The Black Experience”, [0, 3, 4, 7, 8, 11, 1, 10, 9, 6, 5, 2], pc
set (0, 1, 4)
8. Barber, Samuel: Piano Sonata, Op.26, [0, 8, 4, 11, 3, 7, 1, 9, 5, 10, 2, 6], pc set (0, 4, 8)
993 | 12-TONE ANTHOLOGY
9. Bennett, Richard Rodney: Five Studies for Piano, [0, 3, 5, 6, 11, 9, 4, 2, 7, 8, 10, 1], pc set (0, 2, 5)
10. Berg, Alban: Lulu, whole-tone row, [0, 2, 4, 6, 10, 8, 11, 7, 9, 1, 3, 5], pc set (0, 2, 4)
11. Berg, Alban: Lyric Suite, mvt I, [0, 2, 4, 5, 7, 9, 6, 8, 10, 11, 1, 3], pc set (0, 2, 4)
12. Berg, Alban: Lyric Suite, mvt VI, [0, 2, 4, 7, 9, 11, 6, 8, 10, 1, 3, 5], pc set (0, 2, 4)
13. Berio, Luciano: Cinque Variazioni, [0, 2, 4, 1, 3, 5, 8, 10, 6, 7, 9, 11], pc set (0, 2, 4)
14. Berio, Luciano: Sequenza I, [0, 11, 10, 9, 8, 7, 4, 6, 5, 3, 1, 2], pc set (0, 1, 2)
15. Carter, Elliott: String Quartet, No.2 (sketch) 1, [0, 4, 8, 3, 7, 11, 6, 10, 2, 9, 1, 5], pc set (0, 4, 8),
self-rotational interval pattern 4-4-7-
16. Carter, Elliott: String Quartet, No.2 (sketch) 2, [0, 8, 4, 3, 11, 7, 6, 2, 10, 9, 5, 1], pc set (0, 4, 8),
self-rotational interval pattern 8-8-11-
17. Carter, Elliott: String Quartet, No.2 (sketch) 3, [0, 2, 4, 6, 8, 10, 1, 3, 5, 7, 9, 11], pc set (0, 2, 4)
18. Cordero, Roque: Sonata breve, [0, 1, 4, 11, 10, 7, 5, 8, 9, 6, 3, 2], pc set (0, 1, 4)
19. Crosse, Gordon: Elegy for Small Orchestra, Op.1, [0, 11, 3, 1, 9, 10, 5, 6, 2, 4, 8, 7], pc set (0, 1, 4)
20. Denisov, Edison: Concerto for Guitar and Orchestra, Row 1, [0, 6, 10, 4, 8, 2, 3, 9, 1, 7, 11, 5], pc
set (0, 2, 6)
21. Denisov, Edison: Five Etudes for Solo Bassoon, row B, [0, 11, 6, 5, 4, 10, 9, 3, 2, 7, 1, 8], pc set (0,
1, 6)
22. Denisov, Edison: Five Etudes for Solo Bassoon, row C, [0, 6, 11, 5, 4, 10, 9, 3, 2, 7, 1, 8], pc set (0,
1, 6)
23. Denisov, Edison: Five Etudes for Solo Bassoon, row E, [0, 1, 7, 6, 5, 11, 10, 4, 3, 8, 2, 9], pc set (0,
1, 6)
24. Denisov, Edison: Five Etudes for Solo Bassoon, row G, [0, 11, 5, 10, 4, 3, 9, 8, 2, 1, 6, 7], pc set (0,
1, 6)
25. Denisov, Edison: Five Etudes for Solo Bassoon, row J, [0, 6, 5, 11, 4, 10, 9, 3, 2, 7, 1, 8], pc set (0,
1, 6)
26. Denisov, Edison: Octet for Winds, mvt 2, row B, [0, 6, 11, 5, 4, 10, 9, 3, 2, 8, 1, 7], pc set (0, 1, 6)
27. Dessau, Paul: Les Voix, [0, 11, 6, 8, 9, 3, 4, 10, 5, 7, 2, 1], pc set (0, 1, 6)
28. Eisler, Hanns: Der Zweck der Musik, [0, 2, 4, 5, 7, 9, 6, 8, 10, 11, 1, 3], pc set (0, 2, 4)
29. Eisler, Hanns: Gegen den Krieg, Op.55, [0, 3, 2, 5, 4, 7, 6, 8, 9, 10, 1, 11], pc set (0, 1, 3)
30. Finney, Ross Lee: Fantasy in Two Movements for solo violin, [0, 1, 3, 5, 4, 2, 11, 10, 8, 6, 7, 9], pc
set (0, 1, 3)
31. Finney, Ross Lee: Sonata Quasi una Fantasia, [0, 1, 3, 2, 4, 5, 6, 7, 9, 8, 10, 11], pc set (0, 1, 3)
32. Ginastera, Alberto: Cantata para América Mágica, Op.27, [0, 7, 6, 5, 10, 11, 8, 1, 2, 9, 4, 3], pc set
(0, 1, 6)
33. Ginastera, Alberto: Don Rodrigo, Op.31, Row Class 1, [0, 1, 6, 7, 8, 2, 10, 11, 5, 4, 9, 3], pc set (0,
1, 6)
34. Ginastera, Alberto: Don Rodrigo, Op.31, Row Class 2, [0, 11, 2, 3, 4, 1, 6, 5, 8, 9, 10, 7], pc set (0,
12-TONE ANTHOLOGY | 994
1, 3)
35. Ginastera, Alberto: Don Rodrigo, Op.31, Row Class 5, [0, 1, 7, 6, 5, 11, 2, 8, 9, 10, 4, 3], pc set (0,
1, 6)
36. Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class II 4, [0, 2, 1, 5, 3, 4, 7, 8,
6, 10, 9, 11], pc set (0, 1, 2)
37. Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class II 6, [0, 11, 4, 3, 8, 7, 1, 2,
9, 10, 5, 6], pc set (0, 1, 5)
38. Ginastera, Alberto: Violin Concerto, Op.30, [0, 11, 2, 3, 4, 1, 6, 5, 8, 9, 10, 7], pc set (0, 1, 3)
39. Gotham, Mark: Move On!, [0, 4, 3, 10, 6, 9, 1, 5, 2, 8, 11, 7], pc set (0, 1, 4)
40. Harrison, Lou: Untitled Piano Piece, [0, 10, 4, 3, 9, 7, 2, 8, 6, 1, 11, 5], pc set (0, 2, 6)
41. Hauer, Josef Matthias: Nomos, Op.19 (bb.362-365), [0, 7, 5, 3, 10, 8, 4, 2, 9, 6, 11, 1], pc set (0, 2,
7)
42. Hendler, Maximilian: ‘Die vollständige Ordnung der symmetrischen zwölftönigen Modi’, No.15, [0,
1, 3, 6, 7, 9, 11, 10, 8, 5, 4, 2], pc set (0, 1, 3)
43. Hendler, Maximilian: ‘Die vollständige Ordnung der symmetrischen zwölftönigen Modi’, No.18, [0,
3, 4, 6, 9, 10, 11, 8, 7, 5, 2, 1], pc set (0, 1, 4)
44. Hendler, Maximilian: ‘Die vollständige Ordnung der symmetrischen zwölftönigen Modi’, No.19, [0,
1, 4, 5, 8, 9, 11, 10, 7, 6, 3, 2], pc set (0, 1, 4)
45. Hendler, Maximilian: ‘Die vollständige Ordnung der symmetrischen zwölftönigen Modi’, No.30, [0,
1, 2, 6, 7, 8, 11, 10, 9, 5, 4, 3], pc set (0, 1, 2)
46. Hendler, Maximilian: ‘Die vollständige Ordnung der symmetrischen zwölftönigen Modi’, No.6, [0, 2,
4, 6, 8, 10, 9, 7, 5, 3, 1, 11], pc set (0, 2, 4)
47. Hendler, Maximilian: ‘Die vollständige Ordnung der symmetrischen zwölftönigen Modi’, No.1, [0, 1,
2, 3, 4, 5, 11, 10, 9, 8, 7, 6], pc set (0, 1, 2)
48. Huber, Klaus: Zwei Sätze, [0, 3, 1, 10, 11, 8, 6, 9, 7, 2, 4, 5], pc set (0, 1, 3)
49. Ives, Charles: On the Antipodes, [0, 3, 11, 8, 4, 7, 10, 9, 6, 2, 5, 1], pc set (0, 1, 4)
50. Jung, Joachim: , [0, 11, 3, 10, 2, 1, 7, 8, 4, 9, 5, 6], pc set (0, 1, 4)
51. Krenek, Ernst: Symphonic Elegy for String Orchestra, Op.105, [0, 1, 9, 11, 10, 2, 3, 7, 6, 8, 4, 5], pc
set (0, 1, 4)
52. Lackner, Peter: ‘An alle Außerirdischen’. Kanon für drei Singstimmen, Kontrabaß und Klavier, [0, 4,
9, 7, 11, 2, 5, 1, 8, 10, 6, 3], pc set (0, 3, 7)
53. Lackner, Peter: ‘Euphorbia obesa’. Kanon für Oboe, Englischhorn und Fagott., [0, 10, 2, 6, 8, 4, 1,
9, 11, 3, 7, 5], pc set (0, 2, 4)
54. Lackner, Peter: 2. Kanonzyklus, [0, 10, 2, 7, 9, 5, 11, 3, 1, 8, 4, 6], pc set (0, 2, 4)
55. Lackner, Peter: Das Buch der Wandlungen I für Frauenstimmen und,oder Klavier, [0, 8, 3, 5, 1, 10,
7, 11, 4, 2, 6, 9], pc set (0, 3, 7)
56. Lackner, Peter: KANON für A, O & Gsellmanns Weltmaschine. 8. Oktober 1958,2008, [0, 8, 10, 4,
995 | 12-TONE ANTHOLOGY
pc set (0, 2, 6)
78. Lackner, Peter: kgV (3,4) [zweistimmiger Kanon für Klavier], [0, 10, 2, 3, 5, 7, 1, 11, 9, 8, 4, 6], pc
set (0, 2, 4)
79. Lang, Bernhard: ‘Der Golem’ nach Gustav Meyrinck, [0, 4, 7, 8, 11, 3, 5, 2, 9, 1, 10, 6], pc set (0, 3,
7)
80. Leibowitz, René: Trois pièces pour piano, Op.19, [0, 4, 3, 1, 2, 5, 6, 9, 10, 8, 7, 11], pc set (0, 1, 4)
81. Ligeti, György: Le Grand Macabre, [0, 6, 5, 11, 10, 4, 9, 3, 2, 8, 7, 1], pc set (0, 1, 6)
82. Liszt, Franz: Eine Faust Symphonie, [0, 4, 8, 11, 3, 7, 10, 2, 6, 9, 1, 5], pc set (0, 4, 8),
self-rotational interval pattern 4-4-3-
83. Luo, Zhong-Rong: Three Piano Pieces, “Arabeque”, row 2, [0, 2, 7, 9, 11, 4, 6, 8, 1, 3, 10, 5], pc set
(0, 2, 7)
84. Lutyens, Elisabeth: Motet (Excerota Tractati Logico-Philosophici), Op.27, [0, 11, 3, 7, 8, 4, 2, 6, 5,
1, 9, 10], pc set (0, 1, 4)
85. Mamlok, Ursula: Haiku Settings, No.5, [0, 11, 8, 7, 4, 3, 5, 6, 9, 10, 1, 2], pc set (0, 1, 4)
86. Moevs, Robert: Musica da Camera, [0, 1, 11, 3, 4, 2, 9, 10, 8, 7, 5, 6], pc set (0, 1, 2)
87. Morris, Robert: Sung Song, [0, 3, 7, 6, 9, 2, 10, 5, 1, 8, 4, 11], pc set (0, 3, 7)
88. Nono, Luigi: Incontri, [0, 2, 3, 8, 9, 6, 4, 5, 7, 11, 1, 10], pc set (0, 1, 3)
89. Nono, Luigi: Variazioni canoniche sulla serie dell’Op.41 di Arnold Schönberg, [0, 1, 9, 8, 4, 5, 7, 6,
10, 11, 3, 2], pc set (0, 1, 4)
90. Panufnik, Andrzej: Sinfonia di Sfere (Symphony, No.5), Chord 1, [0, 4, 8, 11, 3, 7, 10, 2, 6, 9, 1, 5],
pc set (0, 4, 8), self-rotational interval pattern 4-4-3-
91. Pärt, Arvo: Diagrams, [0, 11, 2, 1, 3, 4, 9, 10, 7, 8, 6, 5], pc set (0, 1, 3)
92. Rochberg, George: Sonata-Fantasia, [0, 11, 10, 4, 5, 6, 9, 8, 7, 1, 2, 3], pc set (0, 1, 2)
93. Sande, Henrik: ‘Volkslied’ für zwei Singstimmen und Klavier. 24. 12. 2015, [0, 2, 4, 5, 7, 9, 10, 8, 6,
3, 1, 11], pc set (0, 2, 4)
94. Schnittke, Alfred: Concerto Grosso, No.3, monogram 3, [0, 11, 2, 1, 3, 4, 10, 9, 7, 8, 5, 6], pc set
(0, 1, 3)
95. Schnittke, Alfred: String Quartet, No.4, mvt 4, m.31, [0, 11, 9, 10, 8, 7, 6, 5, 3, 4, 2, 1], pc set (0, 1,
3)
96. Schnittke, Alfred: Symphony, No.7, mvt 3, row y, [0, 1, 11, 10, 8, 9, 7, 6, 5, 4, 3, 2], pc set (0, 1, 2)
97. Schoenberg, Arnold: Die Jakobsleiter, [0, 1, 4, 3, 7, 6, 11, 2, 10, 9, 5, 8], pc set (0, 1, 4)
98. Schoenberg, Arnold: Modern Psalms, The First Psalm, Op.50c, [0, 11, 8, 4, 7, 3, 1, 5, 2, 6, 9, 10],
pc set (0, 1, 4)
99. Schoenberg, Arnold: Ode To Napoleon Buonaparte, Op.41 (view 1), [0, 11, 3, 4, 8, 7, 2, 1, 5, 6, 10,
9], pc set (0, 1, 4)
100. Schoenberg, Arnold: Ode To Napoleon Buonaparte, Op.41 (view 2), [0, 1, 9, 8, 4, 5, 7, 6, 10, 11, 3,
2], pc set (0, 1, 4)
997 | 12-TONE ANTHOLOGY
101. Schoenberg, Arnold: Serenade, mvt 5, “Tanzscene”, Op.24, [0, 1, 3, 6, 7, 9, 8, 10, 11, 2, 4, 5], pc set
(0, 1, 3)
102. Schoenberg, Arnold: Suite, Op.29, [0, 4, 3, 7, 11, 8, 9, 6, 5, 1, 2, 10], pc set (0, 1, 4)
103. Schoenberg, Arnold: Three Songs, No.3, “Madchenlied”, Op.48, [0, 6, 8, 10, 2, 4, 9, 5, 3, 11, 7, 1],
pc set (0, 2, 6)
104. Schwantner, Joseph: …and the mountains rising nowhere, [0, 11, 8, 7, 4, 3, 2, 1, 10, 9, 6, 5], pc set
(0, 1, 4)
105. Schwantner, Joseph: Elixir (Consortium VIII), m.22, [0, 1, 4, 5, 8, 9, 6, 7, 10, 11, 2, 3], pc set (0, 1,
4)
106. Schwantner, Joseph: In Aeternum (Derived Row), [0, 3, 11, 2, 10, 1, 7, 4, 8, 5, 9, 6], pc set (0, 1, 4)
107. Schwantner, Joseph: In Aeternum (Principal Row), [0, 4, 11, 6, 10, 5, 1, 9, 2, 7, 3, 8], pc set (0, 1,
5)
108. Seiber, Mátyás: Ulysses, [0, 3, 4, 7, 8, 11, 1, 10, 9, 6, 5, 2], pc set (0, 1, 4)
109. Slonimsky, Nicholas: No. 1214a Thirds (Twelve-Tone Patterns), [0, 4, 8, 11, 3, 7, 6, 10, 2, 5, 9, 1],
pc set (0, 4, 8)
110. Slonimsky, Nicholas: No. 1215a Fourths (Twelve-Tone Patterns), [0, 5, 10, 3, 8, 1, 7, 2, 9, 4, 11, 6],
pc set (0, 2, 7)
111. Slonimsky, Nicholas: No. 1223a Sixths (Twelve-Tone Patterns), [0, 8, 4, 1, 5, 9, 6, 2, 10, 7, 11, 3],
pc set (0, 4, 8)
112. Slonimsky, Nicholas: No. 1225a Sixths (Twelve-Tone Patterns), [0, 8, 4, 7, 11, 3, 6, 2, 10, 1, 5, 9],
pc set (0, 4, 8)
113. Slonimsky, Nicholas: No. 1226a Minor Sevenths (Twelve-Tone Patterns), [0, 10, 8, 2, 4, 6, 1, 11, 9,
3, 5, 7], pc set (0, 2, 4)
114. Slonimsky, Nicholas: No. 1229a Major Sevenths (Twelve-Tone Patterns), [0, 11, 10, 9, 8, 7, 1, 2, 3,
4, 5, 6], pc set (0, 1, 2)
115. Slonimsky, Nicholas: No. 1231a Major Sevenths (Twelve-Tone Patterns), [0, 11, 4, 3, 8, 7, 1, 2, 9,
10, 5, 6], pc set (0, 1, 5)
116. Slonimsky, Nicholas: No. 1242a Mutually Exclusive Diminished-Seventh Chords (Twelve-Tone
Spirals), [0, 8, 4, 11, 3, 7, 1, 9, 5, 10, 2, 6], pc set (0, 4, 8)
117. Slonimsky, Nicholas: No. 1251a Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 3, 7, 10, 1, 6, 9, 2, 5, 8, 11, 4], pc set (0, 3, 7)
118. Slonimsky, Nicholas: No. 1251b Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 8, 5, 3, 11, 6, 2, 10, 7, 4, 1, 9], pc set (0, 3, 7)
119. Slonimsky, Nicholas: No. 1252a Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 3, 7, 10, 1, 5, 9, 2, 6, 8, 11, 4], pc set (0, 3, 7)
120. Slonimsky, Nicholas: No. 1252b Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 8, 5, 3, 10, 6, 2, 11, 7, 4, 1, 9], pc set (0, 3, 7)
12-TONE ANTHOLOGY | 998
121. Slonimsky, Nicholas: No. 1253a Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 4, 7, 10, 1, 5, 8, 11, 3, 6, 9, 2], pc set (0, 3, 7)
122. Slonimsky, Nicholas: No. 1253b Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 8, 3, 1, 9, 6, 4, 11, 7, 5, 2, 10], pc set (0, 3, 7)
123. Slonimsky, Nicholas: No. 1254a Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 4, 7, 10, 2, 5, 8, 11, 3, 6, 9, 1], pc set (0, 3, 7)
124. Slonimsky, Nicholas: No. 1254b Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 8, 3, 1, 10, 6, 4, 11, 7, 5, 2, 9], pc set (0, 3, 7)
125. Slonimsky, Nicholas: No. 1255a [Slonimsky: Moto Perpetuo] Quadritonal Arpeggios (Division of
Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 7, 10, 1, 6, 9, 2, 5, 8, 11, 3], pc set (0, 3,
7)
126. Slonimsky, Nicholas: No. 1255b [Slonimsky: Moto Perpetuo] Quadritonal Arpeggios (Division of
Twelve Tones into Four Mutually Exclusive Triads), [0, 8, 3, 2, 9, 6, 5, 1, 10, 7, 4, 11], pc set (0, 3,
7)
127. Slonimsky, Nicholas: No. 1256a Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 3, 7, 10, 2, 5, 8, 11, 4, 6, 9, 1], pc set (0, 3, 7)
128. Slonimsky, Nicholas: No. 1256b Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 9, 4, 2, 11, 7, 5, 1, 8, 6, 3, 10], pc set (0, 3, 7)
129. Slonimsky, Nicholas: No. 1269a Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 4, 8, 9, 1, 5, 6, 10, 2, 3, 7, 11], pc set (0, 4, 8), self-rotational
interval pattern 4-4-1-
130. Slonimsky, Nicholas: No. 1269b Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 8, 4, 3, 11, 7, 6, 2, 10, 9, 5, 1], pc set (0, 4, 8), self-rotational
interval pattern 8-8-11-
131. Slonimsky, Nicholas: No. 1270a Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 4, 8, 10, 2, 6, 7, 11, 3, 5, 9, 1], pc set (0, 4, 8)
132. Slonimsky, Nicholas: No. 1270b Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 8, 4, 2, 10, 6, 3, 11, 7, 5, 1, 9], pc set (0, 4, 8)
133. Slonimsky, Nicholas: No. 1271a Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 4, 8, 11, 3, 7, 10, 2, 6, 9, 1, 5], pc set (0, 4, 8), self-rotational
interval pattern 4-4-3-
134. Slonimsky, Nicholas: No. 1271b Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 8, 4, 1, 9, 5, 2, 10, 6, 3, 11, 7], pc set (0, 4, 8), self-rotational
interval pattern 8-8-9-
135. Slonimsky, Nicholas: No. 1272a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 3, 7, 10, 1, 6, 9, 5, 2, 11, 8, 4], pc set (0, 3, 7)
136. Slonimsky, Nicholas: No. 1272b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
999 | 12-TONE ANTHOLOGY
155. Slonimsky, Nicholas: No. 1296a Two Major Hexachords (Miscellaneous Dodecaphonic Patterns),
[0, 7, 8, 3, 4, 11, 6, 1, 2, 9, 10, 5], pc set (0, 1, 5)
156. Slonimsky, Nicholas: No. 1297b Two Major Hexachords (Miscellaneous Dodecaphonic Patterns),
[0, 10, 8, 1, 3, 5, 6, 4, 2, 7, 9, 11], pc set (0, 2, 4)
157. Slonimsky, Nicholas: No. 1316 Invertible Dodecaphonic Progressions – With all Different Intervals.
(White-Key Row of Six Notes), [0, 7, 4, 5, 9, 2, 8, 3, 11, 10, 1, 6], pc set (0, 3, 7)
158. Slonimsky, Nicholas: No. 230 Ultrapolation of Three Notes (Ditone Progression; Equal Division of
One Octave into Three Parts), [0, 6, 5, 11, 4, 10, 9, 3, 8, 2, 1, 7], pc set (0, 1, 6)
159. Slonimsky, Nicholas: No. 405 Ultrapolation of Two Notes (Sesquitone Progression; Equal Division
of One Octave into Four Parts), [0, 7, 5, 3, 10, 8, 6, 1, 11, 9, 4, 2], pc set (0, 2, 7), self-rotational
interval pattern 7-10-10-
160. Slonimsky, Nicholas: No. 407 Ultrapolation of Two Notes (Sesquitone Progression; Equal Division
of One Octave into Four Parts), [0, 8, 4, 3, 11, 7, 6, 2, 10, 9, 5, 1], pc set (0, 4, 8), self-rotational
interval pattern 8-8-11-
161. Slonimsky, Nicholas: No. 410 Ultrapolation of Two Notes (Sesquitone Progression; Equal Division
of One Octave into Four Parts), [0, 8, 7, 3, 11, 10, 6, 2, 1, 9, 5, 4], pc set (0, 1, 5), self-rotational
interval pattern 8-11-8-
162. Slonimsky, Nicholas: No. 415 Ultrapolation of Two Notes (Sesquitone Progression; Equal Division
of One Octave into Four Parts), [0, 10, 5, 3, 1, 8, 6, 4, 11, 9, 7, 2], pc set (0, 2, 7), self-rotational
interval pattern 10-7-10-
163. Slonimsky, Nicholas: No. 417 Ultrapolation of Two Notes (Sesquitone Progression; Equal Division
of One Octave into Four Parts), [0, 11, 4, 3, 2, 7, 6, 5, 10, 9, 8, 1], pc set (0, 1, 5), self-rotational
interval pattern 11-5-11-
164. Slonimsky, Nicholas: No. 420 Ultrapolation of Two Notes (Sesquitone Progression; Equal Division
of One Octave into Four Parts), [0, 11, 7, 3, 2, 10, 6, 5, 1, 9, 8, 4], pc set (0, 1, 5), self-rotational
interval pattern 11-8-8-
165. Slonimsky, Nicholas: No. 453 Infrapolation of Two Notes (Sesquitone Progression; Equal Division
of One Octave into Four Parts), [0, 11, 10, 3, 2, 1, 6, 5, 4, 9, 8, 7], pc set (0, 1, 2), self-rotational
interval pattern 11-11-5-
166. Slonimsky, Nicholas: No. 456 Infrapolation of Two Notes (Sesquitone Progression; Equal Division
of One Octave into Four Parts), [0, 11, 7, 3, 2, 10, 6, 5, 1, 9, 8, 4], pc set (0, 1, 5), self-rotational
interval pattern 11-8-8-
167. Slonimsky, Nicholas: No. 459 Infrapolation of Two Notes (Sesquitone Progression; Equal Division
of One Octave into Four Parts), [0, 10, 8, 3, 1, 11, 6, 4, 2, 9, 7, 5], pc set (0, 2, 4), self-rotational
interval pattern 10-10-7-
168. Slonimsky, Nicholas: No. 466 Infrapolation of Two Notes (Sesquitone Progression; Equal Division
of One Octave into Four Parts), [0, 8, 7, 3, 11, 10, 6, 2, 1, 9, 5, 4], pc set (0, 1, 5), self-rotational
1001 | 12-TONE ANTHOLOGY
197. Spinner, Leopold: Sonata for Piano, Op.3, [0, 9, 8, 6, 7, 10, 1, 4, 5, 3, 2, 11], pc set (0, 1, 4)
198. Spinner, Leopold: Sonatina for Cello and Piano, Op.26, [0, 1, 11, 2, 4, 3, 9, 10, 8, 5, 7, 6], pc set (0,
1, 2)
199. Spinner, Leopold: String Quartet, No.2, Op.7, [0, 3, 4, 7, 8, 11, 1, 10, 9, 6, 5, 2], pc set (0, 1, 4)
200. Spinner, Leopold: Trio for Clarinet, Cello and Piano, [0, 1, 7, 6, 5, 11, 10, 3, 4, 2, 9, 8], pc set (0, 1,
6)
201. Spinner, Leopold: Trio for Violin, Cello, and Piano, Op.6, [0, 1, 7, 4, 10, 9, 6, 5, 11, 8, 2, 3], pc set
(0, 1, 6)
202. Stravinsky, Igor: Fanfare for a New Theater, [0, 11, 1, 3, 4, 2, 5, 7, 6, 8, 10, 9], pc set (0, 1, 2)
203. Talma, Louise: Six Etudes, Etude 4, [0, 1, 5, 9, 4, 8, 7, 6, 11, 2, 10, 3], pc set (0, 1, 5)
204. Tranchell, Peter: Piano piece for Carl Dawson (unfinished), 5, [0, 4, 3, 10, 6, 9, 1, 5, 2, 8, 11, 7], pc
set (0, 1, 4)
205. Wang, Jian-Zhong: Five Pieces for Piano no. 1, “Pastorale” (variant), [0, 3, 5, 7, 4, 2, 11, 9, 6, 8, 10,
1], pc set (0, 2, 5)
206. Weber, Ben: Fantasia (Variations), Op.25, [0, 1, 5, 9, 10, 2, 6, 11, 7, 4, 3, 8], pc set (0, 1, 5)
207. Webern, Anton: Op.32 (un-finished), initial sketch, [0, 1, 9, 11, 3, 2, 7, 6, 10, 8, 4, 5], pc set (0, 1,
4)
208. Webern, Anton: Op.32 (un-finished), later sketch, [0, 1, 2, 11, 10, 9, 5, 4, 3, 6, 7, 8], pc set (0, 1, 2)
209. Webern, Anton: Cantata I, Op.29, [0, 8, 11, 10, 2, 1, 4, 3, 7, 6, 9, 5], pc set (0, 1, 4)
210. Webern, Anton: Concerto for Nine Instruments (Konzert), Op.24, [0, 11, 3, 4, 8, 7, 9, 5, 6, 1, 2, 10],
pc set (0, 1, 4)
211. Wolpe, Stefan: Four Studies on Basic Rows, No.1 – Study on Tritones, [0, 6, 7, 1, 2, 8, 11, 5, 10, 4,
9, 3], pc set (0, 1, 6)
212. Wolpe, Stefan: Four Studies on Basic Rows, No.2 – Study on Thirds, [0, 11, 9, 8, 10, 7, 6, 5, 3, 2, 4,
1], pc set (0, 1, 3)
213. Wolpe, Stefan: Four Studies on Basic Rows, No.4, “Basic Row” 2, [0, 2, 4, 6, 8, 10, 11, 1, 3, 5, 7,
9], pc set (0, 2, 4)
214. Wolpe, Stefan: Four Studies on Basic Rows, No.4, “Basic Row” 3, [0, 3, 1, 4, 2, 5, 6, 9, 7, 10, 8,
11], pc set (0, 1, 3)
215. Wolpe, Stefan: Four Studies on Basic Rows, No.4, “Basic Row” 4, [0, 4, 8, 2, 6, 10, 3, 7, 11, 5, 9,
1], pc set (0, 4, 8)
216. Wolpe, Stefan: Four Studies on Basic Rows, No.4, “Basic Row” 8, [0, 8, 4, 1, 9, 5, 2, 10, 6, 3, 11,
7], pc set (0, 4, 8), self-rotational interval pattern 8-8-9-
217. Wolpe, Stefan: Four Studies on Basic Rows, No.4, “Basic Row” 9, [0, 9, 1, 10, 2, 11, 6, 3, 7, 4, 8,
5], pc set (0, 1, 4)
218. Wuorinen, Charles: Second Sonata, Voice 3, [0, 2, 4, 3, 5, 1, 9, 7, 11, 10, 8, 6], pc set (0, 2, 4)
219. Zhou, Jin-Min: Piano Quintet, Scherzo, [0, 10, 5, 4, 6, 11, 7, 9, 2, 3, 1, 8], pc set (0, 2, 7)
12-TONE ANTHOLOGY | 1004
220. Zillig, Wilfried: Das Opfer, [0, 11, 3, 4, 8, 7, 10, 9, 1, 2, 6, 5], pc set (0, 1, 4)
221. Zimmerman, Bernd Alois: Perspektiven, [0, 2, 10, 8, 4, 6, 3, 1, 5, 7, 11, 9], pc set (0, 2, 4)
3x Same Tetrachord
Next up we have cases of 3x the same tetrachord (pitches 1-4, 5-8, and 8-12).
1. Argento, Dominick: A Water Bird Talk, Bird Row, [0, 7, 2, 1, 10, 9, 3, 8, 5, 4, 11, 6], pc set (0, 1,
2, 7)
2. Babbitt, Milton: Woodwind Quartet, [0, 3, 1, 2, 11, 10, 8, 9, 5, 7, 6, 4], pc set (0, 1, 2, 3)
3. Bach, Johann Sebastian: Chromatische Fantasie, [0, 3, 6, 9, 11, 2, 5, 8, 10, 1, 4, 7], pc set (0, 3, 6,
9), self-rotational interval pattern 3-3-3-2-
4. Bartók, Béla: String Quartet, No.4, [0, 5, 6, 11, 4, 9, 10, 3, 8, 1, 2, 7], pc set (0, 1, 6, 7),
self-rotational interval pattern 5-1-5-5-
5. Berg, Alban: Lulu, Schigolch, [0, 2, 3, 1, 4, 5, 6, 7, 8, 9, 11, 10], pc set (0, 1, 2, 3)
6. Dallapiccola, Luigi: Ulisse [opera], [0, 2, 1, 3, 9, 8, 11, 10, 4, 6, 5, 7], pc set (0, 1, 2, 3)
7. David, Johann Nepomuk: Sonata for violin, Op.58, No.1, [0, 2, 3, 9, 11, 10, 5, 8, 1, 6, 4, 7], pc set
(0, 1, 3, 6)
8. Denisov, Edison: Five Etudes for Solo Bassoon, row A, [0, 6, 1, 7, 8, 3, 2, 9, 10, 5, 11, 4], pc set (0,
1, 6, 7)
9. Denisov, Edison: Five Etudes for Solo Bassoon, row B, [0, 11, 6, 5, 4, 10, 9, 3, 2, 7, 1, 8], pc set (0,
1, 6, 7)
10. Denisov, Edison: Five Etudes for Solo Bassoon, row C, [0, 6, 11, 5, 4, 10, 9, 3, 2, 7, 1, 8], pc set (0,
1, 6, 7)
11. Denisov, Edison: Five Etudes for Solo Bassoon, row D, [0, 6, 1, 7, 8, 3, 2, 9, 10, 11, 5, 4], pc set (0,
1, 6, 7)
12. Denisov, Edison: Five Etudes for Solo Bassoon, row E, [0, 1, 7, 6, 5, 11, 10, 4, 3, 8, 2, 9], pc set (0,
1, 6, 7)
13. Denisov, Edison: Five Etudes for Solo Bassoon, row F, [0, 6, 1, 7, 3, 2, 8, 9, 10, 5, 11, 4], pc set (0,
1, 6, 7)
14. Denisov, Edison: Five Etudes for Solo Bassoon, row J, [0, 6, 5, 11, 4, 10, 9, 3, 2, 7, 1, 8], pc set (0,
1, 6, 7)
15. Denisov, Edison: Octet for Winds, mvt 2, row B, [0, 6, 11, 5, 4, 10, 9, 3, 2, 8, 1, 7], pc set (0, 1, 6,
7)
16. Finney, Ross Lee: Sonata Quasi una Fantasia, [0, 1, 3, 2, 4, 5, 6, 7, 9, 8, 10, 11], pc set (0, 1, 2, 3)
17. Ginastera, Alberto: Don Rodrigo, Op.31, Row Class 3, [0, 5, 6, 11, 2, 1, 8, 7, 10, 4, 9, 3], pc set (0,
1, 6, 7)
1005 | 12-TONE ANTHOLOGY
18. Ginastera, Alberto: Don Rodrigo, Op.31, Row Class 4, [0, 9, 10, 11, 6, 5, 8, 7, 2, 3, 4, 1], pc set (0,
1, 2, 3)
19. Ginastera, Alberto: Don Rodrigo, Op.31, Row Class 8, [0, 1, 7, 6, 8, 9, 3, 2, 4, 5, 11, 10], pc set (0,
1, 6, 7), self-rotational interval pattern 1-6-11-2-
20. Ginastera, Alberto: Sonata for Cello and Piano, Op.49, [0, 3, 2, 1, 10, 11, 8, 9, 5, 4, 7, 6], pc set (0,
1, 2, 3)
21. Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class III S, [0, 6, 11, 5, 8, 2, 7, 1,
4, 10, 3, 9], pc set (0, 1, 6, 7), self-rotational interval pattern 6-5-6-3-
22. Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class II 2, [0, 3, 6, 9, 2, 5, 8, 11,
4, 7, 10, 1], pc set (0, 3, 6, 9), self-rotational interval pattern 3-3-3-5-
23. Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class II 5, [0, 7, 1, 6, 4, 11, 5,
10, 8, 3, 9, 2], pc set (0, 1, 6, 7), self-rotational interval pattern 7-6-5-10-
24. Hauer, Josef Matthias: Zwölftonspiel für Klavier zu vier Händen; mit einer Zwölftonreihe von Dr.
Fritz Racek, [0, 2, 9, 11, 4, 3, 6, 1, 10, 8, 5, 7], pc set (0, 2, 3, 5)
25. Hendler, Maximilian: aus den fünf Liedern nach Texten von Elisabeth Pöschl : ‘Sonnenaufgang’ für
Singstimme und Klavier, Op.44-1, [0, 11, 2, 1, 5, 6, 4, 3, 8, 7, 9, 10], pc set (0, 1, 2, 3)
26. Huber, Klaus: Zwei Sätze, [0, 3, 1, 10, 11, 8, 6, 9, 7, 2, 4, 5], pc set (0, 2, 3, 5)
27. Jelinek, Hanns: Zwölftonwerk, Op.15, [0, 10, 5, 7, 3, 6, 1, 8, 11, 9, 2, 4], pc set (0, 2, 5, 7)
28. Kalodiki, Georgia: Six Sketches for piano, [0, 7, 6, 1, 2, 9, 8, 3, 4, 11, 5, 10], pc set (0, 1, 6, 7)
29. Lackner, Peter: Kanon T4 á 3, [0, 5, 7, 2, 4, 9, 11, 6, 8, 1, 3, 10], pc set (0, 2, 5, 7), self-rotational
interval pattern 5-2-7-2-
30. Lang, Bernhard: HIOB Musiktheater für Orchester, Chor und Solisten, [0, 9, 11, 10, 5, 8, 6, 7, 2, 3,
1, 4], pc set (0, 1, 2, 3)
31. Li, Bao-Shu: Träumerei of Jiuzhai Gou, [0, 5, 7, 2, 4, 11, 9, 6, 3, 1, 8, 10], pc set (0, 2, 5, 7)
32. Ligeti, György: Le Grand Macabre, [0, 6, 5, 11, 10, 4, 9, 3, 2, 8, 7, 1], pc set (0, 1, 6, 7)
33. Luo, Zhong-Rong: String Quartet, No.2, [0, 3, 5, 10, 6, 8, 11, 1, 9, 2, 4, 7], pc set (0, 2, 5, 7)
34. Morris, Robert: Beautiful Beast, [0, 1, 3, 6, 5, 10, 7, 4, 9, 8, 11, 2], pc set (0, 1, 3, 6)
35. Morris, Robert: On the Go, [0, 9, 2, 3, 5, 8, 10, 11, 1, 4, 7, 6], pc set (0, 1, 3, 6)
36. Nono, Luigi: Intolleranza, Baritone, [0, 2, 7, 9, 4, 6, 11, 1, 8, 10, 3, 5], pc set (0, 2, 5, 7),
self-rotational interval pattern 2-5-2-7-
37. Nono, Luigi: Intolleranza, Tenor 2, [0, 1, 3, 2, 4, 5, 7, 6, 8, 9, 11, 10], pc set (0, 1, 2, 3),
self-rotational interval pattern 1-2-11-2-
38. Nono, Luigi: La terra e la compagna (sketch), Series 3, [0, 9, 6, 3, 1, 4, 7, 10, 11, 8, 5, 2], pc set (0,
3, 6, 9)
39. Nono, Luigi: Sarà dolce tacere, [0, 10, 5, 3, 8, 6, 1, 11, 4, 2, 9, 7], pc set (0, 2, 5, 7), self-rotational
interval pattern 10-7-10-5-
40. Panufnik, Andrzej: Sinfonia di Sfere (Symphony, No.5), Chord 2, [0, 3, 6, 9, 11, 2, 5, 8, 10, 1, 4, 7],
12-TONE ANTHOLOGY | 1006
59. Slonimsky, Nicholas: No. 216 Ultrapolation of Three Notes (Ditone Progression; Equal Division of
One Octave into Three Parts), [0, 5, 10, 7, 4, 9, 2, 11, 8, 1, 6, 3], pc set (0, 2, 5, 7), self-rotational
interval pattern 5-5-9-9-
60. Slonimsky, Nicholas: No. 221 Ultrapolation of Three Notes (Ditone Progression; Equal Division of
One Octave into Three Parts), [0, 6, 11, 9, 4, 10, 3, 1, 8, 2, 7, 5], pc set (0, 1, 3, 6), self-rotational
interval pattern 6-5-10-7-
61. Slonimsky, Nicholas: No. 230 Ultrapolation of Three Notes (Ditone Progression; Equal Division of
One Octave into Three Parts), [0, 6, 5, 11, 4, 10, 9, 3, 8, 2, 1, 7], pc set (0, 1, 6, 7), self-rotational
interval pattern 6-11-6-5-
62. Slonimsky, Nicholas: No. 258 Infrapolation of Three Notes (Ditone Progression; Equal Division of
One Octave into Three Parts), [0, 11, 10, 9, 4, 3, 2, 1, 8, 7, 6, 5], pc set (0, 1, 2, 3), self-rotational
interval pattern 11-11-11-7-
63. Slonimsky, Nicholas: No. 262 Infrapolation of Three Notes (Ditone Progression; Equal Division of
One Octave into Three Parts), [0, 11, 10, 5, 4, 3, 2, 9, 8, 7, 6, 1], pc set (0, 1, 2, 7), self-rotational
interval pattern 11-11-7-11-
64. Slonimsky, Nicholas: No. 270 Infrapolation of Three Notes (Ditone Progression; Equal Division of
One Octave into Three Parts), [0, 10, 9, 7, 4, 2, 1, 11, 8, 6, 5, 3], pc set (0, 2, 3, 5), self-rotational
interval pattern 10-11-10-9-
65. Slonimsky, Nicholas: No. 277 Infrapolation of Three Notes (Ditone Progression; Equal Division of
One Octave into Three Parts), [0, 10, 7, 5, 4, 2, 11, 9, 8, 6, 3, 1], pc set (0, 2, 5, 7), self-rotational
interval pattern 10-9-10-11-
66. Slonimsky, Nicholas: No. 340 Infra-Inter-Ultrapolation (Ditone Progression; Equal Division of One
Octave into Three Parts), [0, 11, 2, 9, 4, 3, 6, 1, 8, 7, 10, 5], pc set (0, 2, 3, 5), self-rotational
interval pattern 11-3-7-7-
67. Slonimsky, Nicholas: No. 348 Infra-Inter-Ultrapolation (Ditone Progression; Equal Division of One
Octave into Three Parts), [0, 10, 1, 7, 4, 2, 5, 11, 8, 6, 9, 3], pc set (0, 1, 3, 6), self-rotational
interval pattern 10-3-6-9-
68. Slonimsky, Nicholas: No. 359 Infra-Inter-Ultrapolation (Ditone Progression; Equal Division of One
Octave into Three Parts), [0, 10, 3, 9, 4, 2, 7, 1, 8, 6, 11, 5], pc set (0, 1, 3, 6), self-rotational
interval pattern 10-5-6-7-
69. Slonimsky, Nicholas: No. 370 Infra-Inter-Ultrapolation (Ditone Progression; Equal Division of One
Octave into Three Parts), [0, 7, 1, 6, 4, 11, 5, 10, 8, 3, 9, 2], pc set (0, 1, 6, 7), self-rotational
interval pattern 7-6-5-10-
70. Slonimsky, Nicholas: No. 371 Infra-Inter-Ultrapolation (Ditone Progression; Equal Division of One
Octave into Three Parts), [0, 7, 2, 5, 4, 11, 6, 9, 8, 3, 10, 1], pc set (0, 2, 5, 7), self-rotational
interval pattern 7-7-3-11-
71. Slonimsky, Nicholas: No. 388 Miscellaneous Patterns [Diminished Seventh Chords] (Ditone
12-TONE ANTHOLOGY | 1008
Progression; Equal Division of One Octave into Three Parts), [0, 3, 9, 6, 4, 7, 1, 10, 8, 11, 5, 2], pc
set (0, 3, 6, 9), self-rotational interval pattern 3-6-9-10-
72. Slonimsky, Nicholas: No. 389 Miscellaneous Patterns [Diminished Seventh Chords] (Ditone
Progression; Equal Division of One Octave into Three Parts), [0, 9, 3, 6, 4, 1, 7, 10, 8, 5, 11, 2], pc
set (0, 3, 6, 9), self-rotational interval pattern 9-6-3-10-
73. Slonimsky, Nicholas: No. 390 Miscellaneous Patterns [Diminished Seventh Chords] (Ditone
Progression; Equal Division of One Octave into Three Parts), [0, 3, 9, 6, 4, 7, 1, 10, 8, 11, 5, 2], pc
set (0, 3, 6, 9), self-rotational interval pattern 3-6-9-10-
74. Slonimsky, Nicholas: No. 391 Miscellaneous Patterns [Diminished Seventh Chords] (Ditone
Progression; Equal Division of One Octave into Three Parts), [0, 9, 3, 6, 4, 1, 7, 10, 8, 5, 11, 2], pc
set (0, 3, 6, 9), self-rotational interval pattern 9-6-3-10-
75. Slonimsky, Nicholas: No. 637 Permutations (Semitone Progression; Equal Division of One Octave
into Twelve Parts), [0, 1, 3, 2, 4, 5, 7, 6, 8, 9, 11, 10], pc set (0, 1, 2, 3), self-rotational interval
pattern 1-2-11-2-
76. Slonimsky, Nicholas: No. 638 Permutations (Semitone Progression; Equal Division of One Octave
into Twelve Parts), [0, 11, 9, 10, 4, 3, 1, 2, 8, 7, 5, 6], pc set (0, 1, 2, 3), self-rotational interval
pattern 11-10-1-6-
77. Slonimsky, Nicholas: No. 641 Permutations (Semitone Progression; Equal Division of One Octave
into Twelve Parts), [0, 1, 2, 3, 7, 6, 5, 4, 8, 9, 10, 11], pc set (0, 1, 2, 3)
78. Slonimsky, Nicholas: No. 645 Permutations (Semitone Progression; Equal Division of One Octave
into Twelve Parts), [0, 1, 11, 10, 8, 9, 7, 6, 4, 5, 3, 2], pc set (0, 1, 2, 3), self-rotational interval
pattern 1-10-11-10-
79. Slonimsky, Nicholas: No. 646 Permutations (Semitone Progression; Equal Division of One Octave
into Twelve Parts), [0, 1, 11, 6, 8, 9, 7, 2, 4, 5, 3, 10], pc set (0, 1, 2, 7), self-rotational interval
pattern 1-10-7-2-
80. Slonimsky, Nicholas: No. 647 Permutations (Semitone Progression; Equal Division of One Octave
into Twelve Parts), [0, 2, 11, 5, 8, 10, 7, 1, 4, 6, 3, 9], pc set (0, 1, 3, 6), self-rotational interval
pattern 2-9-6-3-
81. Slonimsky, Nicholas: No. 685 Interpolation of Three Notes (Quadritone Progression; Equal Division
of Two Octaves into Three Parts), [0, 1, 3, 6, 8, 9, 11, 2, 4, 5, 7, 10], pc set (0, 1, 3, 6),
self-rotational interval pattern 1-2-3-2-
82. Slonimsky, Nicholas: No. 692 Interpolation of Three Notes (Quadritone Progression; Equal Division
of Two Octaves into Three Parts), [0, 2, 3, 5, 8, 10, 11, 1, 4, 6, 7, 9], pc set (0, 2, 3, 5),
self-rotational interval pattern 2-1-2-3-
83. Slonimsky, Nicholas: No. 698 Interpolation of Three Notes (Quadritone Progression; Equal Division
of Two Octaves into Three Parts), [0, 2, 5, 7, 8, 10, 1, 3, 4, 6, 9, 11], pc set (0, 2, 5, 7),
self-rotational interval pattern 2-3-2-1-
1009 | 12-TONE ANTHOLOGY
84. Slonimsky, Nicholas: No. 734 Inter-Infra-Ultrapolation (Quadritone Progression; Equal Division of
Two Octaves into Three Parts), [0, 5, 11, 10, 8, 1, 7, 6, 4, 9, 3, 2], pc set (0, 1, 2, 7), self-rotational
interval pattern 5-6-11-10-
85. Slonimsky, Nicholas: No. 735 Inter-Infra-Ultrapolation (Quadritone Progression; Equal Division of
Two Octaves into Three Parts), [0, 6, 9, 11, 8, 2, 5, 7, 4, 10, 1, 3], pc set (0, 1, 3, 6), self-rotational
interval pattern 6-3-2-9-
86. Slonimsky, Nicholas: No. 736 Inter-Infra-Ultrapolation (Quadritone Progression; Equal Division of
Two Octaves into Three Parts), [0, 2, 7, 9, 8, 10, 3, 5, 4, 6, 11, 1], pc set (0, 2, 5, 7), self-rotational
interval pattern 2-5-2-11-
87. Slonimsky, Nicholas: No. 813 Interpolation of Three Notes (Quinquetone Progression; Equal
Division of Five Octaves into Six Parts), [0, 3, 6, 9, 10, 1, 4, 7, 8, 11, 2, 5], pc set (0, 3, 6, 9),
self-rotational interval pattern 3-3-3-1-
88. Slonimsky, Nicholas: No. 909 Infra-Inter-Ultrapolation (Quinquetone Progression; Equal Division of
Five Octaves into Six Parts), [0, 9, 3, 6, 5, 2, 8, 11, 10, 7, 1, 4], pc set (0, 3, 6, 9), self-rotational
interval pattern 9-6-3-11-
89. Spinner, Leopold: Sonatina for Piano, Op.22, [0, 3, 2, 1, 9, 10, 11, 8, 5, 4, 7, 6], pc set (0, 1, 2, 3)
90. Spinner, Leopold: String Quartet, Op.2, [0, 1, 7, 6, 11, 10, 4, 5, 8, 9, 3, 2], pc set (0, 1, 6, 7)
91. Stravinsky, Igor: Agon, “Double Pas-de-Deux”, [0, 11, 1, 2, 9, 8, 10, 7, 5, 6, 4, 3], pc set (0, 1, 2, 3)
92. Webern, Anton: String Quartet, Op.28, [0, 11, 2, 1, 5, 6, 3, 4, 8, 7, 10, 9], pc set (0, 1, 2, 3)
93. Wolpe, Stefan: Four Studies on Basic Rows, No.4, “Basic Row” 10, [0, 10, 1, 11, 4, 2, 5, 3, 8, 6, 9,
7], pc set (0, 1, 2, 3), self-rotational interval pattern 10-3-10-5-
94. Yun, Isang: Garak, [0, 3, 6, 1, 4, 5, 7, 10, 9, 11, 8, 2], pc set (0, 1, 3, 6)
2x Same Hexachord
Finally, we have the relatively common condition of 2x the same hexachord (pitches 1-6 and 7-12).
1. Apostel, Hans Erich: Fischerhaus-Serenade, Op.45, [0, 4, 8, 3, 11, 7, 1, 9, 5, 2, 10, 6], pc set (0, 1,
4, 5, 8, 9)
2. Argento, Dominick: A Water Bird Talk, Lecturer Row, [0, 9, 5, 10, 2, 6, 3, 11, 8, 4, 1, 7], pc set (0,
1, 3, 5, 8, 9)
3. Argento, Dominick: From the Diary of Virginia Woolf, [0, 7, 6, 2, 11, 5, 3, 1, 8, 9, 4, 10], pc set (0,
1, 2, 5, 7, 8)
4. Atterberg, Kurt: Symphony 9 [Bbm], Op.54, ‘Sinfonia visionaria’, [0, 1, 5, 6, 7, 4, 8, 11, 10, 9, 2, 3],
pc set (0, 1, 2, 3, 6, 7)
5. Babbitt, Milton: All Set, [0, 4, 5, 11, 6, 10, 7, 3, 1, 2, 9, 8], pc set (0, 1, 2, 6, 7, 8)
6. Babbitt, Milton: Arie da Capo, [0, 7, 8, 6, 2, 1, 10, 5, 11, 9, 4, 3], pc set (0, 1, 2, 6, 7, 8)
12-TONE ANTHOLOGY | 1010
7. Babbitt, Milton: Composition for Four Instruments, [0, 3, 11, 2, 10, 1, 7, 4, 8, 5, 9, 6], pc set (0, 1,
2, 3, 4, 5)
8. Babbitt, Milton: Composition for Four Instruments, row i, [0, 10, 9, 8, 7, 5, 11, 1, 2, 3, 4, 6], pc set
(0, 2, 3, 4, 5, 7)
9. Babbitt, Milton: Composition for Four Instruments, row ii, [0, 9, 11, 2, 4, 1, 7, 10, 8, 5, 3, 6], pc set
(0, 2, 3, 4, 5, 7)
10. Babbitt, Milton: Composition for Four Instruments, row iii, [0, 4, 3, 8, 7, 11, 5, 1, 2, 9, 10, 6], pc set
(0, 1, 4, 5, 8, 9)
11. Babbitt, Milton: Composition for Four Instruments, row iv, [0, 4, 1, 8, 5, 9, 3, 11, 2, 7, 10, 6], pc set
(0, 1, 4, 5, 8, 9)
12. Babbitt, Milton: Composition for Synthesizer, [0, 9, 1, 8, 4, 5, 7, 2, 3, 6, 10, 11], pc set (0, 1, 4, 5, 8,
9)
13. Babbitt, Milton: Composition for Tenor and Six Instruments, [0, 11, 7, 5, 6, 1, 4, 3, 10, 8, 2, 9], pc
set (0, 1, 2, 6, 7, 8)
14. Babbitt, Milton: Composition for Twelve Instruments, [0, 1, 4, 9, 5, 8, 3, 10, 2, 11, 6, 7], pc set (0,
1, 4, 5, 8, 9)
15. Babbitt, Milton: Composition for Viola and Piano, [0, 3, 4, 8, 11, 7, 9, 2, 1, 5, 10, 6], pc set (0, 1, 4,
5, 8, 9)
16. Babbitt, Milton: Du, row i, [0, 9, 2, 10, 11, 1, 7, 5, 4, 8, 3, 6], pc set (0, 1, 2, 3, 4, 5)
17. Babbitt, Milton: Du, row ii, [0, 5, 2, 10, 9, 7, 1, 3, 4, 8, 11, 6], pc set (0, 2, 4, 5, 7, 9)
18. Babbitt, Milton: Groupwise, [0, 5, 4, 6, 10, 11, 2, 9, 3, 1, 8, 7], pc set (0, 1, 2, 6, 7, 8)
19. Babbitt, Milton: My Complements to Roger, [0, 3, 7, 8, 11, 4, 2, 6, 1, 9, 10, 5], pc set (0, 1, 4, 5, 8,
9)
20. Babbitt, Milton: My Ends Are My Beginnings, [0, 11, 4, 8, 7, 3, 5, 6, 9, 2, 10, 1], pc set (0, 1, 4, 5,
8, 9)
21. Babbitt, Milton: Paraphrases, [0, 11, 3, 10, 8, 1, 7, 5, 4, 6, 2, 9], pc set (0, 2, 3, 4, 5, 7)
22. Babbitt, Milton: Partitions, [0, 7, 9, 10, 2, 11, 5, 8, 4, 3, 1, 6], pc set (0, 2, 3, 4, 5, 7)
23. Babbitt, Milton: Relata I, [0, 1, 11, 2, 10, 3, 9, 8, 4, 6, 7, 5], pc set (0, 1, 2, 3, 4, 5)
24. Babbitt, Milton: Relata II, [0, 1, 11, 2, 10, 3, 9, 8, 4, 6, 7, 5], pc set (0, 1, 2, 3, 4, 5)
25. Babbitt, Milton: Semi-simple variations, [0, 8, 1, 10, 9, 11, 5, 3, 4, 7, 2, 6], pc set (0, 1, 2, 3, 4, 5)
26. Babbitt, Milton: String Quartet, No.2, [0, 3, 11, 4, 1, 2, 8, 10, 5, 9, 7, 6], pc set (0, 1, 2, 3, 4, 5)
27. Babbitt, Milton: String Quartet, No.3, [0, 11, 6, 7, 5, 1, 10, 2, 9, 3, 4, 8], pc set (0, 1, 2, 6, 7, 8)
28. Babbitt, Milton: String Quartet, No.4, [0, 2, 9, 7, 11, 10, 1, 8, 4, 3, 5, 6], pc set (0, 2, 3, 4, 5, 7)
29. Babbitt, Milton: Tableaux, [0, 11, 4, 6, 10, 5, 2, 1, 7, 9, 8, 3], pc set (0, 1, 2, 6, 7, 8)
30. Babbitt, Milton: The Crowded Air, [0, 8, 5, 7, 10, 6, 11, 1, 9, 3, 2, 4], pc set (0, 1, 2, 3, 5, 7)
31. Babbitt, Milton: The Widow’s Lament in Springtime, [0, 11, 9, 2, 10, 7, 1, 4, 8, 3, 5, 6], pc set (0, 2,
3, 4, 5, 7)
1011 | 12-TONE ANTHOLOGY
32. Babbitt, Milton: Three Compositions for Piano, No.1, [0, 5, 7, 4, 2, 3, 9, 1, 8, 11, 10, 6], pc set (0,
2, 3, 4, 5, 7)
33. Babbitt, Milton: Two Sonnets of Gerard Manley Hopkins, [0, 2, 3, 4, 7, 5, 11, 6, 10, 9, 8, 1], pc set
(0, 2, 3, 4, 5, 7)
34. Babbitt, Milton: Vision and Prayer, [0, 11, 8, 3, 7, 4, 10, 9, 2, 6, 1, 5], pc set (0, 1, 4, 5, 8, 9)
35. Babbitt, Milton: Woodwind Quartet, [0, 3, 1, 2, 11, 10, 8, 9, 5, 7, 6, 4], pc set (0, 1, 2, 3, 4, 5)
36. Baker, David: “Status Symbol” from “The Black Experience”, [0, 3, 4, 7, 8, 11, 1, 10, 9, 6, 5, 2], pc
set (0, 1, 4, 5, 8, 9)
37. Barber, Samuel: Piano Sonata, Op.26, [0, 8, 4, 11, 3, 7, 1, 9, 5, 10, 2, 6], pc set (0, 1, 4, 5, 8, 9)
38. Bartók, Béla: Violin Concerto, No.2, mvt 1, [0, 2, 8, 1, 9, 4, 10, 6, 3, 7, 11, 5], pc set (0, 1, 4, 5, 6,
8)
39. Bartók, Béla: Violin Concerto, No.2, mvt 3, [0, 8, 2, 9, 1, 4, 10, 7, 6, 3, 11, 5], pc set (0, 1, 4, 5, 6,
8)
40. Beecroft, Norma: Improvvisazioni Concertanti, No.1, [0, 1, 11, 9, 3, 2, 7, 6, 10, 8, 4, 5], pc set (0,
1, 2, 3, 4, 6)
41. Bennett, Richard Rodney: Five Studies for Piano, [0, 3, 5, 6, 11, 9, 4, 2, 7, 8, 10, 1], pc set (0, 1, 3,
6, 7, 9)
42. Berg, Alban: Altenberg Lieder, [0, 1, 11, 10, 2, 9, 3, 8, 7, 6, 5, 4], pc set (0, 1, 2, 3, 4, 5)
43. Berg, Alban: Lulu, Lulu (title character) row, [0, 2, 3, 5, 7, 9, 1, 10, 11, 4, 6, 8], pc set (0, 2, 3, 5, 7,
9)
44. Berg, Alban: Lulu, Primary / Main / Basic Row, [0, 4, 5, 2, 7, 9, 6, 8, 11, 10, 3, 1], pc set (0, 2, 4, 5,
7, 9)
45. Berg, Alban: Lulu, Schigolch, [0, 2, 3, 1, 4, 5, 6, 7, 8, 9, 11, 10], pc set (0, 1, 2, 3, 4, 5)
46. Berg, Alban: Lulu, Schoolboy row, [0, 2, 6, 10, 4, 7, 8, 3, 5, 9, 11, 1], pc set (0, 1, 3, 5, 7, 9)
47. Berg, Alban: Lulu, permutation of main row, [0, 4, 2, 7, 9, 6, 8, 11, 3, 1, 5, 10], pc set (0, 2, 3, 5, 7,
9)
48. Berg, Alban: Lulu, whole-tone row, [0, 2, 4, 6, 10, 8, 11, 7, 9, 1, 3, 5], pc set (0, 2, 4, 6, 8, 10)
49. Berg, Alban: Lyric Suite, Primary Row / mvt I, [0, 11, 7, 4, 2, 9, 3, 8, 10, 1, 5, 6], pc set (0, 2, 4, 5,
7, 9)
50. Berg, Alban: Lyric Suite, mvt I, [0, 2, 4, 5, 7, 9, 6, 8, 10, 11, 1, 3], pc set (0, 2, 4, 5, 7, 9),
self-rotational interval pattern 2-2-1-2-2-9-
51. Berg, Alban: Lyric Suite, mvt III, [0, 11, 7, 1, 2, 9, 3, 8, 10, 4, 5, 6], pc set (0, 1, 2, 3, 5, 7)
52. Berg, Alban: Lyric Suite, mvt VI, [0, 2, 4, 7, 9, 11, 6, 8, 10, 1, 3, 5], pc set (0, 2, 4, 5, 7, 9),
self-rotational interval pattern 2-2-3-2-2-7-
53. Berg, Alban: Schliesse mir die Augen Beide, [0, 11, 7, 4, 2, 9, 3, 8, 10, 1, 5, 6], pc set (0, 2, 4, 5, 7,
9)
54. Berger, Arthur: Chamber Music for Thirteen Players, [0, 1, 11, 7, 10, 9, 6, 5, 8, 4, 2, 3], pc set (0, 1,
12-TONE ANTHOLOGY | 1012
2, 3, 4, 6)
55. Berio, Luciano: Chamber Music, [0, 9, 3, 5, 7, 10, 2, 11, 4, 6, 8, 1], pc set (0, 2, 3, 5, 7, 9)
56. Berio, Luciano: Cinque Variazioni, [0, 2, 4, 1, 3, 5, 8, 10, 6, 7, 9, 11], pc set (0, 1, 2, 3, 4, 5)
57. Berio, Luciano: Sequenza I, [0, 11, 10, 9, 8, 7, 4, 6, 5, 3, 1, 2], pc set (0, 1, 2, 3, 4, 5)
58. Bischof, Rainer: ‘Und so sink ich leise in mich selbst hinein’. Österreichischer Liederzyklus für
Mezzosopran und Violine, Op.17, [0, 6, 5, 11, 4, 9, 3, 2, 8, 7, 1, 10], pc set (0, 1, 2, 5, 7, 8)
59. Boulez, Pierre: 2nd Piano Sonata, mvt II, Section 1, [0, 2, 1, 11, 3, 9, 8, 10, 7, 6, 5, 4], pc set (0, 1,
2, 3, 4, 6)
60. Boulez, Pierre: Le Soleil des eaux, series I, [0, 6, 10, 2, 5, 1, 7, 11, 3, 4, 8, 9], pc set (0, 1, 4, 5, 6, 8)
61. Boulez, Pierre: Le Soleil des eaux, series II, [0, 6, 10, 2, 5, 1, 4, 7, 11, 8, 3, 9], pc set (0, 1, 4, 5, 6,
8)
62. Boulez, Pierre: Le Soleil des eaux, series III, [0, 11, 7, 2, 6, 5, 4, 8, 10, 1, 3, 9], pc set (0, 1, 2, 5, 7,
8)
63. Boulez, Pierre: Notations, [0, 2, 7, 6, 1, 8, 4, 9, 5, 11, 10, 3], pc set (0, 1, 2, 6, 7, 8)
64. Boulez, Pierre: Pli selon pli, [0, 1, 8, 6, 7, 9, 4, 5, 11, 3, 2, 10], pc set (0, 1, 2, 3, 6, 7)
65. Boulez, Pierre: Structures Ia, [0, 11, 6, 5, 4, 3, 1, 10, 9, 7, 2, 8], pc set (0, 1, 2, 3, 6, 7)
66. Cage, John: Sonata for Clarinet, [0, 1, 10, 11, 9, 7, 6, 5, 4, 8, 3, 2], pc set (0, 1, 2, 3, 4, 6)
67. Cage, John: Sonata for Clarinet, mvt 2, [0, 11, 9, 10, 8, 6, 5, 4, 3, 7, 2, 1], pc set (0, 1, 2, 3, 4, 6)
68. Cage, John: Two pieces for Piano, [0, 11, 8, 3, 4, 2, 9, 7, 1, 5, 10, 6], pc set (0, 1, 2, 4, 5, 8)
69. Carlos, Juan: Canciones y Baladas, Balada II, [0, 4, 10, 6, 3, 8, 7, 2, 5, 9, 1, 11], pc set (0, 1, 3, 5, 7,
9)
70. Carter, Elliott: Night Fantasies, [0, 10, 3, 11, 8, 7, 1, 2, 5, 9, 4, 6], pc set (0, 1, 3, 4, 5, 8)
71. Carter, Elliott: String Quartet, No.2 (sketch) 3, [0, 2, 4, 6, 8, 10, 1, 3, 5, 7, 9, 11], pc set (0, 2, 4, 6,
8, 10), self-rotational interval pattern 2-2-2-2-2-3-
72. Coltrane, John: Miles Mode, [0, 3, 5, 2, 7, 9, 10, 8, 1, 11, 6, 4], pc set (0, 2, 3, 5, 7, 9)
73. Copland, Aaron: Inscape, (“Y form” or “Row 1”), [0, 4, 3, 11, 2, 7, 6, 8, 10, 9, 5, 1], pc set (0, 1, 3,
4, 5, 8)
74. Cordero, Roque: Concerto for Violin, mvt 2A, [0, 11, 6, 4, 7, 8, 5, 9, 3, 10, 1, 2], pc set (0, 1, 4, 5,
6, 8)
75. Cordero, Roque: Soliloquios, [0, 1, 5, 11, 3, 2, 9, 8, 4, 10, 6, 7], pc set (0, 1, 2, 3, 4, 6)
76. Cordero, Roque: Violin Concerto mvt 1-3, [0, 11, 6, 4, 8, 7, 5, 1, 3, 2, 10, 9], pc set (0, 1, 4, 5, 6, 8)
77. Crosse, Gordon: Elegy for Small Orchestra, Op.1, [0, 11, 3, 1, 9, 10, 5, 6, 2, 4, 8, 7], pc set (0, 1, 2,
3, 4, 6)
78. Dallapiccola, Luigi: ‘Intermezzo’ from the ‘Ciaccona’ (of ‘Ciaccona, intermezzo e adagio’), [0, 5, 6,
3, 8, 9, 7, 11, 10, 2, 1, 4], pc set (0, 1, 3, 4, 6, 9)
79. Dallapiccola, Luigi: Canti di Liberationi, No.2, [0, 5, 8, 3, 1, 9, 10, 4, 2, 11, 7, 6], pc set (0, 1, 3, 5,
8, 9)
1013 | 12-TONE ANTHOLOGY
80. Dallapiccola, Luigi: Canti di Liberazione, [0, 1, 5, 8, 10, 4, 3, 7, 9, 2, 11, 6], pc set (0, 1, 3, 5, 8, 9)
81. Dallapiccola, Luigi: Cinque canti, [0, 11, 5, 8, 6, 2, 7, 3, 1, 4, 10, 9], pc set (0, 1, 3, 6, 7, 9)
82. Dallapiccola, Luigi: Commiato, [0, 6, 5, 3, 9, 11, 10, 8, 7, 1, 2, 4], pc set (0, 1, 3, 6, 7, 9)
83. Dallapiccola, Luigi: Dialoghi, [0, 1, 10, 2, 6, 4, 5, 3, 7, 11, 8, 9], pc set (0, 2, 3, 4, 6, 8)
84. Dallapiccola, Luigi: Il Prigioniero, “Hope”, [0, 1, 2, 3, 11, 5, 4, 10, 6, 7, 9, 8], pc set (0, 1, 2, 3, 4, 6)
85. Dallapiccola, Luigi: Il prigioniero, “Prayer”, [0, 3, 6, 11, 9, 2, 1, 7, 8, 4, 5, 10], pc set (0, 1, 3, 4, 6,
9)
86. Dallapiccola, Luigi: Liriche greche c: Sex Carmina Alcaei, [0, 3, 5, 6, 2, 9, 8, 7, 4, 1, 10, 11], pc set
(0, 1, 3, 4, 6, 9)
87. Dallapiccola, Luigi: Quaderno musicale di Annalibera, [0, 1, 5, 8, 10, 4, 3, 7, 9, 2, 11, 6], pc set (0,
1, 3, 5, 8, 9)
88. Dallapiccola, Luigi: Quattro liriche di Antonio Machado, i, iv, [0, 3, 5, 6, 8, 9, 11, 10, 7, 4, 2, 1], pc
set (0, 1, 3, 4, 6, 9)
89. Dallapiccola, Luigi: Requiescant, [0, 2, 1, 3, 4, 6, 7, 9, 8, 10, 5, 11], pc set (0, 1, 2, 3, 4, 6)
90. Dallapiccola, Luigi: Requiescant (alternative view), [0, 2, 1, 7, 11, 8, 9, 6, 10, 4, 3, 5], pc set (0, 1, 2,
3, 6, 7)
91. Dallapiccola, Luigi: Tempus, ‘Exhortatio’, [0, 11, 9, 3, 5, 6, 4, 7, 8, 2, 1, 10], pc set (0, 1, 3, 6, 7, 9)
92. Dallapiccola, Luigi: Tempus, ‘Ploratus’, [0, 1, 7, 6, 10, 4, 3, 2, 5, 11, 9, 8], pc set (0, 1, 3, 6, 7, 9)
93. Dallapiccola, Luigi: Ulisse [opera], [0, 2, 1, 3, 9, 8, 11, 10, 4, 6, 5, 7], pc set (0, 1, 2, 3, 6, 7)
94. Dallapiccola, Luigi: Variazioni per orchestra, [0, 1, 5, 8, 10, 4, 3, 7, 9, 2, 11, 6], pc set (0, 1, 3, 5, 8,
9)
95. Davies, Peter Maxwell: Five Pieces for Piano, Op.2, No.2, [0, 7, 11, 1, 3, 5, 8, 6, 4, 9, 10, 2], pc set
(0, 1, 2, 4, 6, 8)
96. Davies, Peter Maxwell: Sonata for Trumpet and Piano, Op.1, [0, 7, 6, 2, 11, 10, 8, 9, 1, 5, 3, 4], pc
set (0, 1, 4, 5, 6, 8)
97. Denisov, Edison: Concerto for Guitar and Orchestra, Row 1, [0, 6, 10, 4, 8, 2, 3, 9, 1, 7, 11, 5], pc
set (0, 2, 4, 6, 8, 10), self-rotational interval pattern 6-4-6-4-6-1-
98. Denisov, Edison: Five Etudes for Solo Bassoon, row A, [0, 6, 1, 7, 8, 3, 2, 9, 10, 5, 11, 4], pc set (0,
1, 2, 5, 7, 8)
99. Denisov, Edison: Five Etudes for Solo Bassoon, row B, [0, 11, 6, 5, 4, 10, 9, 3, 2, 7, 1, 8], pc set (0,
1, 2, 6, 7, 8)
100. Denisov, Edison: Five Etudes for Solo Bassoon, row C, [0, 6, 11, 5, 4, 10, 9, 3, 2, 7, 1, 8], pc set (0,
1, 2, 6, 7, 8)
101. Denisov, Edison: Five Etudes for Solo Bassoon, row D, [0, 6, 1, 7, 8, 3, 2, 9, 10, 11, 5, 4], pc set (0,
1, 2, 5, 7, 8)
102. Denisov, Edison: Five Etudes for Solo Bassoon, row E, [0, 1, 7, 6, 5, 11, 10, 4, 3, 8, 2, 9], pc set (0,
1, 2, 6, 7, 8)
12-TONE ANTHOLOGY | 1014
103. Denisov, Edison: Five Etudes for Solo Bassoon, row F, [0, 6, 1, 7, 3, 2, 8, 9, 10, 5, 11, 4], pc set (0,
1, 2, 3, 6, 7)
104. Denisov, Edison: Five Etudes for Solo Bassoon, row I, [0, 6, 1, 7, 2, 8, 3, 10, 5, 11, 9, 4], pc set (0,
1, 2, 6, 7, 8)
105. Denisov, Edison: Five Etudes for Solo Bassoon, row J, [0, 6, 5, 11, 4, 10, 9, 3, 2, 7, 1, 8], pc set (0,
1, 2, 6, 7, 8)
106. Denisov, Edison: Octet for Winds, mvt 2, row A, [0, 1, 3, 2, 4, 5, 8, 7, 6, 11, 9, 10], pc set (0, 1, 2,
3, 4, 5)
107. Denisov, Edison: Octet for Winds, mvt 2, row B, [0, 6, 11, 5, 4, 10, 9, 3, 2, 8, 1, 7], pc set (0, 1, 2,
6, 7, 8)
108. Dessau, Paul: >Guernica< for piano, [0, 7, 6, 2, 10, 11, 5, 9, 1, 3, 4, 8], pc set (0, 1, 4, 5, 6, 8)
109. Dessau, Paul: Les Voix, [0, 11, 6, 8, 9, 3, 4, 10, 5, 7, 2, 1], pc set (0, 1, 3, 4, 6, 9)
110. Eder, Helmut: Concerto for violin and orchestra, Op.32, [0, 9, 6, 2, 11, 3, 8, 1, 7, 5, 10, 4], pc set (0,
1, 3, 4, 6, 9)
111. Eisler, Hanns: Der Zweck der Musik, [0, 2, 4, 5, 7, 9, 6, 8, 10, 11, 1, 3], pc set (0, 2, 4, 5, 7, 9),
self-rotational interval pattern 2-2-1-2-2-9-
112. Eisler, Hanns: Deutsche Symphonie, mvt 5, [0, 1, 3, 5, 8, 9, 6, 11, 10, 4, 2, 7], pc set (0, 1, 3, 5, 8,
9)
113. Eisler, Hanns: Deutsche Symphonie, mvt 8, [0, 3, 1, 11, 2, 10, 8, 9, 6, 7, 5, 4], pc set (0, 1, 2, 3, 4,
5)
114. Eisler, Hanns: Deutsche Symphonie, mvt 9, [0, 4, 1, 10, 8, 6, 3, 11, 9, 2, 5, 7], pc set (0, 1, 3, 5, 7,
9)
115. Eisler, Hanns: Deutsche Symphonie, mvts 1, 10, [0, 10, 6, 1, 11, 7, 5, 8, 9, 3, 4, 2], pc set (0, 1, 2, 3,
6, 7)
116. Eisler, Hanns: Five Pieces for Orchestra, mvt 3, [0, 3, 2, 1, 5, 4, 6, 9, 8, 11, 10, 7], pc set (0, 1, 2, 3,
4, 5)
117. Eisler, Hanns: Five Pieces for Orchestra, mvt 4, [0, 10, 9, 8, 6, 7, 3, 4, 5, 11, 1, 2], pc set (0, 1, 2, 3,
4, 6)
118. Eisler, Hanns: Five Pieces for Orchestra, mvt 5, [0, 2, 6, 4, 10, 9, 11, 1, 7, 5, 8, 3], pc set (0, 1, 3, 5,
7, 9)
119. Eisler, Hanns: Gegen den Krieg, Op.55, [0, 3, 2, 5, 4, 7, 6, 8, 9, 10, 1, 11], pc set (0, 2, 3, 4, 5, 7)
120. Eisler, Hanns: Man lebt von einem Tage zu dem andern (“Kantate im Exil”), [0, 10, 11, 3, 1, 8, 7, 4,
2, 6, 9, 5], pc set (0, 2, 3, 4, 5, 7)
121. Eisler, Hanns: Palmström, Op.5, No.5, [0, 10, 11, 9, 8, 1, 7, 6, 5, 3, 4, 2], pc set (0, 1, 2, 3, 4, 5)
122. Eisler, Hanns: Sonata for Piano, No.2 (“in Form von Variationen”), Op.6, row variant 1, [0, 4, 6, 3,
2, 1, 9, 10, 7, 8, 5, 11], pc set (0, 1, 2, 3, 4, 6)
123. Eisler, Hanns: Sonata for Piano, No.2 (“in Form von Variationen”), Op.6, row variant 2, [0, 4, 3, 2,
1015 | 12-TONE ANTHOLOGY
149. Gerhard, Roberto: String Quartet, [0, 7, 8, 2, 6, 10, 9, 11, 4, 5, 1, 3], pc set (0, 1, 2, 4, 6, 8)
150. Gerhard, Roberto: String Quartet, No.2, [0, 1, 5, 2, 8, 7, 10, 9, 6, 11, 4, 3], pc set (0, 1, 2, 5, 7, 8)
151. Gerhard, Roberto: The Plague, [0, 1, 9, 11, 8, 10, 4, 5, 6, 2, 3, 7], pc set (0, 1, 2, 3, 4, 5)
152. Gerhard, Roberto: Three Impromptus, [0, 8, 1, 10, 4, 6, 7, 5, 3, 2, 9, 11], pc set (0, 1, 3, 5, 7, 9)
153. Gielen, Michael: Six Songs, for bass, violin, viola, clarinet, bass clarinet, and piano, [0, 5, 1, 4, 2, 3,
9, 8, 10, 7, 11, 6], pc set (0, 1, 2, 3, 4, 5)
154. Ginastera, Alberto: Don Rodrigo, Op.31, Row Class 1, [0, 1, 6, 7, 8, 2, 10, 11, 5, 4, 9, 3], pc set (0,
1, 2, 6, 7, 8)
155. Ginastera, Alberto: Don Rodrigo, Op.31, Row Class 2, [0, 11, 2, 3, 4, 1, 6, 5, 8, 9, 10, 7], pc set (0,
1, 2, 3, 4, 5), self-rotational interval pattern 11-3-1-1-9-5-
156. Ginastera, Alberto: Don Rodrigo, Op.31, Row Class 3, [0, 5, 6, 11, 2, 1, 8, 7, 10, 4, 9, 3], pc set (0,
1, 2, 3, 6, 7)
157. Ginastera, Alberto: Don Rodrigo, Op.31, Row Class 4, [0, 9, 10, 11, 6, 5, 8, 7, 2, 3, 4, 1], pc set (0,
1, 2, 3, 6, 7)
158. Ginastera, Alberto: Don Rodrigo, Op.31, Row Class 5, [0, 1, 7, 6, 5, 11, 2, 8, 9, 10, 4, 3], pc set (0,
1, 2, 6, 7, 8)
159. Ginastera, Alberto: Don Rodrigo, Op.31, Row Class 7, [0, 1, 8, 2, 7, 6, 5, 11, 9, 10, 4, 3], pc set (0,
1, 2, 6, 7, 8)
160. Ginastera, Alberto: Quintet, Op.29, Row Class III 1, [0, 11, 1, 8, 2, 7, 10, 3, 9, 4, 6, 5], pc set (0, 1,
2, 3, 6, 7)
161. Ginastera, Alberto: Quintet, Op.29, Row Class III 2, [0, 11, 1, 8, 2, 7, 5, 6, 4, 9, 3, 10], pc set (0, 1,
2, 3, 6, 7)
162. Ginastera, Alberto: Quintet, Op.29, Row Class V, [0, 5, 4, 7, 3, 2, 6, 9, 8, 1, 10, 11], pc set (0, 2, 3,
4, 5, 7)
163. Ginastera, Alberto: Quintet, Op.29, Row Class VII 1, [0, 9, 10, 11, 4, 3, 6, 2, 1, 5, 8, 7], pc set (0, 1,
2, 3, 6, 7)
164. Ginastera, Alberto: Quintet, Op.29, Row Class VII 2, [0, 11, 1, 8, 2, 7, 5, 6, 4, 9, 3, 10], pc set (0, 1,
2, 3, 6, 7)
165. Ginastera, Alberto: Quintet, Op.29, Row Class VII S, [0, 11, 1, 10, 2, 9, 3, 8, 4, 7, 5, 6], pc set (0, 1,
2, 3, 4, 5)
166. Ginastera, Alberto: Quintet, Op.29, mvt.III, [0, 7, 3, 10, 2, 6, 9, 1, 4, 8, 11, 5], pc set (0, 1, 3, 5, 8,
9)
167. Ginastera, Alberto: Sonata for Cello and Piano, Op.49, [0, 3, 2, 1, 10, 11, 8, 9, 5, 4, 7, 6], pc set (0,
1, 2, 3, 4, 5)
168. Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class III, [0, 11, 7, 4, 2, 9, 3, 8,
10, 1, 5, 6], pc set (0, 2, 4, 5, 7, 9)
169. Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class II 3, [0, 9, 3, 2, 11, 6, 5, 1,
1017 | 12-TONE ANTHOLOGY
190. Hauer, Josef Matthias: Baustein, [0, 8, 11, 1, 6, 10, 4, 2, 3, 5, 9, 7], pc set (0, 1, 2, 3, 5, 7)
191. Hauer, Josef Matthias: Fünfte Tanzfantasie für kleines Orchester, Opus 66, [0, 10, 4, 7, 8, 11, 6, 2,
5, 9, 3, 1], pc set (0, 1, 2, 4, 5, 8)
192. Hauer, Josef Matthias: Harmonie – Melodie – Rhythmus – in kristallischer Bindung – im vierfachen
Kontrapunkt [Zwölftonspiel] für Zwölftonorchester, [0, 2, 10, 9, 6, 5, 1, 4, 7, 11, 8, 3], pc set (0, 1,
3, 5, 8, 9)
193. Hauer, Josef Matthias: Hausmusik [Zwölftonspiel] für zwei Violinen und Klavier, [0, 1, 5, 3, 7, 10,
9, 6, 11, 4, 2, 8], pc set (0, 2, 3, 5, 7, 9)
194. Hauer, Josef Matthias: Kammermusik [Zwölftonspiel] für Flöte, Oboe, Baßklarinette, Fagott, zwei
Violinen, Bratsche, Cello und Klavier zu vier Händen. 24. Jänner 1957, [0, 9, 3, 7, 5, 10, 1, 6, 11, 4,
2, 8], pc set (0, 2, 3, 5, 7, 9)
195. Hauer, Josef Matthias: Klavierstücke mit Überschriften nach Worten von Friedrich Hölderlin, Op.25
;, No.10, [0, 6, 11, 10, 9, 5, 2, 3, 7, 1, 4, 8], pc set (0, 1, 2, 3, 6, 7)
196. Hauer, Josef Matthias: Langsamer Walzer [Zwölftonspiel] für Orchester. 10. Jänner 1957, [0, 8, 10,
2, 3, 6, 1, 9, 7, 4, 11, 5], pc set (0, 1, 3, 5, 7, 9)
197. Hauer, Josef Matthias: Langsamer Walzer [Zwölftonspiel] für zwei Violinen, Bratsche, Cello und
Klavier zu zwei Händen, [0, 6, 2, 11, 10, 7, 3, 4, 5, 9, 1, 8], pc set (0, 1, 4, 5, 6, 8)
198. Hauer, Josef Matthias: Nomos, Op.19 (bb.106-108), [0, 10, 6, 1, 7, 4, 9, 5, 3, 8, 11, 2], pc set (0, 1,
3, 6, 7, 9)
199. Hauer, Josef Matthias: Nomos, Op.19 (bb.117-118), [0, 4, 5, 11, 7, 10, 3, 9, 6, 2, 1, 8], pc set (0, 1,
2, 5, 7, 8)
200. Hauer, Josef Matthias: Nomos, Op.19 (bb.119-120), [0, 10, 8, 6, 5, 7, 9, 2, 3, 1, 11, 4], pc set (0, 1,
2, 3, 5, 7)
201. Hauer, Josef Matthias: Nomos, Op.19 (bb.123-124), [0, 8, 11, 5, 3, 7, 4, 9, 1, 6, 10, 2], pc set (0, 1,
3, 5, 8, 9)
202. Hauer, Josef Matthias: Nomos, Op.19 (bb.125-126), [0, 11, 1, 10, 6, 8, 9, 5, 7, 3, 2, 4], pc set (0, 1,
2, 3, 5, 7)
203. Hauer, Josef Matthias: Nomos, Op.19 (bb.134-137), [0, 2, 1, 4, 5, 9, 6, 8, 10, 7, 11, 3], pc set (0, 1,
3, 4, 5, 8)
204. Hauer, Josef Matthias: Nomos, Op.19 (bb.138-140), [0, 3, 4, 2, 5, 6, 8, 7, 10, 11, 1, 9], pc set (0, 1,
2, 3, 4, 6)
205. Hauer, Josef Matthias: Nomos, Op.19 (bb.139-141), [0, 2, 10, 1, 11, 9, 8, 5, 6, 4, 7, 3], pc set (0, 1,
2, 3, 4, 5)
206. Hauer, Josef Matthias: Nomos, Op.19 (bb.141-143), [0, 10, 11, 3, 5, 6, 7, 2, 1, 4, 8, 9], pc set (0, 1,
2, 5, 7, 8)
207. Hauer, Josef Matthias: Nomos, Op.19 (bb.142-143), [0, 11, 10, 1, 5, 3, 8, 6, 9, 4, 7, 2], pc set (0, 1,
2, 3, 5, 7)
1019 | 12-TONE ANTHOLOGY
208. Hauer, Josef Matthias: Nomos, Op.19 (bb.143-145), [0, 9, 10, 2, 1, 11, 4, 6, 7, 5, 8, 3], pc set (0, 1,
2, 3, 4, 5)
209. Hauer, Josef Matthias: Nomos, Op.19 (bb.159-161), [0, 5, 1, 8, 10, 4, 6, 7, 3, 9, 11, 2], pc set (0, 1,
3, 5, 8, 9)
210. Hauer, Josef Matthias: Nomos, Op.19 (bb.171-174), [0, 7, 1, 3, 9, 6, 8, 11, 10, 5, 4, 2], pc set (0, 1,
3, 6, 7, 9)
211. Hauer, Josef Matthias: Nomos, Op.19 (bb.175-178), [0, 10, 1, 2, 6, 5, 3, 4, 8, 9, 7, 11], pc set (0, 1,
4, 5, 6, 8)
212. Hauer, Josef Matthias: Nomos, Op.19 (bb.192-193), [0, 9, 6, 2, 8, 4, 7, 10, 1, 3, 5, 11], pc set (0, 1,
3, 5, 7, 9)
213. Hauer, Josef Matthias: Nomos, Op.19 (bb.196-197), [0, 2, 8, 6, 11, 5, 4, 10, 7, 3, 1, 9], pc set (0, 1,
3, 6, 7, 9)
214. Hauer, Josef Matthias: Nomos, Op.19 (bb.213-216), [0, 2, 6, 1, 10, 4, 5, 8, 11, 7, 3, 9], pc set (0, 2,
3, 4, 6, 8)
215. Hauer, Josef Matthias: Nomos, Op.19 (bb.224-228), [0, 1, 9, 3, 4, 5, 10, 11, 6, 2, 8, 7], pc set (0, 1,
2, 4, 5, 8)
216. Hauer, Josef Matthias: Nomos, Op.19 (bb.228-230), [0, 2, 9, 6, 5, 10, 7, 3, 8, 1, 4, 11], pc set (0, 1,
3, 5, 8, 9)
217. Hauer, Josef Matthias: Nomos, Op.19 (bb.231-233), [0, 6, 10, 3, 2, 8, 9, 5, 4, 1, 11, 7], pc set (0, 1,
3, 5, 7, 9)
218. Hauer, Josef Matthias: Nomos, Op.19 (bb.234-237), [0, 11, 3, 1, 7, 4, 9, 6, 5, 10, 2, 8], pc set (0, 1,
2, 4, 5, 8)
219. Hauer, Josef Matthias: Nomos, Op.19 (bb.241-243), [0, 2, 8, 1, 4, 9, 5, 6, 3, 11, 10, 7], pc set (0, 1,
4, 5, 6, 8)
220. Hauer, Josef Matthias: Nomos, Op.19 (bb.257-262), [0, 7, 3, 8, 4, 2, 9, 1, 11, 6, 10, 5], pc set (0, 1,
4, 5, 6, 8)
221. Hauer, Josef Matthias: Nomos, Op.19 (bb.262-263), [0, 11, 2, 5, 1, 6, 9, 7, 10, 3, 4, 8], pc set (0, 1,
2, 3, 6, 7)
222. Hauer, Josef Matthias: Nomos, Op.19 (bb.272-276), [0, 1, 5, 3, 7, 2, 8, 10, 4, 6, 11, 9], pc set (0, 1,
2, 3, 5, 7)
223. Hauer, Josef Matthias: Nomos, Op.19 (bb.284-287), [0, 1, 11, 7, 6, 4, 10, 5, 2, 8, 3, 9], pc set (0, 1,
2, 5, 7, 8)
224. Hauer, Josef Matthias: Nomos, Op.19 (bb.288-291), [0, 2, 10, 7, 4, 6, 11, 3, 5, 1, 8, 9], pc set (0, 1,
3, 5, 7, 9)
225. Hauer, Josef Matthias: Nomos, Op.19 (bb.292-294), [0, 9, 2, 6, 3, 5, 10, 1, 11, 7, 4, 8], pc set (0, 1,
3, 4, 6, 9)
226. Hauer, Josef Matthias: Nomos, Op.19 (bb.325-328), [0, 5, 4, 2, 7, 6, 3, 11, 1, 8, 10, 9], pc set (0, 1,
12-TONE ANTHOLOGY | 1020
2, 3, 5, 7)
227. Hauer, Josef Matthias: Nomos, Op.19 (bb.328-332), [0, 3, 2, 7, 6, 10, 9, 11, 8, 5, 1, 4], pc set (0, 1,
3, 5, 8, 9)
228. Hauer, Josef Matthias: Nomos, Op.19 (bb.331-334), [0, 4, 3, 2, 1, 11, 7, 10, 5, 6, 8, 9], pc set (0, 1,
2, 3, 4, 5)
229. Hauer, Josef Matthias: Nomos, Op.19 (bb.362-365), [0, 7, 5, 3, 10, 8, 4, 2, 9, 6, 11, 1], pc set (0, 2,
4, 5, 7, 9)
230. Hauer, Josef Matthias: Nomos, Op.19 (bb.366-371), [0, 5, 1, 7, 3, 2, 4, 8, 11, 6, 10, 9], pc set (0, 1,
2, 3, 5, 7)
231. Hauer, Josef Matthias: Nomos, Op.19 (bb.372-375), [0, 8, 6, 1, 10, 11, 5, 9, 7, 4, 3, 2], pc set (0, 1,
2, 3, 5, 7)
232. Hauer, Josef Matthias: Nomos, Op.19 (bb.387-390), [0, 3, 7, 4, 10, 1, 11, 9, 6, 8, 2, 5], pc set (0, 1,
3, 4, 6, 9)
233. Hauer, Josef Matthias: Nomos, Op.19 (bb.403-409), [0, 11, 2, 10, 8, 1, 5, 3, 4, 6, 7, 9], pc set (0, 1,
2, 3, 4, 6)
234. Hauer, Josef Matthias: Nomos, Op.19 (bb.422-425), [0, 6, 4, 2, 10, 9, 8, 5, 11, 7, 1, 3], pc set (0, 1,
3, 5, 7, 9)
235. Hauer, Josef Matthias: Nomos, Op.19 (bb.425-427), [0, 8, 10, 7, 4, 2, 3, 5, 6, 11, 1, 9], pc set (0, 1,
3, 5, 7, 9)
236. Hauer, Josef Matthias: Nomos, Op.19 (bb.430-432), [0, 6, 8, 10, 9, 2, 7, 1, 3, 4, 5, 11], pc set (0, 2,
3, 4, 6, 8)
237. Hauer, Josef Matthias: Nomos, Op.19 (bb.438-441), [0, 1, 10, 8, 9, 4, 3, 5, 7, 11, 6, 2], pc set (0, 1,
2, 4, 5, 8)
238. Hauer, Josef Matthias: Nomos, Op.19 (bb.441-445), [0, 1, 9, 8, 10, 4, 6, 5, 7, 2, 3, 11], pc set (0, 1,
2, 4, 5, 8)
239. Hauer, Josef Matthias: Nomos, Op.19 (bb.451-453), [0, 2, 4, 1, 6, 11, 3, 8, 9, 7, 5, 10], pc set (0, 1,
2, 3, 5, 7)
240. Hauer, Josef Matthias: Nomos, Op.19 (bb.452-455), [0, 5, 7, 8, 1, 2, 3, 4, 6, 11, 10, 9], pc set (0, 1,
2, 5, 7, 8)
241. Hauer, Josef Matthias: Nomos, Op.19 (bb.457-458), [0, 3, 4, 5, 8, 1, 6, 11, 9, 10, 2, 7], pc set (0, 1,
3, 4, 5, 8)
242. Hauer, Josef Matthias: Nomos, Op.19 (bb.463-464), [0, 4, 6, 7, 3, 9, 1, 10, 8, 11, 5, 2], pc set (0, 1,
3, 4, 6, 9)
243. Hauer, Josef Matthias: Nomos, Op.19 (bb.479-483), [0, 6, 10, 9, 7, 8, 11, 4, 5, 3, 2, 1], pc set (0, 1,
2, 3, 4, 6)
244. Hauer, Josef Matthias: Nomos, Op.19 (bb.494-496), [0, 7, 8, 5, 6, 11, 2, 3, 9, 4, 1, 10], pc set (0, 1,
2, 3, 6, 7)
1021 | 12-TONE ANTHOLOGY
245. Hauer, Josef Matthias: Nomos, Op.19 (bb.50-53), [0, 2, 10, 4, 5, 3, 6, 7, 1, 8, 9, 11], pc set (0, 1, 2,
3, 5, 7)
246. Hauer, Josef Matthias: Nomos, Op.19 (bb.501-503), [0, 5, 7, 1, 3, 2, 6, 10, 11, 8, 9, 4], pc set (0, 1,
2, 3, 5, 7)
247. Hauer, Josef Matthias: Nomos, Op.19 (bb.503-507), [0, 10, 1, 2, 3, 5, 7, 11, 4, 8, 9, 6], pc set (0, 2,
3, 4, 5, 7)
248. Hauer, Josef Matthias: Nomos, Op.19 (bb.511-514), [0, 10, 1, 4, 6, 2, 9, 7, 11, 8, 5, 3], pc set (0, 2,
3, 4, 6, 8)
249. Hauer, Josef Matthias: Nomos, Op.19 (bb.517-521), [0, 2, 10, 11, 6, 4, 5, 1, 3, 9, 8, 7], pc set (0, 1,
2, 4, 6, 8)
250. Hauer, Josef Matthias: Nomos, Op.19 (bb.528-531), [0, 6, 7, 5, 8, 10, 9, 11, 4, 2, 1, 3], pc set (0, 1,
2, 3, 5, 7)
251. Hauer, Josef Matthias: Nomos, Op.19 (bb.60-63), [0, 4, 1, 2, 9, 8, 10, 5, 11, 3, 6, 7], pc set (0, 1, 4,
5, 6, 8)
252. Hauer, Josef Matthias: Nomos, Op.19 (bb.72-73), [0, 1, 7, 11, 4, 3, 9, 6, 5, 2, 10, 8], pc set (0, 1, 2,
4, 5, 8)
253. Hauer, Josef Matthias: Nomos, Op.19 (bb.73-78), [0, 8, 7, 2, 4, 11, 1, 3, 6, 5, 10, 9], pc set (0, 1, 3,
5, 8, 9)
254. Hauer, Josef Matthias: Nomos, Op.19 (bb.84-87), [0, 10, 1, 11, 5, 3, 2, 6, 7, 8, 9, 4], pc set (0, 1, 2,
3, 5, 7)
255. Hauer, Josef Matthias: Nomos, Op.19 (bb.93-94), [0, 1, 10, 8, 6, 2, 9, 4, 11, 7, 5, 3], pc set (0, 1, 2,
4, 6, 8)
256. Hauer, Josef Matthias: Nomos, Op.19 (row 1), [0, 8, 9, 5, 4, 6, 10, 11, 7, 1, 2, 3], pc set (0, 1, 2, 4,
5, 8)
257. Hauer, Josef Matthias: Nomos, Op.19 (row 2), [0, 6, 10, 4, 3, 2, 8, 7, 11, 9, 5, 1], pc set (0, 2, 3, 4,
6, 8)
258. Hauer, Josef Matthias: Paraphonie [Zwölftonspiel] für Bratsche und Klavier, [0, 4, 10, 5, 8, 1, 11, 7,
2, 9, 6, 3], pc set (0, 1, 3, 5, 8, 9)
259. Hauer, Josef Matthias: Romantische Phantasie für Orchester, [0, 10, 8, 5, 1, 9, 4, 11, 3, 7, 6, 2], pc
set (0, 1, 3, 4, 5, 8)
260. Hauer, Josef Matthias: Sakraler Tanz [Zwölftonspiel] für Orchester, [0, 3, 10, 8, 5, 2, 9, 1, 11, 6, 4,
7], pc set (0, 2, 3, 5, 7, 9)
261. Hauer, Josef Matthias: Sechste Suite für Orchester, Op.47, [0, 9, 6, 2, 8, 3, 10, 11, 7, 4, 5, 1], pc set
(0, 1, 3, 6, 7, 9)
262. Hauer, Josef Matthias: Symphonische Stücke für Streichorchester, Klavier und Harmonium, Op.49,
[0, 4, 6, 3, 2, 8, 1, 11, 10, 7, 9, 5], pc set (0, 2, 3, 4, 6, 8)
263. Hauer, Josef Matthias: Tanz im langsamen 3/4 Takt [Zwölftonspiel] für zwei Violinen, zwei
12-TONE ANTHOLOGY | 1022
Bratschen und Klavier zu zwei Händen, [0, 3, 10, 2, 11, 6, 8, 7, 4, 9, 1, 5], pc set (0, 1, 2, 4, 5, 8)
264. Hauer, Josef Matthias: VIII. Zwölftonspiel für Orchester. Juni 1943, [0, 5, 10, 8, 4, 2, 11, 9, 3, 1, 7,
6], pc set (0, 1, 3, 5, 7, 9)
265. Hauer, Josef Matthias: Violinkonzert, Op.54 (9. März – 6. April 1928), [0, 7, 6, 8, 4, 11, 1, 10, 5, 9,
2, 3], pc set (0, 1, 4, 5, 6, 8)
266. Hauer, Josef Matthias: XXI. Zwölftonspiel für Orchester; mit einer Zwöfftonreihe, die in sechs
Tropen steht, und vom Kulturreferenten der Stadt Wien Dr. Viktor Matejka gewählt wurde. Erster
Teil 2,4-Takt (Halbe = 50) mit achttaktigen Perioden; zweiter Teil im 3/4 Takt (punktierte Halbe =
40) mit sechstaktigen Perioden, [0, 3, 4, 9, 11, 10, 1, 7, 6, 2, 5, 8], pc set (0, 1, 2, 3, 6, 7)
267. Hauer, Josef Matthias: XXII. Zwölftonspiel für Klavier, [0, 2, 11, 6, 7, 10, 1, 3, 8, 4, 9, 5], pc set (0,
1, 4, 5, 6, 8)
268. Hauer, Josef Matthias: XXIII. Zwölftonspiel für Klavierquintett, [0, 4, 11, 9, 10, 2, 6, 3, 7, 5, 8, 1],
pc set (0, 1, 2, 3, 5, 7)
269. Hauer, Josef Matthias: XXIV. Zwölftonspiel für Klavier, [0, 2, 9, 3, 8, 1, 4, 7, 11, 5, 6, 10], pc set
(0, 1, 2, 3, 6, 7)
270. Hauer, Josef Matthias: XXIX. Zwölftonspiel für Cembalo; mit der Sokolowski-Reihe zu Bachs
Geburtstag, [0, 11, 2, 1, 4, 3, 10, 5, 8, 9, 6, 7], pc set (0, 1, 2, 3, 4, 5)
271. Hauer, Josef Matthias: XXXII. Zwölftonspiel für Violine, zwei Bratschen und Cello (2/2), [0, 7, 4,
3, 11, 2, 5, 1, 10, 9, 6, 8], pc set (0, 1, 3, 4, 5, 8)
272. Hauer, Josef Matthias: Zwölftonspiel (Weihnachten 1947) für Klarinette, Violine, Bratsche, Cello
und Klavier, [0, 6, 2, 10, 8, 3, 11, 4, 9, 7, 5, 1], pc set (0, 1, 3, 5, 7, 9)
273. Hauer, Josef Matthias: Zwölftonspiel 10. Juli 1957; für Klavier zu vier Händen, [0, 8, 10, 6, 2, 11, 1,
3, 9, 4, 7, 5], pc set (0, 2, 3, 4, 6, 8)
274. Hauer, Josef Matthias: Zwölftonspiel 15. Juni 1957; für Flöte, Oboe, Bassklarinette, Fagott, zwei
Violinen, Viola, Violoncello & Klavier vierhändig, [0, 6, 4, 8, 3, 11, 9, 2, 7, 1, 10, 5], pc set (0, 1, 3,
5, 8, 9)
275. Hauer, Josef Matthias: Zwölftonspiel 2. Juni 1948 für Streichquartett und Klavier, [0, 3, 10, 6, 2, 11,
1, 4, 7, 9, 5, 8], pc set (0, 1, 2, 4, 5, 8)
276. Hauer, Josef Matthias: Zwölftonspiel 26. Juli 1957, für Flöte, Oboe, Bassklarinette, Fagott und
Streichquartett, [0, 4, 1, 6, 8, 2, 10, 7, 3, 9, 11, 5], pc set (0, 1, 2, 4, 6, 8)
277. Hauer, Josef Matthias: Zwölftonspiel 3. Mai 1958; für Streichsextett, [0, 4, 10, 3, 7, 1, 8, 2, 11, 6, 9,
5], pc set (0, 1, 3, 4, 6, 9)
278. Hauer, Josef Matthias: Zwölftonspiel 5. September 1957; für Violine, Bratsche und Klavier, [0, 4, 2,
9, 10, 6, 11, 1, 7, 3, 8, 5], pc set (0, 1, 3, 5, 7, 9)
279. Hauer, Josef Matthias: Zwölftonspiel 7. April 1957; für zwei Violinen, Bratsche, Cello und Klavier
zu vier Händen, [0, 6, 2, 9, 10, 4, 11, 3, 7, 1, 5, 8], pc set (0, 1, 3, 5, 7, 9)
280. Hauer, Josef Matthias: Zwölftonspiel 9. September 1957; für vier Solostimmen [S, A, T, B], Violine,
1023 | 12-TONE ANTHOLOGY
317. Hendler, Maximilian: ‘Die vollständige Ordnung der symmetrischen zwölftönigen Modi’, No.15, [0,
1, 3, 6, 7, 9, 11, 10, 8, 5, 4, 2], pc set (0, 1, 3, 6, 7, 9)
318. Hendler, Maximilian: ‘Die vollständige Ordnung der symmetrischen zwölftönigen Modi’, No.16, [0,
1, 3, 5, 7, 10, 9, 8, 6, 4, 2, 11], pc set (0, 2, 3, 5, 7, 9)
319. Hendler, Maximilian: ‘Die vollständige Ordnung der symmetrischen zwölftönigen Modi’, No.17, [0,
1, 3, 5, 8, 9, 7, 6, 4, 2, 11, 10], pc set (0, 1, 3, 5, 8, 9)
320. Hendler, Maximilian: ‘Die vollständige Ordnung der symmetrischen zwölftönigen Modi’, No.18, [0,
3, 4, 6, 9, 10, 11, 8, 7, 5, 2, 1], pc set (0, 1, 3, 6, 7, 9)
321. Hendler, Maximilian: ‘Die vollständige Ordnung der symmetrischen zwölftönigen Modi’, No.19, [0,
1, 4, 5, 8, 9, 11, 10, 7, 6, 3, 2], pc set (0, 1, 4, 5, 8, 9)
322. Hendler, Maximilian: ‘Die vollständige Ordnung der symmetrischen zwölftönigen Modi’, No.2, [0, 1,
2, 3, 4, 10, 9, 8, 7, 6, 5, 11], pc set (0, 1, 2, 3, 4, 6)
323. Hendler, Maximilian: ‘Die vollständige Ordnung der symmetrischen zwölftönigen Modi’, No.20, [0,
1, 2, 5, 7, 8, 11, 10, 9, 6, 4, 3], pc set (0, 1, 2, 5, 7, 8)
324. Hendler, Maximilian: ‘Die vollständige Ordnung der symmetrischen zwölftönigen Modi’, No.21, [0,
1, 2, 5, 6, 10, 9, 8, 7, 4, 3, 11], pc set (0, 1, 4, 5, 6, 8)
325. Hendler, Maximilian: ‘Die vollständige Ordnung der symmetrischen zwölftönigen Modi’, No.22, [0,
1, 2, 4, 8, 9, 7, 6, 5, 3, 11, 10], pc set (0, 1, 4, 5, 6, 8)
326. Hendler, Maximilian: ‘Die vollständige Ordnung der symmetrischen zwölftönigen Modi’, No.23, [0,
3, 4, 5, 9, 10, 11, 8, 7, 6, 2, 1], pc set (0, 1, 2, 5, 7, 8)
327. Hendler, Maximilian: ‘Die vollständige Ordnung der symmetrischen zwölftönigen Modi’, No.24, [0,
3, 4, 7, 8, 10, 9, 6, 5, 2, 1, 11], pc set (0, 1, 3, 5, 8, 9)
328. Hendler, Maximilian: ‘Die vollständige Ordnung der symmetrischen zwölftönigen Modi’, No.25, [0,
3, 5, 6, 8, 9, 7, 4, 2, 1, 11, 10], pc set (0, 1, 3, 4, 6, 9)
329. Hendler, Maximilian: ‘Die vollständige Ordnung der symmetrischen zwölftönigen Modi’, No.26, [0,
3, 4, 6, 7, 8, 5, 2, 1, 11, 10, 9], pc set (0, 1, 2, 4, 5, 8)
330. Hendler, Maximilian: ‘Die vollständige Ordnung der symmetrischen zwölftönigen Modi’, No.27, [0,
2, 4, 5, 6, 7, 3, 1, 11, 10, 9, 8], pc set (0, 1, 2, 3, 5, 7)
331. Hendler, Maximilian: ‘Die vollständige Ordnung der symmetrischen zwölftönigen Modi’, No.28, [0,
5, 7, 8, 9, 10, 11, 6, 4, 3, 2, 1], pc set (0, 2, 3, 4, 5, 7)
332. Hendler, Maximilian: ‘Die vollständige Ordnung der symmetrischen zwölftönigen Modi’, No.29, [0,
1, 6, 7, 8, 9, 11, 10, 5, 4, 3, 2], pc set (0, 1, 2, 3, 6, 7)
333. Hendler, Maximilian: ‘Die vollständige Ordnung der symmetrischen zwölftönigen Modi’, No.3, [0, 2,
3, 4, 5, 10, 11, 9, 8, 7, 6, 1], pc set (0, 1, 2, 3, 5, 7)
334. Hendler, Maximilian: ‘Die vollständige Ordnung der symmetrischen zwölftönigen Modi’, No.30, [0,
1, 2, 6, 7, 8, 11, 10, 9, 5, 4, 3], pc set (0, 1, 2, 6, 7, 8)
335. Hendler, Maximilian: ‘Die vollständige Ordnung der symmetrischen zwölftönigen Modi’, No.31, [0,
12-TONE ANTHOLOGY | 1026
357. Klein, Fritz Heinrich: Variationen, Op.14, [0, 11, 7, 4, 2, 9, 3, 8, 10, 1, 5, 6], pc set (0, 2, 4, 5, 7, 9)
358. Klenau, Paul von: Elisabeth von England, [0, 2, 8, 11, 7, 1, 4, 10, 3, 6, 5, 9], pc set (0, 1, 2, 3, 6, 7)
359. Kokkonen, Joonas: Cello Concerto, mov. 2, row “II/A”, [0, 2, 7, 4, 3, 5, 6, 1, 11, 8, 10, 9], pc set (0,
2, 3, 4, 5, 7)
360. Kokkonen, Joonas: Cello Concerto, mov. 2, row “II/B”, [0, 2, 3, 1, 4, 5, 7, 8, 6, 9, 10, 11], pc set (0,
1, 2, 3, 4, 5)
361. Kokkonen, Joonas: Cello Concerto, mov. 2, row “II/C”, [0, 9, 11, 10, 7, 2, 6, 3, 5, 4, 1, 8], pc set (0,
2, 3, 4, 5, 7), self-rotational interval pattern 9-2-11-9-7-4-
362. Kokkonen, Joonas: Woodwind Quintet, mov. 1, rows “I/A” and “I/B”, [0, 2, 11, 9, 10, 1, 3, 6, 4, 5,
7, 8], pc set (0, 1, 2, 3, 4, 5)
363. Krenek, Ernst: Eight Piano Pieces, [0, 10, 1, 7, 6, 11, 5, 8, 3, 9, 2, 4], pc set (0, 1, 2, 3, 6, 7)
364. Krenek, Ernst: Karl V, King Francis Row, [0, 10, 5, 6, 11, 3, 9, 4, 2, 7, 1, 8], pc set (0, 1, 2, 5, 7, 8)
365. Krenek, Ernst: Kette, Kreis, und Spiegel (Circle, Chain and Mirror), Op.160, [0, 5, 6, 9, 8, 4, 10, 7,
11, 3, 1, 2], pc set (0, 1, 2, 4, 5, 8)
366. Krenek, Ernst: Lamentatio Jeremiae Prophetae, Op.93, row 1, [0, 2, 4, 5, 8, 10, 6, 7, 9, 11, 1, 3], pc
set (0, 1, 3, 5, 7, 9)
367. Krenek, Ernst: Lamentatio Jeremiae Prophetae, Op.93, row 2, [0, 2, 3, 6, 8, 10, 5, 7, 9, 11, 1, 4], pc
set (0, 1, 3, 5, 7, 9)
368. Krenek, Ernst: Lamentatio Jeremiae Prophetae, Op.93, row 3, [0, 1, 4, 6, 8, 10, 5, 7, 9, 11, 2, 3], pc
set (0, 1, 3, 5, 7, 9)
369. Krenek, Ernst: Lamentatio Jeremiae Prophetae, Op.93, row 4, [0, 3, 5, 7, 9, 11, 6, 8, 10, 1, 2, 4], pc
set (0, 1, 3, 5, 7, 9)
370. Krenek, Ernst: Lamentatio Jeremiae Prophetae, Op.93, row 5, [0, 2, 4, 6, 8, 9, 5, 7, 10, 11, 1, 3], pc
set (0, 1, 3, 5, 7, 9)
371. Krenek, Ernst: Lamentatio Jeremiae Prophetae, Op.93, row 6, [0, 2, 4, 6, 7, 10, 5, 8, 9, 11, 1, 3], pc
set (0, 1, 3, 5, 7, 9)
372. Krenek, Ernst: Quaestio temporis, Op.170, [0, 3, 11, 4, 2, 1, 7, 8, 10, 5, 9, 6], pc set (0, 1, 2, 3, 4, 5)
373. Krenek, Ernst: Sechs Vermessene, Op.168, [0, 3, 1, 6, 2, 4, 10, 5, 9, 7, 8, 11], pc set (0, 1, 2, 3, 4, 6)
374. Krenek, Ernst: Sestina, Op.161, [0, 8, 11, 10, 4, 6, 7, 1, 5, 3, 9, 2], pc set (0, 1, 2, 4, 6, 8)
375. Krenek, Ernst: Sonata, No.3, Op.92, No.4, [0, 10, 5, 8, 3, 2, 6, 7, 1, 9, 11, 4], pc set (0, 2, 3, 5, 7, 9)
376. Krenek, Ernst: String Quartet, No.6, Op.78, [0, 10, 11, 8, 1, 9, 3, 7, 2, 4, 6, 5], pc set (0, 1, 2, 3, 4,
5)
377. Krenek, Ernst: Studies in Counterpoint, [0, 4, 3, 11, 10, 9, 1, 7, 8, 6, 2, 5], pc set (0, 1, 2, 3, 6, 7)
378. Krenek, Ernst: Studies in Counterpoint (i), [0, 4, 3, 11, 10, 9, 1, 7, 8, 6, 2, 5], pc set (0, 1, 2, 3, 6, 7)
379. Krenek, Ernst: Studies in Counterpoint (ii), [0, 3, 10, 4, 9, 11, 8, 7, 5, 1, 2, 6], pc set (0, 1, 2, 3, 6,
7)
380. Krenek, Ernst: Suite, Op.84 for solo cello, [0, 4, 3, 11, 10, 9, 1, 7, 8, 6, 2, 5], pc set (0, 1, 2, 3, 6, 7)
12-TONE ANTHOLOGY | 1028
381. Krenek, Ernst: Symeon, der Stylit, [0, 3, 10, 4, 9, 11, 8, 7, 5, 1, 2, 6], pc set (0, 1, 2, 3, 6, 7)
382. Krenek, Ernst: Symphonic Elegy for String Orchestra, Op.105, [0, 1, 9, 11, 10, 2, 3, 7, 6, 8, 4, 5], pc
set (0, 1, 2, 3, 4, 5)
383. Krenek, Ernst: Zwölf Variationen in Drei Satzen, [0, 1, 3, 10, 2, 5, 11, 7, 4, 9, 6, 8], pc set (0, 2, 3,
4, 5, 7)
384. Krenek, Ernst: Zwölf Variationen in Drei Sätzen, Op.79, [0, 1, 3, 10, 2, 5, 11, 7, 4, 9, 8, 6], pc set
(0, 2, 3, 4, 5, 7)
385. Krenek, Ernst: concert for organ and string-orchestra, Op.230, [0, 11, 8, 4, 3, 6, 7, 5, 2, 9, 10, 1], pc
set (0, 1, 3, 5, 8, 9)
386. Kukuck, Felicitas: ‘Der Gottesknecht’: 6. Kantate, [0, 11, 10, 1, 2, 3, 8, 9, 6, 5, 7, 4], pc set (0, 1, 2,
3, 4, 5)
387. Kukuck, Felicitas: ‘Wo bist Du Trost’; motet, [0, 11, 10, 7, 6, 1, 2, 5, 4, 3, 9, 8], pc set (0, 1, 2, 3, 6,
7)
388. Lackner, Peter: ‘An alle Außerirdischen’. Kanon für drei Singstimmen, Kontrabaß und Klavier, [0, 4,
9, 7, 11, 2, 5, 1, 8, 10, 6, 3], pc set (0, 2, 4, 5, 7, 9)
389. Lackner, Peter: ‘Davongeflogene Seelen’ für Singstimme, Violoncello und Klavier, [0, 10, 4, 7, 6, 1,
9, 11, 5, 2, 3, 8], pc set (0, 1, 3, 6, 7, 9)
390. Lackner, Peter: ‘Der Winter’, [0, 6, 3, 5, 9, 11, 7, 1, 4, 2, 10, 8], pc set (0, 1, 3, 6, 7, 9)
391. Lackner, Peter: ‘Es fiel ein Reif in der Frühlingsnacht’ für Singstimme und ein Melodie-Instrument,
[0, 9, 4, 7, 2, 5, 1, 8, 10, 11, 3, 6], pc set (0, 2, 4, 5, 7, 9)
392. Lackner, Peter: ‘Euphorbia obesa’. Kanon für Oboe, Englischhorn und Fagott., [0, 10, 2, 6, 8, 4, 1,
9, 11, 3, 7, 5], pc set (0, 2, 4, 6, 8, 10)
393. Lackner, Peter: ‘Flügelaltar’ für Klavier, [0, 9, 11, 10, 2, 7, 1, 8, 4, 5, 3, 6], pc set (0, 2, 3, 4, 5, 7)
394. Lackner, Peter: ‘Hexentanz’ für Violine und Klavier, [0, 3, 5, 7, 8, 4, 1, 10, 11, 2, 6, 9], pc set (0, 1,
3, 4, 5, 8)
395. Lackner, Peter: ‘INKE TAN MAGROV’ für Singstimme und Klavier, [0, 6, 5, 10, 8, 3, 7, 1, 2, 9,
11, 4], pc set (0, 2, 3, 5, 7, 9)
396. Lackner, Peter: ‘Ständchen’ für zwei Violinen und zwei Bratschen. 1913,2013, [0, 4, 2, 8, 11, 7, 10,
5, 9, 1, 3, 6], pc set (0, 1, 3, 5, 8, 9)
397. Lackner, Peter: ‘Venus-Quadrat’ für Violine und Klavier, [0, 7, 2, 5, 9, 10, 11, 6, 8, 4, 3, 1], pc set
(0, 2, 4, 5, 7, 9)
398. Lackner, Peter: ‘Wo ist der Freund’ (erstes Lied aus dem Zyklus ‘Wilde Erdbeeren’ für Singstimme
und Klavier), [0, 3, 6, 2, 9, 11, 7, 4, 1, 5, 10, 8], pc set (0, 1, 3, 4, 6, 9)
399. Lackner, Peter: 1. Kanonzyklus, [0, 7, 5, 9, 1, 3, 11, 8, 4, 6, 10, 2], pc set (0, 1, 3, 5, 7, 9)
400. Lackner, Peter: 2. Kanonzyklus, [0, 10, 2, 7, 9, 5, 11, 3, 1, 8, 4, 6], pc set (0, 2, 4, 5, 7, 9)
401. Lackner, Peter: 3. Kanonzyklus, [0, 6, 8, 10, 1, 3, 5, 11, 9, 7, 4, 2], pc set (0, 2, 3, 5, 7, 9)
402. Lackner, Peter: 4. Kanonzyklus, [0, 5, 3, 7, 11, 1, 9, 4, 6, 2, 10, 8], pc set (0, 1, 2, 4, 6, 8)
1029 | 12-TONE ANTHOLOGY
403. Lackner, Peter: 5. Kanonzyklus, [0, 7, 11, 9, 1, 3, 5, 8, 10, 6, 2, 4], pc set (0, 2, 3, 4, 6, 8)
404. Lackner, Peter: AGNI MEI (Kanon für Klavier. 5. Juni 2015), [0, 4, 10, 11, 1, 2, 8, 7, 3, 6, 9, 5], pc
set (0, 1, 2, 3, 4, 6)
405. Lackner, Peter: Das Buch der Wandlungen I für Frauenstimmen und,oder Klavier, [0, 8, 3, 5, 1, 10,
7, 11, 4, 2, 6, 9], pc set (0, 2, 4, 5, 7, 9)
406. Lackner, Peter: Florianische Reihe, [0, 3, 9, 7, 4, 11, 5, 2, 8, 6, 1, 10], pc set (0, 1, 3, 5, 8, 9)
407. Lackner, Peter: INKE TAN MAGROV für Singstimme und Klavier (zweites Lied aus dem Zyklus
‘Wilde Erdbeeren’), [0, 2, 9, 5, 8, 11, 3, 1, 6, 10, 7, 4], pc set (0, 1, 3, 4, 6, 9)
408. Lackner, Peter: KANON für A, O & Gsellmanns Weltmaschine. 8. Oktober 1958,2008, [0, 8, 10, 4,
2, 6, 9, 1, 11, 5, 7, 3], pc set (0, 2, 4, 6, 8, 10)
409. Lackner, Peter: Kanon-Polska für zwei Bratschen. 6. Juni 1993, [0, 6, 3, 1, 10, 8, 5, 11, 2, 4, 7, 9],
pc set (0, 2, 3, 5, 7, 9)
410. Lackner, Peter: Kanon T6 á 2, [0, 10, 8, 3, 1, 5, 6, 4, 2, 9, 7, 11], pc set (0, 2, 4, 5, 7, 9),
self-rotational interval pattern 10-10-7-10-4-1-
411. Lackner, Peter: Kanon für B. L., 7. Oktober 2017, [0, 9, 10, 5, 3, 7, 11, 2, 1, 6, 8, 4], pc set (0, 2, 3,
5, 7, 9)
412. Lackner, Peter: Kanon für Blockflötenquartett. April 2005, [0, 10, 11, 3, 1, 2, 8, 7, 9, 5, 4, 6], pc set
(0, 1, 2, 3, 4, 5)
413. Lackner, Peter: Kanon für Cello und Klavier, [0, 2, 9, 10, 6, 5, 1, 11, 4, 3, 7, 8], pc set (0, 1, 3, 5, 8,
9)
414. Lackner, Peter: Kanon für Flöte, Akkordeon, zwei Violinen, Bratsche und Klavier, [0, 5, 3, 7, 11, 1,
9, 4, 6, 2, 10, 8], pc set (0, 1, 2, 4, 6, 8)
415. Lackner, Peter: Kanon für Flöte solo und N. N., [0, 3, 7, 10, 2, 5, 11, 8, 4, 1, 9, 6], pc set (0, 2, 4, 5,
7, 9)
416. Lackner, Peter: Kanon für Flöte und Elektronik. Februar 1999, [0, 10, 2, 7, 9, 5, 11, 3, 1, 8, 4, 6],
pc set (0, 2, 4, 5, 7, 9)
417. Lackner, Peter: Kanon für Hammerklavier. März 2016, [0, 2, 1, 5, 7, 3, 11, 9, 10, 6, 4, 8], pc set (0,
1, 2, 3, 5, 7)
418. Lackner, Peter: Kanon für Kammerorchester, [0, 9, 11, 6, 2, 4, 7, 10, 8, 1, 5, 3], pc set (0, 2, 3, 5, 7,
9)
419. Lackner, Peter: Kanon für Klavier, [0, 6, 8, 10, 1, 3, 5, 11, 9, 7, 4, 2], pc set (0, 2, 3, 5, 7, 9)
420. Lackner, Peter: Kanon für Klavier. 15. Juni 1992, [0, 10, 3, 8, 6, 5, 2, 1, 11, 4, 9, 7], pc set (0, 2, 3,
5, 7, 9)
421. Lackner, Peter: Kanon für Klavier. 21. Juni 1998, [0, 7, 6, 5, 1, 4, 3, 8, 9, 10, 2, 11], pc set (0, 1, 2,
3, 6, 7)
422. Lackner, Peter: Kanon für Klavier. 26. Juni 1983, [0, 7, 5, 9, 4, 8, 6, 1, 11, 3, 10, 2], pc set (0, 1, 3,
4, 5, 8), self-rotational interval pattern 7-10-4-7-4-10-
12-TONE ANTHOLOGY | 1030
423. Lackner, Peter: Kanon für Klavier. 27. Juni, 26. September 2002, [0, 9, 4, 1, 2, 8, 7, 10, 3, 6, 5, 11],
pc set (0, 1, 4, 5, 6, 8)
424. Lackner, Peter: Kanon für Klavier. 5. April 1989, [0, 2, 9, 10, 6, 5, 1, 11, 4, 3, 7, 8], pc set (0, 1, 3,
5, 8, 9)
425. Lackner, Peter: Kanon für Klavier. April 2000, [0, 5, 3, 7, 11, 1, 9, 4, 6, 2, 10, 8], pc set (0, 1, 2, 4,
6, 8)
426. Lackner, Peter: Kanon für Klavier zu vier Händen, [0, 10, 5, 3, 7, 8, 6, 4, 11, 9, 1, 2], pc set (0, 2, 4,
5, 7, 9), self-rotational interval pattern 10-7-10-4-1-10-
427. Lackner, Peter: Kanon für Klavier zu vier Händen. 12. Juni 1996, [0, 4, 2, 8, 11, 10, 5, 1, 3, 9, 6, 7],
pc set (0, 2, 3, 4, 6, 8)
428. Lackner, Peter: Kanon für Klavier zu vier Händen. Frühling 1984, [0, 1, 10, 7, 9, 4, 5, 11, 8, 6, 2,
3], pc set (0, 1, 3, 4, 6, 9)
429. Lackner, Peter: Kanon für Klavierquartett, [0, 8, 6, 11, 3, 9, 1, 5, 7, 2, 10, 4], pc set (0, 1, 3, 4, 6, 9)
430. Lackner, Peter: Kanon für Klavierquartett. 27. April 1991, [0, 6, 3, 5, 9, 11, 7, 1, 4, 2, 10, 8], pc set
(0, 1, 3, 6, 7, 9)
431. Lackner, Peter: Kanon für Klavierquartett. 27. Juni 1991, [0, 2, 6, 9, 11, 3, 7, 5, 1, 10, 8, 4], pc set
(0, 1, 3, 4, 6, 9)
432. Lackner, Peter: Kanon für Klaviertrio, [0, 2, 4, 9, 5, 7, 3, 1, 11, 6, 10, 8], pc set (0, 2, 4, 5, 7, 9)
433. Lackner, Peter: Kanon für Orgel, zweimanualiges Cembalo oder Klavier, [0, 7, 2, 11, 4, 9, 6, 8, 1, 5,
3, 10], pc set (0, 2, 4, 5, 7, 9)
434. Lackner, Peter: Kanon für Orgel. 21. November 1994, 4. Februar 1995, [0, 8, 5, 1, 4, 9, 2, 11, 7, 3,
10, 6], pc set (0, 1, 4, 5, 8, 9)
435. Lackner, Peter: Kanon für Schwegel, diatonisches Hackbrett und Violine, [0, 8, 4, 10, 6, 2, 5, 1, 9, 3,
11, 7], pc set (0, 2, 4, 6, 8, 10), self-rotational interval pattern 8-8-6-8-8-3-
436. Lackner, Peter: Kanon für Schwegel und zwei Geigen, [0, 6, 4, 2, 10, 8, 9, 3, 5, 7, 11, 1], pc set (0,
2, 4, 6, 8, 10)
437. Lackner, Peter: Kanon für Schwegelpfeife in A und Geige, [0, 9, 7, 2, 10, 4, 3, 6, 8, 1, 5, 11], pc set
(0, 2, 3, 5, 7, 9)
438. Lackner, Peter: Kanon für Streichquartett, [0, 9, 3, 5, 1, 11, 7, 10, 4, 2, 6, 8], pc set (0, 2, 3, 4, 6, 8)
439. Lackner, Peter: Kanon für Streichquartett. 22.September 2003, [0, 8, 10, 4, 2, 6, 9, 1, 11, 5, 7, 3],
pc set (0, 2, 4, 6, 8, 10)
440. Lackner, Peter: Kanon für Streichquartett. 3. Jänner 1990, [0, 6, 4, 8, 11, 3, 1, 7, 9, 5, 2, 10], pc set
(0, 1, 3, 5, 8, 9)
441. Lackner, Peter: Kanon für Streichquartett und Orgel. 21. November 1993, [0, 10, 2, 5, 4, 7, 1, 11, 3,
9, 8, 6], pc set (0, 2, 3, 5, 7, 9)
442. Lackner, Peter: Kanon für Tenor-Hackbrett. 19. März 2014, [0, 8, 4, 6, 9, 1, 11, 3, 7, 5, 2, 10], pc
set (0, 1, 3, 5, 8, 9)
1031 | 12-TONE ANTHOLOGY
443. Lackner, Peter: Kanon für Violine, Bratsche und Klavier, [0, 4, 2, 8, 11, 7, 10, 5, 9, 1, 3, 6], pc set
(0, 1, 3, 5, 8, 9)
444. Lackner, Peter: Kanon für Violine, Viola und Akkordeon. 11. Juni 2007, [0, 11, 1, 2, 3, 10, 4, 9, 8,
7, 5, 6], pc set (0, 1, 2, 3, 4, 5)
445. Lackner, Peter: Kanon für Violine solo, [0, 11, 2, 7, 10, 9, 3, 4, 1, 8, 5, 6], pc set (0, 2, 3, 4, 5, 7)
446. Lackner, Peter: Kanon für Violine und Violoncello, [0, 2, 9, 10, 6, 5, 1, 11, 4, 3, 7, 8], pc set (0, 1,
3, 5, 8, 9)
447. Lackner, Peter: Kanon für acht Instrumente. Dezember 1991, März 2007, [0, 11, 3, 10, 6, 2, 7, 8, 4,
9, 1, 5], pc set (0, 1, 2, 4, 5, 8)
448. Lackner, Peter: Kanon für drei Bratschen, [0, 11, 3, 10, 6, 2, 7, 8, 4, 9, 1, 5], pc set (0, 1, 2, 4, 5, 8)
449. Lackner, Peter: Kanon für drei Violinen I, II August 1998, [0, 2, 10, 4, 8, 6, 1, 9, 11, 5, 3, 7], pc set
(0, 2, 4, 6, 8, 10)
450. Lackner, Peter: Kanon für sechs Instrumente. 16. März 2009, [0, 7, 6, 3, 2, 10, 1, 8, 11, 5, 4, 9], pc
set (0, 1, 3, 5, 8, 9)
451. Lackner, Peter: Kanon für sechs Posaunen. Herbst 1996, [0, 9, 1, 6, 4, 8, 11, 2, 10, 7, 5, 3], pc set
(0, 1, 3, 5, 8, 9)
452. Lackner, Peter: Kanon für zwei Gitarren. September 2001, [0, 5, 3, 9, 11, 6, 7, 2, 4, 10, 8, 1], pc set
(0, 1, 3, 6, 7, 9)
453. Lackner, Peter: Kanon für zwei Singstimmen und Ensemble zur Skulpturengruppe LEM von Axel
Kirchmayr und einem Text von Hannes Waltl. September 2004, [0, 2, 9, 10, 5, 7, 1, 11, 4, 3, 8, 6],
pc set (0, 2, 4, 5, 7, 9)
454. Lackner, Peter: Kanon für zwei Trompeten, Horn, Posaune und Tuba. 1. Mai 1993, [0, 1, 2, 10, 3, 5,
11, 9, 4, 8, 7, 6], pc set (0, 2, 3, 4, 5, 7)
455. Lackner, Peter: Kanon für zwei Violinen, [0, 7, 4, 5, 9, 2, 3, 8, 11, 10, 6, 1], pc set (0, 2, 4, 5, 7, 9)
456. Lackner, Peter: Kanon für zwei Violinen. Frühjahr 1992, [0, 2, 4, 7, 9, 11, 5, 3, 1, 10, 8, 6], pc set
(0, 2, 4, 5, 7, 9)
457. Lackner, Peter: Kanon für zwei Violinen und Klavier. 1. Dezember 2004, [0, 10, 2, 6, 8, 4, 1, 9, 11,
3, 7, 5], pc set (0, 2, 4, 6, 8, 10)
458. Lackner, Peter: Kanon für zwei Violinen und Klavier. Frühjahr 1984, [0, 1, 10, 7, 9, 4, 5, 11, 8, 6, 2,
3], pc set (0, 1, 3, 4, 6, 9)
459. Lackner, Peter: Kanon à 3, [0, 11, 6, 10, 2, 7, 3, 4, 9, 5, 1, 8], pc set (0, 1, 4, 5, 6, 8)
460. Lackner, Peter: Kanon à 4 – ‘Für Harald Fripertinger zum 50. Geburtstag’, [0, 10, 3, 6, 5, 8, 1, 11,
9, 4, 7, 2], pc set (0, 2, 3, 5, 7, 9)
461. Lackner, Peter: Kanon á 4, [0, 4, 2, 8, 11, 7, 10, 5, 9, 1, 3, 6], pc set (0, 1, 3, 5, 8, 9)
462. Lackner, Peter: Kanon á 5 für Klaus Chudoba, [0, 2, 10, 8, 6, 11, 3, 1, 5, 7, 9, 4], pc set (0, 2, 3, 4,
6, 8)
463. Lackner, Peter: Moebius-Band für Flöte, Violine, Violoncello und Klavier, [0, 3, 6, 2, 9, 11, 7, 4, 1,
12-TONE ANTHOLOGY | 1032
485. Luo, Zhong-Rong: Dusk, row 1, [0, 2, 7, 5, 10, 8, 6, 3, 1, 11, 9, 4], pc set (0, 2, 3, 5, 7, 9)
486. Luo, Zhong-Rong: Dusk, row 2, [0, 3, 7, 5, 8, 10, 1, 11, 6, 2, 4, 9], pc set (0, 2, 4, 5, 7, 9)
487. Luo, Zhong-Rong: Evening, [0, 2, 7, 5, 10, 8, 6, 3, 1, 11, 9, 4], pc set (0, 2, 3, 5, 7, 9)
488. Luo, Zhong-Rong: Morning Glory, [0, 2, 5, 9, 7, 10, 3, 11, 1, 4, 6, 8], pc set (0, 2, 4, 5, 7, 9)
489. Luo, Zhong-Rong: Picking lotus flowers at the riverside, [0, 2, 5, 7, 10, 3, 1, 4, 6, 9, 11, 8], pc set (0,
2, 4, 5, 7, 9)
490. Luo, Zhong-Rong: Sonatina, mvt 3, [0, 2, 7, 4, 11, 8, 5, 9, 10, 1, 3, 6], pc set (0, 1, 3, 5, 8, 9)
491. Luo, Zhong-Rong: String Quartet, No.2, [0, 3, 5, 10, 6, 8, 11, 1, 9, 2, 4, 7], pc set (0, 2, 3, 5, 7, 9)
492. Luo, Zhong-Rong: String Quartet, No.3, row 1, [0, 2, 4, 7, 5, 10, 8, 1, 6, 3, 9, 11], pc set (0, 2, 3, 5,
7, 9)
493. Luo, Zhong-Rong: String Quartet, No.3, row 3, [0, 2, 7, 9, 11, 1, 3, 6, 10, 4, 5, 8], pc set (0, 1, 2, 3,
5, 7)
494. Luo, Zhong-Rong: Three Piano Pieces, “Arabeque”, row 1, [0, 2, 5, 10, 6, 1, 3, 8, 11, 9, 7, 4], pc set
(0, 1, 4, 5, 6, 8)
495. Luo, Zhong-Rong: Three Piano Pieces, “Arabeque”, row 2, [0, 2, 7, 9, 11, 4, 6, 8, 1, 3, 10, 5], pc set
(0, 2, 4, 5, 7, 9)
496. Lutyens, Elisabeth: Essence Of Our Happinesses, Op.69, mvt II, Part I, [0, 11, 1, 10, 2, 3, 8, 9, 5, 6,
4, 7], pc set (0, 1, 2, 3, 4, 5)
497. Lutyens, Elisabeth: Five Little Pieces for Clarinet and Piano, [0, 8, 4, 1, 10, 2, 9, 3, 5, 6, 11, 7], pc
set (0, 2, 3, 4, 6, 8)
498. Lutyens, Elisabeth: Islands, Op.80, [0, 11, 7, 3, 8, 10, 9, 6, 4, 5, 1, 2], pc set (0, 1, 3, 4, 5, 8)
499. Lutyens, Elisabeth: Motet (Excerota Tractati Logico-Philosophici), Op.27, [0, 11, 3, 7, 8, 4, 2, 6, 5,
1, 9, 10], pc set (0, 1, 4, 5, 8, 9)
500. Lutyens, Elisabeth: Présages, Op.53, [0, 1, 11, 2, 10, 8, 5, 3, 4, 7, 9, 6], pc set (0, 1, 2, 3, 4, 6)
501. Lutyens, Elisabeth: Quincunx, Op.44, [0, 6, 11, 1, 5, 2, 7, 3, 4, 9, 10, 8], pc set (0, 1, 2, 3, 6, 7)
502. Lutyens, Elisabeth: The Numbered, Altered Primary Row (swap pitches 2 and 3), [0, 11, 10, 1, 2, 9,
3, 4, 8, 5, 7, 6], pc set (0, 1, 2, 3, 4, 5)
503. Lutyens, Elisabeth: The Numbered, Primary Row, [0, 10, 11, 1, 2, 9, 3, 4, 8, 5, 7, 6], pc set (0, 1, 2,
3, 4, 5)
504. Maderna, Bruno: Improvvisazione N. 1, [0, 11, 4, 8, 3, 2, 7, 6, 1, 5, 10, 9], pc set (0, 1, 2, 4, 5, 8)
505. Maderna, Bruno: Musica su due dimensioni, [0, 2, 9, 4, 6, 11, 8, 10, 1, 3, 5, 7], pc set (0, 2, 3, 5, 7,
9)
506. Mamlok, Ursula: Haiku Settings, No.5, [0, 11, 8, 7, 4, 3, 5, 6, 9, 10, 1, 2], pc set (0, 1, 4, 5, 8, 9)
507. Mamlok, Ursula: Panta Rhei, [0, 7, 4, 11, 8, 3, 10, 9, 6, 2, 5, 1], pc set (0, 1, 4, 5, 8, 9)
508. Mamlok, Ursula: Panta Rhei, secondary row (mvt 4, Piano), [0, 11, 8, 3, 4, 7, 2, 1, 6, 9, 10, 5], pc
set (0, 1, 4, 5, 8, 9)
509. Martin, Frank: Petite complainte, [0, 11, 10, 6, 2, 4, 5, 9, 8, 7, 3, 1], pc set (0, 1, 2, 4, 6, 8)
12-TONE ANTHOLOGY | 1034
510. Martino, Donald: Fantasy Variations, [0, 3, 1, 10, 2, 8, 11, 5, 6, 9, 7, 4], pc set (0, 1, 2, 3, 5, 7)
511. Martino, Donald: Notturno (Row B), [0, 7, 11, 10, 9, 8, 2, 1, 6, 3, 4, 5], pc set (0, 1, 2, 3, 4, 5)
512. Matthias, Hauer Josef: Zwölftonspiel für Holzbläser, Streicher und Klavier. April 1951, [0, 4, 9, 11,
7, 2, 3, 6, 8, 10, 5, 1], pc set (0, 2, 4, 5, 7, 9)
513. Matthias, Josef: Salambo, Op.60, [0, 6, 9, 2, 8, 10, 4, 7, 1, 11, 3, 5], pc set (0, 2, 3, 4, 6, 8)
514. Messiaen, Olivier: Livre d’orgue, [0, 1, 11, 2, 10, 3, 9, 4, 8, 5, 7, 6], pc set (0, 1, 2, 3, 4, 5)
515. Messiaen, Olivier: Mode de valeurs et d’intensités, Series 1, [0, 11, 6, 5, 4, 3, 1, 10, 9, 7, 2, 8], pc set
(0, 1, 2, 3, 6, 7)
516. Mittendorfer, Josef: aleatoric row, [0, 2, 7, 1, 8, 6, 10, 5, 4, 11, 3, 9], pc set (0, 1, 2, 6, 7, 8)
517. Moevs, Robert: Musica da Camera, [0, 1, 11, 3, 4, 2, 9, 10, 8, 7, 5, 6], pc set (0, 1, 2, 3, 4, 5)
518. Morris, Robert: By Far, [0, 1, 4, 11, 3, 2, 6, 7, 5, 10, 8, 9], pc set (0, 1, 2, 3, 4, 5)
519. Morris, Robert: Canonic Variations, [0, 3, 11, 1, 4, 8, 5, 6, 9, 10, 2, 7], pc set (0, 1, 3, 4, 5, 8)
520. Morris, Robert: Clash, [0, 3, 11, 10, 8, 1, 7, 9, 2, 6, 4, 5], pc set (0, 2, 3, 4, 5, 7)
521. Morris, Robert: Concerto for Piano and Strings, [0, 1, 6, 11, 7, 5, 10, 8, 4, 3, 2, 9], pc set (0, 1, 2, 6,
7, 8)
522. Morris, Robert: Cuts, [0, 10, 11, 7, 3, 8, 6, 9, 4, 5, 1, 2], pc set (0, 1, 3, 4, 5, 8)
523. Morris, Robert: Entanglements, [0, 3, 10, 5, 11, 6, 1, 7, 9, 2, 8, 4], pc set (0, 1, 2, 5, 7, 8)
524. Morris, Robert: Exchanges, [0, 4, 3, 1, 9, 5, 8, 6, 2, 10, 11, 7], pc set (0, 1, 2, 4, 5, 8)
525. Morris, Robert: Knot Lilacs, [0, 1, 4, 2, 9, 5, 11, 3, 8, 10, 7, 6], pc set (0, 1, 3, 4, 5, 8)
526. Morris, Robert: Not Lilacs, [0, 1, 4, 2, 9, 5, 11, 3, 8, 10, 7, 6], pc set (0, 1, 3, 4, 5, 8)
527. Morris, Robert: Pari Passu, row 1, [0, 6, 10, 11, 2, 3, 9, 1, 7, 8, 4, 5], pc set (0, 1, 2, 4, 5, 8)
528. Morris, Robert: Refrains, [0, 3, 4, 2, 6, 10, 1, 8, 11, 7, 5, 9], pc set (0, 2, 3, 4, 6, 8)
529. Morris, Robert: Roundelay, row 1, [0, 7, 4, 11, 9, 2, 6, 3, 10, 5, 8, 1], pc set (0, 2, 4, 5, 7, 9)
530. Morris, Robert: Roundelay, row 2, [0, 5, 9, 7, 8, 10, 4, 11, 1, 6, 2, 3], pc set (0, 2, 3, 4, 5, 7)
531. Morris, Robert: Roundelay, row 3, [0, 10, 9, 3, 4, 6, 8, 11, 2, 7, 1, 5], pc set (0, 1, 3, 6, 7, 9)
532. Morris, Robert: Roundelay, row 4, [0, 3, 11, 10, 7, 2, 6, 9, 5, 4, 1, 8], pc set (0, 1, 3, 4, 5, 8),
self-rotational interval pattern 3-8-11-9-7-4-
533. Morris, Robert: Roundelay, row 5, [0, 3, 11, 4, 1, 2, 8, 10, 5, 9, 7, 6], pc set (0, 1, 2, 3, 4, 5)
534. Morris, Robert: Roundelay, row 6, [0, 10, 5, 11, 4, 6, 8, 7, 2, 3, 9, 1], pc set (0, 1, 2, 6, 7, 8)
535. Morris, Robert: Something New, [0, 9, 4, 8, 11, 7, 3, 6, 10, 5, 2, 1], pc set (0, 1, 3, 4, 5, 8)
536. Morris, Robert: Strange Flowers, Occasional Storms, [0, 1, 8, 3, 5, 4, 10, 6, 9, 7, 11, 2], pc set (0, 1,
3, 4, 5, 8)
537. Morris, Robert: Terrane, [0, 11, 1, 3, 2, 5, 6, 4, 9, 7, 8, 10], pc set (0, 1, 2, 3, 4, 6)
538. Morris, Robert: Three Musicians, [0, 9, 7, 6, 8, 1, 11, 2, 4, 5, 3, 10], pc set (0, 1, 2, 3, 6, 7)
539. Morris, Robert: Tournament for 12 trombones, [0, 7, 6, 4, 11, 8, 5, 9, 1, 3, 2, 10], pc set (0, 1, 4, 5,
6, 8)
540. Morris, Robert: Tête‐à‐Tête, [0, 3, 11, 10, 1, 8, 2, 6, 9, 5, 4, 7], pc set (0, 2, 3, 4, 5, 7)
1035 | 12-TONE ANTHOLOGY
589. Schnittke, Alfred: Sonata, No.1 for Violin and Piano, mvt 1, [0, 3, 6, 10, 2, 11, 8, 5, 9, 1, 4, 7], pc
set (0, 1, 2, 4, 5, 8)
590. Schnittke, Alfred: Sonata, No.1 for Violin and Piano, mvt 2, [0, 3, 7, 10, 2, 11, 6, 9, 1, 4, 8, 5], pc
set (0, 1, 3, 4, 5, 8), self-rotational interval pattern 3-4-3-4-9-7-
591. Schnittke, Alfred: Sonata, No.2 for Cello and Piano, mvt 2, [0, 2, 3, 1, 4, 5, 11, 10, 7, 9, 8, 6], pc set
(0, 1, 2, 3, 4, 5)
592. Schnittke, Alfred: String Quartet, No.1, [0, 2, 1, 10, 3, 11, 5, 9, 4, 7, 8, 6], pc set (0, 1, 2, 3, 4, 5)
593. Schnittke, Alfred: String Quartet, No.4, [0, 11, 10, 1, 3, 2, 4, 9, 8, 6, 5, 7], pc set (0, 1, 2, 3, 4, 5)
594. Schnittke, Alfred: String Quartet, No.4, mvt 2, m.40, [0, 5, 10, 3, 2, 7, 8, 1, 6, 11, 4, 9], pc set (0, 2,
4, 5, 7, 9)
595. Schnittke, Alfred: String Quartet, No.4, mvt 4, m.122, [0, 1, 11, 2, 10, 3, 4, 9, 8, 7, 6, 5], pc set (0,
1, 2, 3, 4, 5)
596. Schnittke, Alfred: String Quartet, No.4, mvt 4, m.31, [0, 11, 9, 10, 8, 7, 6, 5, 3, 4, 2, 1], pc set (0, 1,
2, 3, 4, 5), self-rotational interval pattern 11-10-1-10-11-11-
597. Schnittke, Alfred: Symphony, No.7, mvt 3, row X, [0, 1, 10, 11, 2, 3, 9, 4, 5, 8, 7, 6], pc set (0, 1, 2,
3, 4, 5)
598. Schnittke, Alfred: Symphony, No.7, mvt 3, row y, [0, 1, 11, 10, 8, 9, 7, 6, 5, 4, 3, 2], pc set (0, 1, 2,
3, 4, 5)
599. Schnittke, Alfred: Viola Concerto, [0, 11, 5, 2, 1, 6, 3, 8, 7, 4, 10, 9], pc set (0, 1, 2, 3, 6, 7)
600. Schnittke, Alfred: Violin Sonata 2, [0, 10, 11, 9, 6, 8, 7, 5, 4, 1, 2, 3], pc set (0, 1, 2, 3, 4, 6)
601. Schoenberg, Arnold: A Survivor From Warsaw, Op.46, [0, 1, 6, 2, 10, 9, 5, 4, 11, 3, 7, 8], pc set (0,
1, 2, 4, 5, 8)
602. Schoenberg, Arnold: A Survivor From Warsaw, Op.46 (alternative), [0, 1, 6, 2, 10, 9, 4, 7, 3, 8, 11,
5], pc set (0, 1, 2, 4, 5, 8)
603. Schoenberg, Arnold: Accompaniment to a Film Scene, Op.34, [0, 3, 11, 1, 10, 9, 6, 8, 7, 5, 2, 4], pc
set (0, 1, 2, 3, 4, 6)
604. Schoenberg, Arnold: Fantasy for Piano Four Hands, II (fragment), [0, 3, 6, 1, 7, 8, 2, 5, 11, 4, 10,
9], pc set (0, 1, 2, 5, 7, 8)
605. Schoenberg, Arnold: Fantasy for Piano Four Hands, I, [0, 4, 2, 5, 3, 7, 11, 10, 1, 8, 9, 6], pc set (0,
2, 3, 4, 5, 7)
606. Schoenberg, Arnold: Fantasy for Violin and Piano, Op.47, [0, 11, 3, 1, 7, 9, 5, 6, 2, 4, 10, 8], pc set
(0, 2, 3, 4, 6, 8)
607. Schoenberg, Arnold: Five Piano Pieces, Op.23, No.5, [0, 8, 10, 6, 7, 5, 9, 1, 3, 2, 11, 4], pc set (0, 1,
2, 3, 5, 7)
608. Schoenberg, Arnold: Four Pieces for Mixed Chorus, No.1, Op.27, No.1, [0, 11, 8, 2, 1, 7, 9, 10, 4,
3, 5, 6], pc set (0, 1, 2, 3, 6, 7)
609. Schoenberg, Arnold: Four Pieces for Mixed Chorus, No.2, Op.27, No.2, [0, 11, 4, 10, 2, 8, 3, 7, 6,
12-TONE ANTHOLOGY | 1038
630. Schoenberg, Arnold: Three Songs, No.2, “Tot”, Op.48, [0, 1, 7, 11, 8, 2, 6, 5, 10, 9, 3, 4], pc set (0,
1, 2, 3, 6, 7)
631. Schoenberg, Arnold: Three Songs, No.3, “Madchenlied”, Op.48, [0, 6, 8, 10, 2, 4, 9, 5, 3, 11, 7, 1],
pc set (0, 2, 4, 6, 8, 10)
632. Schoenberg, Arnold: Three Times a Thousand Years, Op.50a, [0, 2, 11, 9, 10, 4, 3, 7, 5, 6, 8, 1], pc
set (0, 1, 2, 3, 5, 7)
633. Schoenberg, Arnold: Two Piano Pieces, No.1, Op.33a, [0, 7, 2, 1, 11, 8, 3, 5, 9, 10, 4, 6], pc set (0,
1, 2, 3, 6, 7)
634. Schoenberg, Arnold: Two Piano Pieces, No.2, Op.33b, [0, 2, 6, 4, 10, 9, 7, 11, 8, 5, 1, 3], pc set (0,
1, 3, 5, 7, 9)
635. Schoenberg, Arnold: Variations for Orchestra, Op.31, [0, 6, 8, 5, 7, 11, 4, 3, 9, 10, 1, 2], pc set (0, 1,
2, 3, 6, 7)
636. Schoenberg, Arnold: Violin Concerto, Op.36, [0, 1, 6, 2, 7, 9, 3, 4, 10, 11, 5, 8], pc set (0, 1, 2, 5, 7,
8)
637. Schoenberg, Arnold: Violin Phantasy, Op.47, [0, 11, 3, 1, 7, 9, 6, 2, 10, 5, 8, 4], pc set (0, 2, 3, 4, 6,
8)
638. Schoenberg, Arnold: Von Heute Auf Morgen, Op.32, [0, 1, 7, 11, 9, 3, 6, 5, 2, 10, 8, 4], pc set (0, 2,
3, 4, 6, 8)
639. Schoenberg, Arnold: Wind Quintet, Op.26, [0, 4, 6, 8, 10, 9, 7, 11, 1, 3, 5, 2], pc set (0, 2, 3, 4, 6,
8)
640. Schuller, Gunther: Transformation, [0, 2, 4, 3, 8, 11, 9, 6, 5, 10, 7, 1], pc set (0, 1, 2, 4, 5, 8)
641. Schwantner, Joseph: …and the mountains rising nowhere, [0, 11, 8, 7, 4, 3, 2, 1, 10, 9, 6, 5], pc set
(0, 1, 4, 5, 8, 9), self-rotational interval pattern 11-9-11-9-11-11-
642. Schwantner, Joseph: Elixir (Consortium VIII), [0, 8, 4, 3, 7, 11, 10, 6, 9, 5, 1, 2], pc set (0, 1, 4, 5,
8, 9)
643. Schwantner, Joseph: Elixir (Consortium VIII), m.22, [0, 1, 4, 5, 8, 9, 6, 7, 10, 11, 2, 3], pc set (0, 1,
4, 5, 8, 9), self-rotational interval pattern 1-3-1-3-1-9-
644. Schwantner, Joseph: In Aeternum (Derived Row), [0, 3, 11, 2, 10, 1, 7, 4, 8, 5, 9, 6], pc set (0, 1, 2,
3, 4, 5)
645. Schwantner, Joseph: In Aeternum (Principal Row), [0, 4, 11, 6, 10, 5, 1, 9, 2, 7, 3, 8], pc set (0, 1, 2,
6, 7, 8)
646. Schwantner, Joseph: Modus Caelestis (A), [0, 6, 7, 1, 11, 5, 4, 10, 8, 2, 3, 9], pc set (0, 1, 2, 6, 7, 8)
647. Schwantner, Joseph: Modus Caelestis (m. 39), [0, 6, 11, 10, 5, 9, 4, 8, 3, 2, 7, 1], pc set (0, 1, 2, 3,
6, 7)
648. Schwantner, Joseph: Wild Angels of the Open Hills, 2, “Angels of the Shadowed Ancient Land,” m.
21, [0, 8, 9, 11, 3, 7, 6, 5, 2, 4, 10, 1], pc set (0, 1, 2, 4, 5, 8)
649. Searle, Humphrey: Toccata alla Passacaglia, Op.31, [0, 5, 6, 1, 10, 7, 9, 8, 3, 2, 4, 11], pc set (0, 1,
12-TONE ANTHOLOGY | 1040
2, 5, 7, 8)
650. Seiber, Mátyás: Concert Piece for Violin and Piano, [0, 1, 7, 6, 11, 10, 4, 5, 9, 8, 2, 3], pc set (0, 1,
2, 3, 6, 7)
651. Seiber, Mátyás: Sonata for Violin and Piano, [0, 1, 11, 10, 7, 6, 8, 9, 4, 3, 5, 2], pc set (0, 1, 2, 3, 6,
7)
652. Seiber, Mátyás: String Quartet, No.2, [0, 2, 3, 1, 4, 11, 5, 10, 7, 9, 8, 6], pc set (0, 1, 2, 3, 4, 5)
653. Seiber, Mátyás: Ulysses, [0, 3, 4, 7, 8, 11, 1, 10, 9, 6, 5, 2], pc set (0, 1, 4, 5, 8, 9)
654. Sengstschmid, Johann: Meditation für Orgel, Op.43a, [0, 6, 3, 1, 10, 8, 5, 2, 11, 9, 7, 4], pc set (0, 2,
3, 5, 7, 9)
655. Sessions, Roger: Piano Sonata, No.3, mvt 2, [0, 1, 5, 4, 8, 2, 11, 10, 6, 7, 3, 9], pc set (0, 1, 2, 4, 5,
8)
656. Sessions, Roger: When Lilacs Last in the Dooryard Bloom’d, [0, 2, 4, 10, 5, 8, 9, 1, 11, 7, 6, 3], pc
set (0, 1, 3, 5, 7, 9)
657. Shapey, Ralph: String Quartet, No.9, [0, 8, 9, 3, 5, 1, 2, 6, 4, 10, 11, 7], pc set (0, 1, 3, 5, 8, 9)
658. Shostakovich, Dmitri: Symphony, No.14, mov. I, [0, 11, 9, 4, 3, 10, 8, 7, 5, 6, 1, 2], pc set (0, 1, 2,
3, 6, 7)
659. Slonimsky, Nicholas: No. 1214a Thirds (Twelve-Tone Patterns), [0, 4, 8, 11, 3, 7, 6, 10, 2, 5, 9, 1],
pc set (0, 1, 4, 5, 8, 9), self-rotational interval pattern 4-4-3-4-4-11-
660. Slonimsky, Nicholas: No. 1215a Fourths (Twelve-Tone Patterns), [0, 5, 10, 3, 8, 1, 7, 2, 9, 4, 11, 6],
pc set (0, 2, 4, 5, 7, 9)
661. Slonimsky, Nicholas: No. 1216a Foutths (Twelve-Tone Patterns), [0, 5, 10, 3, 7, 2, 9, 4, 8, 1, 6, 11],
pc set (0, 2, 4, 5, 7, 9)
662. Slonimsky, Nicholas: No. 1217a Fourths (Twelve-Tone Patterns), [0, 5, 10, 3, 11, 6, 1, 8, 4, 9, 2, 7],
pc set (0, 1, 2, 5, 7, 8)
663. Slonimsky, Nicholas: No. 1223a Sixths (Twelve-Tone Patterns), [0, 8, 4, 1, 5, 9, 6, 2, 10, 7, 11, 3],
pc set (0, 1, 4, 5, 8, 9), self-rotational interval pattern 8-8-9-4-4-9-
664. Slonimsky, Nicholas: No. 1224a Sixths (Twelve-Tone Patterns), [0, 9, 6, 3, 7, 10, 1, 4, 8, 5, 2, 11],
pc set (0, 1, 3, 4, 6, 9)
665. Slonimsky, Nicholas: No. 1225a Sixths (Twelve-Tone Patterns), [0, 8, 4, 7, 11, 3, 6, 2, 10, 1, 5, 9],
pc set (0, 1, 4, 5, 8, 9), self-rotational interval pattern 8-8-3-4-4-3-
666. Slonimsky, Nicholas: No. 1226a Minor Sevenths (Twelve-Tone Patterns), [0, 10, 8, 2, 4, 6, 1, 11, 9,
3, 5, 7], pc set (0, 2, 4, 6, 8, 10), self-rotational interval pattern 10-10-6-2-2-7-
667. Slonimsky, Nicholas: No. 1227a Minor Sevenths (Twelve-Tone Patterns), [0, 10, 4, 2, 8, 6, 1, 11, 9,
7, 5, 3], pc set (0, 2, 4, 6, 8, 10)
668. Slonimsky, Nicholas: No. 1228a Minor Sevenths (Twelve-Tone Patterns), [0, 10, 2, 4, 8, 6, 11, 1, 5,
3, 7, 9], pc set (0, 2, 4, 6, 8, 10)
669. Slonimsky, Nicholas: No. 1229a Major Sevenths (Twelve-Tone Patterns), [0, 11, 10, 9, 8, 7, 1, 2, 3,
1041 | 12-TONE ANTHOLOGY
687. Slonimsky, Nicholas: No. 1248a Crossing Thirds (Crossing Intervals), [0, 5, 4, 1, 8, 9, 11, 6, 3, 2, 7,
10], pc set (0, 1, 4, 5, 8, 9)
688. Slonimsky, Nicholas: No. 1250a Crossing Seconds (Crossing Intervals), [0, 11, 2, 9, 4, 7, 6, 5, 8, 3,
10, 1], pc set (0, 2, 4, 5, 7, 9), self-rotational interval pattern 11-3-7-7-3-11-
689. Slonimsky, Nicholas: No. 1252a Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 3, 7, 10, 1, 5, 9, 2, 6, 8, 11, 4], pc set (0, 2, 3, 5, 7, 9)
690. Slonimsky, Nicholas: No. 1252b Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 8, 5, 3, 10, 6, 2, 11, 7, 4, 1, 9], pc set (0, 2, 3, 5, 7, 9)
691. Slonimsky, Nicholas: No. 1254a Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 4, 7, 10, 2, 5, 8, 11, 3, 6, 9, 1], pc set (0, 2, 3, 5, 7, 9)
692. Slonimsky, Nicholas: No. 1254b Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 8, 3, 1, 10, 6, 4, 11, 7, 5, 2, 9], pc set (0, 2, 3, 5, 7, 9)
693. Slonimsky, Nicholas: No. 1255a [Slonimsky: Moto Perpetuo] Quadritonal Arpeggios (Division of
Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 7, 10, 1, 6, 9, 2, 5, 8, 11, 3], pc set (0, 1,
3, 6, 7, 9)
694. Slonimsky, Nicholas: No. 1255b [Slonimsky: Moto Perpetuo] Quadritonal Arpeggios (Division of
Twelve Tones into Four Mutually Exclusive Triads), [0, 8, 3, 2, 9, 6, 5, 1, 10, 7, 4, 11], pc set (0, 1,
3, 6, 7, 9)
695. Slonimsky, Nicholas: No. 1256a Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 3, 7, 10, 2, 5, 8, 11, 4, 6, 9, 1], pc set (0, 2, 4, 5, 7, 9)
696. Slonimsky, Nicholas: No. 1256b Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 9, 4, 2, 11, 7, 5, 1, 8, 6, 3, 10], pc set (0, 2, 4, 5, 7, 9)
697. Slonimsky, Nicholas: No. 1257a Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 4, 8, 11, 3, 7, 10, 1, 6, 9, 2, 5], pc set (0, 1, 4, 5, 8, 9)
698. Slonimsky, Nicholas: No. 1257b Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 8, 4, 3, 11, 7, 5, 2, 10, 6, 1, 9], pc set (0, 1, 4, 5, 8, 9)
699. Slonimsky, Nicholas: No. 1258a Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 3, 7, 10, 2, 6, 9, 1, 5, 8, 11, 4], pc set (0, 1, 3, 5, 8, 9)
700. Slonimsky, Nicholas: No. 1258b Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 8, 5, 3, 11, 7, 2, 10, 6, 4, 1, 9], pc set (0, 1, 3, 5, 8, 9)
701. Slonimsky, Nicholas: No. 1259a Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 4, 8, 11, 2, 6, 9, 1, 5, 7, 10, 3], pc set (0, 1, 3, 5, 7, 9)
702. Slonimsky, Nicholas: No. 1259b Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 8, 4, 2, 10, 7, 5, 1, 9, 6, 3, 11], pc set (0, 1, 3, 5, 7, 9)
703. Slonimsky, Nicholas: No. 1260a Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 4, 7, 10, 2, 6, 9, 1, 5, 8, 11, 3], pc set (0, 1, 3, 5, 7, 9)
704. Slonimsky, Nicholas: No. 1260b Quadritonal Arpeggios (Division of Twelve Tones into Four
1043 | 12-TONE ANTHOLOGY
722. Slonimsky, Nicholas: No. 1278b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 4, 8, 11, 7, 3, 6, 10, 1, 9, 5, 2], pc set (0, 1, 4, 5, 8, 9)
723. Slonimsky, Nicholas: No. 1279a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 3, 7, 10, 2, 6, 9, 5, 1, 11, 8, 4], pc set (0, 1, 3, 5, 8, 9)
724. Slonimsky, Nicholas: No. 1279b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 3, 7, 10, 6, 2, 1, 5, 9, 8, 4, 11], pc set (0, 1, 3, 5, 8, 9)
725. Slonimsky, Nicholas: No. 1280a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 4, 8, 11, 2, 6, 9, 5, 1, 10, 7, 3], pc set (0, 1, 3, 5, 7, 9)
726. Slonimsky, Nicholas: No. 1280b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 4, 8, 11, 6, 2, 5, 9, 1, 10, 7, 3], pc set (0, 1, 3, 5, 7, 9)
727. Slonimsky, Nicholas: No. 1281a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 4, 7, 10, 2, 6, 9, 5, 1, 11, 8, 3], pc set (0, 1, 3, 5, 7, 9)
728. Slonimsky, Nicholas: No. 1281b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 4, 7, 10, 6, 2, 1, 5, 9, 8, 3, 11], pc set (0, 1, 3, 5, 7, 9)
729. Slonimsky, Nicholas: No. 1284a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 3, 7, 10, 2, 6, 9, 4, 1, 11, 8, 5], pc set (0, 1, 3, 5, 8, 9)
730. Slonimsky, Nicholas: No. 1284b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 3, 7, 10, 6, 2, 1, 4, 9, 8, 5, 11], pc set (0, 1, 3, 5, 8, 9)
731. Slonimsky, Nicholas: No. 1286a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 3, 6, 9, 1, 4, 7, 2, 10, 8, 5, 11], pc set (0, 1, 3, 4, 6, 9)
732. Slonimsky, Nicholas: No. 1286b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 3, 6, 9, 4, 1, 10, 2, 7, 8, 5, 11], pc set (0, 1, 3, 4, 6, 9)
733. Slonimsky, Nicholas: No. 1287a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 3, 6, 9, 2, 5, 8, 4, 11, 10, 7, 1], pc set (0, 1, 3, 4, 6, 9)
734. Slonimsky, Nicholas: No. 1287b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 3, 6, 9, 5, 2, 11, 4, 8, 7, 1, 10], pc set (0, 1, 3, 4, 6, 9)
735. Slonimsky, Nicholas: No. 1288a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 3, 7, 10, 1, 4, 8, 5, 11, 9, 6, 2], pc set (0, 1, 3, 4, 6, 9)
736. Slonimsky, Nicholas: No. 1288b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 3, 7, 10, 4, 1, 11, 5, 8, 6, 2, 9], pc set (0, 1, 3, 4, 6, 9)
737. Slonimsky, Nicholas: No. 1290a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 4, 8, 9, 1, 5, 6, 2, 10, 7, 3, 11], pc set (0, 1, 4, 5, 8, 9)
738. Slonimsky, Nicholas: No. 1290b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 4, 8, 9, 5, 1, 10, 2, 6, 7, 3, 11], pc set (0, 1, 4, 5, 8, 9),
self-rotational interval pattern 4-4-1-8-8-9-
739. Slonimsky, Nicholas: No. 1291a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 4, 8, 10, 2, 6, 7, 3, 11, 9, 5, 1], pc set (0, 2, 4, 6, 8, 10)
1045 | 12-TONE ANTHOLOGY
740. Slonimsky, Nicholas: No. 1291b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 4, 8, 10, 6, 2, 11, 3, 7, 9, 5, 1], pc set (0, 2, 4, 6, 8, 10),
self-rotational interval pattern 4-4-2-8-8-9-
741. Slonimsky, Nicholas: No. 1292a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 4, 8, 11, 3, 7, 10, 6, 2, 1, 9, 5], pc set (0, 1, 4, 5, 8, 9)
742. Slonimsky, Nicholas: No. 1292b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 4, 8, 11, 7, 3, 2, 6, 10, 9, 5, 1], pc set (0, 1, 4, 5, 8, 9)
743. Slonimsky, Nicholas: No. 1293a Two Major Hexachords (Miscellaneous Dodecaphonic Patterns),
[0, 2, 4, 5, 7, 9, 6, 8, 10, 11, 1, 3], pc set (0, 2, 4, 5, 7, 9), self-rotational interval pattern
2-2-1-2-2-9-
744. Slonimsky, Nicholas: No. 1293b Two Major Hexachords (Miscellaneous Dodecaphonic Patterns),
[0, 3, 1, 11, 10, 8, 6, 9, 7, 5, 4, 2], pc set (0, 2, 3, 4, 5, 7), self-rotational interval pattern
3-10-10-11-10-10-
745. Slonimsky, Nicholas: No. 1294a Two Major Hexachords (Miscellaneous Dodecaphonic Patterns),
[0, 9, 4, 7, 5, 2, 6, 3, 10, 1, 11, 8], pc set (0, 2, 4, 5, 7, 9), self-rotational interval pattern
9-7-3-10-9-4-
746. Slonimsky, Nicholas: No. 1294b Two Major Hexachords (Miscellaneous Dodecaphonic Patterns),
[0, 8, 11, 1, 10, 3, 6, 2, 5, 7, 4, 9], pc set (0, 2, 3, 4, 5, 7), self-rotational interval pattern
8-3-2-9-5-3-
747. Slonimsky, Nicholas: No. 1295a Two Major Hexachords (Miscellaneous Dodecaphonic Patterns),
[0, 2, 5, 4, 3, 1, 6, 8, 11, 10, 9, 7], pc set (0, 1, 2, 3, 4, 5), self-rotational interval pattern
2-3-11-11-10-5-
748. Slonimsky, Nicholas: No. 1295b Two Major Hexachords (Miscellaneous Dodecaphonic Patterns),
[0, 7, 9, 10, 11, 8, 6, 1, 3, 4, 5, 2], pc set (0, 1, 2, 3, 4, 5), self-rotational interval pattern
7-2-1-1-9-10-
749. Slonimsky, Nicholas: No. 1296a Two Major Hexachords (Miscellaneous Dodecaphonic Patterns),
[0, 7, 8, 3, 4, 11, 6, 1, 2, 9, 10, 5], pc set (0, 1, 4, 5, 8, 9), self-rotational interval pattern
7-1-7-1-7-7-
750. Slonimsky, Nicholas: No. 1296b Two Major Hexachords (Miscellaneous Dodecaphonic Patterns),
[0, 5, 10, 9, 2, 1, 6, 11, 4, 3, 8, 7], pc set (0, 1, 3, 4, 5, 8), self-rotational interval pattern
5-5-11-5-11-5-
751. Slonimsky, Nicholas: No. 1297a Two Major Hexachords (Miscellaneous Dodecaphonic Patterns),
[0, 11, 9, 7, 2, 4, 6, 5, 3, 1, 8, 10], pc set (0, 2, 4, 5, 7, 9), self-rotational interval pattern
11-10-10-7-2-2-
752. Slonimsky, Nicholas: No. 1297b Two Major Hexachords (Miscellaneous Dodecaphonic Patterns),
[0, 10, 8, 1, 3, 5, 6, 4, 2, 7, 9, 11], pc set (0, 2, 4, 5, 7, 9), self-rotational interval pattern
10-10-5-2-2-1-
12-TONE ANTHOLOGY | 1046
753. Slonimsky, Nicholas: No. 1298a Two Major Hexachords (Miscellaneous Dodecaphonic Patterns),
[0, 11, 1, 10, 2, 9, 6, 5, 7, 4, 8, 3], pc set (0, 1, 2, 3, 4, 5), self-rotational interval pattern
11-2-9-4-7-9-
754. Slonimsky, Nicholas: No. 1298b Two Major Hexachords (Miscellaneous Dodecaphonic Patterns),
[0, 3, 8, 4, 7, 5, 6, 9, 2, 10, 1, 11], pc set (0, 1, 3, 4, 5, 8), self-rotational interval pattern
3-5-8-3-10-1-
755. Slonimsky, Nicholas: No. 1299a Two Major Hexachords (Miscellaneous Dodecaphonic Patterns),
[0, 9, 2, 7, 4, 5, 6, 3, 8, 1, 10, 11], pc set (0, 2, 4, 5, 7, 9), self-rotational interval pattern
9-5-5-9-1-1-
756. Slonimsky, Nicholas: No. 1299b Two Major Hexachords (Miscellaneous Dodecaphonic Patterns),
[0, 11, 10, 1, 8, 3, 6, 5, 4, 7, 2, 9], pc set (0, 2, 3, 4, 5, 7), self-rotational interval pattern
11-11-3-7-7-3-
757. Slonimsky, Nicholas: No. 1300a Two Major Hexachords (Miscellaneous Dodecaphonic Patterns),
[0, 11, 1, 10, 2, 9, 6, 5, 7, 4, 8, 3], pc set (0, 1, 2, 3, 4, 5), self-rotational interval pattern
11-2-9-4-7-9-
758. Slonimsky, Nicholas: No. 1300b Two Major Hexachords (Miscellaneous Dodecaphonic Patterns),
[0, 3, 8, 4, 7, 5, 6, 9, 2, 10, 1, 11], pc set (0, 1, 3, 4, 5, 8), self-rotational interval pattern
3-5-8-3-10-1-
759. Slonimsky, Nicholas: No. 1301 Invertible Dodecaphonic Progressions – With all Different Intervals,
[0, 1, 4, 8, 3, 5, 11, 9, 2, 10, 7, 6], pc set (0, 1, 3, 4, 5, 8)
760. Slonimsky, Nicholas: No. 1302 Invertible Dodecaphonic Progressions – With all Different Intervals,
[0, 1, 4, 2, 9, 5, 11, 3, 8, 10, 7, 6], pc set (0, 1, 3, 4, 5, 8)
761. Slonimsky, Nicholas: No. 1303 Invertible Dodecaphonic Progressions – With all Different Intervals,
[0, 2, 3, 7, 10, 5, 11, 4, 1, 9, 8, 6], pc set (0, 2, 4, 5, 7, 9)
762. Slonimsky, Nicholas: No. 1304 Invertible Dodecaphonic Progressions – With all Different Intervals.
(On a Minor Triad), [0, 3, 7, 8, 10, 5, 11, 4, 2, 1, 9, 6], pc set (0, 2, 4, 5, 7, 9)
763. Slonimsky, Nicholas: No. 1305 Invertible Dodecaphonic Progressions – With all Different Intervals.
(On a Major Sixth-Chord), [0, 3, 8, 10, 11, 7, 1, 5, 4, 2, 9, 6], pc set (0, 1, 3, 4, 5, 8)
764. Slonimsky, Nicholas: No. 1306 Invertible Dodecaphonic Progressions – With all Different Intervals.
(On a Major Triad), [0, 4, 7, 8, 3, 5, 11, 9, 2, 1, 10, 6], pc set (0, 1, 3, 4, 5, 8)
765. Slonimsky, Nicholas: No. 1307 Invertible Dodecaphonic Progressions – With all Different Intervals.
(On a Minor Sixth-Chord), [0, 4, 9, 8, 11, 1, 7, 5, 2, 3, 10, 6], pc set (0, 1, 3, 4, 5, 8)
766. Slonimsky, Nicholas: No. 1308 Invertible Dodecaphonic Progressions – With all Different Intervals.
(On a Minor Six-Four Chord), [0, 5, 8, 10, 9, 1, 7, 3, 4, 2, 11, 6], pc set (0, 1, 3, 4, 5, 8)
767. Slonimsky, Nicholas: No. 1309 Invertible Dodecaphonic Progressions – With all Different Intervals.
(On a Major Six-Four Chord), [0, 5, 9, 8, 10, 1, 7, 4, 2, 3, 11, 6], pc set (0, 1, 3, 4, 5, 8)
768. Slonimsky, Nicholas: No. 1310 Invertible Dodecaphonic Progressions – With all Different Intervals,
1047 | 12-TONE ANTHOLOGY
786. Spinner, Leopold: Concert for Piano and Orchestra, Op.4, [0, 2, 1, 9, 11, 3, 4, 7, 5, 6, 10, 8], pc set
(0, 1, 2, 3, 4, 6)
787. Spinner, Leopold: Fantasy for Piano, Op.9 , [0, 1, 4, 5, 2, 3, 8, 9, 6, 7, 10, 11], pc set (0, 1, 2, 3, 4,
5)
788. Spinner, Leopold: Fünf Lieder, Op.8, [0, 3, 4, 7, 8, 5, 11, 9, 10, 2, 6, 1], pc set (0, 1, 3, 4, 5, 8)
789. Spinner, Leopold: Ich lieb’ eine Blume for Four-part mixed Choir, [0, 11, 2, 4, 9, 7, 1, 3, 10, 8, 5,
6], pc set (0, 2, 4, 5, 7, 9)
790. Spinner, Leopold: Ouverture for Orchestra, Op.5, [0, 11, 2, 10, 8, 1, 7, 5, 6, 9, 3, 4], pc set (0, 1, 2,
3, 4, 6)
791. Spinner, Leopold: Quintet, Op.14, [0, 6, 4, 2, 8, 5, 1, 9, 10, 11, 7, 3], pc set (0, 2, 3, 4, 6, 8)
792. Spinner, Leopold: Ricercata, Op.21, [0, 11, 8, 10, 2, 1, 4, 3, 7, 9, 6, 5], pc set (0, 1, 2, 3, 4, 6)
793. Spinner, Leopold: Sonata for Clarinet and Piano, Op.17, [0, 3, 4, 1, 2, 5, 11, 8, 7, 10, 9, 6], pc set
(0, 1, 2, 3, 4, 5)
794. Spinner, Leopold: Sonata for Piano, Op.3, [0, 9, 8, 6, 7, 10, 1, 4, 5, 3, 2, 11], pc set (0, 1, 2, 3, 4, 6)
795. Spinner, Leopold: Sonata for Violin and Piano, Op.1, [0, 7, 6, 1, 3, 8, 5, 10, 2, 9, 4, 11], pc set (0, 1,
2, 5, 7, 8)
796. Spinner, Leopold: Sonatina for Cello and Piano, Op.26, [0, 1, 11, 2, 4, 3, 9, 10, 8, 5, 7, 6], pc set (0,
1, 2, 3, 4, 5)
797. Spinner, Leopold: Sonatina for Wind Instruments, Op.23, [0, 9, 1, 5, 4, 2, 8, 10, 11, 7, 3, 6], pc set
(0, 1, 3, 4, 5, 8)
798. Spinner, Leopold: String Quartet, No.2, Op.7, [0, 3, 4, 7, 8, 11, 1, 10, 9, 6, 5, 2], pc set (0, 1, 4, 5,
8, 9)
799. Spinner, Leopold: String Quartet, Op.2, [0, 1, 7, 6, 11, 10, 4, 5, 8, 9, 3, 2], pc set (0, 1, 2, 3, 6, 7)
800. Spinner, Leopold: Trio for Clarinet, Cello and Piano, [0, 1, 7, 6, 5, 11, 10, 3, 4, 2, 9, 8], pc set (0, 1,
2, 6, 7, 8)
801. Spinner, Leopold: Trio for Violin, Cello, and Piano, Op.6, [0, 1, 7, 4, 10, 9, 6, 5, 11, 8, 2, 3], pc set
(0, 1, 3, 4, 6, 9)
802. Spinner, Leopold: Variations for Violin and Piano, Op.19, [0, 8, 9, 1, 2, 4, 3, 5, 6, 10, 11, 7], pc set
(0, 1, 4, 5, 6, 8)
803. Spinner, Leopold: Zwei Lieder, Op.24, [0, 11, 1, 4, 3, 7, 5, 6, 9, 8, 10, 2], pc set (0, 1, 2, 4, 5, 8)
804. Steinbauer, Othmar: Violinsonate, No.1, Op.15, [0, 5, 2, 10, 7, 3, 11, 8, 4, 1, 6, 9], pc set (0, 2, 4, 5,
7, 9)
805. Stockhausen, Karlheinz: Choral, [0, 1, 10, 6, 8, 3, 5, 2, 4, 11, 9, 7], pc set (0, 2, 3, 5, 7, 9)
806. Stockhausen, Karlheinz: Gruppen, [0, 8, 1, 10, 9, 11, 5, 3, 4, 7, 2, 6], pc set (0, 1, 2, 3, 4, 5)
807. Stockhausen, Karlheinz: Klavierstück IV row 3, [0, 7, 1, 10, 11, 9, 5, 8, 4, 3, 2, 6], pc set (0, 1, 2, 3,
4, 6)
808. Stockhausen, Karlheinz: Klavierstück IX, [0, 8, 1, 10, 9, 11, 5, 3, 4, 7, 2, 6], pc set (0, 1, 2, 3, 4, 5)
1049 | 12-TONE ANTHOLOGY
809. Stockhausen, Karlheinz: Klavierstück VII, [0, 8, 1, 10, 9, 11, 5, 3, 4, 7, 2, 6], pc set (0, 1, 2, 3, 4, 5)
810. Stockhausen, Karlheinz: Klavierstück X, [0, 8, 1, 10, 9, 11, 5, 3, 4, 7, 2, 6], pc set (0, 1, 2, 3, 4, 5)
811. Stockhausen, Karlheinz: Kreuzspiel, [0, 10, 9, 11, 7, 2, 8, 1, 4, 6, 5, 3], pc set (0, 2, 3, 4, 5, 7)
812. Stockhausen, Karlheinz: Licht, Eve formula, [0, 4, 3, 2, 5, 6, 10, 11, 9, 1, 7, 8], pc set (0, 1, 2, 3, 4,
6)
813. Stockhausen, Karlheinz: Plus-Minus, [0, 1, 7, 9, 8, 6, 3, 10, 2, 5, 11, 4], pc set (0, 1, 2, 3, 6, 7)
814. Stockhausen, Karlheinz: Tierkreis, Aries, [0, 3, 2, 9, 7, 8, 11, 6, 1, 5, 4, 10], pc set (0, 1, 2, 5, 7, 8)
815. Stockhausen, Karlheinz: Tierkreis, Cancer, [0, 7, 11, 10, 9, 8, 3, 6, 4, 1, 5, 2], pc set (0, 1, 2, 3, 4, 5)
816. Stockhausen, Karlheinz: Tierkreis, Sagittarius, [0, 6, 5, 2, 3, 4, 7, 8, 9, 10, 11, 1], pc set (0, 1, 2, 3,
4, 6)
817. Stockhausen, Karlheinz: Tierkreis, Scorpio, [0, 4, 3, 11, 7, 8, 10, 9, 2, 5, 1, 6], pc set (0, 1, 4, 5, 8,
9)
818. Stravinsky, Igor: A Sermon, a Narrative and a Prayer, [0, 1, 9, 11, 10, 7, 8, 3, 4, 6, 5, 2], pc set (0, 1,
2, 3, 4, 6)
819. Stravinsky, Igor: Agon, “Pas de deux”, “Four trios”, [0, 1, 4, 3, 2, 5, 6, 9, 8, 11, 10, 7], pc set (0, 1,
2, 3, 4, 5)
820. Stravinsky, Igor: Canticum Sacrum, II, [0, 11, 9, 6, 10, 8, 7, 5, 2, 4, 3, 1], pc set (0, 1, 2, 3, 4, 6)
821. Stravinsky, Igor: Canticum Sacrum, II & IV, [0, 11, 1, 3, 4, 2, 7, 6, 9, 5, 8, 10], pc set (0, 1, 2, 3, 4,
5)
822. Stravinsky, Igor: Elegy for J.F.K., [0, 6, 4, 2, 8, 9, 3, 1, 11, 10, 7, 5], pc set (0, 1, 3, 5, 7, 9)
823. Stravinsky, Igor: Fanfare for a New Theater, [0, 11, 1, 3, 4, 2, 5, 7, 6, 8, 10, 9], pc set (0, 1, 2, 3, 4,
5)
824. Stravinsky, Igor: Introitus “T. S. Eliot in Memoriam”, [0, 5, 6, 4, 8, 9, 3, 2, 1, 10, 11, 7], pc set (0, 1,
2, 4, 5, 8)
825. Stravinsky, Igor: Movements, [0, 1, 7, 5, 6, 11, 9, 8, 10, 3, 4, 2], pc set (0, 1, 2, 6, 7, 8)
826. Stravinsky, Igor: Requiem Canticles, 1st series, [0, 2, 10, 11, 1, 8, 6, 7, 9, 4, 3, 5], pc set (0, 1, 2, 3,
4, 6)
827. Stravinsky, Igor: Variations “Aldous Huxley in Memoriam”, [0, 10, 7, 9, 2, 8, 6, 11, 1, 5, 4, 3], pc
set (0, 1, 2, 3, 5, 7)
828. Talma, Louise: Passacaglia and Fugue, [0, 4, 2, 9, 11, 7, 8, 3, 1, 6, 5, 10], pc set (0, 2, 4, 5, 7, 9)
829. Talma, Louise: Piano Sonata 2, mvt 4, first row, [0, 4, 8, 2, 5, 10, 1, 11, 6, 9, 7, 3], pc set (0, 1, 3, 5,
7, 9)
830. Talma, Louise: Six Etudes, Etude 1, [0, 3, 6, 8, 10, 2, 5, 7, 9, 1, 11, 4], pc set (0, 1, 3, 5, 7, 9)
831. Talma, Louise: Six Etudes, Etude 4, [0, 1, 5, 9, 4, 8, 7, 6, 11, 2, 10, 3], pc set (0, 1, 4, 5, 8, 9)
832. Talma, Louise: Six Etudes, Etude 5, [0, 4, 6, 11, 8, 3, 9, 1, 5, 7, 2, 10], pc set (0, 1, 3, 5, 8, 9)
833. Talma, Louise: Six Etudes, Etude 6, [0, 8, 6, 9, 4, 5, 2, 1, 3, 10, 7, 11], pc set (0, 1, 2, 4, 5, 8)
834. Talma, Louise: Three Bagatelles, Bagatelle 3, [0, 3, 4, 1, 5, 8, 10, 7, 2, 11, 6, 9], pc set (0, 1, 3, 4, 5,
12-TONE ANTHOLOGY | 1050
8)
835. Toufektsis, Orestis: MIKRO-ALLAXI (EpiEnteka II), für 15 Musiker, [0, 8, 3, 7, 2, 4, 10, 11, 1, 6,
9, 5], pc set (0, 1, 4, 5, 6, 8)
836. Tranchell, Peter: Piano piece for Carl Dawson (unfinished), 1A, [0, 10, 9, 1, 4, 8, 7, 2, 5, 11, 3, 6],
pc set (0, 1, 2, 4, 5, 8)
837. Tranchell, Peter: Piano piece for Carl Dawson (unfinished), 3, [0, 10, 8, 4, 3, 6, 5, 11, 9, 1, 2, 7], pc
set (0, 1, 3, 5, 7, 9)
838. Tranchell, Peter: Piano piece for Carl Dawson (unfinished), 5, [0, 4, 3, 10, 6, 9, 1, 5, 2, 8, 11, 7], pc
set (0, 1, 3, 6, 7, 9)
839. Tranchell, Peter: Piano piece for Carl Dawson (unfinished), 7, [0, 2, 11, 8, 5, 3, 10, 9, 1, 7, 6, 4], pc
set (0, 1, 3, 4, 6, 9)
840. Tranchell, Peter: Piano piece for Carl Dawson (unfinished), 8, [0, 4, 3, 11, 6, 8, 2, 9, 10, 7, 1, 5], pc
set (0, 1, 3, 5, 8, 9)
841. Tranchell, Peter: Septet : [for] 2 violins, oboe, clarinet, horn, bassoon, cello : fifth dodecafonia, [0, 2,
1, 10, 3, 4, 11, 6, 5, 9, 8, 7], pc set (0, 1, 2, 3, 4, 6)
842. Tranchell, Peter: Twice a Kiss sketch 1, [0, 9, 1, 2, 4, 8, 5, 7, 10, 6, 3, 11], pc set (0, 1, 4, 5, 6, 8)
843. Tranchell, Peter: Twice a Kiss sketch 2, [0, 9, 1, 2, 4, 8, 3, 11, 5, 6, 7, 10], pc set (0, 1, 4, 5, 6, 8)
844. Tranchell, Peter: Twice a Kiss sketch 3, [0, 1, 2, 4, 8, 9, 7, 5, 3, 6, 10, 11], pc set (0, 1, 4, 5, 6, 8)
845. Urbanner, Erich: Adagio, [0, 3, 1, 11, 10, 9, 8, 7, 6, 4, 2, 5], pc set (0, 1, 2, 3, 4, 6)
846. Volkonsky, Andrei: Musica Stricta, mvt 2, row A, [0, 6, 8, 9, 11, 10, 1, 7, 2, 3, 5, 4], pc set (0, 1, 2,
3, 4, 6)
847. Volkonsky, Andrei: Musica Stricta, mvt 2, row D, [0, 4, 9, 2, 8, 10, 11, 1, 3, 7, 5, 6], pc set (0, 1, 2,
4, 6, 8)
848. Volkonsky, Andrei: Musica Stricta, mvt 4, row G, [0, 6, 5, 4, 3, 2, 1, 11, 9, 10, 8, 7], pc set (0, 1, 2,
3, 4, 6)
849. Volkonsky, Andrei: Musica Stricta, mvt 4, row H, [0, 6, 4, 9, 8, 2, 7, 1, 11, 5, 10, 3], pc set (0, 1, 3,
5, 7, 9)
850. Wang, Jian-Zhong: Five Pieces for Piano no. 1, “Pastorale” (variant), [0, 3, 5, 7, 4, 2, 11, 9, 6, 8, 10,
1], pc set (0, 2, 3, 4, 5, 7)
851. Wang, Xi-Lin: A Dilapidated Tombstone, [0, 4, 6, 3, 2, 10, 11, 5, 8, 9, 7, 1], pc set (0, 2, 3, 4, 6, 8)
852. Weber, Ben: Fantasia (Variations), Op.25, [0, 1, 5, 9, 10, 2, 6, 11, 7, 4, 3, 8], pc set (0, 1, 3, 4, 5, 8)
853. Weber, Ben: Five Bagatelles for Piano, Op.2, mvt ii, [0, 1, 2, 9, 6, 7, 4, 8, 5, 11, 10, 3], pc set (0, 1,
2, 5, 7, 8)
854. Weber, Ben: Humoreske, Op.49, [0, 2, 4, 5, 7, 10, 1, 11, 9, 8, 6, 3], pc set (0, 2, 3, 5, 7, 9)
855. Webern, Anton: Op.32 (un-finished), initial sketch, [0, 1, 9, 11, 3, 2, 7, 6, 10, 8, 4, 5], pc set (0, 1, 2,
3, 4, 6)
856. Webern, Anton: Op.32 (un-finished), later sketch, [0, 1, 2, 11, 10, 9, 5, 4, 3, 6, 7, 8], pc set (0, 1, 2,
1051 | 12-TONE ANTHOLOGY
3, 4, 5)
857. Webern, Anton: 3 Lieder, “Erlösung”, Op.18, No.2, [0, 3, 11, 2, 10, 1, 9, 5, 8, 4, 7, 6], pc set (0, 1,
2, 3, 4, 5)
858. Webern, Anton: 3 Volkstexte, “Heiland, Unsere Missetaten…”, Op.17, No.3, [0, 9, 8, 7, 11, 10, 4,
5, 6, 3, 2, 1], pc set (0, 1, 2, 3, 4, 5)
859. Webern, Anton: 3 Volkstexte, “Liebste Jungfrau”, Op.17, No.2, [0, 11, 10, 6, 7, 1, 2, 5, 4, 3, 8, 9],
pc set (0, 1, 2, 3, 6, 7)
860. Webern, Anton: Cantata I, Op.29, [0, 8, 11, 10, 2, 1, 4, 3, 7, 6, 9, 5], pc set (0, 1, 2, 3, 4, 6)
861. Webern, Anton: Concerto for Nine Instruments (Konzert), Op.24, [0, 11, 3, 4, 8, 7, 9, 5, 6, 1, 2, 10],
pc set (0, 1, 4, 5, 8, 9)
862. Webern, Anton: Klavierstück, [0, 1, 2, 11, 10, 4, 5, 6, 9, 8, 7, 3], pc set (0, 1, 2, 3, 4, 6)
863. Webern, Anton: Quartet for Violin, Clarinet, Tenor Sax, And Piano, Op.22, [0, 9, 8, 11, 10, 2, 3, 4,
5, 7, 1, 6], pc set (0, 1, 2, 3, 4, 6)
864. Webern, Anton: String Quartet, Op.28, [0, 11, 2, 1, 5, 6, 3, 4, 8, 7, 10, 9], pc set (0, 1, 2, 3, 6, 7)
865. Webern, Anton: String Trio, Op.20, [0, 11, 6, 5, 10, 9, 1, 2, 7, 8, 4, 3], pc set (0, 1, 2, 3, 6, 7)
866. Webern, Anton: Symphony, Op.21, [0, 3, 2, 1, 5, 4, 10, 11, 7, 8, 9, 6], pc set (0, 1, 2, 3, 4, 5)
867. Webern, Anton: Three Songs on Texts by Hildegard Jone, Op.25, [0, 9, 8, 11, 6, 10, 7, 4, 3, 5, 2, 1],
pc set (0, 1, 2, 3, 4, 6)
868. Webern, Anton: Variations for Orchestra, Op.30, [0, 1, 4, 3, 2, 5, 6, 9, 8, 7, 10, 11], pc set (0, 1, 2,
3, 4, 5)
869. Webern, Anton: Variations for Piano, Op.27, [0, 8, 7, 11, 10, 9, 3, 1, 4, 2, 6, 5], pc set (0, 1, 2, 3, 4,
5)
870. Westergaard, Peter: Mr. and Mrs. Discobbolos, [0, 2, 1, 4, 3, 5, 8, 6, 10, 7, 11, 9], pc set (0, 1, 2, 3,
4, 5)
871. Wilson, Olly: Piece for Four’, [0, 8, 9, 4, 2, 6, 7, 11, 10, 3, 5, 1], pc set (0, 1, 3, 5, 7, 9)
872. Wolpe, Stefan: Four Studies on Basic Rows, No.1 – Study on Tritones, [0, 6, 7, 1, 2, 8, 11, 5, 10, 4,
9, 3], pc set (0, 1, 2, 6, 7, 8)
873. Wolpe, Stefan: Four Studies on Basic Rows, No.2 – Study on Thirds, [0, 11, 9, 8, 10, 7, 6, 5, 3, 2, 4,
1], pc set (0, 1, 2, 3, 4, 5), self-rotational interval pattern 11-10-11-2-9-11-
874. Wolpe, Stefan: Four Studies on Basic Rows, No.4, “Basic Row” 2, [0, 2, 4, 6, 8, 10, 11, 1, 3, 5, 7,
9], pc set (0, 2, 4, 6, 8, 10), self-rotational interval pattern 2-2-2-2-2-1-
875. Wolpe, Stefan: Four Studies on Basic Rows, No.4, “Basic Row” 3, [0, 3, 1, 4, 2, 5, 6, 9, 7, 10, 8,
11], pc set (0, 1, 2, 3, 4, 5), self-rotational interval pattern 3-10-3-10-3-1-
876. Wolpe, Stefan: Four Studies on Basic Rows, No.4, “Basic Row” 4, [0, 4, 8, 2, 6, 10, 3, 7, 11, 5, 9,
1], pc set (0, 2, 4, 6, 8, 10), self-rotational interval pattern 4-4-6-4-4-5-
877. Wolpe, Stefan: Four Studies on Basic Rows, No.4, “Basic Row” 9, [0, 9, 1, 10, 2, 11, 6, 3, 7, 4, 8,
5], pc set (0, 1, 2, 3, 4, 5), self-rotational interval pattern 9-4-9-4-9-7-
12-TONE ANTHOLOGY | 1052
878. Wuorinen, Charles: Flute Variations II, [0, 1, 3, 2, 5, 4, 9, 10, 6, 8, 7, 11], pc set (0, 1, 2, 3, 4, 5)
879. Wuorinen, Charles: Piano Concerto, No.3, [0, 5, 2, 1, 11, 3, 10, 9, 4, 6, 8, 7], pc set (0, 1, 2, 3, 4, 6)
880. Wuorinen, Charles: Reliquary for Igor Stravinsky, [0, 11, 7, 5, 6, 8, 2, 4, 9, 3, 1, 10], pc set (0, 1, 2,
3, 6, 7)
881. Wuorinen, Charles: Second Sonata, Source set, [0, 2, 10, 3, 5, 7, 6, 4, 1, 11, 9, 8], pc set (0, 2, 4, 5,
7, 9)
882. Wuorinen, Charles: Second Sonata, Voice 2, [0, 2, 10, 9, 11, 1, 6, 4, 7, 5, 3, 8], pc set (0, 1, 2, 3, 4,
5)
883. Wuorinen, Charles: Second Sonata, Voice 3, [0, 2, 4, 3, 5, 1, 9, 7, 11, 10, 8, 6], pc set (0, 1, 2, 3, 4,
5)
884. Wuorinen, Charles: Sonata for Piano, [0, 3, 2, 4, 5, 1, 11, 8, 9, 7, 6, 10], pc set (0, 1, 2, 3, 4, 5)
885. Wuorinen, Charles: Third Piano Sonata, [0, 7, 5, 2, 10, 9, 3, 4, 8, 11, 1, 6], pc set (0, 2, 4, 5, 7, 9)
886. Yun, Isang: Funf Stücke für Klavier, Stück 1, Row 1, [0, 4, 2, 6, 5, 8, 7, 9, 3, 1, 10, 11], pc set (0, 2,
3, 4, 6, 8)
887. Yun, Isang: Funf Stücke für Klavier, Stück 1, Row 2, [0, 11, 10, 4, 2, 1, 3, 6, 5, 9, 7, 8], pc set (0, 1,
2, 3, 4, 6)
888. Yun, Isang: Funf Stücke für Klavier, Stück 3, Row 1, [0, 11, 1, 9, 10, 7, 5, 6, 8, 2, 3, 4], pc set (0, 1,
2, 3, 4, 6)
889. Yun, Isang: Funf Stücke für Klavier, Stück 3, Row 2, [0, 4, 2, 8, 5, 6, 7, 9, 3, 11, 10, 1], pc set (0, 2,
3, 4, 6, 8)
890. Yun, Isang: Funf Stücke für Klavier, Stück 4, [0, 1, 7, 8, 11, 3, 4, 9, 5, 2, 6, 10], pc set (0, 1, 4, 5, 6,
8)
891. Yun, Isang: Funf Stücke für Klavier, Stück 5, [0, 11, 6, 3, 2, 10, 9, 1, 5, 4, 8, 7], pc set (0, 1, 2, 4, 5,
8)
892. Yun, Isang: Gasa, [0, 11, 7, 8, 6, 5, 2, 9, 10, 1, 3, 4], pc set (0, 1, 2, 3, 6, 7)
893. Yun, Isang: Riul für Klarinette und Klavier, [0, 5, 6, 9, 8, 4, 3, 7, 1, 2, 11, 10], pc set (0, 1, 2, 4, 5,
8)
894. Zappa, Frank: Brown Shoes Don’t Make It, [0, 11, 3, 2, 9, 1, 7, 8, 4, 10, 5, 6], pc set (0, 1, 2, 3, 4,
6)
895. Zappa, Frank: Waltz, [0, 11, 3, 2, 9, 1, 7, 8, 4, 10, 5, 6], pc set (0, 1, 2, 3, 4, 6)
896. Zenk, Ludwig: An einen Springbrunnnen, Op.6, No.1, [0, 2, 3, 7, 6, 10, 9, 1, 5, 11, 4, 8], pc set (0,
1, 3, 5, 8, 9)
897. Zenk, Ludwig: Piano Sonata, Op.1, [0, 1, 8, 4, 6, 5, 2, 10, 9, 3, 11, 7], pc set (0, 1, 4, 5, 6, 8)
898. Zhou, Jin-Min: Piano Quintet, Scherzo, [0, 10, 5, 4, 6, 11, 7, 9, 2, 3, 1, 8], pc set (0, 1, 2, 6, 7, 8)
899. Zillig, Wilfried: Das Opfer, [0, 11, 3, 4, 8, 7, 10, 9, 1, 2, 6, 5], pc set (0, 1, 4, 5, 8, 9), self-rotational
interval pattern 11-4-1-4-11-3-
900. Zimmerman, Bernd Alois: Perspektiven, [0, 2, 10, 8, 4, 6, 3, 1, 5, 7, 11, 9], pc set (0, 2, 4, 6, 8, 10)
1053 | 12-TONE ANTHOLOGY
901. Zimmermann, Bernd Alois: ‘Ich wandte mich um und sah alles Unrecht das geschah unter der
Sonne’, [0, 1, 11, 2, 10, 3, 9, 4, 8, 5, 7, 6], pc set (0, 1, 2, 3, 4, 5)
902. hauer, Josef Matthias: Zwölftonspiel für Oechester. 28. 9. 1954, [0, 5, 7, 4, 6, 1, 9, 3, 8, 11, 10, 2],
pc set (0, 1, 2, 3, 6, 7)
Transposition Combinatorial
When two rows are combinatorial, the first hexachord of each complements the other meaning that they
make up the total chromatic together. This list gives rows in this section that are combinatorial by
transposition, i.e. combinatoriality holds between P0 and at least one transposition of P. The
transposition(s) are given after the row. In this case, there is only one transposition-combinatorial
hexachord, and only one interval, so they are all P0-P6
Inversion Combinatorial
These rows are combinatorial by inversion. There are 13 such hexachords and some are combinatorial in
more that one transposition, so the specific forms are given in the form P0-IX, or P0-IX,Y in the case of
more than one match.
1. Argento, Dominick: A Water Bird Talk, Lecturer Row, [0, 9, 5, 10, 2, 6, 3, 11, 8, 4, 1, 7], P0-I1
2. Argento, Dominick: From the Diary of Virginia Woolf, [0, 7, 6, 2, 11, 5, 3, 1, 8, 9, 4, 10], P0-I3
3. Atterberg, Kurt: Symphony 9 [Bbm], Op.54, ‘Sinfonia visionaria’, [0, 1, 5, 6, 7, 4, 8, 11, 10, 9, 2, 3],
P0-I3
4. Babbitt, Milton: The Crowded Air, [0, 8, 5, 7, 10, 6, 11, 1, 9, 3, 2, 4], P0-I9
5. Bach, Johann Sebastian: Chromatische Fantasie, [0, 3, 6, 9, 11, 2, 5, 8, 10, 1, 4, 7], P0-I7
6. Bartók, Béla: String Quartet, No.4, [0, 5, 6, 11, 4, 9, 10, 3, 8, 1, 2, 7], P0-I7
7. Bartók, Béla: Violin Concerto, No.2, mvt 1, [0, 2, 8, 1, 9, 4, 10, 6, 3, 7, 11, 5], P0-I7
8. Bartók, Béla: Violin Concerto, No.2, mvt 3, [0, 8, 2, 9, 1, 4, 10, 7, 6, 3, 11, 5], P0-I7
9. Beecroft, Norma: Improvvisazioni Concertanti, No.1, [0, 1, 11, 9, 3, 2, 7, 6, 10, 8, 4, 5], P0-I7
10. Bennett, Richard Rodney: Five Studies for Piano, [0, 3, 5, 6, 11, 9, 4, 2, 7, 8, 10, 1], P0-I1,7
11. Berg, Alban: Lulu, Lulu (title character) row, [0, 2, 3, 5, 7, 9, 1, 10, 11, 4, 6, 8], P0-I1
12. Berg, Alban: Lulu, Schoolboy row, [0, 2, 6, 10, 4, 7, 8, 3, 5, 9, 11, 1], P0-I3
13. Berg, Alban: Lulu, permutation of main row, [0, 4, 2, 7, 9, 6, 8, 11, 3, 1, 5, 10], P0-I5
14. Berg, Alban: Lyric Suite, mvt III, [0, 11, 7, 1, 2, 9, 3, 8, 10, 4, 5, 6], P0-I5
15. Berger, Arthur: Chamber Music for Thirteen Players, [0, 1, 11, 7, 10, 9, 6, 5, 8, 4, 2, 3], P0-I3
16. Berio, Luciano: Chamber Music, [0, 9, 3, 5, 7, 10, 2, 11, 4, 6, 8, 1], P0-I11
12-TONE ANTHOLOGY | 1056
17. Bischof, Rainer: ‘Und so sink ich leise in mich selbst hinein’. Österreichischer Liederzyklus für
Mezzosopran und Violine, Op.17, [0, 6, 5, 11, 4, 9, 3, 2, 8, 7, 1, 10], P0-I7
18. Boulez, Pierre: 2nd Piano Sonata, mvt II, Section 1, [0, 2, 1, 11, 3, 9, 8, 10, 7, 6, 5, 4], P0-I7
19. Boulez, Pierre: Le Soleil des eaux, series I, [0, 6, 10, 2, 5, 1, 7, 11, 3, 4, 8, 9], P0-I9
20. Boulez, Pierre: Le Soleil des eaux, series II, [0, 6, 10, 2, 5, 1, 4, 7, 11, 8, 3, 9], P0-I9
21. Boulez, Pierre: Le Soleil des eaux, series III, [0, 11, 7, 2, 6, 5, 4, 8, 10, 1, 3, 9], P0-I3
22. Boulez, Pierre: Pli selon pli, [0, 1, 8, 6, 7, 9, 4, 5, 11, 3, 2, 10], P0-I11
23. Boulez, Pierre: Structures Ia, [0, 11, 6, 5, 4, 3, 1, 10, 9, 7, 2, 8], P0-I1
24. Cage, John: Sonata for Clarinet, [0, 1, 10, 11, 9, 7, 6, 5, 4, 8, 3, 2], P0-I3
25. Cage, John: Sonata for Clarinet, mvt 2, [0, 11, 9, 10, 8, 6, 5, 4, 3, 7, 2, 1], P0-I1
26. Cage, John: Two pieces for Piano, [0, 11, 8, 3, 4, 2, 9, 7, 1, 5, 10, 6], P0-I9
27. Carlos, Juan: Canciones y Baladas, Balada II, [0, 4, 10, 6, 3, 8, 7, 2, 5, 9, 1, 11], P0-I5
28. Coltrane, John: Miles Mode, [0, 3, 5, 2, 7, 9, 10, 8, 1, 11, 6, 4], P0-I1
29. Cordero, Roque: Concerto for Violin, mvt 2A, [0, 11, 6, 4, 7, 8, 5, 9, 3, 10, 1, 2], P0-I9
30. Cordero, Roque: Soliloquios, [0, 1, 5, 11, 3, 2, 9, 8, 4, 10, 6, 7], P0-I9
31. Cordero, Roque: Violin Concerto mvt 1-3, [0, 11, 6, 4, 8, 7, 5, 1, 3, 2, 10, 9], P0-I9
32. Crosse, Gordon: Elegy for Small Orchestra, Op.1, [0, 11, 3, 1, 9, 10, 5, 6, 2, 4, 8, 7], P0-I5
33. Dallapiccola, Luigi: ‘Intermezzo’ from the ‘Ciaccona’ (of ‘Ciaccona, intermezzo e adagio’), [0, 5, 6,
3, 8, 9, 7, 11, 10, 2, 1, 4], P0-I7
34. Dallapiccola, Luigi: Canti di Liberationi, No.2, [0, 5, 8, 3, 1, 9, 10, 4, 2, 11, 7, 6], P0-I7
35. Dallapiccola, Luigi: Canti di Liberazione, [0, 1, 5, 8, 10, 4, 3, 7, 9, 2, 11, 6], P0-I7
36. Dallapiccola, Luigi: Cinque canti, [0, 11, 5, 8, 6, 2, 7, 3, 1, 4, 10, 9], P0-I3,9
37. Dallapiccola, Luigi: Commiato, [0, 6, 5, 3, 9, 11, 10, 8, 7, 1, 2, 4], P0-I1,7
38. Dallapiccola, Luigi: Dialoghi, [0, 1, 10, 2, 6, 4, 5, 3, 7, 11, 8, 9], P0-I9
39. Dallapiccola, Luigi: Il Prigioniero, “Hope”, [0, 1, 2, 3, 11, 5, 4, 10, 6, 7, 9, 8], P0-I9
40. Dallapiccola, Luigi: Il prigioniero, “Prayer”, [0, 3, 6, 11, 9, 2, 1, 7, 8, 4, 5, 10], P0-I7
41. Dallapiccola, Luigi: Liriche greche c: Sex Carmina Alcaei, [0, 3, 5, 6, 2, 9, 8, 7, 4, 1, 10, 11], P0-I1
42. Dallapiccola, Luigi: Quaderno musicale di Annalibera, [0, 1, 5, 8, 10, 4, 3, 7, 9, 2, 11, 6], P0-I7
43. Dallapiccola, Luigi: Quattro liriche di Antonio Machado, i, iv, [0, 3, 5, 6, 8, 9, 11, 10, 7, 4, 2, 1],
P0-I7
44. Dallapiccola, Luigi: Requiescant, [0, 2, 1, 3, 4, 6, 7, 9, 8, 10, 5, 11], P0-I11
45. Dallapiccola, Luigi: Requiescant (alternative view), [0, 2, 1, 7, 11, 8, 9, 6, 10, 4, 3, 5], P0-I5
46. Dallapiccola, Luigi: Tempus, ‘Exhortatio’, [0, 11, 9, 3, 5, 6, 4, 7, 8, 2, 1, 10], P0-I1,7
47. Dallapiccola, Luigi: Tempus, ‘Ploratus’, [0, 1, 7, 6, 10, 4, 3, 2, 5, 11, 9, 8], P0-I3,9
48. Dallapiccola, Luigi: Ulisse [opera], [0, 2, 1, 3, 9, 8, 11, 10, 4, 6, 5, 7], P0-I7
49. Dallapiccola, Luigi: Variazioni per orchestra, [0, 1, 5, 8, 10, 4, 3, 7, 9, 2, 11, 6], P0-I7
50. Davies, Peter Maxwell: Five Pieces for Piano, Op.2, No.2, [0, 7, 11, 1, 3, 5, 8, 6, 4, 9, 10, 2], P0-I9
1057 | 12-TONE ANTHOLOGY
51. Davies, Peter Maxwell: Sonata for Trumpet and Piano, Op.1, [0, 7, 6, 2, 11, 10, 8, 9, 1, 5, 3, 4],
P0-I3
52. Denisov, Edison: Five Etudes for Solo Bassoon, row A, [0, 6, 1, 7, 8, 3, 2, 9, 10, 5, 11, 4], P0-I5
53. Denisov, Edison: Five Etudes for Solo Bassoon, row D, [0, 6, 1, 7, 8, 3, 2, 9, 10, 11, 5, 4], P0-I5
54. Denisov, Edison: Five Etudes for Solo Bassoon, row F, [0, 6, 1, 7, 3, 2, 8, 9, 10, 5, 11, 4], P0-I11
55. Dessau, Paul: >Guernica< for piano, [0, 7, 6, 2, 10, 11, 5, 9, 1, 3, 4, 8], P0-I3
56. Dessau, Paul: Les Voix, [0, 11, 6, 8, 9, 3, 4, 10, 5, 7, 2, 1], P0-I1
57. Eder, Helmut: Concerto for violin and orchestra, Op.32, [0, 9, 6, 2, 11, 3, 8, 1, 7, 5, 10, 4], P0-I7
58. Eisler, Hanns: Deutsche Symphonie, mvt 5, [0, 1, 3, 5, 8, 9, 6, 11, 10, 4, 2, 7], P0-I7
59. Eisler, Hanns: Deutsche Symphonie, mvt 9, [0, 4, 1, 10, 8, 6, 3, 11, 9, 2, 5, 7], P0-I3
60. Eisler, Hanns: Deutsche Symphonie, mvts 1, 10, [0, 10, 6, 1, 11, 7, 5, 8, 9, 3, 4, 2], P0-I3
61. Eisler, Hanns: Five Pieces for Orchestra, mvt 4, [0, 10, 9, 8, 6, 7, 3, 4, 5, 11, 1, 2], P0-I11
62. Eisler, Hanns: Five Pieces for Orchestra, mvt 5, [0, 2, 6, 4, 10, 9, 11, 1, 7, 5, 8, 3], P0-I5
63. Eisler, Hanns: Sonata for Piano, No.2 (“in Form von Variationen”), Op.6, row variant 1, [0, 4, 6, 3,
2, 1, 9, 10, 7, 8, 5, 11], P0-I11
64. Eisler, Hanns: Sonata for Piano, No.2 (“in Form von Variationen”), Op.6, row variant 2, [0, 4, 3, 2,
6, 1, 9, 10, 7, 8, 5, 11], P0-I11
65. Eisler, Hanns: Sonata for Piano, No.2 (“in Form von Variationen”), Op.6, row variant 5, [0, 3, 2, 4,
6, 1, 9, 10, 7, 8, 5, 11], P0-I11
66. Eisler, Hanns: String Quartet, [0, 9, 3, 2, 11, 1, 4, 5, 10, 7, 8, 6], P0-I7
67. Eisler, Hanns: Variations for Piano, [0, 3, 10, 6, 5, 8, 1, 11, 2, 4, 7, 9], P0-I7
68. Eisler, Hanns: Zwei Elegien, No.2 (An die Überlebenden), [0, 1, 4, 3, 2, 6, 8, 11, 10, 9, 5, 7],
P0-I11
69. Evans, Bill: Twelve Tone Tune Two, [0, 9, 11, 1, 10, 3, 2, 6, 4, 5, 8, 7], P0-I5
70. Fano, Michel: Sonata for Two Pianos, [0, 6, 10, 7, 9, 8, 3, 2, 4, 1, 5, 11], P0-I11
71. Fine, Vivian: Four Songs, No.2, “Comfort To A Youth That Had Lost His Love”, [0, 1, 2, 6, 9, 10,
11, 3, 5, 4, 7, 8], P0-I5
72. Finney, Ross Lee: Concerto for Alto Sax, [0, 1, 3, 4, 6, 9, 11, 10, 8, 7, 5, 2], P0-I11
73. Florey, Hans: Die Aussicht, [0, 9, 11, 8, 2, 10, 5, 6, 7, 4, 3, 1], P0-I3
74. Florey, Hans: Hexaeder für Klavier, [0, 9, 4, 8, 5, 10, 11, 3, 2, 6, 1, 7], P0-I11
75. Florey, Hans: Hälfte des Lebens, [0, 3, 4, 1, 7, 11, 6, 9, 10, 8, 2, 5], P0-I9
76. Florey, Hans: I Ging, [0, 7, 2, 10, 11, 6, 5, 1, 9, 8, 4, 3], P0-I3
77. Florey, Hans: Magischer Würfel mit 6 Spiegelpunkten, [0, 10, 1, 7, 4, 6, 5, 8, 3, 9, 2, 11], P0-I3,9
78. Florey, Hans: Sechs Kanonzyklen einunddesselben magischen Quadrates, [0, 10, 1, 7, 4, 6, 5, 8, 3, 9,
2, 11], P0-I3,9
79. Florey, Hans: Triptychon, [0, 8, 9, 3, 7, 2, 1, 10, 5, 6, 11, 4], P0-I1
80. Florey, Hans: Zwölftonspiel für Streichquartett. 3. Dezember 1965, [0, 10, 2, 5, 3, 4, 1, 8, 9, 6, 7,
12-TONE ANTHOLOGY | 1058
11], P0-I11
81. Gerhard, Roberto: Capriccio for Solo Flute, [0, 11, 9, 3, 1, 10, 8, 6, 4, 7, 2, 5], P0-I5
82. Gerhard, Roberto: Hymnody, [0, 10, 11, 8, 2, 9, 4, 5, 1, 6, 7, 3], P0-I3
83. Gerhard, Roberto: String Quartet, [0, 7, 8, 2, 6, 10, 9, 11, 4, 5, 1, 3], P0-I11
84. Gerhard, Roberto: String Quartet, No.2, [0, 1, 5, 2, 8, 7, 10, 9, 6, 11, 4, 3], P0-I11
85. Gerhard, Roberto: Three Impromptus, [0, 8, 1, 10, 4, 6, 7, 5, 3, 2, 9, 11], P0-I3
86. Ginastera, Alberto: Don Rodrigo, Op.31, Row Class 3, [0, 5, 6, 11, 2, 1, 8, 7, 10, 4, 9, 3], P0-I9
87. Ginastera, Alberto: Don Rodrigo, Op.31, Row Class 4, [0, 9, 10, 11, 6, 5, 8, 7, 2, 3, 4, 1], P0-I1
88. Ginastera, Alberto: Don Rodrigo, Op.31, Row Class 8, [0, 1, 7, 6, 8, 9, 3, 2, 4, 5, 11, 10], P0-I11
89. Ginastera, Alberto: Quintet, Op.29, Row Class III 1, [0, 11, 1, 8, 2, 7, 10, 3, 9, 4, 6, 5], P0-I5
90. Ginastera, Alberto: Quintet, Op.29, Row Class III 2, [0, 11, 1, 8, 2, 7, 5, 6, 4, 9, 3, 10], P0-I5
91. Ginastera, Alberto: Quintet, Op.29, Row Class VII 1, [0, 9, 10, 11, 4, 3, 6, 2, 1, 5, 8, 7], P0-I5
92. Ginastera, Alberto: Quintet, Op.29, Row Class VII 2, [0, 11, 1, 8, 2, 7, 5, 6, 4, 9, 3, 10], P0-I5
93. Ginastera, Alberto: Quintet, Op.29, mvt.III, [0, 7, 3, 10, 2, 6, 9, 1, 4, 8, 11, 5], P0-I11
94. Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class III S, [0, 6, 11, 5, 8, 2, 7, 1,
4, 10, 3, 9], P0-I3,9
95. Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class II 2, [0, 3, 6, 9, 2, 5, 8, 11,
4, 7, 10, 1], P0-I1
96. Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class II 3, [0, 9, 3, 2, 11, 6, 5, 1,
8, 7, 4, 10], P0-I7
97. Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class II 5, [0, 7, 1, 6, 4, 11, 5,
10, 8, 3, 9, 2], P0-I9
98. Goehr, Alexander: Piano Trio, Op.20, [0, 6, 7, 4, 3, 8, 5, 9, 11, 2, 10, 1], P0-I5
99. Goeyvaerts, Karel: Violin concerto, No.2, [0, 11, 7, 1, 2, 9, 10, 8, 5, 6, 3, 4], P0-I5
100. Gotham, Mark: 4x4x4x4, row 3, [0, 2, 6, 10, 7, 4, 11, 9, 8, 3, 5, 1], P0-I3
101. Gotham, Mark: 4x4x4x4, row 4, [0, 2, 6, 10, 1, 4, 5, 3, 8, 9, 11, 7], P0-I9
102. Gotham, Mark: Move On!, [0, 4, 3, 10, 6, 9, 1, 5, 2, 8, 11, 7], P0-I5,11
103. Hamel, Peter Michael: ‘Klangspirale’ für 13 Spieler oder drei Orchestergruppen, [0, 10, 5, 9, 3, 4, 1,
6, 8, 11, 2, 7], P0-I11
104. Hauer, Jose Matthias: XXXII. Zwölftonspiel; für Violine, Bratsche und Cello, [0, 2, 6, 1, 10, 9, 5, 8,
11, 7, 4, 3], P0-I5
105. Hauer, Josef Matthias: ‘Der Menschen Weg’, Op.67, [0, 8, 5, 4, 10, 2, 7, 9, 1, 3, 11, 6], P0-I11
106. Hauer, Josef Matthias: ‘Die schwarze Spinne’, Op.62, [0, 4, 10, 1, 5, 8, 11, 2, 7, 9, 6, 3], P0-I7
107. Hauer, Josef Matthias: ‘Emilie vor ihrem Brauttag’ (Friedrich Hölderlin) für Altsolo und Orchester,
Op.58, [0, 8, 3, 4, 11, 6, 9, 10, 2, 1, 5, 7], P0-I1
108. Hauer, Josef Matthias: ‘Salambo’, opera after Gustave Flaubert;, Op.60, [0, 6, 9, 2, 8, 10, 4, 7, 1, 11,
3, 5], P0-I1
1059 | 12-TONE ANTHOLOGY
109. Hauer, Josef Matthias: ‘Tanz tibetanischer Mönche’ im langsamen 3/4 Takt) [Zwölftonspiel]. 8.
September 1956, [0, 7, 8, 6, 3, 1, 11, 2, 10, 5, 9, 4], P0-I5
110. Hauer, Josef Matthias: ‘Wandlungen’ (chamber-oratorio for stage or concert, for six solo-voices,
choir and orchestra; after words of Friedrich Hölderlin), Op.53, [0, 5, 11, 4, 10, 1, 6, 8, 9, 3, 7, 2],
P0-I7
111. Hauer, Josef Matthias: Baustein, [0, 8, 11, 1, 6, 10, 4, 2, 3, 5, 9, 7], P0-I3
112. Hauer, Josef Matthias: Fünfte Tanzfantasie für kleines Orchester, Opus 66, [0, 10, 4, 7, 8, 11, 6, 2,
5, 9, 3, 1], P0-I1
113. Hauer, Josef Matthias: Harmonie – Melodie – Rhythmus – in kristallischer Bindung – im vierfachen
Kontrapunkt [Zwölftonspiel] für Zwölftonorchester, [0, 2, 10, 9, 6, 5, 1, 4, 7, 11, 8, 3], P0-I1
114. Hauer, Josef Matthias: Hausmusik [Zwölftonspiel] für zwei Violinen und Klavier, [0, 1, 5, 3, 7, 10,
9, 6, 11, 4, 2, 8], P0-I9
115. Hauer, Josef Matthias: Kammermusik [Zwölftonspiel] für Flöte, Oboe, Baßklarinette, Fagott, zwei
Violinen, Bratsche, Cello und Klavier zu vier Händen. 24. Jänner 1957, [0, 9, 3, 7, 5, 10, 1, 6, 11, 4,
2, 8], P0-I11
116. Hauer, Josef Matthias: Klavierstücke mit Überschriften nach Worten von Friedrich Hölderlin, Op.25
;, No.10, [0, 6, 11, 10, 9, 5, 2, 3, 7, 1, 4, 8], P0-I1
117. Hauer, Josef Matthias: Langsamer Walzer [Zwölftonspiel] für Orchester. 10. Jänner 1957, [0, 8, 10,
2, 3, 6, 1, 9, 7, 4, 11, 5], P0-I7
118. Hauer, Josef Matthias: Langsamer Walzer [Zwölftonspiel] für zwei Violinen, Bratsche, Cello und
Klavier zu zwei Händen, [0, 6, 2, 11, 10, 7, 3, 4, 5, 9, 1, 8], P0-I3
119. Hauer, Josef Matthias: Nomos, Op.19 (bb.106-108), [0, 10, 6, 1, 7, 4, 9, 5, 3, 8, 11, 2], P0-I3,9
120. Hauer, Josef Matthias: Nomos, Op.19 (bb.117-118), [0, 4, 5, 11, 7, 10, 3, 9, 6, 2, 1, 8], P0-I1
121. Hauer, Josef Matthias: Nomos, Op.19 (bb.119-120), [0, 10, 8, 6, 5, 7, 9, 2, 3, 1, 11, 4], P0-I9
122. Hauer, Josef Matthias: Nomos, Op.19 (bb.123-124), [0, 8, 11, 5, 3, 7, 4, 9, 1, 6, 10, 2], P0-I9
123. Hauer, Josef Matthias: Nomos, Op.19 (bb.125-126), [0, 11, 1, 10, 6, 8, 9, 5, 7, 3, 2, 4], P0-I3
124. Hauer, Josef Matthias: Nomos, Op.19 (bb.138-140), [0, 3, 4, 2, 5, 6, 8, 7, 10, 11, 1, 9], P0-I1
125. Hauer, Josef Matthias: Nomos, Op.19 (bb.141-143), [0, 10, 11, 3, 5, 6, 7, 2, 1, 4, 8, 9], P0-I7
126. Hauer, Josef Matthias: Nomos, Op.19 (bb.142-143), [0, 11, 10, 1, 5, 3, 8, 6, 9, 4, 7, 2], P0-I7
127. Hauer, Josef Matthias: Nomos, Op.19 (bb.159-161), [0, 5, 1, 8, 10, 4, 6, 7, 3, 9, 11, 2], P0-I7
128. Hauer, Josef Matthias: Nomos, Op.19 (bb.171-174), [0, 7, 1, 3, 9, 6, 8, 11, 10, 5, 4, 2], P0-I5,11
129. Hauer, Josef Matthias: Nomos, Op.19 (bb.175-178), [0, 10, 1, 2, 6, 5, 3, 4, 8, 9, 7, 11], P0-I9
130. Hauer, Josef Matthias: Nomos, Op.19 (bb.192-193), [0, 9, 6, 2, 8, 4, 7, 10, 1, 3, 5, 11], P0-I7
131. Hauer, Josef Matthias: Nomos, Op.19 (bb.196-197), [0, 2, 8, 6, 11, 5, 4, 10, 7, 3, 1, 9], P0-I3,9
132. Hauer, Josef Matthias: Nomos, Op.19 (bb.213-216), [0, 2, 6, 1, 10, 4, 5, 8, 11, 7, 3, 9], P0-I9
133. Hauer, Josef Matthias: Nomos, Op.19 (bb.224-228), [0, 1, 9, 3, 4, 5, 10, 11, 6, 2, 8, 7], P0-I11
134. Hauer, Josef Matthias: Nomos, Op.19 (bb.228-230), [0, 2, 9, 6, 5, 10, 7, 3, 8, 1, 4, 11], P0-I1
12-TONE ANTHOLOGY | 1060
135. Hauer, Josef Matthias: Nomos, Op.19 (bb.231-233), [0, 6, 10, 3, 2, 8, 9, 5, 4, 1, 11, 7], P0-I7
136. Hauer, Josef Matthias: Nomos, Op.19 (bb.234-237), [0, 11, 3, 1, 7, 4, 9, 6, 5, 10, 2, 8], P0-I9
137. Hauer, Josef Matthias: Nomos, Op.19 (bb.241-243), [0, 2, 8, 1, 4, 9, 5, 6, 3, 11, 10, 7], P0-I7
138. Hauer, Josef Matthias: Nomos, Op.19 (bb.257-262), [0, 7, 3, 8, 4, 2, 9, 1, 11, 6, 10, 5], P0-I1
139. Hauer, Josef Matthias: Nomos, Op.19 (bb.262-263), [0, 11, 2, 5, 1, 6, 9, 7, 10, 3, 4, 8], P0-I9
140. Hauer, Josef Matthias: Nomos, Op.19 (bb.272-276), [0, 1, 5, 3, 7, 2, 8, 10, 4, 6, 11, 9], P0-I11
141. Hauer, Josef Matthias: Nomos, Op.19 (bb.284-287), [0, 1, 11, 7, 6, 4, 10, 5, 2, 8, 3, 9], P0-I9
142. Hauer, Josef Matthias: Nomos, Op.19 (bb.288-291), [0, 2, 10, 7, 4, 6, 11, 3, 5, 1, 8, 9], P0-I3
143. Hauer, Josef Matthias: Nomos, Op.19 (bb.292-294), [0, 9, 2, 6, 3, 5, 10, 1, 11, 7, 4, 8], P0-I1
144. Hauer, Josef Matthias: Nomos, Op.19 (bb.325-328), [0, 5, 4, 2, 7, 6, 3, 11, 1, 8, 10, 9], P0-I3
145. Hauer, Josef Matthias: Nomos, Op.19 (bb.328-332), [0, 3, 2, 7, 6, 10, 9, 11, 8, 5, 1, 4], P0-I11
146. Hauer, Josef Matthias: Nomos, Op.19 (bb.366-371), [0, 5, 1, 7, 3, 2, 4, 8, 11, 6, 10, 9], P0-I11
147. Hauer, Josef Matthias: Nomos, Op.19 (bb.372-375), [0, 8, 6, 1, 10, 11, 5, 9, 7, 4, 3, 2], P0-I3
148. Hauer, Josef Matthias: Nomos, Op.19 (bb.387-390), [0, 3, 7, 4, 10, 1, 11, 9, 6, 8, 2, 5], P0-I9
149. Hauer, Josef Matthias: Nomos, Op.19 (bb.403-409), [0, 11, 2, 10, 8, 1, 5, 3, 4, 6, 7, 9], P0-I5
150. Hauer, Josef Matthias: Nomos, Op.19 (bb.422-425), [0, 6, 4, 2, 10, 9, 8, 5, 11, 7, 1, 3], P0-I5
151. Hauer, Josef Matthias: Nomos, Op.19 (bb.425-427), [0, 8, 10, 7, 4, 2, 3, 5, 6, 11, 1, 9], P0-I1
152. Hauer, Josef Matthias: Nomos, Op.19 (bb.430-432), [0, 6, 8, 10, 9, 2, 7, 1, 3, 4, 5, 11], P0-I1
153. Hauer, Josef Matthias: Nomos, Op.19 (bb.438-441), [0, 1, 10, 8, 9, 4, 3, 5, 7, 11, 6, 2], P0-I3
154. Hauer, Josef Matthias: Nomos, Op.19 (bb.441-445), [0, 1, 9, 8, 10, 4, 6, 5, 7, 2, 3, 11], P0-I3
155. Hauer, Josef Matthias: Nomos, Op.19 (bb.451-453), [0, 2, 4, 1, 6, 11, 3, 8, 9, 7, 5, 10], P0-I9
156. Hauer, Josef Matthias: Nomos, Op.19 (bb.452-455), [0, 5, 7, 8, 1, 2, 3, 4, 6, 11, 10, 9], P0-I11
157. Hauer, Josef Matthias: Nomos, Op.19 (bb.463-464), [0, 4, 6, 7, 3, 9, 1, 10, 8, 11, 5, 2], P0-I5
158. Hauer, Josef Matthias: Nomos, Op.19 (bb.479-483), [0, 6, 10, 9, 7, 8, 11, 4, 5, 3, 2, 1], P0-I11
159. Hauer, Josef Matthias: Nomos, Op.19 (bb.494-496), [0, 7, 8, 5, 6, 11, 2, 3, 9, 4, 1, 10], P0-I9
160. Hauer, Josef Matthias: Nomos, Op.19 (bb.50-53), [0, 2, 10, 4, 5, 3, 6, 7, 1, 8, 9, 11], P0-I11
161. Hauer, Josef Matthias: Nomos, Op.19 (bb.501-503), [0, 5, 7, 1, 3, 2, 6, 10, 11, 8, 9, 4], P0-I11
162. Hauer, Josef Matthias: Nomos, Op.19 (bb.511-514), [0, 10, 1, 4, 6, 2, 9, 7, 11, 8, 5, 3], P0-I9
163. Hauer, Josef Matthias: Nomos, Op.19 (bb.517-521), [0, 2, 10, 11, 6, 4, 5, 1, 3, 9, 8, 7], P0-I7
164. Hauer, Josef Matthias: Nomos, Op.19 (bb.528-531), [0, 6, 7, 5, 8, 10, 9, 11, 4, 2, 1, 3], P0-I9
165. Hauer, Josef Matthias: Nomos, Op.19 (bb.60-63), [0, 4, 1, 2, 9, 8, 10, 5, 11, 3, 6, 7], P0-I7
166. Hauer, Josef Matthias: Nomos, Op.19 (bb.72-73), [0, 1, 7, 11, 4, 3, 9, 6, 5, 2, 10, 8], P0-I9
167. Hauer, Josef Matthias: Nomos, Op.19 (bb.73-78), [0, 8, 7, 2, 4, 11, 1, 3, 6, 5, 10, 9], P0-I5
168. Hauer, Josef Matthias: Nomos, Op.19 (bb.84-87), [0, 10, 1, 11, 5, 3, 2, 6, 7, 8, 9, 4], P0-I7
169. Hauer, Josef Matthias: Nomos, Op.19 (bb.93-94), [0, 1, 10, 8, 6, 2, 9, 4, 11, 7, 5, 3], P0-I5
170. Hauer, Josef Matthias: Nomos, Op.19 (row 1), [0, 8, 9, 5, 4, 6, 10, 11, 7, 1, 2, 3], P0-I7
171. Hauer, Josef Matthias: Nomos, Op.19 (row 2), [0, 6, 10, 4, 3, 2, 8, 7, 11, 9, 5, 1], P0-I11
1061 | 12-TONE ANTHOLOGY
172. Hauer, Josef Matthias: Paraphonie [Zwölftonspiel] für Bratsche und Klavier, [0, 4, 10, 5, 8, 1, 11, 7,
2, 9, 6, 3], P0-I7
173. Hauer, Josef Matthias: Sakraler Tanz [Zwölftonspiel] für Orchester, [0, 3, 10, 8, 5, 2, 9, 1, 11, 6, 4,
7], P0-I9
174. Hauer, Josef Matthias: Sechste Suite für Orchester, Op.47, [0, 9, 6, 2, 8, 3, 10, 11, 7, 4, 5, 1],
P0-I1,7
175. Hauer, Josef Matthias: Symphonische Stücke für Streichorchester, Klavier und Harmonium, Op.49,
[0, 4, 6, 3, 2, 8, 1, 11, 10, 7, 9, 5], P0-I1
176. Hauer, Josef Matthias: Tanz im langsamen 3/4 Takt [Zwölftonspiel] für zwei Violinen, zwei
Bratschen und Klavier zu zwei Händen, [0, 3, 10, 2, 11, 6, 8, 7, 4, 9, 1, 5], P0-I7
177. Hauer, Josef Matthias: VIII. Zwölftonspiel für Orchester. Juni 1943, [0, 5, 10, 8, 4, 2, 11, 9, 3, 1, 7,
6], P0-I11
178. Hauer, Josef Matthias: Violinkonzert, Op.54 (9. März – 6. April 1928), [0, 7, 6, 8, 4, 11, 1, 10, 5, 9,
2, 3], P0-I9
179. Hauer, Josef Matthias: XXI. Zwölftonspiel für Orchester; mit einer Zwöfftonreihe, die in sechs
Tropen steht, und vom Kulturreferenten der Stadt Wien Dr. Viktor Matejka gewählt wurde. Erster
Teil 2,4-Takt (Halbe = 50) mit achttaktigen Perioden; zweiter Teil im 3/4 Takt (punktierte Halbe =
40) mit sechstaktigen Perioden, [0, 3, 4, 9, 11, 10, 1, 7, 6, 2, 5, 8], P0-I5
180. Hauer, Josef Matthias: XXII. Zwölftonspiel für Klavier, [0, 2, 11, 6, 7, 10, 1, 3, 8, 4, 9, 5], P0-I3
181. Hauer, Josef Matthias: XXIII. Zwölftonspiel für Klavierquintett, [0, 4, 11, 9, 10, 2, 6, 3, 7, 5, 8, 1],
P0-I5
182. Hauer, Josef Matthias: XXIV. Zwölftonspiel für Klavier, [0, 2, 9, 3, 8, 1, 4, 7, 11, 5, 6, 10], P0-I7
183. Hauer, Josef Matthias: Zwölftonspiel (Weihnachten 1947) für Klarinette, Violine, Bratsche, Cello
und Klavier, [0, 6, 2, 10, 8, 3, 11, 4, 9, 7, 5, 1], P0-I7
184. Hauer, Josef Matthias: Zwölftonspiel 10. Juli 1957; für Klavier zu vier Händen, [0, 8, 10, 6, 2, 11, 1,
3, 9, 4, 7, 5], P0-I3
185. Hauer, Josef Matthias: Zwölftonspiel 15. Juni 1957; für Flöte, Oboe, Bassklarinette, Fagott, zwei
Violinen, Viola, Violoncello & Klavier vierhändig, [0, 6, 4, 8, 3, 11, 9, 2, 7, 1, 10, 5], P0-I1
186. Hauer, Josef Matthias: Zwölftonspiel 2. Juni 1948 für Streichquartett und Klavier, [0, 3, 10, 6, 2, 11,
1, 4, 7, 9, 5, 8], P0-I7
187. Hauer, Josef Matthias: Zwölftonspiel 26. Juli 1957, für Flöte, Oboe, Bassklarinette, Fagott und
Streichquartett, [0, 4, 1, 6, 8, 2, 10, 7, 3, 9, 11, 5], P0-I11
188. Hauer, Josef Matthias: Zwölftonspiel 3. Mai 1958; für Streichsextett, [0, 4, 10, 3, 7, 1, 8, 2, 11, 6, 9,
5], P0-I9
189. Hauer, Josef Matthias: Zwölftonspiel 5. September 1957; für Violine, Bratsche und Klavier, [0, 4, 2,
9, 10, 6, 11, 1, 7, 3, 8, 5], P0-I5
190. Hauer, Josef Matthias: Zwölftonspiel 7. April 1957; für zwei Violinen, Bratsche, Cello und Klavier
12-TONE ANTHOLOGY | 1062
209. Hauer, Josef Matthias: Zwölftonspiel für Klavier zu vier Händen. Mai 1955, [0, 6, 11, 4, 2, 9, 3, 1,
5, 7, 10, 8], P0-I7
210. Hauer, Josef Matthias: Zwölftonspiel für Klavier zu vier Händen und Akkordeon (Hausorchester),
[0, 7, 2, 9, 6, 4, 11, 3, 10, 8, 1, 5], P0-I5
211. Hauer, Josef Matthias: Zwölftonspiel für Klavier zu vier Händen und Streichquartett, [0, 7, 2, 10, 6,
8, 3, 11, 9, 4, 1, 5], P0-I11
212. Hauer, Josef Matthias: Zwölftonspiel für Oechester. 28. 9. 1954, [0, 8, 9, 6, 10, 4, 11, 1, 2, 5, 3, 7],
P0-I11
213. Hauer, Josef Matthias: Zwölftonspiel für Orchester. September 1957, [0, 8, 6, 10, 5, 7, 2, 4, 1, 9, 11,
3], P0-I9
214. Hauer, Josef Matthias: Zwölftonspiel für Violine, Cello und Klavier zu vier Händen, [0, 10, 6, 1, 8,
3, 11, 7, 2, 5, 9, 4], P0-I5
215. Hauer, Josef Matthias: Zwölftonspiel für Violine und Klavier, [0, 10, 7, 2, 8, 6, 3, 4, 9, 11, 1, 5],
P0-I11
216. Hauer, Josef Matthias: Zwölftonspiel für Violine und Klavier. 3. April 1955, [0, 2, 6, 4, 9, 10, 5, 3,
7, 8, 11, 1], P0-I5
217. Hauer, Josef Matthias: Zwölftonspiel für Orchester. 28. 9. 1954, [0, 5, 7, 4, 6, 1, 9, 3, 8, 11, 10, 2],
P0-I3
218. Hauer, Josef Matthias: Zwölftonspiel für zwei Violinen, Bratsche, Cello und Klavier. 16. April 1958,
[0, 3, 8, 2, 9, 1, 11, 5, 7, 4, 6, 10], P0-I7
219. Hauer, Josef Matthias: Zwölftonspiel für zwei Violinen, Bratsche und Cello (‘Ins Räumliche
übertragen’). 3. September 1953, [0, 10, 7, 2, 8, 6, 3, 4, 9, 11, 1, 5], P0-I11
220. Hauer, Josef Matthias: Zwölftonspiel in drei Teilen für zwei Violinen, Bratsche und Cello. 31. Juli
1953, [0, 10, 7, 2, 8, 6, 3, 4, 9, 11, 1, 5], P0-I11
221. Hendler, Maximilian: ‘Die vollständige Ordnung der symmetrischen zwölftönigen Modi’, No.10, [0,
4, 6, 7, 8, 10, 9, 5, 3, 2, 1, 11], P0-I9
222. Hendler, Maximilian: ‘Die vollständige Ordnung der symmetrischen zwölftönigen Modi’, No.11, [0,
4, 5, 6, 8, 9, 7, 3, 2, 1, 11, 10], P0-I7
223. Hendler, Maximilian: ‘Die vollständige Ordnung der symmetrischen zwölftönigen Modi’, No.12, [0,
3, 6, 7, 9, 10, 11, 8, 5, 4, 2, 1], P0-I11
224. Hendler, Maximilian: ‘Die vollständige Ordnung der symmetrischen zwölftönigen Modi’, No.14, [0,
2, 5, 7, 8, 10, 11, 9, 6, 4, 3, 1], P0-I11
225. Hendler, Maximilian: ‘Die vollständige Ordnung der symmetrischen zwölftönigen Modi’, No.15, [0,
1, 3, 6, 7, 9, 11, 10, 8, 5, 4, 2], P0-I5,11
226. Hendler, Maximilian: ‘Die vollständige Ordnung der symmetrischen zwölftönigen Modi’, No.16, [0,
1, 3, 5, 7, 10, 9, 8, 6, 4, 2, 11], P0-I9
227. Hendler, Maximilian: ‘Die vollständige Ordnung der symmetrischen zwölftönigen Modi’, No.17, [0,
12-TONE ANTHOLOGY | 1064
246. Hendler, Maximilian: ‘Die vollständige Ordnung der symmetrischen zwölftönigen Modi’, No.9, [0, 4,
6, 8, 9, 10, 11, 7, 5, 3, 2, 1], P0-I11
247. Hendler, Maximilian: aus den fünf Liedern nach Texten von Elisabeth Pöschl : ‘Sonnenaufgang’ für
Singstimme und Klavier, Op.44-1, [0, 11, 2, 1, 5, 6, 4, 3, 8, 7, 9, 10], P0-I9
248. Husa, Karel: Poème for Viola and Chamber Orchestra, mvt 1, [0, 6, 5, 7, 8, 11, 9, 10, 3, 4, 2, 1],
P0-I9
249. Husa, Karel: Poème for Viola and Chamber Orchestra, mvt 3, [0, 3, 1, 2, 4, 10, 9, 11, 7, 8, 6, 5],
P0-I9
250. Johnston, Ben: String Quartet, No.6, [0, 5, 10, 9, 3, 7, 11, 6, 1, 2, 8, 4], P0-I11
251. Kahn, Erich Itor: Bagatelle für Rene Leibowitz, [0, 1, 2, 4, 6, 3, 10, 11, 5, 7, 9, 8], P0-I11
252. Kalodiki, Georgia: Six Sketches for piano, [0, 7, 6, 1, 2, 9, 8, 3, 4, 11, 5, 10], P0-I5
253. Klein, Fritz Heinrich: Die Maschine. Eine extonale Selbstsatire von Heautontimorumenus., Op.1
(Das Maschinen-Thema), [0, 5, 7, 9, 3, 2, 11, 6, 8, 10, 4, 1], P0-I1
254. Klenau, Paul von: Elisabeth von England, [0, 2, 8, 11, 7, 1, 4, 10, 3, 6, 5, 9], P0-I5
255. Krenek, Ernst: Eight Piano Pieces, [0, 10, 1, 7, 6, 11, 5, 8, 3, 9, 2, 4], P0-I3
256. Krenek, Ernst: Karl V, King Francis Row, [0, 10, 5, 6, 11, 3, 9, 4, 2, 7, 1, 8], P0-I7
257. Krenek, Ernst: Kette, Kreis, und Spiegel (Circle, Chain and Mirror), Op.160, [0, 5, 6, 9, 8, 4, 10, 7,
11, 3, 1, 2], P0-I7
258. Krenek, Ernst: Lamentatio Jeremiae Prophetae, Op.93, row 1, [0, 2, 4, 5, 8, 10, 6, 7, 9, 11, 1, 3],
P0-I11
259. Krenek, Ernst: Lamentatio Jeremiae Prophetae, Op.93, row 2, [0, 2, 3, 6, 8, 10, 5, 7, 9, 11, 1, 4],
P0-I7
260. Krenek, Ernst: Lamentatio Jeremiae Prophetae, Op.93, row 3, [0, 1, 4, 6, 8, 10, 5, 7, 9, 11, 2, 3],
P0-I3
261. Krenek, Ernst: Lamentatio Jeremiae Prophetae, Op.93, row 4, [0, 3, 5, 7, 9, 11, 6, 8, 10, 1, 2, 4],
P0-I1
262. Krenek, Ernst: Lamentatio Jeremiae Prophetae, Op.93, row 5, [0, 2, 4, 6, 8, 9, 5, 7, 10, 11, 1, 3],
P0-I7
263. Krenek, Ernst: Lamentatio Jeremiae Prophetae, Op.93, row 6, [0, 2, 4, 6, 7, 10, 5, 8, 9, 11, 1, 3],
P0-I3
264. Krenek, Ernst: Sechs Vermessene, Op.168, [0, 3, 1, 6, 2, 4, 10, 5, 9, 7, 8, 11], P0-I11
265. Krenek, Ernst: Sestina, Op.161, [0, 8, 11, 10, 4, 6, 7, 1, 5, 3, 9, 2], P0-I1
266. Krenek, Ernst: Sonata, No.3, Op.92, No.4, [0, 10, 5, 8, 3, 2, 6, 7, 1, 9, 11, 4], P0-I9
267. Krenek, Ernst: Studies in Counterpoint, [0, 4, 3, 11, 10, 9, 1, 7, 8, 6, 2, 5], P0-I5
268. Krenek, Ernst: Studies in Counterpoint (i), [0, 4, 3, 11, 10, 9, 1, 7, 8, 6, 2, 5], P0-I5
269. Krenek, Ernst: Studies in Counterpoint (ii), [0, 3, 10, 4, 9, 11, 8, 7, 5, 1, 2, 6], P0-I5
270. Krenek, Ernst: Suite, Op.84 for solo cello, [0, 4, 3, 11, 10, 9, 1, 7, 8, 6, 2, 5], P0-I5
12-TONE ANTHOLOGY | 1066
271. Krenek, Ernst: Symeon, der Stylit, [0, 3, 10, 4, 9, 11, 8, 7, 5, 1, 2, 6], P0-I5
272. Krenek, Ernst: concert for organ and string-orchestra, Op.230, [0, 11, 8, 4, 3, 6, 7, 5, 2, 9, 10, 1],
P0-I1
273. Kukuck, Felicitas: ‘Wo bist Du Trost’; motet, [0, 11, 10, 7, 6, 1, 2, 5, 4, 3, 9, 8], P0-I3
274. Lackner, Peter: ‘Davongeflogene Seelen’ für Singstimme, Violoncello und Klavier, [0, 10, 4, 7, 6, 1,
9, 11, 5, 2, 3, 8], P0-I3,9
275. Lackner, Peter: ‘Der Winter’, [0, 6, 3, 5, 9, 11, 7, 1, 4, 2, 10, 8], P0-I1,7
276. Lackner, Peter: ‘INKE TAN MAGROV’ für Singstimme und Klavier, [0, 6, 5, 10, 8, 3, 7, 1, 2, 9,
11, 4], P0-I7
277. Lackner, Peter: ‘Ständchen’ für zwei Violinen und zwei Bratschen. 1913,2013, [0, 4, 2, 8, 11, 7, 10,
5, 9, 1, 3, 6], P0-I5
278. Lackner, Peter: ‘Wo ist der Freund’ (erstes Lied aus dem Zyklus ‘Wilde Erdbeeren’ für Singstimme
und Klavier), [0, 3, 6, 2, 9, 11, 7, 4, 1, 5, 10, 8], P0-I7
279. Lackner, Peter: 1. Kanonzyklus, [0, 7, 5, 9, 1, 3, 11, 8, 4, 6, 10, 2], P0-I11
280. Lackner, Peter: 3. Kanonzyklus, [0, 6, 8, 10, 1, 3, 5, 11, 9, 7, 4, 2], P0-I5
281. Lackner, Peter: 4. Kanonzyklus, [0, 5, 3, 7, 11, 1, 9, 4, 6, 2, 10, 8], P0-I9
282. Lackner, Peter: 5. Kanonzyklus, [0, 7, 11, 9, 1, 3, 5, 8, 10, 6, 2, 4], P0-I5
283. Lackner, Peter: AGNI MEI (Kanon für Klavier. 5. Juni 2015), [0, 4, 10, 11, 1, 2, 8, 7, 3, 6, 9, 5],
P0-I7
284. Lackner, Peter: Florianische Reihe, [0, 3, 9, 7, 4, 11, 5, 2, 8, 6, 1, 10], P0-I5
285. Lackner, Peter: INKE TAN MAGROV für Singstimme und Klavier (zweites Lied aus dem Zyklus
‘Wilde Erdbeeren’), [0, 2, 9, 5, 8, 11, 3, 1, 6, 10, 7, 4], P0-I3
286. Lackner, Peter: Kanon-Polska für zwei Bratschen. 6. Juni 1993, [0, 6, 3, 1, 10, 8, 5, 11, 2, 4, 7, 9],
P0-I5
287. Lackner, Peter: Kanon für B. L., 7. Oktober 2017, [0, 9, 10, 5, 3, 7, 11, 2, 1, 6, 8, 4], P0-I11
288. Lackner, Peter: Kanon für Cello und Klavier, [0, 2, 9, 10, 6, 5, 1, 11, 4, 3, 7, 8], P0-I1
289. Lackner, Peter: Kanon für Flöte, Akkordeon, zwei Violinen, Bratsche und Klavier, [0, 5, 3, 7, 11, 1,
9, 4, 6, 2, 10, 8], P0-I9
290. Lackner, Peter: Kanon für Hammerklavier. März 2016, [0, 2, 1, 5, 7, 3, 11, 9, 10, 6, 4, 8], P0-I11
291. Lackner, Peter: Kanon für Kammerorchester, [0, 9, 11, 6, 2, 4, 7, 10, 8, 1, 5, 3], P0-I7
292. Lackner, Peter: Kanon für Klavier, [0, 6, 8, 10, 1, 3, 5, 11, 9, 7, 4, 2], P0-I5
293. Lackner, Peter: Kanon für Klavier. 15. Juni 1992, [0, 10, 3, 8, 6, 5, 2, 1, 11, 4, 9, 7], P0-I7
294. Lackner, Peter: Kanon für Klavier. 21. Juni 1998, [0, 7, 6, 5, 1, 4, 3, 8, 9, 10, 2, 11], P0-I3
295. Lackner, Peter: Kanon für Klavier. 27. Juni, 26. September 2002, [0, 9, 4, 1, 2, 8, 7, 10, 3, 6, 5, 11],
P0-I7
296. Lackner, Peter: Kanon für Klavier. 5. April 1989, [0, 2, 9, 10, 6, 5, 1, 11, 4, 3, 7, 8], P0-I1
297. Lackner, Peter: Kanon für Klavier. April 2000, [0, 5, 3, 7, 11, 1, 9, 4, 6, 2, 10, 8], P0-I9
1067 | 12-TONE ANTHOLOGY
298. Lackner, Peter: Kanon für Klavier zu vier Händen. 12. Juni 1996, [0, 4, 2, 8, 11, 10, 5, 1, 3, 9, 6, 7],
P0-I5
299. Lackner, Peter: Kanon für Klavier zu vier Händen. Frühling 1984, [0, 1, 10, 7, 9, 4, 5, 11, 8, 6, 2,
3], P0-I3
300. Lackner, Peter: Kanon für Klavierquartett, [0, 8, 6, 11, 3, 9, 1, 5, 7, 2, 10, 4], P0-I1
301. Lackner, Peter: Kanon für Klavierquartett. 27. April 1991, [0, 6, 3, 5, 9, 11, 7, 1, 4, 2, 10, 8],
P0-I1,7
302. Lackner, Peter: Kanon für Klavierquartett. 27. Juni 1991, [0, 2, 6, 9, 11, 3, 7, 5, 1, 10, 8, 4], P0-I7
303. Lackner, Peter: Kanon für Schwegelpfeife in A und Geige, [0, 9, 7, 2, 10, 4, 3, 6, 8, 1, 5, 11], P0-I3
304. Lackner, Peter: Kanon für Streichquartett, [0, 9, 3, 5, 1, 11, 7, 10, 4, 2, 6, 8], P0-I7
305. Lackner, Peter: Kanon für Streichquartett. 3. Jänner 1990, [0, 6, 4, 8, 11, 3, 1, 7, 9, 5, 2, 10], P0-I1
306. Lackner, Peter: Kanon für Streichquartett und Orgel. 21. November 1993, [0, 10, 2, 5, 4, 7, 1, 11, 3,
9, 8, 6], P0-I1
307. Lackner, Peter: Kanon für Tenor-Hackbrett. 19. März 2014, [0, 8, 4, 6, 9, 1, 11, 3, 7, 5, 2, 10],
P0-I11
308. Lackner, Peter: Kanon für Violine, Bratsche und Klavier, [0, 4, 2, 8, 11, 7, 10, 5, 9, 1, 3, 6], P0-I5
309. Lackner, Peter: Kanon für Violine und Violoncello, [0, 2, 9, 10, 6, 5, 1, 11, 4, 3, 7, 8], P0-I1
310. Lackner, Peter: Kanon für acht Instrumente. Dezember 1991, März 2007, [0, 11, 3, 10, 6, 2, 7, 8, 4,
9, 1, 5], P0-I7
311. Lackner, Peter: Kanon für drei Bratschen, [0, 11, 3, 10, 6, 2, 7, 8, 4, 9, 1, 5], P0-I7
312. Lackner, Peter: Kanon für sechs Instrumente. 16. März 2009, [0, 7, 6, 3, 2, 10, 1, 8, 11, 5, 4, 9],
P0-I11
313. Lackner, Peter: Kanon für sechs Posaunen. Herbst 1996, [0, 9, 1, 6, 4, 8, 11, 2, 10, 7, 5, 3], P0-I11
314. Lackner, Peter: Kanon für zwei Gitarren. September 2001, [0, 5, 3, 9, 11, 6, 7, 2, 4, 10, 8, 1],
P0-I1,7
315. Lackner, Peter: Kanon für zwei Violinen und Klavier. Frühjahr 1984, [0, 1, 10, 7, 9, 4, 5, 11, 8, 6, 2,
3], P0-I3
316. Lackner, Peter: Kanon à 3, [0, 11, 6, 10, 2, 7, 3, 4, 9, 5, 1, 8], P0-I3
317. Lackner, Peter: Kanon à 4 – ‘Für Harald Fripertinger zum 50. Geburtstag’, [0, 10, 3, 6, 5, 8, 1, 11,
9, 4, 7, 2], P0-I7
318. Lackner, Peter: Kanon á 4, [0, 4, 2, 8, 11, 7, 10, 5, 9, 1, 3, 6], P0-I5
319. Lackner, Peter: Kanon á 5 für Klaus Chudoba, [0, 2, 10, 8, 6, 11, 3, 1, 5, 7, 9, 4], P0-I3
320. Lackner, Peter: Moebius-Band für Flöte, Violine, Violoncello und Klavier, [0, 3, 6, 2, 9, 11, 7, 4, 1,
5, 10, 8], P0-I7
321. Lackner, Peter: Moebius-Band für sechs Violinen, [0, 3, 6, 2, 9, 11, 7, 4, 1, 5, 10, 8], P0-I7
322. Lackner, Peter: Moebiusband für Violine und Klavier (Chinesenfolter I), [0, 2, 4, 6, 10, 5, 1, 11, 9,
7, 3, 8], P0-I1
12-TONE ANTHOLOGY | 1068
323. Lackner, Peter: Reihenspiel für Orgel, [0, 9, 6, 11, 5, 4, 10, 7, 2, 1, 8, 3], P0-I7
324. Lackner, Peter: Salambo-Kanon (à 4); Bad Aussee, 2. Februar 2008, [0, 6, 9, 2, 8, 10, 4, 7, 1, 11, 3,
5], P0-I1
325. Lackner, Peter: Sponsions-Kanon, [0, 4, 1, 10, 3, 7, 9, 5, 8, 11, 6, 2], P0-I9
326. Lackner, Peter: TACET (drittes Lied aus dem Zyklus ‘Wilde Erdbeeren’), [0, 2, 9, 5, 8, 11, 4, 7, 10,
6, 1, 3], P0-I3
327. Leibowitz, René: String Quartet, No.3, Op.26, [0, 8, 9, 7, 6, 1, 2, 5, 4, 10, 11, 3], P0-I11
328. Lewin, David: Just a Minute, Roger, [0, 11, 4, 5, 7, 3, 2, 6, 8, 1, 10, 9], P0-I1
329. Lu, Shi-Lin: A Family of Red-Crowned Cranes, [0, 2, 9, 7, 4, 6, 11, 8, 1, 3, 10, 5], P0-I5
330. Lu, Yen: A Bird Flying By, [0, 6, 3, 4, 8, 7, 11, 5, 10, 2, 9, 1], P0-I5
331. Luo, Zhong-Rong: Dusk, row 1, [0, 2, 7, 5, 10, 8, 6, 3, 1, 11, 9, 4], P0-I11
332. Luo, Zhong-Rong: Evening, [0, 2, 7, 5, 10, 8, 6, 3, 1, 11, 9, 4], P0-I11
333. Luo, Zhong-Rong: Sonatina, mvt 3, [0, 2, 7, 4, 11, 8, 5, 9, 10, 1, 3, 6], P0-I5
334. Luo, Zhong-Rong: String Quartet, No.2, [0, 3, 5, 10, 6, 8, 11, 1, 9, 2, 4, 7], P0-I7
335. Luo, Zhong-Rong: String Quartet, No.3, row 1, [0, 2, 4, 7, 5, 10, 8, 1, 6, 3, 9, 11], P0-I1
336. Luo, Zhong-Rong: String Quartet, No.3, row 3, [0, 2, 7, 9, 11, 1, 3, 6, 10, 4, 5, 8], P0-I5
337. Luo, Zhong-Rong: Three Piano Pieces, “Arabeque”, row 1, [0, 2, 5, 10, 6, 1, 3, 8, 11, 9, 7, 4], P0-I9
338. Lutyens, Elisabeth: Five Little Pieces for Clarinet and Piano, [0, 8, 4, 1, 10, 2, 9, 3, 5, 6, 11, 7],
P0-I7
339. Lutyens, Elisabeth: Présages, Op.53, [0, 1, 11, 2, 10, 8, 5, 3, 4, 7, 9, 6], P0-I5
340. Lutyens, Elisabeth: Quincunx, Op.44, [0, 6, 11, 1, 5, 2, 7, 3, 4, 9, 10, 8], P0-I9
341. Maderna, Bruno: Improvvisazione N. 1, [0, 11, 4, 8, 3, 2, 7, 6, 1, 5, 10, 9], P0-I9
342. Maderna, Bruno: Musica su due dimensioni, [0, 2, 9, 4, 6, 11, 8, 10, 1, 3, 5, 7], P0-I7
343. Martin, Frank: Petite complainte, [0, 11, 10, 6, 2, 4, 5, 9, 8, 7, 3, 1], P0-I7
344. Martino, Donald: Fantasy Variations, [0, 3, 1, 10, 2, 8, 11, 5, 6, 9, 7, 4], P0-I7
345. Matthias, Josef: Salambo, Op.60, [0, 6, 9, 2, 8, 10, 4, 7, 1, 11, 3, 5], P0-I1
346. Messiaen, Olivier: Mode de valeurs et d’intensités, Series 1, [0, 11, 6, 5, 4, 3, 1, 10, 9, 7, 2, 8], P0-I1
347. Morris, Robert: Entanglements, [0, 3, 10, 5, 11, 6, 1, 7, 9, 2, 8, 4], P0-I7
348. Morris, Robert: Exchanges, [0, 4, 3, 1, 9, 5, 8, 6, 2, 10, 11, 7], P0-I11
349. Morris, Robert: Pari Passu, row 1, [0, 6, 10, 11, 2, 3, 9, 1, 7, 8, 4, 5], P0-I7
350. Morris, Robert: Refrains, [0, 3, 4, 2, 6, 10, 1, 8, 11, 7, 5, 9], P0-I11
351. Morris, Robert: Roundelay, row 3, [0, 10, 9, 3, 4, 6, 8, 11, 2, 7, 1, 5], P0-I5,11
352. Morris, Robert: Terrane, [0, 11, 1, 3, 2, 5, 6, 4, 9, 7, 8, 10], P0-I9
353. Morris, Robert: Three Musicians, [0, 9, 7, 6, 8, 1, 11, 2, 4, 5, 3, 10], P0-I11
354. Morris, Robert: Tournament for 12 trombones, [0, 7, 6, 4, 11, 8, 5, 9, 1, 3, 2, 10], P0-I9
355. Nichols, Jeff: …its darkening opposite, or Set Portrait in a Convex Mirror, [0, 4, 8, 7, 11, 2, 3, 6, 1,
9, 10, 5], P0-I5
1069 | 12-TONE ANTHOLOGY
388. Schnittke, Alfred: Violin Sonata 2, [0, 10, 11, 9, 6, 8, 7, 5, 4, 1, 2, 3], P0-I1
389. Schoenberg, Arnold: A Survivor From Warsaw, Op.46, [0, 1, 6, 2, 10, 9, 5, 4, 11, 3, 7, 8], P0-I5
390. Schoenberg, Arnold: A Survivor From Warsaw, Op.46 (alternative), [0, 1, 6, 2, 10, 9, 4, 7, 3, 8, 11,
5], P0-I5
391. Schoenberg, Arnold: Accompaniment to a Film Scene, Op.34, [0, 3, 11, 1, 10, 9, 6, 8, 7, 5, 2, 4],
P0-I5
392. Schoenberg, Arnold: Fantasy for Piano Four Hands, II (fragment), [0, 3, 6, 1, 7, 8, 2, 5, 11, 4, 10,
9], P0-I5
393. Schoenberg, Arnold: Fantasy for Violin and Piano, Op.47, [0, 11, 3, 1, 7, 9, 5, 6, 2, 4, 10, 8], P0-I5
394. Schoenberg, Arnold: Five Piano Pieces, Op.23, No.5, [0, 8, 10, 6, 7, 5, 9, 1, 3, 2, 11, 4], P0-I9
395. Schoenberg, Arnold: Four Pieces for Mixed Chorus, No.1, Op.27, No.1, [0, 11, 8, 2, 1, 7, 9, 10, 4,
3, 5, 6], P0-I5
396. Schoenberg, Arnold: Four Pieces for Mixed Chorus, No.2, Op.27, No.2, [0, 11, 4, 10, 2, 8, 3, 7, 6,
5, 9, 1], P0-I5
397. Schoenberg, Arnold: Four Pieces for Mixed Chorus, No.4, Op.27, No.4, [0, 2, 9, 5, 7, 3, 10, 11, 1,
8, 4, 6], P0-I1
398. Schoenberg, Arnold: Moses und Aron, [0, 1, 7, 5, 6, 4, 10, 8, 9, 11, 2, 3], P0-I3
399. Schoenberg, Arnold: Piano Concerto, Op.42, [0, 7, 11, 2, 1, 9, 3, 5, 10, 6, 8, 4], P0-I5
400. Schoenberg, Arnold: Prelude To A Suite From “Genesis”, Op.44, [0, 8, 4, 7, 6, 2, 1, 10, 3, 5, 11, 9],
P0-I5
401. Schoenberg, Arnold: Serenade, mvt 5, “Tanzscene”, Op.24, [0, 1, 3, 6, 7, 9, 8, 10, 11, 2, 4, 5],
P0-I5,11
402. Schoenberg, Arnold: Six Pieces for Male Chorus, No.1, Op.35, [0, 9, 1, 3, 2, 11, 6, 8, 7, 4, 10, 5],
P0-I7
403. Schoenberg, Arnold: Six Pieces for Male Chorus, No.2, Op.35, [0, 3, 1, 7, 6, 8, 11, 5, 4, 9, 10, 2],
P0-I5
404. Schoenberg, Arnold: Six Pieces for Male Chorus, No.5, Op.35, [0, 6, 9, 1, 2, 10, 7, 3, 11, 5, 4, 8],
P0-I5
405. Schoenberg, Arnold: Sonata For Organ, [0, 6, 10, 2, 8, 1, 7, 5, 9, 4, 11, 3], P0-I5
406. Schoenberg, Arnold: String Quartet, No.4, Op.37, [0, 11, 7, 8, 3, 1, 2, 10, 6, 5, 4, 9], P0-I5
407. Schoenberg, Arnold: String Trio, Op.45, [0, 8, 1, 7, 2, 11, 9, 6, 4, 5, 3, 10], P0-I5
408. Schoenberg, Arnold: Suite for Piano, Op.25, [0, 1, 3, 9, 2, 11, 4, 10, 7, 8, 5, 6], P0-I7
409. Schoenberg, Arnold: Three Satires for Mixed Chorus, No.3, Op.28, No.3, [0, 1, 11, 3, 9, 5, 2, 4, 10,
6, 8, 7], P0-I7
410. Schoenberg, Arnold: Three Songs, No.2, “Tot”, Op.48, [0, 1, 7, 11, 8, 2, 6, 5, 10, 9, 3, 4], P0-I5
411. Schoenberg, Arnold: Three Times a Thousand Years, Op.50a, [0, 2, 11, 9, 10, 4, 3, 7, 5, 6, 8, 1],
P0-I5
1071 | 12-TONE ANTHOLOGY
412. Schoenberg, Arnold: Two Piano Pieces, No.1, Op.33a, [0, 7, 2, 1, 11, 8, 3, 5, 9, 10, 4, 6], P0-I5
413. Schoenberg, Arnold: Two Piano Pieces, No.2, Op.33b, [0, 2, 6, 4, 10, 9, 7, 11, 8, 5, 1, 3], P0-I5
414. Schoenberg, Arnold: Variations for Orchestra, Op.31, [0, 6, 8, 5, 7, 11, 4, 3, 9, 10, 1, 2], P0-I9
415. Schoenberg, Arnold: Violin Concerto, Op.36, [0, 1, 6, 2, 7, 9, 3, 4, 10, 11, 5, 8], P0-I5
416. Schoenberg, Arnold: Violin Phantasy, Op.47, [0, 11, 3, 1, 7, 9, 6, 2, 10, 5, 8, 4], P0-I5
417. Schoenberg, Arnold: Von Heute Auf Morgen, Op.32, [0, 1, 7, 11, 9, 3, 6, 5, 2, 10, 8, 4], P0-I5
418. Schoenberg, Arnold: Wind Quintet, Op.26, [0, 4, 6, 8, 10, 9, 7, 11, 1, 3, 5, 2], P0-I11
419. Schuller, Gunther: Transformation, [0, 2, 4, 3, 8, 11, 9, 6, 5, 10, 7, 1], P0-I9
420. Schwantner, Joseph: Modus Caelestis (m. 39), [0, 6, 11, 10, 5, 9, 4, 8, 3, 2, 7, 1], P0-I1
421. Schwantner, Joseph: Wild Angels of the Open Hills, 2, “Angels of the Shadowed Ancient Land,” m.
21, [0, 8, 9, 11, 3, 7, 6, 5, 2, 4, 10, 1], P0-I1
422. Searle, Humphrey: Toccata alla Passacaglia, Op.31, [0, 5, 6, 1, 10, 7, 9, 8, 3, 2, 4, 11], P0-I9
423. Seiber, Mátyás: Concert Piece for Violin and Piano, [0, 1, 7, 6, 11, 10, 4, 5, 9, 8, 2, 3], P0-I3
424. Seiber, Mátyás: Sonata for Violin and Piano, [0, 1, 11, 10, 7, 6, 8, 9, 4, 3, 5, 2], P0-I3
425. Sengstschmid, Johann: Meditation für Orgel, Op.43a, [0, 6, 3, 1, 10, 8, 5, 2, 11, 9, 7, 4], P0-I5
426. Sessions, Roger: Piano Sonata, No.3, mvt 2, [0, 1, 5, 4, 8, 2, 11, 10, 6, 7, 3, 9], P0-I11
427. Sessions, Roger: When Lilacs Last in the Dooryard Bloom’d, [0, 2, 4, 10, 5, 8, 9, 1, 11, 7, 6, 3],
P0-I11
428. Shapey, Ralph: String Quartet, No.9, [0, 8, 9, 3, 5, 1, 2, 6, 4, 10, 11, 7], P0-I7
429. Shostakovich, Dmitri: Symphony, No.14, mov. I, [0, 11, 9, 4, 3, 10, 8, 7, 5, 6, 1, 2], P0-I5
430. Slonimsky, Nicholas: No. 1217a Fourths (Twelve-Tone Patterns), [0, 5, 10, 3, 11, 6, 1, 8, 4, 9, 2, 7],
P0-I7
431. Slonimsky, Nicholas: No. 1224a Sixths (Twelve-Tone Patterns), [0, 9, 6, 3, 7, 10, 1, 4, 8, 5, 2, 11],
P0-I11
432. Slonimsky, Nicholas: No. 1238a Converging and Diverging Whole-Tone Scales (Twelve-Tone
Spirals), [0, 9, 7, 5, 3, 2, 4, 6, 8, 1, 10, 11], P0-I1
433. Slonimsky, Nicholas: No. 1241a Mutually Exclusive Diminished-Seventh Chords (Twelve-Tone
Spirals), [0, 9, 6, 3, 11, 5, 2, 8, 7, 10, 1, 4], P0-I1,7
434. Slonimsky, Nicholas: No. 1252a Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 3, 7, 10, 1, 5, 9, 2, 6, 8, 11, 4], P0-I9
435. Slonimsky, Nicholas: No. 1252b Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 8, 5, 3, 10, 6, 2, 11, 7, 4, 1, 9], P0-I7
436. Slonimsky, Nicholas: No. 1254a Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 4, 7, 10, 2, 5, 8, 11, 3, 6, 9, 1], P0-I1
437. Slonimsky, Nicholas: No. 1254b Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 8, 3, 1, 10, 6, 4, 11, 7, 5, 2, 9], P0-I5
438. Slonimsky, Nicholas: No. 1255a [Slonimsky: Moto Perpetuo] Quadritonal Arpeggios (Division of
12-TONE ANTHOLOGY | 1072
Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 7, 10, 1, 6, 9, 2, 5, 8, 11, 3], P0-I3,9
439. Slonimsky, Nicholas: No. 1255b [Slonimsky: Moto Perpetuo] Quadritonal Arpeggios (Division of
Twelve Tones into Four Mutually Exclusive Triads), [0, 8, 3, 2, 9, 6, 5, 1, 10, 7, 4, 11], P0-I1,7
440. Slonimsky, Nicholas: No. 1258a Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 3, 7, 10, 2, 6, 9, 1, 5, 8, 11, 4], P0-I11
441. Slonimsky, Nicholas: No. 1258b Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 8, 5, 3, 11, 7, 2, 10, 6, 4, 1, 9], P0-I9
442. Slonimsky, Nicholas: No. 1259a Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 4, 8, 11, 2, 6, 9, 1, 5, 7, 10, 3], P0-I9
443. Slonimsky, Nicholas: No. 1259b Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 8, 4, 2, 10, 7, 5, 1, 9, 6, 3, 11], P0-I1
444. Slonimsky, Nicholas: No. 1260a Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 4, 7, 10, 2, 6, 9, 1, 5, 8, 11, 3], P0-I3
445. Slonimsky, Nicholas: No. 1260b Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 8, 3, 2, 10, 6, 5, 1, 9, 7, 4, 11], P0-I7
446. Slonimsky, Nicholas: No. 1263a Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 3, 7, 10, 2, 6, 9, 1, 4, 8, 11, 5], P0-I11
447. Slonimsky, Nicholas: No. 1263b Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 8, 5, 3, 11, 7, 6, 2, 9, 4, 1, 10], P0-I9
448. Slonimsky, Nicholas: No. 1265 Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 3, 6, 9, 1, 4, 7, 10, 2, 5, 8, 11], P0-I11
449. Slonimsky, Nicholas: No. 1265a Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 3, 6, 9, 1, 4, 7, 10, 2, 5, 8, 11], P0-I11
450. Slonimsky, Nicholas: No. 1265b Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 9, 3, 1, 10, 6, 4, 11, 7, 5, 2, 8], P0-I5
451. Slonimsky, Nicholas: No. 1266a Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 3, 6, 9, 2, 5, 8, 11, 4, 7, 10, 1], P0-I1
452. Slonimsky, Nicholas: No. 1266b Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 9, 3, 2, 11, 6, 5, 1, 8, 7, 4, 10], P0-I7
453. Slonimsky, Nicholas: No. 1267a Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 3, 7, 10, 1, 4, 8, 11, 5, 6, 9, 2], P0-I9
454. Slonimsky, Nicholas: No. 1267b Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 9, 4, 1, 10, 7, 5, 2, 8, 6, 3, 11], P0-I3
455. Slonimsky, Nicholas: No. 1273a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 3, 7, 10, 1, 5, 9, 6, 2, 11, 8, 4], P0-I9
456. Slonimsky, Nicholas: No. 1273b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 3, 7, 10, 5, 1, 2, 6, 9, 8, 4, 11], P0-I9
1073 | 12-TONE ANTHOLOGY
457. Slonimsky, Nicholas: No. 1275a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 4, 7, 10, 2, 5, 9, 6, 1, 11, 8, 3], P0-I1
458. Slonimsky, Nicholas: No. 1275b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 4, 7, 10, 5, 2, 1, 6, 9, 8, 3, 11], P0-I1
459. Slonimsky, Nicholas: No. 1276a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 4, 7, 10, 1, 6, 9, 5, 2, 11, 8, 3], P0-I3,9
460. Slonimsky, Nicholas: No. 1276b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 4, 7, 10, 6, 1, 2, 5, 9, 8, 3, 11], P0-I3,9
461. Slonimsky, Nicholas: No. 1279a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 3, 7, 10, 2, 6, 9, 5, 1, 11, 8, 4], P0-I11
462. Slonimsky, Nicholas: No. 1279b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 3, 7, 10, 6, 2, 1, 5, 9, 8, 4, 11], P0-I11
463. Slonimsky, Nicholas: No. 1280a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 4, 8, 11, 2, 6, 9, 5, 1, 10, 7, 3], P0-I9
464. Slonimsky, Nicholas: No. 1280b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 4, 8, 11, 6, 2, 5, 9, 1, 10, 7, 3], P0-I9
465. Slonimsky, Nicholas: No. 1281a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 4, 7, 10, 2, 6, 9, 5, 1, 11, 8, 3], P0-I3
466. Slonimsky, Nicholas: No. 1281b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 4, 7, 10, 6, 2, 1, 5, 9, 8, 3, 11], P0-I3
467. Slonimsky, Nicholas: No. 1284a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 3, 7, 10, 2, 6, 9, 4, 1, 11, 8, 5], P0-I11
468. Slonimsky, Nicholas: No. 1284b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 3, 7, 10, 6, 2, 1, 4, 9, 8, 5, 11], P0-I11
469. Slonimsky, Nicholas: No. 1286a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 3, 6, 9, 1, 4, 7, 2, 10, 8, 5, 11], P0-I11
470. Slonimsky, Nicholas: No. 1286b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 3, 6, 9, 4, 1, 10, 2, 7, 8, 5, 11], P0-I11
471. Slonimsky, Nicholas: No. 1287a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 3, 6, 9, 2, 5, 8, 4, 11, 10, 7, 1], P0-I1
472. Slonimsky, Nicholas: No. 1287b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 3, 6, 9, 5, 2, 11, 4, 8, 7, 1, 10], P0-I1
473. Slonimsky, Nicholas: No. 1288a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 3, 7, 10, 1, 4, 8, 5, 11, 9, 6, 2], P0-I9
474. Slonimsky, Nicholas: No. 1288b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 3, 7, 10, 4, 1, 11, 5, 8, 6, 2, 9], P0-I9
475. Slonimsky, Nicholas: No. 258 Infrapolation of Three Notes (Ditone Progression; Equal Division of
12-TONE ANTHOLOGY | 1074
One Octave into Three Parts), [0, 11, 10, 9, 4, 3, 2, 1, 8, 7, 6, 5], P0-I5
476. Slonimsky, Nicholas: No. 270 Infrapolation of Three Notes (Ditone Progression; Equal Division of
One Octave into Three Parts), [0, 10, 9, 7, 4, 2, 1, 11, 8, 6, 5, 3], P0-I3
477. Slonimsky, Nicholas: No. 277 Infrapolation of Three Notes (Ditone Progression; Equal Division of
One Octave into Three Parts), [0, 10, 7, 5, 4, 2, 11, 9, 8, 6, 3, 1], P0-I1
478. Slonimsky, Nicholas: No. 370 Infra-Inter-Ultrapolation (Ditone Progression; Equal Division of One
Octave into Three Parts), [0, 7, 1, 6, 4, 11, 5, 10, 8, 3, 9, 2], P0-I9
479. Slonimsky, Nicholas: No. 388 Miscellaneous Patterns [Diminished Seventh Chords] (Ditone
Progression; Equal Division of One Octave into Three Parts), [0, 3, 9, 6, 4, 7, 1, 10, 8, 11, 5, 2],
P0-I5
480. Slonimsky, Nicholas: No. 389 Miscellaneous Patterns [Diminished Seventh Chords] (Ditone
Progression; Equal Division of One Octave into Three Parts), [0, 9, 3, 6, 4, 1, 7, 10, 8, 5, 11, 2],
P0-I11
481. Slonimsky, Nicholas: No. 390 Miscellaneous Patterns [Diminished Seventh Chords] (Ditone
Progression; Equal Division of One Octave into Three Parts), [0, 3, 9, 6, 4, 7, 1, 10, 8, 11, 5, 2],
P0-I5
482. Slonimsky, Nicholas: No. 391 Miscellaneous Patterns [Diminished Seventh Chords] (Ditone
Progression; Equal Division of One Octave into Three Parts), [0, 9, 3, 6, 4, 1, 7, 10, 8, 5, 11, 2],
P0-I11
483. Slonimsky, Nicholas: No. 638 Permutations (Semitone Progression; Equal Division of One Octave
into Twelve Parts), [0, 11, 9, 10, 4, 3, 1, 2, 8, 7, 5, 6], P0-I5
484. Slonimsky, Nicholas: No. 641 Permutations (Semitone Progression; Equal Division of One Octave
into Twelve Parts), [0, 1, 2, 3, 7, 6, 5, 4, 8, 9, 10, 11], P0-I11
485. Slonimsky, Nicholas: No. 643 Permutations (Semitone Progression; Equal Division of One Octave
into Twelve Parts), [0, 6, 7, 8, 9, 10, 11, 5, 4, 3, 2, 1], P0-I11
486. Slonimsky, Nicholas: No. 644 Permutations (Semitone Progression; Equal Division of One Octave
into Twelve Parts), [0, 6, 7, 8, 9, 10, 11, 5, 4, 3, 2, 1], P0-I11
487. Slonimsky, Nicholas: No. 692 Interpolation of Three Notes (Quadritone Progression; Equal Division
of Two Octaves into Three Parts), [0, 2, 3, 5, 8, 10, 11, 1, 4, 6, 7, 9], P0-I9
488. Slonimsky, Nicholas: No. 698 Interpolation of Three Notes (Quadritone Progression; Equal Division
of Two Octaves into Three Parts), [0, 2, 5, 7, 8, 10, 1, 3, 4, 6, 9, 11], P0-I11
489. Slonimsky, Nicholas: No. 736 Inter-Infra-Ultrapolation (Quadritone Progression; Equal Division of
Two Octaves into Three Parts), [0, 2, 7, 9, 8, 10, 3, 5, 4, 6, 11, 1], P0-I1
490. Slonimsky, Nicholas: No. 813 Interpolation of Three Notes (Quinquetone Progression; Equal
Division of Five Octaves into Six Parts), [0, 3, 6, 9, 10, 1, 4, 7, 8, 11, 2, 5], P0-I5
491. Slonimsky, Nicholas: No. 909 Infra-Inter-Ultrapolation (Quinquetone Progression; Equal Division of
Five Octaves into Six Parts), [0, 9, 3, 6, 5, 2, 8, 11, 10, 7, 1, 4], P0-I1
1075 | 12-TONE ANTHOLOGY
492. Spinner, Leopold: Concert for Piano and Orchestra, Op.4, [0, 2, 1, 9, 11, 3, 4, 7, 5, 6, 10, 8], P0-I7
493. Spinner, Leopold: Ouverture for Orchestra, Op.5, [0, 11, 2, 10, 8, 1, 7, 5, 6, 9, 3, 4], P0-I5
494. Spinner, Leopold: Quintet, Op.14, [0, 6, 4, 2, 8, 5, 1, 9, 10, 11, 7, 3], P0-I3
495. Spinner, Leopold: Ricercata, Op.21, [0, 11, 8, 10, 2, 1, 4, 3, 7, 9, 6, 5], P0-I5
496. Spinner, Leopold: Sonata for Piano, Op.3, [0, 9, 8, 6, 7, 10, 1, 4, 5, 3, 2, 11], P0-I11
497. Spinner, Leopold: Sonata for Violin and Piano, Op.1, [0, 7, 6, 1, 3, 8, 5, 10, 2, 9, 4, 11], P0-I5
498. Spinner, Leopold: String Quartet, Op.2, [0, 1, 7, 6, 11, 10, 4, 5, 8, 9, 3, 2], P0-I3
499. Spinner, Leopold: Trio for Violin, Cello, and Piano, Op.6, [0, 1, 7, 4, 10, 9, 6, 5, 11, 8, 2, 3], P0-I3
500. Spinner, Leopold: Variations for Violin and Piano, Op.19, [0, 8, 9, 1, 2, 4, 3, 5, 6, 10, 11, 7], P0-I7
501. Spinner, Leopold: Zwei Lieder, Op.24, [0, 11, 1, 4, 3, 7, 5, 6, 9, 8, 10, 2], P0-I9
502. Stockhausen, Karlheinz: Choral, [0, 1, 10, 6, 8, 3, 5, 2, 4, 11, 9, 7], P0-I5
503. Stockhausen, Karlheinz: Klavierstück IV row 3, [0, 7, 1, 10, 11, 9, 5, 8, 4, 3, 2, 6], P0-I3
504. Stockhausen, Karlheinz: Licht, Eve formula, [0, 4, 3, 2, 5, 6, 10, 11, 9, 1, 7, 8], P0-I1
505. Stockhausen, Karlheinz: Plus-Minus, [0, 1, 7, 9, 8, 6, 3, 10, 2, 5, 11, 4], P0-I11
506. Stockhausen, Karlheinz: Tierkreis, Aries, [0, 3, 2, 9, 7, 8, 11, 6, 1, 5, 4, 10], P0-I1
507. Stockhausen, Karlheinz: Tierkreis, Sagittarius, [0, 6, 5, 2, 3, 4, 7, 8, 9, 10, 11, 1], P0-I1
508. Stravinsky, Igor: A Sermon, a Narrative and a Prayer, [0, 1, 9, 11, 10, 7, 8, 3, 4, 6, 5, 2], P0-I3
509. Stravinsky, Igor: Canticum Sacrum, II, [0, 11, 9, 6, 10, 8, 7, 5, 2, 4, 3, 1], P0-I1
510. Stravinsky, Igor: Elegy for J.F.K., [0, 6, 4, 2, 8, 9, 3, 1, 11, 10, 7, 5], P0-I7
511. Stravinsky, Igor: Introitus “T. S. Eliot in Memoriam”, [0, 5, 6, 4, 8, 9, 3, 2, 1, 10, 11, 7], P0-I7
512. Stravinsky, Igor: Requiem Canticles, 1st series, [0, 2, 10, 11, 1, 8, 6, 7, 9, 4, 3, 5], P0-I5
513. Stravinsky, Igor: Variations “Aldous Huxley in Memoriam”, [0, 10, 7, 9, 2, 8, 6, 11, 1, 5, 4, 3],
P0-I1
514. Talma, Louise: Piano Sonata 2, mvt 4, first row, [0, 4, 8, 2, 5, 10, 1, 11, 6, 9, 7, 3], P0-I11
515. Talma, Louise: Six Etudes, Etude 1, [0, 3, 6, 8, 10, 2, 5, 7, 9, 1, 11, 4], P0-I7
516. Talma, Louise: Six Etudes, Etude 5, [0, 4, 6, 11, 8, 3, 9, 1, 5, 7, 2, 10], P0-I1
517. Talma, Louise: Six Etudes, Etude 6, [0, 8, 6, 9, 4, 5, 2, 1, 3, 10, 7, 11], P0-I7
518. Toufektsis, Orestis: MIKRO-ALLAXI (EpiEnteka II), für 15 Musiker, [0, 8, 3, 7, 2, 4, 10, 11, 1, 6,
9, 5], P0-I1
519. Tranchell, Peter: Piano piece for Carl Dawson (unfinished), 1A, [0, 10, 9, 1, 4, 8, 7, 2, 5, 11, 3, 6],
P0-I3
520. Tranchell, Peter: Piano piece for Carl Dawson (unfinished), 3, [0, 10, 8, 4, 3, 6, 5, 11, 9, 1, 2, 7],
P0-I5
521. Tranchell, Peter: Piano piece for Carl Dawson (unfinished), 5, [0, 4, 3, 10, 6, 9, 1, 5, 2, 8, 11, 7],
P0-I5,11
522. Tranchell, Peter: Piano piece for Carl Dawson (unfinished), 7, [0, 2, 11, 8, 5, 3, 10, 9, 1, 7, 6, 4],
P0-I9
12-TONE ANTHOLOGY | 1076
523. Tranchell, Peter: Piano piece for Carl Dawson (unfinished), 8, [0, 4, 3, 11, 6, 8, 2, 9, 10, 7, 1, 5],
P0-I1
524. Tranchell, Peter: Septet : [for] 2 violins, oboe, clarinet, horn, bassoon, cello : fifth dodecafonia, [0, 2,
1, 10, 3, 4, 11, 6, 5, 9, 8, 7], P0-I9
525. Tranchell, Peter: Twice a Kiss sketch 1, [0, 9, 1, 2, 4, 8, 5, 7, 10, 6, 3, 11], P0-I7
526. Tranchell, Peter: Twice a Kiss sketch 2, [0, 9, 1, 2, 4, 8, 3, 11, 5, 6, 7, 10], P0-I7
527. Tranchell, Peter: Twice a Kiss sketch 3, [0, 1, 2, 4, 8, 9, 7, 5, 3, 6, 10, 11], P0-I7
528. Urbanner, Erich: Adagio, [0, 3, 1, 11, 10, 9, 8, 7, 6, 4, 2, 5], P0-I5
529. Volkonsky, Andrei: Musica Stricta, mvt 2, row A, [0, 6, 8, 9, 11, 10, 1, 7, 2, 3, 5, 4], P0-I1
530. Volkonsky, Andrei: Musica Stricta, mvt 2, row D, [0, 4, 9, 2, 8, 10, 11, 1, 3, 7, 5, 6], P0-I3
531. Volkonsky, Andrei: Musica Stricta, mvt 4, row G, [0, 6, 5, 4, 3, 2, 1, 11, 9, 10, 8, 7], P0-I1
532. Volkonsky, Andrei: Musica Stricta, mvt 4, row H, [0, 6, 4, 9, 8, 2, 7, 1, 11, 5, 10, 3], P0-I7
533. Wang, Xi-Lin: A Dilapidated Tombstone, [0, 4, 6, 3, 2, 10, 11, 5, 8, 9, 7, 1], P0-I11
534. Weber, Ben: Five Bagatelles for Piano, Op.2, mvt ii, [0, 1, 2, 9, 6, 7, 4, 8, 5, 11, 10, 3], P0-I5
535. Weber, Ben: Humoreske, Op.49, [0, 2, 4, 5, 7, 10, 1, 11, 9, 8, 6, 3], P0-I1
536. Webern, Anton: Op.32 (un-finished), initial sketch, [0, 1, 9, 11, 3, 2, 7, 6, 10, 8, 4, 5], P0-I7
537. Webern, Anton: 3 Volkstexte, “Liebste Jungfrau”, Op.17, No.2, [0, 11, 10, 6, 7, 1, 2, 5, 4, 3, 8, 9],
P0-I3
538. Webern, Anton: Cantata I, Op.29, [0, 8, 11, 10, 2, 1, 4, 3, 7, 6, 9, 5], P0-I5
539. Webern, Anton: Klavierstück, [0, 1, 2, 11, 10, 4, 5, 6, 9, 8, 7, 3], P0-I7
540. Webern, Anton: Quartet for Violin, Clarinet, Tenor Sax, And Piano, Op.22, [0, 9, 8, 11, 10, 2, 3, 4,
5, 7, 1, 6], P0-I3
541. Webern, Anton: String Quartet, Op.28, [0, 11, 2, 1, 5, 6, 3, 4, 8, 7, 10, 9], P0-I9
542. Webern, Anton: String Trio, Op.20, [0, 11, 6, 5, 10, 9, 1, 2, 7, 8, 4, 3], P0-I1
543. Webern, Anton: Three Songs on Texts by Hildegard Jone, Op.25, [0, 9, 8, 11, 6, 10, 7, 4, 3, 5, 2, 1],
P0-I1
544. Wilson, Olly: Piece for Four’, [0, 8, 9, 4, 2, 6, 7, 11, 10, 3, 5, 1], P0-I7
545. Wolpe, Stefan: Four Studies on Basic Rows, No.4, “Basic Row” 10, [0, 10, 1, 11, 4, 2, 5, 3, 8, 6, 9,
7], P0-I7
546. Wuorinen, Charles: Piano Concerto, No.3, [0, 5, 2, 1, 11, 3, 10, 9, 4, 6, 8, 7], P0-I9
547. Wuorinen, Charles: Reliquary for Igor Stravinsky, [0, 11, 7, 5, 6, 8, 2, 4, 9, 3, 1, 10], P0-I9
548. Yun, Isang: Funf Stücke für Klavier, Stück 1, Row 1, [0, 4, 2, 6, 5, 8, 7, 9, 3, 1, 10, 11], P0-I3
549. Yun, Isang: Funf Stücke für Klavier, Stück 1, Row 2, [0, 11, 10, 4, 2, 1, 3, 6, 5, 9, 7, 8], P0-I7
550. Yun, Isang: Funf Stücke für Klavier, Stück 3, Row 1, [0, 11, 1, 9, 10, 7, 5, 6, 8, 2, 3, 4], P0-I3
551. Yun, Isang: Funf Stücke für Klavier, Stück 3, Row 2, [0, 4, 2, 8, 5, 6, 7, 9, 3, 11, 10, 1], P0-I3
552. Yun, Isang: Funf Stücke für Klavier, Stück 4, [0, 1, 7, 8, 11, 3, 4, 9, 5, 2, 6, 10], P0-I5
553. Yun, Isang: Funf Stücke für Klavier, Stück 5, [0, 11, 6, 3, 2, 10, 9, 1, 5, 4, 8, 7], P0-I7
1077 | 12-TONE ANTHOLOGY
1. Argento, Dominick: Evensong: Of Love and Angels, [0, 11, 9, 8, 5, 3, 4, 1, 2, 7, 10, 6], P0-RI8
2. Bennett, Richard Rodney: Symphony, [0, 2, 9, 8, 3, 5, 6, 1, 7, 11, 10, 4], P0-RI5
3. Berg, Alban: Chamber Concerto, mvts 2, 3, [0, 11, 10, 4, 5, 9, 7, 1, 2, 6, 8, 3], P0-RI9
4. Berg, Alban: Lyric Suite, mvt I, m.7-9, [0, 3, 7, 8, 2, 1, 9, 6, 4, 11, 5, 10], P0-RI3
5. Carter, Elliott: String Quartet, No.3, [0, 11, 2, 9, 5, 3, 4, 8, 10, 7, 1, 6], P0-RI2
6. Copland, Aaron: Connotations, row 1, [0, 1, 3, 6, 2, 9, 8, 5, 10, 4, 11, 7], P0-RI3
7. Copland, Aaron: Connotations, row 2, [0, 7, 9, 6, 2, 3, 8, 11, 10, 4, 5, 1], P0-RI9
8. Copland, Aaron: Piano Fantasy, [0, 7, 2, 10, 8, 3, 6, 4, 11, 9, 1, 5], P0-RI10
9. Cordero, Roque: Concerto for Violin, mvt 2B, [0, 5, 3, 11, 6, 8, 7, 2, 1, 4, 9, 10], P0-RI11
10. Cordero, Roque: Sonata breve, [0, 1, 4, 11, 10, 7, 5, 8, 9, 6, 3, 2], P0-RI11
11. Dallapiccola, Luigi: Due studi, ‘Fanfare’, [0, 1, 7, 9, 10, 3, 4, 2, 8, 11, 6, 5], P0-RI10
12. Dallapiccola, Luigi: Preghiere, [0, 11, 2, 3, 8, 9, 7, 6, 1, 5, 4, 10], P0-RI11
13. Dallapiccola, Luigi: Quattro liriche di Antonio Machado, ii, [0, 1, 4, 6, 7, 9, 10, 11, 2, 3, 5, 8],
P0-RI1
14. Dallapiccola, Luigi: Tre poemi, [0, 8, 9, 6, 3, 1, 2, 11, 7, 5, 4, 10], P0-RI9
15. David, Johann Nepomuk: Symphony, No.8, Op.59, [0, 5, 9, 2, 6, 11, 3, 4, 7, 8, 10, 1], P0-RI11
16. Denisov, Edison: Five Etudes for Solo Bassoon, row G, [0, 11, 5, 10, 4, 3, 9, 8, 2, 1, 6, 7], P0-RI3
17. Dobbins, Bill: Concerto for Jazz Orchestra, [0, 9, 7, 4, 3, 1, 10, 11, 8, 6, 5, 2], P0-RI4
18. Eisler, Hanns: >Spruch< for voice and piano, [0, 3, 11, 9, 5, 8, 4, 1, 2, 10, 7, 6], P0-RI8
19. Eisler, Hanns: An den Schlaf, [0, 8, 2, 10, 11, 5, 6, 1, 9, 3, 7, 4], P0-RI10
20. Eisler, Hanns: Chamber Symphony / Film music for “White Flood”, row 1, [0, 1, 2, 3, 11, 7, 6, 5, 9,
8, 10, 4], P0-RI2
21. Eisler, Hanns: Chamber Symphony / Film music for “White Flood”, row 2, [0, 8, 2, 10, 11, 5, 6, 1,
4, 9, 7, 3], P0-RI10
12-TONE ANTHOLOGY | 1078
22. Eisler, Hanns: Deutsche Symphonie, mvt 4, [0, 10, 5, 6, 11, 7, 1, 4, 2, 8, 9, 3], P0-RI5
23. Eisler, Hanns: Deutsche Symphonie, mvt 7, [0, 11, 8, 5, 2, 1, 4, 3, 10, 7, 6, 9], P0-RI1
24. Eisler, Hanns: Deutsche Symphonie, mvts 2, 6, [0, 3, 11, 9, 5, 8, 4, 7, 6, 2, 1, 10], P0-RI8
25. Eisler, Hanns: Five Pieces for Orchestra, mvt 1, [0, 6, 2, 3, 10, 9, 11, 5, 8, 7, 1, 4], P0-RI12
26. Eisler, Hanns: Five Pieces for Orchestra, mvt 2, [0, 2, 3, 1, 11, 7, 5, 4, 8, 10, 9, 6], P0-RI2
27. Eisler, Hanns: Palmström, Op.5, No.4, [0, 11, 2, 8, 3, 9, 6, 7, 10, 1, 4, 5], P0-RI11
28. Eisler, Hanns: Sonata for Piano, No.2 (“in Form von Variationen”), Op.6, row variant 4, [0, 4, 3, 2,
9, 6, 10, 1, 7, 5, 8, 11], P0-RI6
29. Eröd, Ivan: Die Seidenraupen, [0, 4, 6, 3, 1, 10, 8, 11, 9, 5, 2, 7], P0-RI4
30. Florey, Hans: ‘Die Blume der Blumen’ für Gesang und Viola, [0, 3, 4, 8, 9, 6, 1, 7, 10, 11, 2, 5],
P0-RI12
31. Florey, Hans: ‘Fort, fort sind meine Rosen’ für Gesang und Instrument, [0, 7, 6, 3, 5, 9, 2, 10, 8, 4, 1,
11], P0-RI12
32. Florey, Hans: Grabgesang, [0, 2, 8, 5, 10, 11, 4, 1, 6, 3, 9, 7], P0-RI10
33. Florey, Hans: Griechisch-lateinisches Quadrat der Ordnung 4 mit Fuge in Klangnotation, [0, 9, 3, 7,
4, 10, 2, 6, 1, 8, 11, 5], P0-RI7
34. Florey, Hans: Kleiner Doppelkanon, [0, 4, 6, 3, 8, 9, 7, 2, 1, 5, 11, 10], P0-RI12
35. Florey, Hans: Magisches Quadrat der Ordnung 3, [0, 4, 6, 3, 8, 9, 7, 2, 1, 5, 11, 10], P0-RI12
36. Frankel, Benjamin: The Curse of the Werewolf, [0, 3, 2, 1, 4, 8, 11, 5, 10, 7, 6, 9], P0-RI4
37. Gerhard, Roberto: Concerto for Harpsichord, String Orchestra, and Percussion, [0, 2, 8, 7, 11, 5, 1,
4, 3, 6, 9, 10], P0-RI7
38. Gerhard, Roberto: Gemini, [0, 11, 3, 1, 5, 4, 8, 6, 7, 2, 9, 10], P0-RI4
39. Gerhard, Roberto: Leo, [0, 2, 1, 6, 5, 7, 3, 8, 9, 10, 4, 11], P0-RI7
40. Gerhard, Roberto: Nonet, [0, 11, 1, 3, 5, 4, 10, 8, 2, 7, 9, 6], P0-RI4
41. Gerhard, Roberto: Symphony, No.2, [0, 8, 1, 7, 5, 6, 10, 11, 2, 3, 9, 4], P0-RI1
42. Ginastera, Alberto: Cantata para América Mágica, Op.27, [0, 7, 6, 5, 10, 11, 8, 1, 2, 9, 4, 3],
P0-RI5
43. Ginastera, Alberto: Piano Concerto, No.1, Op.28, [0, 11, 5, 1, 8, 2, 7, 6, 10, 4, 9, 3], P0-RI1
44. Ginastera, Alberto: String Quartet, No.2, Op.26, [0, 5, 11, 2, 8, 1, 9, 10, 7, 4, 3, 6], P0-RI1
45. Goehr, Alexander: Little Symphony, Op.15, [0, 3, 7, 10, 6, 4, 5, 2, 9, 8, 11, 1], P0-RI10
46. Goehr, Alexander: Sonata in One Movement, Op.2, [0, 2, 7, 1, 4, 10, 6, 9, 11, 8, 5, 3], P0-RI2
47. Harrison, Lou: Suite for Piano, [0, 1, 6, 2, 5, 7, 11, 4, 9, 8, 10, 3], P0-RI7
48. Harrison, Lou: Untitled Piano Piece, [0, 10, 4, 3, 9, 7, 2, 8, 6, 1, 11, 5], P0-RI7
49. Hauer, Josef Matthias: ‘Kaleidoskop’ für Orchester, [0, 9, 6, 7, 3, 8, 2, 4, 11, 1, 5, 10], P0-RI3
50. Hauer, Josef Matthias: ‘Musik für Schule und Haus II’ 22. September 1956. für Violine, Bratsche
und Klavier, [0, 7, 8, 1, 6, 5, 10, 2, 11, 9, 3, 4], P0-RI1
51. Hauer, Josef Matthias: Labyrinthischer Tanz [Zwölftonspiel] für Klavier zu vier Händen. 16.
1079 | 12-TONE ANTHOLOGY
85. Hauer, Josef Matthias: Zwölftonspiel 15. Juni 1957; für Flöte, Oboe, Bassklarinette, Fagott, 2
Violinen, Viola, Violoncello & Klavier vierhändig, [0, 8, 11, 6, 9, 5, 7, 1, 3, 2, 4, 10], P0-RI5
86. Hauer, Josef Matthias: Zwölftonspiel 28. August 1948; für Violine und Klavier, [0, 9, 6, 2, 3, 10, 8,
5, 4, 7, 11, 1], P0-RI12
87. Hauer, Josef Matthias: Zwölftonspiel 31. August 1948; für Violine (Flöte) und Klavier, [0, 9, 6, 2, 3,
10, 8, 5, 4, 7, 11, 1], P0-RI12
88. Hauer, Josef Matthias: Zwölftonspiel 31. August 1948; für Violine und Klavier; 2. Fassung, [0, 9, 6,
2, 3, 10, 8, 5, 4, 7, 11, 1], P0-RI12
89. Hauer, Josef Matthias: Zwölftonspiel März 1958; für Kammerorchester, [0, 5, 10, 4, 1, 7, 2, 11, 8,
3, 6, 9], P0-RI5
90. Hauer, Josef Matthias: Zwölftonspiel November 1957; für zwei Violinen und Klavier, [0, 6, 3, 9, 1,
5, 11, 8, 10, 7, 2, 4], P0-RI6
91. Hauer, Josef Matthias: Zwölftonspiel für Klavier. September 1956, [0, 8, 11, 6, 3, 5, 1, 10, 7, 4, 2,
9], P0-RI11
92. Hauer, Josef Matthias: Zwölftonspiel für Klavier zu zwei Händen. Neujahr 1947 (mit einer
Zwölftonreihe von Ernst Hartmann), [0, 10, 6, 3, 7, 4, 9, 2, 8, 11, 1, 5], P0-RI10
93. Hauer, Josef Matthias: Zwölftonspiel für Orchester (August 1957), [0, 9, 4, 6, 11, 3, 2, 8, 5, 1, 7,
10], P0-RI3
94. Hauer, Josef Matthias: Zwölftonspiel für Streichquartett, [0, 3, 7, 2, 9, 6, 4, 10, 1, 8, 11, 5], P0-RI9
95. Hauer, Josef Matthias: Zwölftonspiel für Violine und Cembalo [Klavier]. 27. August 1948, [0, 9, 6,
2, 3, 10, 8, 5, 4, 7, 11, 1], P0-RI12
96. Hauer, Josef Matthias: Zwölftonspiel für Violine und Klavier. 2. September 1956, [0, 6, 8, 1, 10, 5,
9, 3, 11, 4, 7, 2], P0-RI6
97. Hauer, Josef Matthias: Zwölftonspiel für zwei Violinen, Bratsche, Cello und Klavier, [0, 6, 9, 11, 4,
3, 7, 5, 2, 8, 10, 1], P0-RI3
98. Hauer, Josef Matthias: Zwölftonspiel für zwei Violinen, Bratsche und Cello. Jänner 1948, [0, 1, 7, 2,
11, 3, 8, 5, 6, 4, 9, 10], P0-RI2
99. Hauer, Josef Matthias: [Zwölftonspiel] ‘Johann Sebastian Bach hat das Wohltemperierte Klavier im
Himmel vollendet …’, [0, 10, 5, 4, 2, 9, 8, 1, 3, 11, 6, 7], P0-RI2
100. Hendler, Maximilian: Vier Miniaturen für Klarinette, Op.51, [0, 3, 5, 11, 8, 6, 10, 2, 4, 1, 9, 7],
P0-RI11
101. Husa, Karel: Hudba pro Prahu 1968, [0, 8, 2, 1, 7, 9, 6, 10, 3, 11, 5, 4], P0-RI9
102. Husa, Karel: Mosaïques, [0, 6, 4, 3, 2, 9, 10, 5, 7, 8, 11, 1], P0-RI6
103. Ives, Charles: String Quartet, No.2, mvt 2, [0, 1, 2, 11, 3, 7, 10, 4, 6, 8, 9, 5], P0-RI2
104. Kokkonen, Joonas: Symphonic Sketches, mov. 3, row “III/A”, [0, 2, 1, 3, 8, 7, 5, 6, 4, 11, 9, 10],
P0-RI3
105. Kurtág, György: The Sayings of Péter Bornemisza, Op.7, [0, 11, 7, 8, 9, 1, 2, 10, 3, 4, 5, 6], P0-RI8
1081 | 12-TONE ANTHOLOGY
106. Lackner, Peter: ‘Lied des Harfenmädchens’ für Frauenstimme und Klavier, [0, 3, 5, 11, 7, 10, 1, 8,
4, 9, 6, 2], P0-RI10
107. Lackner, Peter: ‘Lied des Harfenmädchens II’ für Flöte, Klarinette, Posaune, Violine, Cello und
Klavier, [0, 3, 5, 11, 7, 10, 1, 8, 4, 9, 6, 2], P0-RI10
108. Lackner, Peter: ‘So lebe wohl’ für Singstimme und Klavier, [0, 2, 3, 8, 10, 7, 6, 5, 1, 11, 9, 4],
P0-RI10
109. Lackner, Peter: Kanon ‘kgV(3,5,7)’, [0, 3, 10, 9, 6, 5, 2, 11, 4, 8, 1, 7], P0-RI3
110. Lackner, Peter: Kanon für Bläsersextett. Mai 1995,1996, [0, 9, 7, 3, 10, 1, 6, 8, 2, 11, 5, 4],
P0-RI10
111. Lackner, Peter: Kanon für Schrammel-Quartett. November 2002, [0, 4, 6, 3, 11, 9, 1, 5, 8, 2, 10, 7],
P0-RI3
112. Lackner, Peter: Kanon für Streichquartett. 18. Mai 1993, [0, 11, 4, 7, 1, 10, 5, 6, 2, 3, 9, 8],
P0-RI11
113. Lackner, Peter: Kanon für Violine, Violoncello und Akkordeon (Harmonium). 25. Oktober 1995,
[0, 2, 1, 7, 6, 5, 3, 4, 10, 9, 11, 8], P0-RI7
114. Lang, Bernhard: ‘Küstenlinien’; für zwei Klaviere und doppeltes Schlagwerk, [0, 9, 7, 4, 5, 11, 2, 1,
8, 10, 3, 6], P0-RI4
115. Lutyens, Elisabeth: O Saisons, O Châteaux!, [0, 11, 10, 4, 8, 9, 3, 7, 6, 5, 2, 1], P0-RI8
116. Lutyens, Elisabeth: The Valley of Hatsu’se, [0, 6, 11, 10, 8, 7, 9, 1, 3, 2, 4, 5], P0-RI6
117. Lutyens, Elisabeth: Three Improvisations for Piano Solo, [0, 6, 9, 7, 8, 3, 4, 1, 10, 5, 11, 2], P0-RI3
118. Maderna, Bruno: Quartetto, [0, 7, 2, 3, 6, 9, 10, 1, 4, 5, 8, 11], P0-RI9
119. Maderna, Bruno: Streichquartett (Basisreihe 1), [0, 7, 2, 3, 6, 9, 10, 1, 4, 5, 8, 11], P0-RI9
120. Maderna, Bruno: Streichquartett (Basisreihe 2), [0, 7, 10, 1, 6, 3, 11, 4, 9, 2, 5, 8], P0-RI1
121. Mamlok, Ursula: Five Intermezzi for guitar solo, [0, 3, 6, 11, 2, 5, 1, 10, 7, 4, 8, 9], P0-RI5
122. Mamlok, Ursula: Variations for Solo Flute, theme, [0, 2, 1, 11, 7, 3, 5, 6, 4, 10, 8, 9], P0-RI2
123. Martino, Donald: Notturno (Row A), [0, 11, 10, 2, 6, 1, 5, 9, 4, 8, 3, 7], P0-RI12
124. Messiaen, Olivier: Mode de valeurs et d’intensités, Series 3, [0, 11, 6, 4, 3, 9, 5, 2, 8, 1, 7, 10],
P0-RI3
125. Morris, Robert: 14 Little Piano Pieces, [0, 5, 1, 9, 10, 11, 2, 7, 3, 4, 6, 8], P0-RI10
126. Morris, Robert: Arabesque, [0, 6, 7, 1, 3, 10, 8, 9, 4, 5, 11, 2], P0-RI1
127. Morris, Robert: Arc, [0, 1, 8, 2, 4, 3, 11, 10, 6, 7, 5, 9], P0-RI4
128. Morris, Robert: Broken Consort in Three Parts, Row 3, [0, 11, 3, 9, 7, 6, 10, 5, 1, 2, 4, 8], P0-RI6
129. Morris, Robert: Brush, [0, 11, 6, 10, 7, 8, 3, 2, 5, 4, 9, 1], P0-RI6
130. Morris, Robert: Concerto for Piano and Winds, [0, 1, 4, 7, 8, 10, 11, 2, 5, 6, 9, 3], P0-RI8
131. Morris, Robert: Four Fold Heart Sutra, [0, 6, 7, 2, 11, 1, 10, 4, 9, 5, 8, 3], P0-RI1
132. Morris, Robert: Four Play Nine, [0, 3, 2, 1, 8, 7, 10, 5, 4, 11, 6, 9], P0-RI3
133. Morris, Robert: Four or Five Mirrors, [0, 11, 2, 3, 7, 1, 6, 5, 9, 8, 10, 4], P0-RI2
12-TONE ANTHOLOGY | 1082
8, 5], P0-RI1
167. Slonimsky, Nicholas: No. 1249a Crossing Thirds (Crossing Intervals), [0, 11, 3, 8, 6, 5, 9, 2, 1, 10,
4, 7], P0-RI11
168. Slonimsky, Nicholas: No. 1251a Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 3, 7, 10, 1, 6, 9, 2, 5, 8, 11, 4], P0-RI1
169. Slonimsky, Nicholas: No. 1251b Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 8, 5, 3, 11, 6, 2, 10, 7, 4, 1, 9], P0-RI11
170. Slonimsky, Nicholas: No. 1253a Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 4, 7, 10, 1, 5, 8, 11, 3, 6, 9, 2], P0-RI5
171. Slonimsky, Nicholas: No. 1253b Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 8, 3, 1, 9, 6, 4, 11, 7, 5, 2, 10], P0-RI9
172. Slonimsky, Nicholas: No. 1261a Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 4, 8, 11, 2, 5, 9, 1, 6, 7, 10, 3], P0-RI4
173. Slonimsky, Nicholas: No. 1261b Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 8, 4, 1, 10, 7, 5, 2, 9, 6, 3, 11], P0-RI8
174. Slonimsky, Nicholas: No. 1262a Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 4, 7, 10, 3, 6, 11, 2, 8, 9, 1, 5], P0-RI10
175. Slonimsky, Nicholas: No. 1262b Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 9, 5, 3, 11, 8, 4, 1, 7, 6, 2, 10], P0-RI8
176. Slonimsky, Nicholas: No. 1264a Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 3, 6, 9, 1, 5, 8, 11, 4, 7, 10, 2], P0-RI6
177. Slonimsky, Nicholas: No. 1264b Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 9, 3, 2, 10, 6, 5, 1, 8, 7, 4, 11], P0-RI12
178. Slonimsky, Nicholas: No. 1268a Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 4, 7, 10, 1, 5, 8, 11, 2, 6, 9, 3], P0-RI5
179. Slonimsky, Nicholas: No. 1268b Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 8, 3, 1, 9, 6, 4, 10, 7, 5, 2, 11], P0-RI9
180. Slonimsky, Nicholas: No. 1272a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 3, 7, 10, 1, 6, 9, 5, 2, 11, 8, 4], P0-RI1
181. Slonimsky, Nicholas: No. 1272b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 3, 7, 10, 6, 1, 2, 5, 9, 8, 4, 11], P0-RI1
182. Slonimsky, Nicholas: No. 1274a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 4, 7, 10, 1, 5, 9, 6, 2, 11, 8, 3], P0-RI5
183. Slonimsky, Nicholas: No. 1274b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 4, 7, 10, 5, 1, 2, 6, 9, 8, 3, 11], P0-RI5
184. Slonimsky, Nicholas: No. 1282a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 4, 8, 11, 2, 5, 9, 6, 1, 10, 7, 3], P0-RI4
12-TONE ANTHOLOGY | 1084
185. Slonimsky, Nicholas: No. 1282b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 4, 8, 11, 5, 2, 6, 9, 1, 10, 7, 3], P0-RI4
186. Slonimsky, Nicholas: No. 1283a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 4, 7, 10, 3, 6, 8, 2, 11, 9, 5, 1], P0-RI10
187. Slonimsky, Nicholas: No. 1283b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 4, 7, 10, 6, 3, 11, 2, 8, 5, 1, 9], P0-RI10
188. Slonimsky, Nicholas: No. 1285a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 3, 6, 9, 1, 5, 8, 4, 11, 10, 7, 2], P0-RI6
189. Slonimsky, Nicholas: No. 1285b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 3, 6, 9, 5, 1, 11, 4, 8, 7, 2, 10], P0-RI6
190. Slonimsky, Nicholas: No. 1289a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 4, 7, 10, 1, 5, 8, 2, 11, 9, 6, 3], P0-RI5
191. Slonimsky, Nicholas: No. 1289b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 4, 7, 10, 5, 1, 11, 2, 8, 9, 6, 3], P0-RI5
192. Slonimsky, Nicholas: No. 262 Infrapolation of Three Notes (Ditone Progression; Equal Division of
One Octave into Three Parts), [0, 11, 10, 5, 4, 3, 2, 9, 8, 7, 6, 1], P0-RI3
193. Slonimsky, Nicholas: No. 348 Infra-Inter-Ultrapolation (Ditone Progression; Equal Division of One
Octave into Three Parts), [0, 10, 1, 7, 4, 2, 5, 11, 8, 6, 9, 3], P0-RI2
194. Slonimsky, Nicholas: No. 647 Permutations (Semitone Progression; Equal Division of One Octave
into Twelve Parts), [0, 2, 11, 5, 8, 10, 7, 1, 4, 6, 3, 9], P0-RI10
195. Slonimsky, Nicholas: No. 685 Interpolation of Three Notes (Quadritone Progression; Equal Division
of Two Octaves into Three Parts), [0, 1, 3, 6, 8, 9, 11, 2, 4, 5, 7, 10], P0-RI9
196. Slonimsky, Nicholas: No. 735 Inter-Infra-Ultrapolation (Quadritone Progression; Equal Division of
Two Octaves into Three Parts), [0, 6, 9, 11, 8, 2, 5, 7, 4, 10, 1, 3], P0-RI8
197. Smith, Hale: Evocation, [0, 1, 7, 2, 9, 5, 8, 3, 10, 11, 4, 6], P0-RI2
198. Spinner, Leopold: Die Nacht, Op.29, [0, 4, 1, 2, 5, 6, 7, 10, 8, 9, 11, 3], P0-RI6
199. Spinner, Leopold: Drei Lieder, Op.15, [0, 2, 3, 9, 6, 10, 8, 4, 7, 5, 1, 11], P0-RI12
200. Spinner, Leopold: Lieder for Voice, Clarinet, Violin, and Cello, [0, 7, 6, 3, 11, 9, 2, 1, 4, 8, 10, 5],
P0-RI6
201. Spinner, Leopold: Suite for Clarinet and Piano, Op.10, [0, 4, 1, 6, 5, 2, 8, 10, 7, 9, 11, 3], P0-RI6
202. Stockhausen, Karlheinz: ‘Mantra’, [0, 2, 11, 7, 8, 5, 10, 6, 4, 3, 1, 9], P0-RI7
203. Stockhausen, Karlheinz: Klavierstück IV, row 1, [0, 11, 4, 10, 9, 5, 8, 6, 2, 1, 7, 3], P0-RI9
204. Stockhausen, Karlheinz: Tierkreis, Aquarius, [0, 3, 5, 4, 11, 10, 9, 8, 7, 6, 2, 1], P0-RI3
205. Stockhausen, Karlheinz: Tierkreis, Leo, [0, 5, 11, 6, 3, 2, 8, 7, 9, 10, 4, 1], P0-RI5
206. Stravinsky, Igor: The Owl and the Pussy Cat, [0, 2, 9, 11, 8, 6, 5, 7, 10, 1, 4, 3], P0-RI8
207. Talma, Louise: Seven Episodes for flute, viola and piano, [0, 9, 11, 4, 6, 3, 8, 1, 10, 2, 5, 7], P0-RI3
208. Talma, Louise: Six Etudes, Etude 2, [0, 3, 9, 5, 11, 2, 8, 4, 10, 6, 1, 7], P0-RI2
1085 | 12-TONE ANTHOLOGY
209. Tranchell, Peter: Piano piece for Carl Dawson (unfinished), 4, [0, 7, 6, 1, 3, 4, 2, 11, 9, 5, 10, 8],
P0-RI7
210. Tranchell, Peter: Piano piece for Carl Dawson (unfinished), 6, [0, 8, 3, 6, 4, 9, 10, 5, 7, 1, 11, 2],
P0-RI12
211. Volkonsky, Andrei: Musica Stricta, mvt 2, row C, [0, 10, 11, 9, 4, 5, 7, 2, 1, 3, 6, 8], P0-RI9
212. Volkonsky, Andrei: Musica Stricta, mvt 3, row F, [0, 1, 9, 3, 5, 6, 7, 11, 10, 8, 4, 2], P0-RI6
213. Walker, George: Spatials, [0, 3, 9, 11, 2, 8, 7, 5, 4, 1, 10, 6], P0-RI11
214. Weber, Ben: Five Bagatelles for Piano, Op.2, mvt v, [0, 9, 1, 8, 2, 7, 3, 5, 6, 4, 11, 10], P0-RI9
215. Webern, Anton: 3 Lieder, “Ave, Regina Coelorum”, Op.18, No.3, [0, 11, 3, 2, 1, 7, 6, 10, 9, 8, 5, 4],
P0-RI2
216. Webern, Anton: 3 Volkstexte, “Armer Sunder, Du”, Op.17, No.1, [0, 11, 6, 7, 4, 5, 8, 9, 10, 1, 2, 3],
P0-RI11
217. Yi, Chen: Near Distance, [0, 1, 10, 3, 4, 6, 8, 9, 11, 5, 7, 2], P0-RI4
218. Yi, Chen: Symphony, No.2, [0, 6, 2, 3, 7, 9, 10, 4, 5, 11, 8, 1], P0-RI9
219. Yi, Chen: Woodwind Quintet, [0, 11, 1, 7, 9, 8, 10, 4, 6, 5, 2, 3], P0-RI8
220. Zenk, Ludwig: Abend in Lans, Op.3, No.2, [0, 1, 6, 4, 5, 2, 7, 8, 3, 10, 11, 9], P0-RI6
221. Zenk, Ludwig: Adagio for Orchestra, [0, 3, 11, 8, 6, 2, 7, 5, 9, 4, 1, 10], P0-RI2
222. Zenk, Ludwig: Piano Sonata, No.2, Op.4, [0, 11, 6, 8, 7, 10, 5, 4, 9, 2, 1, 3], P0-RI6
All-Combinatorial
Finally, rows are all-combinatorial when the combinatorial property holds for all transformations in at
least one transposition. Notice how the whole-tone hexachord [0,2,4,6,8,10] (in any ordering) stands out
for its highly combinatorial properties.
1. Apostel, Hans Erich: Fischerhaus-Serenade, Op.45, [0, 4, 8, 3, 11, 7, 1, 9, 5, 2, 10, 6], T2,6,10;
I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
2. Babbitt, Milton: All Set, [0, 4, 5, 11, 6, 10, 7, 3, 1, 2, 9, 8], T3,9; I1,7; RI4,10, (0, 1, 2, 6, 7, 8)
3. Babbitt, Milton: Arie da Capo, [0, 7, 8, 6, 2, 1, 10, 5, 11, 9, 4, 3], T3,9; I5,11; RI2,8, (0, 1, 2, 6, 7,
8)
4. Babbitt, Milton: Composition for Four Instruments, [0, 3, 11, 2, 10, 1, 7, 4, 8, 5, 9, 6], T6; I7; RI1,
(0, 1, 2, 3, 4, 5)
5. Babbitt, Milton: Composition for Four Instruments, row i, [0, 10, 9, 8, 7, 5, 11, 1, 2, 3, 4, 6], T6;
I11; RI5, (0, 2, 3, 4, 5, 7)
6. Babbitt, Milton: Composition for Four Instruments, row ii, [0, 9, 11, 2, 4, 1, 7, 10, 8, 5, 3, 6], T6; I7;
RI1, (0, 2, 3, 4, 5, 7)
7. Babbitt, Milton: Composition for Four Instruments, row iii, [0, 4, 3, 8, 7, 11, 5, 1, 2, 9, 10, 6],
12-TONE ANTHOLOGY | 1086
30. Babbitt, Milton: Vision and Prayer, [0, 11, 8, 3, 7, 4, 10, 9, 2, 6, 1, 5], T2,6,10; I1,5,9; RI3,7,11, (0,
1, 4, 5, 8, 9)
31. Babbitt, Milton: Woodwind Quartet, [0, 3, 1, 2, 11, 10, 8, 9, 5, 7, 6, 4], T6; I7; RI1, (0, 1, 2, 3, 4, 5)
32. Baker, David: “Status Symbol” from “The Black Experience”, [0, 3, 4, 7, 8, 11, 1, 10, 9, 6, 5, 2],
T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
33. Barber, Samuel: Piano Sonata, Op.26, [0, 8, 4, 11, 3, 7, 1, 9, 5, 10, 2, 6], T2,6,10; I1,5,9; RI3,7,11,
(0, 1, 4, 5, 8, 9)
34. Berg, Alban: Altenberg Lieder, [0, 1, 11, 10, 2, 9, 3, 8, 7, 6, 5, 4], T6; I5; RI11, (0, 1, 2, 3, 4, 5)
35. Berg, Alban: Lulu, Primary / Main / Basic Row, [0, 4, 5, 2, 7, 9, 6, 8, 11, 10, 3, 1], T6; I3; RI9, (0,
2, 4, 5, 7, 9)
36. Berg, Alban: Lulu, Schigolch, [0, 2, 3, 1, 4, 5, 6, 7, 8, 9, 11, 10], T6; I11; RI5, (0, 1, 2, 3, 4, 5)
37. Berg, Alban: Lulu, whole-tone row, [0, 2, 4, 6, 10, 8, 11, 7, 9, 1, 3, 5], T1,3,5,7,9,11; I1,3,5,7,9,11;
RI2,4,6,8,10,12, (0, 2, 4, 6, 8, 10)
38. Berg, Alban: Lyric Suite, Primary Row / mvt I, [0, 11, 7, 4, 2, 9, 3, 8, 10, 1, 5, 6], T6; I5; RI11, (0,
2, 4, 5, 7, 9)
39. Berg, Alban: Lyric Suite, mvt I, [0, 2, 4, 5, 7, 9, 6, 8, 10, 11, 1, 3], T6; I3; RI9, (0, 2, 4, 5, 7, 9)
40. Berg, Alban: Lyric Suite, mvt VI, [0, 2, 4, 7, 9, 11, 6, 8, 10, 1, 3, 5], T6; I5; RI11, (0, 2, 4, 5, 7, 9)
41. Berg, Alban: Schliesse mir die Augen Beide, [0, 11, 7, 4, 2, 9, 3, 8, 10, 1, 5, 6], T6; I5; RI11, (0, 2,
4, 5, 7, 9)
42. Berio, Luciano: Cinque Variazioni, [0, 2, 4, 1, 3, 5, 8, 10, 6, 7, 9, 11], T6; I11; RI5, (0, 1, 2, 3, 4, 5)
43. Berio, Luciano: Sequenza I, [0, 11, 10, 9, 8, 7, 4, 6, 5, 3, 1, 2], T6; I1; RI7, (0, 1, 2, 3, 4, 5)
44. Boulez, Pierre: Le Marteau sans Maître, cycle of Bourreaux de solitude, [0, 1, 2, 3, 4, 5, 6, 7, 8, 9,
10, 11], T6; I11; RI5, (0, 1, 2, 3, 4, 5)
45. Boulez, Pierre: Notations, [0, 2, 7, 6, 1, 8, 4, 9, 5, 11, 10, 3], T3,9; I5,11; RI2,8, (0, 1, 2, 6, 7, 8)
46. Britten, Benjamin: The Turn of the Screw, [0, 5, 2, 7, 4, 9, 6, 11, 8, 1, 10, 3], T6; I3; RI9, (0, 2, 4,
5, 7, 9)
47. Carter, Elliott: String Quartet, No.2 (sketch) 1, [0, 4, 8, 3, 7, 11, 6, 10, 2, 9, 1, 5], T2,6,10; I1,5,9;
RI3,7,11, (0, 1, 4, 5, 8, 9)
48. Carter, Elliott: String Quartet, No.2 (sketch) 2, [0, 8, 4, 3, 11, 7, 6, 2, 10, 9, 5, 1], T2,6,10; I1,5,9;
RI3,7,11, (0, 1, 4, 5, 8, 9)
49. Carter, Elliott: String Quartet, No.2 (sketch) 3, [0, 2, 4, 6, 8, 10, 1, 3, 5, 7, 9, 11], T1,3,5,7,9,11;
I1,3,5,7,9,11; RI2,4,6,8,10,12, (0, 2, 4, 6, 8, 10)
50. Denisov, Edison: Concerto for Guitar and Orchestra, Row 1, [0, 6, 10, 4, 8, 2, 3, 9, 1, 7, 11, 5],
T1,3,5,7,9,11; I1,3,5,7,9,11; RI2,4,6,8,10,12, (0, 2, 4, 6, 8, 10)
51. Denisov, Edison: Five Etudes for Solo Bassoon, row B, [0, 11, 6, 5, 4, 10, 9, 3, 2, 7, 1, 8], T3,9;
I1,7; RI4,10, (0, 1, 2, 6, 7, 8)
52. Denisov, Edison: Five Etudes for Solo Bassoon, row C, [0, 6, 11, 5, 4, 10, 9, 3, 2, 7, 1, 8], T3,9;
12-TONE ANTHOLOGY | 1088
73. Gielen, Michael: Six Songs, for bass, violin, viola, clarinet, bass clarinet, and piano, [0, 5, 1, 4, 2, 3,
9, 8, 10, 7, 11, 6], T6; I11; RI5, (0, 1, 2, 3, 4, 5)
74. Ginastera, Alberto: Don Rodrigo, Op.31, Row Class 1, [0, 1, 6, 7, 8, 2, 10, 11, 5, 4, 9, 3], T3,9;
I5,11; RI2,8, (0, 1, 2, 6, 7, 8)
75. Ginastera, Alberto: Don Rodrigo, Op.31, Row Class 2, [0, 11, 2, 3, 4, 1, 6, 5, 8, 9, 10, 7], T6; I9;
RI3, (0, 1, 2, 3, 4, 5)
76. Ginastera, Alberto: Don Rodrigo, Op.31, Row Class 5, [0, 1, 7, 6, 5, 11, 2, 8, 9, 10, 4, 3], T3,9;
I3,9; RI6,12, (0, 1, 2, 6, 7, 8)
77. Ginastera, Alberto: Don Rodrigo, Op.31, Row Class 7, [0, 1, 8, 2, 7, 6, 5, 11, 9, 10, 4, 3], T3,9;
I5,11; RI2,8, (0, 1, 2, 6, 7, 8)
78. Ginastera, Alberto: Quintet, Op.29, Row Class V, [0, 5, 4, 7, 3, 2, 6, 9, 8, 1, 10, 11], T6; I1; RI7, (0,
2, 3, 4, 5, 7)
79. Ginastera, Alberto: Quintet, Op.29, Row Class VII S, [0, 11, 1, 10, 2, 9, 3, 8, 4, 7, 5, 6], T6; I5;
RI11, (0, 1, 2, 3, 4, 5)
80. Ginastera, Alberto: Sonata for Cello and Piano, Op.49, [0, 3, 2, 1, 10, 11, 8, 9, 5, 4, 7, 6], T6; I7;
RI1, (0, 1, 2, 3, 4, 5)
81. Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class III, [0, 11, 7, 4, 2, 9, 3, 8,
10, 1, 5, 6], T6; I5; RI11, (0, 2, 4, 5, 7, 9)
82. Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class II 1, [0, 11, 10, 9, 8, 7, 6,
5, 4, 3, 2, 1], T6; I1; RI7, (0, 1, 2, 3, 4, 5)
83. Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class II 4, [0, 2, 1, 5, 3, 4, 7, 8,
6, 10, 9, 11], T6; I11; RI5, (0, 1, 2, 3, 4, 5)
84. Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class II 6, [0, 11, 4, 3, 8, 7, 1, 2,
9, 10, 5, 6], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
85. Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class II 7, [0, 9, 10, 11, 8, 7, 6,
3, 4, 5, 2, 1], T6; I1; RI7, (0, 1, 2, 3, 4, 5)
86. Ginastera, Alberto: Turbae ad Passionem Gregorianam, Op.43, mvt II, [0, 5, 1, 7, 6, 11, 8, 2, 3, 4, 9,
10], T3,9; I3,9; RI6,12, (0, 1, 2, 6, 7, 8)
87. Ginastera, Alberto: Violin Concerto, Op.30, [0, 11, 2, 3, 4, 1, 6, 5, 8, 9, 10, 7], T6; I9; RI3, (0, 1, 2,
3, 4, 5)
88. Hartmann, Karl Amadeus: Symphony, No.4, [0, 1, 3, 2, 11, 4, 5, 10, 7, 6, 8, 9], T6; I9; RI3, (0, 1, 2,
3, 4, 5)
89. Hauer, Josef Matthias: Nomos, Op.19 (bb.139-141), [0, 2, 10, 1, 11, 9, 8, 5, 6, 4, 7, 3], T6; I5;
RI11, (0, 1, 2, 3, 4, 5)
90. Hauer, Josef Matthias: Nomos, Op.19 (bb.143-145), [0, 9, 10, 2, 1, 11, 4, 6, 7, 5, 8, 3], T6; I5;
RI11, (0, 1, 2, 3, 4, 5)
91. Hauer, Josef Matthias: Nomos, Op.19 (bb.331-334), [0, 4, 3, 2, 1, 11, 7, 10, 5, 6, 8, 9], T6; I9; RI3,
12-TONE ANTHOLOGY | 1090
(0, 1, 2, 3, 4, 5)
92. Hauer, Josef Matthias: Nomos, Op.19 (bb.362-365), [0, 7, 5, 3, 10, 8, 4, 2, 9, 6, 11, 1], T6; I9; RI3,
(0, 2, 4, 5, 7, 9)
93. Hauer, Josef Matthias: Nomos, Op.19 (bb.503-507), [0, 10, 1, 2, 3, 5, 7, 11, 4, 8, 9, 6], T6; I9; RI3,
(0, 2, 3, 4, 5, 7)
94. Hauer, Josef Matthias: XXIX. Zwölftonspiel für Cembalo; mit der Sokolowski-Reihe zu Bachs
Geburtstag, [0, 11, 2, 1, 4, 3, 10, 5, 8, 9, 6, 7], T6; I9; RI3, (0, 1, 2, 3, 4, 5)
95. Hauer, Josef Matthias: Zwölftonspiel für zwei Violinen, [0, 2, 3, 11, 1, 10, 8, 6, 4, 9, 7, 5], T6; I7;
RI1, (0, 1, 2, 3, 4, 5)
96. Hendler, Maximilian: ‘Die vollständige Ordnung der symmetrischen zwölftönigen Modi’, No.13, [0,
3, 5, 7, 8, 10, 9, 6, 4, 2, 1, 11], T6; I9; RI3, (0, 2, 4, 5, 7, 9)
97. Hendler, Maximilian: ‘Die vollständige Ordnung der symmetrischen zwölftönigen Modi’, No.19, [0,
1, 4, 5, 8, 9, 11, 10, 7, 6, 3, 2], T2,6,10; I3,7,11; RI1,5,9, (0, 1, 4, 5, 8, 9)
98. Hendler, Maximilian: ‘Die vollständige Ordnung der symmetrischen zwölftönigen Modi’, No.28, [0,
5, 7, 8, 9, 10, 11, 6, 4, 3, 2, 1], T6; I11; RI5, (0, 2, 3, 4, 5, 7)
99. Hendler, Maximilian: ‘Die vollständige Ordnung der symmetrischen zwölftönigen Modi’, No.30, [0,
1, 2, 6, 7, 8, 11, 10, 9, 5, 4, 3], T3,9; I5,11; RI2,8, (0, 1, 2, 6, 7, 8)
100. Hendler, Maximilian: ‘Die vollständige Ordnung der symmetrischen zwölftönigen Modi’, No.6, [0, 2,
4, 6, 8, 10, 9, 7, 5, 3, 1, 11], T1,3,5,7,9,11; I1,3,5,7,9,11; RI2,4,6,8,10,12, (0, 2, 4, 6, 8, 10)
101. Hendler, Maximilian: ‘Die vollständige Ordnung der symmetrischen zwölftönigen Modi’, No.1, [0, 1,
2, 3, 4, 5, 11, 10, 9, 8, 7, 6], T6; I11; RI5, (0, 1, 2, 3, 4, 5)
102. Hendler, Maximilian: aus den fünf Liedern nach Texten von Karl Hans Haysen für Singstimme und
Klavier : ‘Erkenntnis’, Op.45-2, [0, 9, 2, 4, 7, 11, 8, 10, 5, 1, 6, 3], T6; I5; RI11, (0, 2, 4, 5, 7, 9)
103. Huber, Klaus: Zwei Sätze, [0, 3, 1, 10, 11, 8, 6, 9, 7, 2, 4, 5], T6; I5; RI11, (0, 2, 3, 4, 5, 7)
104. Ives, Charles: On the Antipodes, [0, 3, 11, 8, 4, 7, 10, 9, 6, 2, 5, 1], T2,6,10; I1,5,9; RI3,7,11, (0, 1,
4, 5, 8, 9)
105. Ives, Charles: Tone Roads, No.3, [0, 11, 1, 3, 2, 10, 5, 8, 4, 7, 6, 9], T6; I7; RI1, (0, 1, 2, 3, 4, 5)
106. Jung, Joachim: , [0, 11, 3, 10, 2, 1, 7, 8, 4, 9, 5, 6], T6; I7; RI1, (0, 1, 2, 3, 4, 5)
107. Klein, Fritz: Die Maschine: Eine extonale Selbstsatire, Op.1, [0, 11, 7, 4, 2, 9, 3, 8, 10, 1, 5, 6], T6;
I5; RI11, (0, 2, 4, 5, 7, 9)
108. Klein, Fritz Heinrich: Variationen, Op.14, [0, 11, 7, 4, 2, 9, 3, 8, 10, 1, 5, 6], T6; I5; RI11, (0, 2, 4,
5, 7, 9)
109. Kokkonen, Joonas: Cello Concerto, mov. 2, row “II/A”, [0, 2, 7, 4, 3, 5, 6, 1, 11, 8, 10, 9], T6; I1;
RI7, (0, 2, 3, 4, 5, 7)
110. Kokkonen, Joonas: Cello Concerto, mov. 2, row “II/B”, [0, 2, 3, 1, 4, 5, 7, 8, 6, 9, 10, 11], T6; I11;
RI5, (0, 1, 2, 3, 4, 5)
111. Kokkonen, Joonas: Cello Concerto, mov. 2, row “II/C”, [0, 9, 11, 10, 7, 2, 6, 3, 5, 4, 1, 8], T6; I3;
1091 | 12-TONE ANTHOLOGY
RI9, (0, 2, 3, 4, 5, 7)
112. Kokkonen, Joonas: Woodwind Quintet, mov. 1, rows “I/A” and “I/B”, [0, 2, 11, 9, 10, 1, 3, 6, 4, 5,
7, 8], T6; I5; RI11, (0, 1, 2, 3, 4, 5)
113. Krenek, Ernst: Quaestio temporis, Op.170, [0, 3, 11, 4, 2, 1, 7, 8, 10, 5, 9, 6], T6; I9; RI3, (0, 1, 2,
3, 4, 5)
114. Krenek, Ernst: String Quartet, No.6, Op.78, [0, 10, 11, 8, 1, 9, 3, 7, 2, 4, 6, 5], T6; I3; RI9, (0, 1, 2,
3, 4, 5)
115. Krenek, Ernst: Symphonic Elegy for String Orchestra, Op.105, [0, 1, 9, 11, 10, 2, 3, 7, 6, 8, 4, 5],
T6; I5; RI11, (0, 1, 2, 3, 4, 5)
116. Krenek, Ernst: Zwölf Variationen in Drei Satzen, [0, 1, 3, 10, 2, 5, 11, 7, 4, 9, 6, 8], T6; I9; RI3, (0,
2, 3, 4, 5, 7)
117. Krenek, Ernst: Zwölf Variationen in Drei Sätzen, Op.79, [0, 1, 3, 10, 2, 5, 11, 7, 4, 9, 8, 6], T6; I9;
RI3, (0, 2, 3, 4, 5, 7)
118. Kukuck, Felicitas: ‘Der Gottesknecht’: 6. Kantate, [0, 11, 10, 1, 2, 3, 8, 9, 6, 5, 7, 4], T6; I7; RI1, (0,
1, 2, 3, 4, 5)
119. Lackner, Peter: ‘An alle Außerirdischen’. Kanon für drei Singstimmen, Kontrabaß und Klavier, [0, 4,
9, 7, 11, 2, 5, 1, 8, 10, 6, 3], T6; I5; RI11, (0, 2, 4, 5, 7, 9)
120. Lackner, Peter: ‘Es fiel ein Reif in der Frühlingsnacht’ für Singstimme und ein Melodie-Instrument,
[0, 9, 4, 7, 2, 5, 1, 8, 10, 11, 3, 6], T6; I3; RI9, (0, 2, 4, 5, 7, 9)
121. Lackner, Peter: ‘Euphorbia obesa’. Kanon für Oboe, Englischhorn und Fagott., [0, 10, 2, 6, 8, 4, 1,
9, 11, 3, 7, 5], T1,3,5,7,9,11; I1,3,5,7,9,11; RI2,4,6,8,10,12, (0, 2, 4, 6, 8, 10)
122. Lackner, Peter: ‘Flügelaltar’ für Klavier, [0, 9, 11, 10, 2, 7, 1, 8, 4, 5, 3, 6], T6; I3; RI9, (0, 2, 3, 4,
5, 7)
123. Lackner, Peter: ‘Venus-Quadrat’ für Violine und Klavier, [0, 7, 2, 5, 9, 10, 11, 6, 8, 4, 3, 1], T6; I1;
RI7, (0, 2, 4, 5, 7, 9)
124. Lackner, Peter: 2. Kanonzyklus, [0, 10, 2, 7, 9, 5, 11, 3, 1, 8, 4, 6], T6; I1; RI7, (0, 2, 4, 5, 7, 9)
125. Lackner, Peter: Das Buch der Wandlungen I für Frauenstimmen und,oder Klavier, [0, 8, 3, 5, 1, 10,
7, 11, 4, 2, 6, 9], T6; I7; RI1, (0, 2, 4, 5, 7, 9)
126. Lackner, Peter: INITIUM TRIPLEX. 28. Juni 2016; für drei Tasteninstrumente, [0, 1, 2, 3, 4, 5, 6,
7, 8, 9, 10, 11], T6; I11; RI5, (0, 1, 2, 3, 4, 5)
127. Lackner, Peter: KANON für A, O & Gsellmanns Weltmaschine. 8. Oktober 1958,2008, [0, 8, 10, 4,
2, 6, 9, 1, 11, 5, 7, 3], T1,3,5,7,9,11; I1,3,5,7,9,11; RI2,4,6,8,10,12, (0, 2, 4, 6, 8, 10)
128. Lackner, Peter: Kanon T2 à 6, [0, 5, 2, 7, 4, 9, 6, 11, 8, 1, 10, 3], T6; I3; RI9, (0, 2, 4, 5, 7, 9)
129. Lackner, Peter: Kanon T3 à 4, [0, 2, 7, 3, 5, 10, 6, 8, 1, 9, 11, 4], T6; I11; RI5, (0, 2, 4, 5, 7, 9)
130. Lackner, Peter: Kanon T4 á 3, [0, 5, 7, 2, 4, 9, 11, 6, 8, 1, 3, 10], T6; I3; RI9, (0, 2, 4, 5, 7, 9)
131. Lackner, Peter: Kanon T6 á 2, [0, 10, 8, 3, 1, 5, 6, 4, 2, 9, 7, 11], T6; I7; RI1, (0, 2, 4, 5, 7, 9)
132. Lackner, Peter: Kanon für Blockflötenquartett. April 2005, [0, 10, 11, 3, 1, 2, 8, 7, 9, 5, 4, 6], T6;
12-TONE ANTHOLOGY | 1092
171. Mamlok, Ursula: Haiku Settings, No.5, [0, 11, 8, 7, 4, 3, 5, 6, 9, 10, 1, 2], T2,6,10; I1,5,9; RI3,7,11,
(0, 1, 4, 5, 8, 9)
172. Mamlok, Ursula: Panta Rhei, [0, 7, 4, 11, 8, 3, 10, 9, 6, 2, 5, 1], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4,
5, 8, 9)
173. Mamlok, Ursula: Panta Rhei, secondary row (mvt 4, Piano), [0, 11, 8, 3, 4, 7, 2, 1, 6, 9, 10, 5],
T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
174. Martino, Donald: Notturno (Row B), [0, 7, 11, 10, 9, 8, 2, 1, 6, 3, 4, 5], T6; I1; RI7, (0, 1, 2, 3, 4, 5)
175. Matthias, Hauer Josef: Zwölftonspiel für Holzbläser, Streicher und Klavier. April 1951, [0, 4, 9, 11,
7, 2, 3, 6, 8, 10, 5, 1], T6; I5; RI11, (0, 2, 4, 5, 7, 9)
176. Messiaen, Olivier: Livre d’orgue, [0, 1, 11, 2, 10, 3, 9, 4, 8, 5, 7, 6], T6; I7; RI1, (0, 1, 2, 3, 4, 5)
177. Mittendorfer, Josef: aleatoric row, [0, 2, 7, 1, 8, 6, 10, 5, 4, 11, 3, 9], T3,9; I5,11; RI2,8, (0, 1, 2, 6,
7, 8)
178. Moevs, Robert: Musica da Camera, [0, 1, 11, 3, 4, 2, 9, 10, 8, 7, 5, 6], T6; I9; RI3, (0, 1, 2, 3, 4, 5)
179. Morris, Robert: By Far, [0, 1, 4, 11, 3, 2, 6, 7, 5, 10, 8, 9], T6; I9; RI3, (0, 1, 2, 3, 4, 5)
180. Morris, Robert: Clash, [0, 3, 11, 10, 8, 1, 7, 9, 2, 6, 4, 5], T6; I5; RI11, (0, 2, 3, 4, 5, 7)
181. Morris, Robert: Concerto for Piano and Strings, [0, 1, 6, 11, 7, 5, 10, 8, 4, 3, 2, 9], T3,9; I3,9;
RI6,12, (0, 1, 2, 6, 7, 8)
182. Morris, Robert: Roundelay, row 1, [0, 7, 4, 11, 9, 2, 6, 3, 10, 5, 8, 1], T6; I5; RI11, (0, 2, 4, 5, 7, 9)
183. Morris, Robert: Roundelay, row 2, [0, 5, 9, 7, 8, 10, 4, 11, 1, 6, 2, 3], T6; I11; RI5, (0, 2, 3, 4, 5, 7)
184. Morris, Robert: Roundelay, row 5, [0, 3, 11, 4, 1, 2, 8, 10, 5, 9, 7, 6], T6; I9; RI3, (0, 1, 2, 3, 4, 5)
185. Morris, Robert: Roundelay, row 6, [0, 10, 5, 11, 4, 6, 8, 7, 2, 3, 9, 1], T3,9; I1,7; RI4,10, (0, 1, 2, 6,
7, 8)
186. Morris, Robert: Tête‐à‐Tête, [0, 3, 11, 10, 1, 8, 2, 6, 9, 5, 4, 7], T6; I5; RI11, (0, 2, 3, 4, 5, 7)
187. Nono, Luigi: Canti per tredeci, [0, 1, 11, 2, 10, 3, 9, 4, 8, 5, 7, 6], T6; I7; RI1, (0, 1, 2, 3, 4, 5)
188. Nono, Luigi: Composizione per orchestra, No.1, [0, 1, 7, 6, 2, 8, 4, 3, 5, 10, 11, 9], T3,9; I5,11;
RI2,8, (0, 1, 2, 6, 7, 8)
189. Nono, Luigi: Cori di Didone, [0, 1, 11, 2, 10, 3, 9, 4, 8, 5, 7, 6], T6; I7; RI1, (0, 1, 2, 3, 4, 5)
190. Nono, Luigi: Ha venido, [0, 6, 1, 7, 2, 8, 3, 9, 4, 10, 5, 11], T3,9; I5,11; RI2,8, (0, 1, 2, 6, 7, 8)
191. Nono, Luigi: Il canto sospeso, [0, 1, 11, 2, 10, 3, 9, 4, 8, 5, 7, 6], T6; I7; RI1, (0, 1, 2, 3, 4, 5)
192. Nono, Luigi: Intolleranza, Alto, [0, 6, 7, 1, 2, 8, 9, 3, 4, 10, 11, 5], T3,9; I5,11; RI2,8, (0, 1, 2, 6, 7,
8)
193. Nono, Luigi: Intolleranza, Tenor 1, [0, 6, 11, 5, 10, 4, 9, 3, 8, 2, 7, 1], T3,9; I1,7; RI4,10, (0, 1, 2, 6,
7, 8)
194. Nono, Luigi: Intolleranza, Tenor 2, [0, 1, 3, 2, 4, 5, 7, 6, 8, 9, 11, 10], T6; I11; RI5, (0, 1, 2, 3, 4, 5)
195. Nono, Luigi: La terra e la compagna (sketch), Series 1, [0, 1, 11, 2, 10, 3, 9, 4, 8, 5, 7, 6], T6; I7;
RI1, (0, 1, 2, 3, 4, 5)
196. Nono, Luigi: La terra e la compagna (sketch), Series 2, [0, 6, 1, 7, 11, 5, 2, 8, 10, 4, 3, 9], T3,9;
1095 | 12-TONE ANTHOLOGY
RI1, (0, 1, 2, 3, 4, 5)
217. Schnittke, Alfred: String Quartet, No.4, mvt 4, m.31, [0, 11, 9, 10, 8, 7, 6, 5, 3, 4, 2, 1], T6; I1; RI7,
(0, 1, 2, 3, 4, 5)
218. Schnittke, Alfred: Symphony, No.7, mvt 3, row X, [0, 1, 10, 11, 2, 3, 9, 4, 5, 8, 7, 6], T6; I7; RI1,
(0, 1, 2, 3, 4, 5)
219. Schnittke, Alfred: Symphony, No.7, mvt 3, row y, [0, 1, 11, 10, 8, 9, 7, 6, 5, 4, 3, 2], T6; I3; RI9, (0,
1, 2, 3, 4, 5)
220. Schoenberg, Arnold: Fantasy for Piano Four Hands, I, [0, 4, 2, 5, 3, 7, 11, 10, 1, 8, 9, 6], T6; I1;
RI7, (0, 2, 3, 4, 5, 7)
221. Schoenberg, Arnold: Four Pieces for Mixed Chorus, No.3, Op.27, No.3, [0, 11, 7, 9, 10, 8, 4, 5, 1,
3, 2, 6], T6; I1; RI7, (0, 1, 2, 3, 4, 5)
222. Schoenberg, Arnold: Modern Psalms, The First Psalm, Op.50c, [0, 11, 8, 4, 7, 3, 1, 5, 2, 6, 9, 10],
T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
223. Schoenberg, Arnold: Ode To Napoleon Buonaparte, Op.41 (view 1), [0, 11, 3, 4, 8, 7, 2, 1, 5, 6, 10,
9], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
224. Schoenberg, Arnold: Ode To Napoleon Buonaparte, Op.41 (view 2), [0, 1, 9, 8, 4, 5, 7, 6, 10, 11, 3,
2], T2,6,10; I3,7,11; RI1,5,9, (0, 1, 4, 5, 8, 9)
225. Schoenberg, Arnold: Psalm 130, De Profundis (unfinished), Op.50B, [0, 6, 5, 1, 11, 7, 4, 8, 9, 3, 2,
10], T3,9; I3,9; RI6,12, (0, 1, 2, 6, 7, 8)
226. Schoenberg, Arnold: Serenade, mvt 4, “Sonett”, Op.24, [0, 10, 11, 7, 8, 9, 4, 2, 5, 1, 3, 6], T6; I1;
RI7, (0, 1, 2, 3, 4, 5)
227. Schoenberg, Arnold: Suite, Op.29, [0, 4, 3, 7, 11, 8, 9, 6, 5, 1, 2, 10], T2,6,10; I1,5,9; RI3,7,11, (0,
1, 4, 5, 8, 9)
228. Schoenberg, Arnold: Three Songs, No.3, “Madchenlied”, Op.48, [0, 6, 8, 10, 2, 4, 9, 5, 3, 11, 7, 1],
T1,3,5,7,9,11; I1,3,5,7,9,11; RI2,4,6,8,10,12, (0, 2, 4, 6, 8, 10)
229. Schwantner, Joseph: …and the mountains rising nowhere, [0, 11, 8, 7, 4, 3, 2, 1, 10, 9, 6, 5],
T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
230. Schwantner, Joseph: Elixir (Consortium VIII), [0, 8, 4, 3, 7, 11, 10, 6, 9, 5, 1, 2], T2,6,10; I1,5,9;
RI3,7,11, (0, 1, 4, 5, 8, 9)
231. Schwantner, Joseph: Elixir (Consortium VIII), m.22, [0, 1, 4, 5, 8, 9, 6, 7, 10, 11, 2, 3], T2,6,10;
I3,7,11; RI1,5,9, (0, 1, 4, 5, 8, 9)
232. Schwantner, Joseph: In Aeternum (Derived Row), [0, 3, 11, 2, 10, 1, 7, 4, 8, 5, 9, 6], T6; I7; RI1, (0,
1, 2, 3, 4, 5)
233. Schwantner, Joseph: In Aeternum (Principal Row), [0, 4, 11, 6, 10, 5, 1, 9, 2, 7, 3, 8], T3,9; I1,7;
RI4,10, (0, 1, 2, 6, 7, 8)
234. Schwantner, Joseph: Modus Caelestis (A), [0, 6, 7, 1, 11, 5, 4, 10, 8, 2, 3, 9], T3,9; I3,9; RI6,12, (0,
1, 2, 6, 7, 8)
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235. Seiber, Mátyás: String Quartet, No.2, [0, 2, 3, 1, 4, 11, 5, 10, 7, 9, 8, 6], T6; I9; RI3, (0, 1, 2, 3, 4,
5)
236. Seiber, Mátyás: Ulysses, [0, 3, 4, 7, 8, 11, 1, 10, 9, 6, 5, 2], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8,
9)
237. Slonimsky, Nicholas: No. 1214a Thirds (Twelve-Tone Patterns), [0, 4, 8, 11, 3, 7, 6, 10, 2, 5, 9, 1],
T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
238. Slonimsky, Nicholas: No. 1215a Fourths (Twelve-Tone Patterns), [0, 5, 10, 3, 8, 1, 7, 2, 9, 4, 11, 6],
T6; I7; RI1, (0, 2, 4, 5, 7, 9)
239. Slonimsky, Nicholas: No. 1216a Foutths (Twelve-Tone Patterns), [0, 5, 10, 3, 7, 2, 9, 4, 8, 1, 6, 11],
T6; I11; RI5, (0, 2, 4, 5, 7, 9)
240. Slonimsky, Nicholas: No. 1218a Fourths (Twelve-Tone Patterns), [0, 5, 10, 3, 8, 1, 6, 11, 4, 9, 2, 7],
T6; I7; RI1, (0, 2, 4, 5, 7, 9)
241. Slonimsky, Nicholas: No. 1219a Fourths (Twelve-Tone Patterns), [0, 5, 2, 7, 4, 9, 6, 11, 8, 1, 10, 3],
T6; I3; RI9, (0, 2, 4, 5, 7, 9)
242. Slonimsky, Nicholas: No. 1220a Fifths (Twelve-Tone Patterns), [0, 7, 2, 9, 4, 11, 6, 1, 8, 3, 10, 5],
T6; I5; RI11, (0, 2, 4, 5, 7, 9)
243. Slonimsky, Nicholas: No. 1221a Fifths (Twelve-Tone Patterns), [0, 7, 2, 9, 4, 11, 6, 1, 8, 3, 10, 5],
T6; I5; RI11, (0, 2, 4, 5, 7, 9)
244. Slonimsky, Nicholas: No. 1222aFifths (Twelve-Tone Patterns), [0, 7, 2, 9, 4, 11, 6, 1, 8, 3, 10, 5],
T6; I5; RI11, (0, 2, 4, 5, 7, 9)
245. Slonimsky, Nicholas: No. 1223a Sixths (Twelve-Tone Patterns), [0, 8, 4, 1, 5, 9, 6, 2, 10, 7, 11, 3],
T2,6,10; I3,7,11; RI1,5,9, (0, 1, 4, 5, 8, 9)
246. Slonimsky, Nicholas: No. 1225a Sixths (Twelve-Tone Patterns), [0, 8, 4, 7, 11, 3, 6, 2, 10, 1, 5, 9],
T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
247. Slonimsky, Nicholas: No. 1226a Minor Sevenths (Twelve-Tone Patterns), [0, 10, 8, 2, 4, 6, 1, 11, 9,
3, 5, 7], T1,3,5,7,9,11; I1,3,5,7,9,11; RI2,4,6,8,10,12, (0, 2, 4, 6, 8, 10)
248. Slonimsky, Nicholas: No. 1227a Minor Sevenths (Twelve-Tone Patterns), [0, 10, 4, 2, 8, 6, 1, 11, 9,
7, 5, 3], T1,3,5,7,9,11; I1,3,5,7,9,11; RI2,4,6,8,10,12, (0, 2, 4, 6, 8, 10)
249. Slonimsky, Nicholas: No. 1228a Minor Sevenths (Twelve-Tone Patterns), [0, 10, 2, 4, 8, 6, 11, 1, 5,
3, 7, 9], T1,3,5,7,9,11; I1,3,5,7,9,11; RI2,4,6,8,10,12, (0, 2, 4, 6, 8, 10)
250. Slonimsky, Nicholas: No. 1229a Major Sevenths (Twelve-Tone Patterns), [0, 11, 10, 9, 8, 7, 1, 2, 3,
4, 5, 6], T6; I1; RI7, (0, 1, 2, 3, 4, 5)
251. Slonimsky, Nicholas: No. 1230a Major Sevenths (Twelve-Tone Patterns), [0, 11, 3, 4, 8, 7, 1, 2, 6,
5, 9, 10], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
252. Slonimsky, Nicholas: No. 1231a Major Sevenths (Twelve-Tone Patterns), [0, 11, 4, 3, 8, 7, 1, 2, 9,
10, 5, 6], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
253. Slonimsky, Nicholas: No. 1232a (Twelve-Tone Spirals), [0, 11, 1, 10, 2, 9, 3, 8, 4, 7, 5, 6], T6; I5;
12-TONE ANTHOLOGY | 1098
RI11, (0, 1, 2, 3, 4, 5)
254. Slonimsky, Nicholas: No. 1233a (Twelve-Tone Spirals), [0, 11, 1, 10, 2, 9, 3, 8, 4, 7, 5, 6], T6; I5;
RI11, (0, 1, 2, 3, 4, 5)
255. Slonimsky, Nicholas: No. 1234a (Twelve-Tone Spirals), [0, 11, 1, 10, 2, 9, 3, 8, 4, 7, 5, 6], T6; I5;
RI11, (0, 1, 2, 3, 4, 5)
256. Slonimsky, Nicholas: No. 1235a (Twelve-Tone Spirals), [0, 11, 1, 10, 2, 9, 3, 8, 4, 7, 5, 6], T6; I5;
RI11, (0, 1, 2, 3, 4, 5)
257. Slonimsky, Nicholas: No. 1236a Converging and Diverging Whole-Tone Scales (Twelve-Tone
Spirals), [0, 11, 9, 2, 4, 7, 5, 6, 8, 3, 1, 10], T6; I5; RI11, (0, 2, 4, 5, 7, 9)
258. Slonimsky, Nicholas: No. 1237a Converging and Diverging Whole-Tone Scales (Twelve-Tone
Spirals), [0, 11, 9, 7, 2, 4, 6, 5, 3, 1, 8, 10], T6; I5; RI11, (0, 2, 4, 5, 7, 9)
259. Slonimsky, Nicholas: No. 1239a Converging and Diverging Whole-Tone Scales (Twelve-Tone
Spirals), [0, 11, 2, 9, 4, 7, 6, 5, 8, 3, 10, 1], T6; I5; RI11, (0, 2, 4, 5, 7, 9)
260. Slonimsky, Nicholas: No. 1240a Converging and Diverging Whole-Tone Scales (Twelve-Tone
Spirals), [0, 11, 9, 2, 4, 7, 5, 3, 6, 8, 1, 10], T6; I5; RI11, (0, 2, 4, 5, 7, 9)
261. Slonimsky, Nicholas: No. 1242a Mutually Exclusive Diminished-Seventh Chords (Twelve-Tone
Spirals), [0, 8, 4, 11, 3, 7, 1, 9, 5, 10, 2, 6], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
262. Slonimsky, Nicholas: No. 1244a Crossing Sixths (Crossing Intervals), [0, 3, 8, 7, 4, 11, 1, 2, 10, 5,
6, 9], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
263. Slonimsky, Nicholas: No. 1245a Crossing Fifths (Crossing Intervals), [0, 5, 7, 10, 2, 3, 9, 8, 4, 1, 11,
6], T6; I11; RI5, (0, 2, 4, 5, 7, 9)
264. Slonimsky, Nicholas: No. 1246a Crossing Fourths (Crossing Intervals), [0, 7, 5, 2, 10, 9, 3, 4, 8, 11,
1, 6], T6; I1; RI7, (0, 2, 4, 5, 7, 9)
265. Slonimsky, Nicholas: No. 1247a Crossing Thirds (Crossing Intervals), [0, 3, 4, 11, 7, 8, 10, 5, 2, 1,
6, 9], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
266. Slonimsky, Nicholas: No. 1248a Crossing Thirds (Crossing Intervals), [0, 5, 4, 1, 8, 9, 11, 6, 3, 2, 7,
10], T2,6,10; I3,7,11; RI1,5,9, (0, 1, 4, 5, 8, 9)
267. Slonimsky, Nicholas: No. 1250a Crossing Seconds (Crossing Intervals), [0, 11, 2, 9, 4, 7, 6, 5, 8, 3,
10, 1], T6; I5; RI11, (0, 2, 4, 5, 7, 9)
268. Slonimsky, Nicholas: No. 1256a Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 3, 7, 10, 2, 5, 8, 11, 4, 6, 9, 1], T6; I11; RI5, (0, 2, 4, 5, 7, 9)
269. Slonimsky, Nicholas: No. 1256b Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 9, 4, 2, 11, 7, 5, 1, 8, 6, 3, 10], T6; I5; RI11, (0, 2, 4, 5, 7, 9)
270. Slonimsky, Nicholas: No. 1257a Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 4, 8, 11, 3, 7, 10, 1, 6, 9, 2, 5], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5,
8, 9)
271. Slonimsky, Nicholas: No. 1257b Quadritonal Arpeggios (Division of Twelve Tones into Four
1099 | 12-TONE ANTHOLOGY
Mutually Exclusive Triads), [0, 8, 4, 3, 11, 7, 5, 2, 10, 6, 1, 9], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5,
8, 9)
272. Slonimsky, Nicholas: No. 1269a Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 4, 8, 9, 1, 5, 6, 10, 2, 3, 7, 11], T2,6,10; I3,7,11; RI1,5,9, (0, 1, 4, 5,
8, 9)
273. Slonimsky, Nicholas: No. 1269b Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 8, 4, 3, 11, 7, 6, 2, 10, 9, 5, 1], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5,
8, 9)
274. Slonimsky, Nicholas: No. 1270a Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 4, 8, 10, 2, 6, 7, 11, 3, 5, 9, 1], T1,3,5,7,9,11; I1,3,5,7,9,11;
RI2,4,6,8,10,12, (0, 2, 4, 6, 8, 10)
275. Slonimsky, Nicholas: No. 1270b Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 8, 4, 2, 10, 6, 3, 11, 7, 5, 1, 9], T1,3,5,7,9,11; I1,3,5,7,9,11;
RI2,4,6,8,10,12, (0, 2, 4, 6, 8, 10)
276. Slonimsky, Nicholas: No. 1271a Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 4, 8, 11, 3, 7, 10, 2, 6, 9, 1, 5], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5,
8, 9)
277. Slonimsky, Nicholas: No. 1271b Quadritonal Arpeggios (Division of Twelve Tones into Four
Mutually Exclusive Triads), [0, 8, 4, 1, 9, 5, 2, 10, 6, 3, 11, 7], T2,6,10; I3,7,11; RI1,5,9, (0, 1, 4, 5,
8, 9)
278. Slonimsky, Nicholas: No. 1277a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 3, 7, 10, 2, 5, 8, 4, 11, 9, 6, 1], T6; I11; RI5, (0, 2, 4, 5, 7, 9)
279. Slonimsky, Nicholas: No. 1277b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 3, 7, 10, 5, 2, 4, 8, 11, 9, 6, 1], T6; I11; RI5, (0, 2, 4, 5, 7, 9)
280. Slonimsky, Nicholas: No. 1278a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 4, 8, 11, 3, 7, 10, 6, 1, 9, 5, 2], T2,6,10; I1,5,9; RI3,7,11, (0, 1,
4, 5, 8, 9)
281. Slonimsky, Nicholas: No. 1278b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 4, 8, 11, 7, 3, 6, 10, 1, 9, 5, 2], T2,6,10; I1,5,9; RI3,7,11, (0, 1,
4, 5, 8, 9)
282. Slonimsky, Nicholas: No. 1290a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 4, 8, 9, 1, 5, 6, 2, 10, 7, 3, 11], T2,6,10; I3,7,11; RI1,5,9, (0, 1,
4, 5, 8, 9)
283. Slonimsky, Nicholas: No. 1290b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 4, 8, 9, 5, 1, 10, 2, 6, 7, 3, 11], T2,6,10; I3,7,11; RI1,5,9, (0, 1,
4, 5, 8, 9)
284. Slonimsky, Nicholas: No. 1291a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
12-TONE ANTHOLOGY | 1100
Four Mutually Exclusive Triads), [0, 4, 8, 10, 2, 6, 7, 3, 11, 9, 5, 1], T1,3,5,7,9,11; I1,3,5,7,9,11;
RI2,4,6,8,10,12, (0, 2, 4, 6, 8, 10)
285. Slonimsky, Nicholas: No. 1291b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 4, 8, 10, 6, 2, 11, 3, 7, 9, 5, 1], T1,3,5,7,9,11; I1,3,5,7,9,11;
RI2,4,6,8,10,12, (0, 2, 4, 6, 8, 10)
286. Slonimsky, Nicholas: No. 1292a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 4, 8, 11, 3, 7, 10, 6, 2, 1, 9, 5], T2,6,10; I1,5,9; RI3,7,11, (0, 1,
4, 5, 8, 9)
287. Slonimsky, Nicholas: No. 1292b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into
Four Mutually Exclusive Triads), [0, 4, 8, 11, 7, 3, 2, 6, 10, 9, 5, 1], T2,6,10; I1,5,9; RI3,7,11, (0, 1,
4, 5, 8, 9)
288. Slonimsky, Nicholas: No. 1293a Two Major Hexachords (Miscellaneous Dodecaphonic Patterns),
[0, 2, 4, 5, 7, 9, 6, 8, 10, 11, 1, 3], T6; I3; RI9, (0, 2, 4, 5, 7, 9)
289. Slonimsky, Nicholas: No. 1293b Two Major Hexachords (Miscellaneous Dodecaphonic Patterns),
[0, 3, 1, 11, 10, 8, 6, 9, 7, 5, 4, 2], T6; I5; RI11, (0, 2, 3, 4, 5, 7)
290. Slonimsky, Nicholas: No. 1294a Two Major Hexachords (Miscellaneous Dodecaphonic Patterns),
[0, 9, 4, 7, 5, 2, 6, 3, 10, 1, 11, 8], T6; I3; RI9, (0, 2, 4, 5, 7, 9)
291. Slonimsky, Nicholas: No. 1294b Two Major Hexachords (Miscellaneous Dodecaphonic Patterns),
[0, 8, 11, 1, 10, 3, 6, 2, 5, 7, 4, 9], T6; I5; RI11, (0, 2, 3, 4, 5, 7)
292. Slonimsky, Nicholas: No. 1295a Two Major Hexachords (Miscellaneous Dodecaphonic Patterns),
[0, 2, 5, 4, 3, 1, 6, 8, 11, 10, 9, 7], T6; I11; RI5, (0, 1, 2, 3, 4, 5)
293. Slonimsky, Nicholas: No. 1295b Two Major Hexachords (Miscellaneous Dodecaphonic Patterns),
[0, 7, 9, 10, 11, 8, 6, 1, 3, 4, 5, 2], T6; I1; RI7, (0, 1, 2, 3, 4, 5)
294. Slonimsky, Nicholas: No. 1296a Two Major Hexachords (Miscellaneous Dodecaphonic Patterns),
[0, 7, 8, 3, 4, 11, 6, 1, 2, 9, 10, 5], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
295. Slonimsky, Nicholas: No. 1297a Two Major Hexachords (Miscellaneous Dodecaphonic Patterns),
[0, 11, 9, 7, 2, 4, 6, 5, 3, 1, 8, 10], T6; I5; RI11, (0, 2, 4, 5, 7, 9)
296. Slonimsky, Nicholas: No. 1297b Two Major Hexachords (Miscellaneous Dodecaphonic Patterns),
[0, 10, 8, 1, 3, 5, 6, 4, 2, 7, 9, 11], T6; I7; RI1, (0, 2, 4, 5, 7, 9)
297. Slonimsky, Nicholas: No. 1298a Two Major Hexachords (Miscellaneous Dodecaphonic Patterns),
[0, 11, 1, 10, 2, 9, 6, 5, 7, 4, 8, 3], T6; I5; RI11, (0, 1, 2, 3, 4, 5)
298. Slonimsky, Nicholas: No. 1299a Two Major Hexachords (Miscellaneous Dodecaphonic Patterns),
[0, 9, 2, 7, 4, 5, 6, 3, 8, 1, 10, 11], T6; I3; RI9, (0, 2, 4, 5, 7, 9)
299. Slonimsky, Nicholas: No. 1299b Two Major Hexachords (Miscellaneous Dodecaphonic Patterns),
[0, 11, 10, 1, 8, 3, 6, 5, 4, 7, 2, 9], T6; I5; RI11, (0, 2, 3, 4, 5, 7)
300. Slonimsky, Nicholas: No. 1300a Two Major Hexachords (Miscellaneous Dodecaphonic Patterns),
[0, 11, 1, 10, 2, 9, 6, 5, 7, 4, 8, 3], T6; I5; RI11, (0, 1, 2, 3, 4, 5)
1101 | 12-TONE ANTHOLOGY
301. Slonimsky, Nicholas: No. 1303 Invertible Dodecaphonic Progressions – With all Different Intervals,
[0, 2, 3, 7, 10, 5, 11, 4, 1, 9, 8, 6], T6; I11; RI5, (0, 2, 4, 5, 7, 9)
302. Slonimsky, Nicholas: No. 1304 Invertible Dodecaphonic Progressions – With all Different Intervals.
(On a Minor Triad), [0, 3, 7, 8, 10, 5, 11, 4, 2, 1, 9, 6], T6; I9; RI3, (0, 2, 4, 5, 7, 9)
303. Slonimsky, Nicholas: No. 1310 Invertible Dodecaphonic Progressions – With all Different Intervals,
[0, 5, 1, 4, 2, 3, 9, 8, 10, 7, 11, 6], T6; I11; RI5, (0, 1, 2, 3, 4, 5)
304. Slonimsky, Nicholas: No. 1311 Invertible Dodecaphonic Progressions – With all Different Intervals,
[0, 7, 9, 10, 2, 5, 11, 8, 4, 3, 1, 6], T6; I1; RI7, (0, 2, 4, 5, 7, 9)
305. Slonimsky, Nicholas: No. 1312 Invertible Dodecaphonic Progressions – With all Different Intervals,
[0, 7, 10, 2, 3, 5, 11, 9, 8, 4, 1, 6], T6; I11; RI5, (0, 2, 4, 5, 7, 9)
306. Slonimsky, Nicholas: No. 1314 Invertible Dodecaphonic Progressions – With all Different Intervals.
(White-Key Row of Six Notes), [0, 2, 7, 4, 5, 9, 3, 11, 10, 1, 8, 6], T6; I3; RI9, (0, 2, 4, 5, 7, 9)
307. Slonimsky, Nicholas: No. 1315 Invertible Dodecaphonic Progressions – With all Different Intervals.
(White-Key Row of Six Notes), [0, 4, 5, 2, 7, 9, 3, 1, 8, 11, 10, 6], T6; I3; RI9, (0, 2, 4, 5, 7, 9)
308. Slonimsky, Nicholas: No. 1316 Invertible Dodecaphonic Progressions – With all Different Intervals.
(White-Key Row of Six Notes), [0, 7, 4, 5, 9, 2, 8, 3, 11, 10, 1, 6], T6; I3; RI9, (0, 2, 4, 5, 7, 9)
309. Slonimsky, Nicholas: No. 1317 Invertible Dodecaphonic Progressions – With all Different Intervals.
(Mother Chord), [0, 11, 7, 4, 2, 9, 3, 8, 10, 1, 5, 6], T6; I5; RI11, (0, 2, 4, 5, 7, 9)
310. Slonimsky, Nicholas: No. 1318 Invertible Dodecaphonic Progressions – With all Different Intervals.
(Grandmother Chord), [0, 11, 1, 10, 2, 9, 3, 8, 4, 7, 5, 6], T6; I5; RI11, (0, 1, 2, 3, 4, 5)
311. Slonimsky, Nicholas: No. 230 Ultrapolation of Three Notes (Ditone Progression; Equal Division of
One Octave into Three Parts), [0, 6, 5, 11, 4, 10, 9, 3, 8, 2, 1, 7], T3,9; I1,7; RI4,10, (0, 1, 2, 6, 7,
8)
312. Slonimsky, Nicholas: No. 405 Ultrapolation of Two Notes (Sesquitone Progression; Equal Division
of One Octave into Four Parts), [0, 7, 5, 3, 10, 8, 6, 1, 11, 9, 4, 2], T6; I9; RI3, (0, 2, 4, 5, 7, 9)
313. Slonimsky, Nicholas: No. 407 Ultrapolation of Two Notes (Sesquitone Progression; Equal Division
of One Octave into Four Parts), [0, 8, 4, 3, 11, 7, 6, 2, 10, 9, 5, 1], T2,6,10; I1,5,9; RI3,7,11, (0, 1,
4, 5, 8, 9)
314. Slonimsky, Nicholas: No. 415 Ultrapolation of Two Notes (Sesquitone Progression; Equal Division
of One Octave into Four Parts), [0, 10, 5, 3, 1, 8, 6, 4, 11, 9, 7, 2], T6; I7; RI1, (0, 2, 4, 5, 7, 9)
315. Slonimsky, Nicholas: No. 453 Infrapolation of Two Notes (Sesquitone Progression; Equal Division
of One Octave into Four Parts), [0, 11, 10, 3, 2, 1, 6, 5, 4, 9, 8, 7], T6; I7; RI1, (0, 1, 2, 3, 4, 5)
316. Slonimsky, Nicholas: No. 459 Infrapolation of Two Notes (Sesquitone Progression; Equal Division
of One Octave into Four Parts), [0, 10, 8, 3, 1, 11, 6, 4, 2, 9, 7, 5], T6; I5; RI11, (0, 2, 3, 4, 5, 7)
317. Slonimsky, Nicholas: No. 469 Infrapolation of Two Notes (Sesquitone Progression; Equal Division
of One Octave into Four Parts), [0, 8, 4, 3, 11, 7, 6, 2, 10, 9, 5, 1], T2,6,10; I1,5,9; RI3,7,11, (0, 1,
4, 5, 8, 9)
12-TONE ANTHOLOGY | 1102
318. Slonimsky, Nicholas: No. 482 Infra-Interpolation (Sesquitone Progression; Equal Division of One
Octave into Four Parts), [0, 11, 1, 3, 2, 4, 6, 5, 7, 9, 8, 10], T6; I9; RI3, (0, 1, 2, 3, 4, 5)
319. Slonimsky, Nicholas: No. 485 Infra-Interpolation (Sesquitone Progression; Equal Division of One
Octave into Four Parts), [0, 10, 2, 3, 1, 5, 6, 4, 8, 9, 7, 11], T6; I9; RI3, (0, 2, 3, 4, 5, 7)
320. Slonimsky, Nicholas: No. 496 [Shostakovitch: Prelude No, 2] Inter-Ultrapolation (Sesquitone
Progression; Equal Division of One Octave into Four Parts), [0, 2, 4, 3, 5, 7, 6, 8, 10, 9, 11, 1], T6;
I1; RI7, (0, 2, 3, 4, 5, 7)
321. Slonimsky, Nicholas: No. 499 Inter-Ultrapolation (Sesquitone Progression; Equal Division of One
Octave into Four Parts), [0, 2, 7, 3, 5, 10, 6, 8, 1, 9, 11, 4], T6; I11; RI5, (0, 2, 4, 5, 7, 9)
322. Slonimsky, Nicholas: No. 505 Infra-Ultrapolation (Sesquitone Progression; Equal Division of One
Octave into Four Parts), [0, 10, 5, 3, 1, 8, 6, 4, 11, 9, 7, 2], T6; I7; RI1, (0, 2, 4, 5, 7, 9)
323. Slonimsky, Nicholas: No. 508 Infra-Ultrapolation (Sesquitone Progression; Equal Division of One
Octave into Four Parts), [0, 10, 8, 3, 1, 11, 6, 4, 2, 9, 7, 5], T6; I5; RI11, (0, 2, 3, 4, 5, 7)
324. Slonimsky, Nicholas: No. 512 Infra-Ultrapolation (Sesquitone Progression; Equal Division of One
Octave into Four Parts), [0, 8, 4, 3, 11, 7, 6, 2, 10, 9, 5, 1], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8,
9)
325. Slonimsky, Nicholas: No. 570 Ultrapolation of One Note (Whole-Tone Progression; Equal Division
of One Octave into Six Parts), [0, 3, 2, 5, 4, 7, 6, 9, 8, 11, 10, 1], T6; I1; RI7, (0, 2, 3, 4, 5, 7)
326. Slonimsky, Nicholas: No. 572 Ultrapolation of One Note (Whole-Tone Progression; Equal Division
of One Octave into Six Parts), [0, 5, 2, 7, 4, 9, 6, 11, 8, 1, 10, 3], T6; I3; RI9, (0, 2, 4, 5, 7, 9)
327. Slonimsky, Nicholas: No. 574 Ultrapolation of One Note (Whole-Tone Progression; Equal Division
of One Octave into Six Parts), [0, 7, 2, 9, 4, 11, 6, 1, 8, 3, 10, 5], T6; I5; RI11, (0, 2, 4, 5, 7, 9)
328. Slonimsky, Nicholas: No. 576 Ultrapolation of One Note (Whole-Tone Progression; Equal Division
of One Octave into Six Parts), [0, 9, 2, 11, 4, 1, 6, 3, 8, 5, 10, 7], T6; I7; RI1, (0, 2, 3, 4, 5, 7)
329. Slonimsky, Nicholas: No. 578 Ultrapolation of One Note (Whole-Tone Progression; Equal Division
of One Octave into Six Parts), [0, 11, 2, 1, 4, 3, 6, 5, 8, 7, 10, 9], T6; I9; RI3, (0, 1, 2, 3, 4, 5)
330. Slonimsky, Nicholas: No. 579 Ultrapolation of One Note (Whole-Tone Progression; Equal Division
of One Octave into Six Parts), [0, 11, 2, 1, 4, 3, 6, 5, 8, 7, 10, 9], T6; I9; RI3, (0, 1, 2, 3, 4, 5)
331. Slonimsky, Nicholas: No. 637 Permutations (Semitone Progression; Equal Division of One Octave
into Twelve Parts), [0, 1, 3, 2, 4, 5, 7, 6, 8, 9, 11, 10], T6; I11; RI5, (0, 1, 2, 3, 4, 5)
332. Slonimsky, Nicholas: No. 639 Permutations (Semitone Progression; Equal Division of One Octave
into Twelve Parts), [0, 1, 2, 5, 4, 3, 6, 7, 8, 11, 10, 9], T6; I11; RI5, (0, 1, 2, 3, 4, 5)
333. Slonimsky, Nicholas: No. 640 Permutations (Semitone Progression; Equal Division of One Octave
into Twelve Parts), [0, 11, 10, 7, 8, 9, 6, 5, 4, 1, 2, 3], T6; I1; RI7, (0, 1, 2, 3, 4, 5)
334. Slonimsky, Nicholas: No. 642 Permutations (Semitone Progression; Equal Division of One Octave
into Twelve Parts), [0, 1, 2, 3, 4, 5, 11, 10, 9, 8, 7, 6], T6; I11; RI5, (0, 1, 2, 3, 4, 5)
335. Slonimsky, Nicholas: No. 645 Permutations (Semitone Progression; Equal Division of One Octave
1103 | 12-TONE ANTHOLOGY
into Twelve Parts), [0, 1, 11, 10, 8, 9, 7, 6, 4, 5, 3, 2], T6; I3; RI9, (0, 1, 2, 3, 4, 5)
336. Slonimsky, Nicholas: No. 648-654 Permutations (Semitone Progression; Equal Division of One
Octave into Twelve Parts), [0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11], T6; I11; RI5, (0, 1, 2, 3, 4, 5)
337. Slonimsky, Nicholas: No. 655-657 Permutations (Semitone Progression; Equal Division of One
Octave into Twelve Parts), [0, 11, 10, 9, 8, 7, 6, 5, 4, 3, 2, 1], T6; I1; RI7, (0, 1, 2, 3, 4, 5)
338. Slonimsky, Nicholas: No. 749 Interpolation of Two Notes (Sesquiquadritone Progression; Equal
Division of Three Octaves into Four Parts), [0, 2, 7, 9, 11, 4, 6, 8, 1, 3, 5, 10], T6; I5; RI11, (0, 2, 4,
5, 7, 9)
339. Slonimsky, Nicholas: No. 753 Interpolation of Two Notes (Sesquiquadritone Progression; Equal
Division of Three Octaves into Four Parts), [0, 4, 8, 9, 1, 5, 6, 10, 2, 3, 7, 11], T2,6,10; I3,7,11;
RI1,5,9, (0, 1, 4, 5, 8, 9)
340. Slonimsky, Nicholas: No. 754 Interpolation of Two Notes (Sesquiquadritone Progression; Equal
Division of Three Octaves into Four Parts), [0, 5, 7, 9, 2, 4, 6, 11, 1, 3, 8, 10], T6; I3; RI9, (0, 2, 4,
5, 7, 9)
341. Slonimsky, Nicholas: No. 793 Infra-Ultrapolation (Sesquiquadritone Progression; Equal Division of
Three Octaves into Four Parts), [0, 11, 10, 9, 8, 7, 6, 5, 4, 3, 2, 1], T6; I1; RI7, (0, 1, 2, 3, 4, 5)
342. Slonimsky, Nicholas: No. 794 Infra-Ultrapolation (Sesquiquadritone Progression; Equal Division of
Three Octaves into Four Parts), [0, 10, 11, 9, 7, 8, 6, 4, 5, 3, 1, 2], T6; I1; RI7, (0, 1, 2, 3, 4, 5)
343. Slonimsky, Nicholas: No. 799 Infra-Infrapolation (Sesquiquadritone Progression; Equal Division of
Three Octaves into Four Parts), [0, 2, 7, 9, 11, 4, 6, 8, 1, 3, 5, 10], T6; I5; RI11, (0, 2, 4, 5, 7, 9)
344. Slonimsky, Nicholas: No. 822 Ultrapolation of One Note (Quinquetone Progression; Equal Division
of Five Octaves into Six Parts), [0, 11, 10, 9, 8, 7, 6, 5, 4, 3, 2, 1], T6; I1; RI7, (0, 1, 2, 3, 4, 5)
345. Slonimsky, Nicholas: No. 823 Ultrapolation of One Note (Quinquetone Progression; Equal Division
of Five Octaves into Six Parts), [0, 1, 10, 11, 8, 9, 6, 7, 4, 5, 2, 3], T6; I3; RI9, (0, 1, 2, 3, 4, 5)
346. Slonimsky, Nicholas: No. 824 Infrapolation of One Note (Quinquetone Progression; Equal Division
of Five Octaves into Six Parts), [0, 11, 10, 9, 8, 7, 6, 5, 4, 3, 2, 1], T6; I1; RI7, (0, 1, 2, 3, 4, 5)
347. Slonimsky, Nicholas: No. 875 Infrapolation of One Note (Quinquetone Progression; Equal Division
of Five Octaves into Six Parts), [0, 6, 5, 11, 10, 4, 3, 9, 8, 2, 1, 7], T3,9; I1,7; RI4,10, (0, 1, 2, 6, 7,
8)
348. Slonimsky, Nicholas: No. 903 Inter-Ultrapolation (Quinquetone Progression; Equal Division of Five
Octaves into Six Parts), [0, 4, 8, 5, 9, 1, 10, 2, 6, 3, 7, 11], T2,6,10; I3,7,11; RI1,5,9, (0, 1, 4, 5, 8,
9)
349. Slonimsky, Nicholas: No. 915 Miscellaneous Patterns (Diatessaron Progression; Equal Division of
Five Octaves into Twelve Parts), [0, 10, 2, 8, 4, 6, 5, 3, 7, 1, 9, 11], T1,3,5,7,9,11; I1,3,5,7,9,11;
RI2,4,6,8,10,12, (0, 2, 4, 6, 8, 10)
350. Slonimsky, Nicholas: No. 997 Infra-Interpolation (Diapente Progression; Equal Division of Seven
Octaves into Twelve Parts), [0, 8, 4, 7, 3, 11, 2, 10, 6, 9, 5, 1], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5,
12-TONE ANTHOLOGY | 1104
8, 9)
351. Smith, Hale: Contours for Orchestra, [0, 5, 6, 4, 10, 11, 7, 2, 1, 3, 9, 8], T3,9; I1,7; RI4,10, (0, 1, 2,
6, 7, 8)
352. Spinner, Leopold: Chamber Symphony, Op.28, [0, 11, 10, 6, 4, 5, 2, 1, 3, 7, 8, 9], T3,9; I1,7;
RI4,10, (0, 1, 2, 6, 7, 8)
353. Spinner, Leopold: Fantasy for Piano, Op.9 , [0, 1, 4, 5, 2, 3, 8, 9, 6, 7, 10, 11], T6; I11; RI5, (0, 1,
2, 3, 4, 5)
354. Spinner, Leopold: Ich lieb’ eine Blume for Four-part mixed Choir, [0, 11, 2, 4, 9, 7, 1, 3, 10, 8, 5,
6], T6; I5; RI11, (0, 2, 4, 5, 7, 9)
355. Spinner, Leopold: Sonata for Clarinet and Piano, Op.17, [0, 3, 4, 1, 2, 5, 11, 8, 7, 10, 9, 6], T6; I11;
RI5, (0, 1, 2, 3, 4, 5)
356. Spinner, Leopold: Sonatina for Cello and Piano, Op.26, [0, 1, 11, 2, 4, 3, 9, 10, 8, 5, 7, 6], T6; I9;
RI3, (0, 1, 2, 3, 4, 5)
357. Spinner, Leopold: String Quartet, No.2, Op.7, [0, 3, 4, 7, 8, 11, 1, 10, 9, 6, 5, 2], T2,6,10; I1,5,9;
RI3,7,11, (0, 1, 4, 5, 8, 9)
358. Spinner, Leopold: Trio for Clarinet, Cello and Piano, [0, 1, 7, 6, 5, 11, 10, 3, 4, 2, 9, 8], T3,9; I3,9;
RI6,12, (0, 1, 2, 6, 7, 8)
359. Steinbauer, Othmar: Violinsonate, No.1, Op.15, [0, 5, 2, 10, 7, 3, 11, 8, 4, 1, 6, 9], T6; I11; RI5, (0,
2, 4, 5, 7, 9)
360. Stockhausen, Karlheinz: Gruppen, [0, 8, 1, 10, 9, 11, 5, 3, 4, 7, 2, 6], T6; I3; RI9, (0, 1, 2, 3, 4, 5)
361. Stockhausen, Karlheinz: Klavierstück IX, [0, 8, 1, 10, 9, 11, 5, 3, 4, 7, 2, 6], T6; I3; RI9, (0, 1, 2, 3,
4, 5)
362. Stockhausen, Karlheinz: Klavierstück VII, [0, 8, 1, 10, 9, 11, 5, 3, 4, 7, 2, 6], T6; I3; RI9, (0, 1, 2, 3,
4, 5)
363. Stockhausen, Karlheinz: Klavierstück X, [0, 8, 1, 10, 9, 11, 5, 3, 4, 7, 2, 6], T6; I3; RI9, (0, 1, 2, 3,
4, 5)
364. Stockhausen, Karlheinz: Kreuzspiel, [0, 10, 9, 11, 7, 2, 8, 1, 4, 6, 5, 3], T6; I3; RI9, (0, 2, 3, 4, 5, 7)
365. Stockhausen, Karlheinz: Tierkreis, Cancer, [0, 7, 11, 10, 9, 8, 3, 6, 4, 1, 5, 2], T6; I1; RI7, (0, 1, 2,
3, 4, 5)
366. Stockhausen, Karlheinz: Tierkreis, Scorpio, [0, 4, 3, 11, 7, 8, 10, 9, 2, 5, 1, 6], T2,6,10; I1,5,9;
RI3,7,11, (0, 1, 4, 5, 8, 9)
367. Stravinsky, Igor: Agon, “Pas de deux”, “Four trios”, [0, 1, 4, 3, 2, 5, 6, 9, 8, 11, 10, 7], T6; I11; RI5,
(0, 1, 2, 3, 4, 5)
368. Stravinsky, Igor: Canticum Sacrum, II & IV, [0, 11, 1, 3, 4, 2, 7, 6, 9, 5, 8, 10], T6; I9; RI3, (0, 1, 2,
3, 4, 5)
369. Stravinsky, Igor: Fanfare for a New Theater, [0, 11, 1, 3, 4, 2, 5, 7, 6, 8, 10, 9], T6; I9; RI3, (0, 1, 2,
3, 4, 5)
1105 | 12-TONE ANTHOLOGY
370. Stravinsky, Igor: Movements, [0, 1, 7, 5, 6, 11, 9, 8, 10, 3, 4, 2], T3,9; I3,9; RI6,12, (0, 1, 2, 6, 7, 8)
371. Talma, Louise: Passacaglia and Fugue, [0, 4, 2, 9, 11, 7, 8, 3, 1, 6, 5, 10], T6; I5; RI11, (0, 2, 4, 5,
7, 9)
372. Talma, Louise: Six Etudes, Etude 4, [0, 1, 5, 9, 4, 8, 7, 6, 11, 2, 10, 3], T2,6,10; I3,7,11; RI1,5,9,
(0, 1, 4, 5, 8, 9)
373. Wang, Jian-Zhong: Five Pieces for Piano no. 1, “Pastorale” (variant), [0, 3, 5, 7, 4, 2, 11, 9, 6, 8, 10,
1], T6; I1; RI7, (0, 2, 3, 4, 5, 7)
374. Webern, Anton: Op.32 (un-finished), later sketch, [0, 1, 2, 11, 10, 9, 5, 4, 3, 6, 7, 8], T6; I5; RI11,
(0, 1, 2, 3, 4, 5)
375. Webern, Anton: 3 Lieder, “Erlösung”, Op.18, No.2, [0, 3, 11, 2, 10, 1, 9, 5, 8, 4, 7, 6], T6; I7; RI1,
(0, 1, 2, 3, 4, 5)
376. Webern, Anton: 3 Volkstexte, “Heiland, Unsere Missetaten…”, Op.17, No.3, [0, 9, 8, 7, 11, 10, 4,
5, 6, 3, 2, 1], T6; I1; RI7, (0, 1, 2, 3, 4, 5)
377. Webern, Anton: Concerto for Nine Instruments (Konzert), Op.24, [0, 11, 3, 4, 8, 7, 9, 5, 6, 1, 2, 10],
T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
378. Webern, Anton: Symphony, Op.21, [0, 3, 2, 1, 5, 4, 10, 11, 7, 8, 9, 6], T6; I11; RI5, (0, 1, 2, 3, 4, 5)
379. Webern, Anton: Variations for Orchestra, Op.30, [0, 1, 4, 3, 2, 5, 6, 9, 8, 7, 10, 11], T6; I11; RI5,
(0, 1, 2, 3, 4, 5)
380. Webern, Anton: Variations for Piano, Op.27, [0, 8, 7, 11, 10, 9, 3, 1, 4, 2, 6, 5], T6; I1; RI7, (0, 1,
2, 3, 4, 5)
381. Westergaard, Peter: Mr. and Mrs. Discobbolos, [0, 2, 1, 4, 3, 5, 8, 6, 10, 7, 11, 9], T6; I11; RI5, (0,
1, 2, 3, 4, 5)
382. Wolpe, Stefan: Four Studies on Basic Rows, No.1 – Study on Tritones, [0, 6, 7, 1, 2, 8, 11, 5, 10, 4,
9, 3], T3,9; I5,11; RI2,8, (0, 1, 2, 6, 7, 8)
383. Wolpe, Stefan: Four Studies on Basic Rows, No.2 – Study on Thirds, [0, 11, 9, 8, 10, 7, 6, 5, 3, 2, 4,
1], T6; I1; RI7, (0, 1, 2, 3, 4, 5)
384. Wolpe, Stefan: Four Studies on Basic Rows, No.4, “Basic Row” 1, [0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10,
11], T6; I11; RI5, (0, 1, 2, 3, 4, 5)
385. Wolpe, Stefan: Four Studies on Basic Rows, No.4, “Basic Row” 11, [0, 11, 2, 1, 4, 3, 6, 5, 8, 7, 10,
9], T6; I9; RI3, (0, 1, 2, 3, 4, 5)
386. Wolpe, Stefan: Four Studies on Basic Rows, No.4, “Basic Row” 2, [0, 2, 4, 6, 8, 10, 11, 1, 3, 5, 7,
9], T1,3,5,7,9,11; I1,3,5,7,9,11; RI2,4,6,8,10,12, (0, 2, 4, 6, 8, 10)
387. Wolpe, Stefan: Four Studies on Basic Rows, No.4, “Basic Row” 3, [0, 3, 1, 4, 2, 5, 6, 9, 7, 10, 8,
11], T6; I11; RI5, (0, 1, 2, 3, 4, 5)
388. Wolpe, Stefan: Four Studies on Basic Rows, No.4, “Basic Row” 4, [0, 4, 8, 2, 6, 10, 3, 7, 11, 5, 9,
1], T1,3,5,7,9,11; I1,3,5,7,9,11; RI2,4,6,8,10,12, (0, 2, 4, 6, 8, 10)
389. Wolpe, Stefan: Four Studies on Basic Rows, No.4, “Basic Row” 5, [0, 5, 2, 7, 4, 9, 6, 11, 8, 1, 10,
12-TONE ANTHOLOGY | 1106
Footnotes
1107 | WORKBOOK
WORKBOOK
DIGITAL WORKBOOK | 1108
DIGITAL WORKBOOK
Kyle Gullings
At the end of each chapter, you may find Assignments linked for that chapter. Those same assignments
are also gathered here in a single table for convenient browsing.
Use arrows in the cells on the header row to sort the table alphabetically. Use the “Search” function to
filter by the words in your search.
Book
Part Chapter Name Assignments
Order
Introduction to
I. 1. Inventing a Notation System (.pdf, .docx); Rubric (.pdf,
1 Western Musical
Fundamentals .docx)
Notation
Notation of Notes,
I.
2 Clefs, and Ledger 1. Writing Note Heads, Clefs, and Ledger Lines (.pdf, .docx)
Fundamentals
Lines
1. White Keys on the Piano and the Grand Staff (.pdf, .docx)
2. The Piano Keyboard and the Grand Staff with Ledger Lines
I. The Keyboard and
4 (.pdf, .docx)
Fundamentals the Grand Staff
3. Generic Intervals (.pdf, .docx)
4. Grand Staff Note Names with Ledger Lines (.pdf, .docx)
American Standard
I.
6 Pitch Notation 1. Writing and Identifying ASPN Labels (.pdf, .docx)
Fundamentals
(ASPN)
Book
Part Chapter Name Assignments
Order
Compound Meter
I. 1. Notes, Rests, Bar Lines (.pdf, .docx)
10 and Time
Fundamentals 2. Re-beaming (.pdf, .musx)
Signatures
Book
Part Chapter Name Assignments
Order
Roman Numerals
I.
20 and SATB Chord
Fundamentals
Construction
II.
Counterpoint Second-species 1. For the complete set of Fux exercises, see the Gradus ad
24
and Galant Counterpoint Parnassum chapter.
Schemas
II.
Counterpoint Third-species 1. For the complete set of Fux exercises, see the Gradus ad
25
and Galant Counterpoint Parnassum chapter.
Schemas
II.
Counterpoint Fourth-species 1. For the complete set of Fux exercises, see the Gradus ad
26
and Galant counterpoint Parnassum chapter.
Schemas
DIGITAL WORKBOOK | 1112
Book
Part Chapter Name Assignments
Order
II.
Counterpoint Fifth-Species 1. For the complete set of Fux exercises, see the Gradus ad
27
and Galant Counterpoint Parnassum chapter.
Schemas
II.
“Gradus ad
Counterpoint
28 Parnassum”
and Galant
Exercises
Schemas
Book
Part Chapter Name Assignments
Order
II.
Counterpoint Galant schemas –
32
and Galant Summary
Schemas
Book
Part Chapter Name Assignments
Order
Foundational
III. Form 35 Concepts for 1. Coming soon!
Phrase-level Forms
Book
Part Chapter Name Assignments
Order
Formal Sections in
III. Form 39
General
Book
Part Chapter Name Assignments
Order
IV. Diatonic
Introduction to
Harmony, 1. Introduction to harmony, cadences, and phrase endings (.pdf,
Harmony,
Tonicization, 44 .docx). Asks students to write and identify cadences using
Cadences, and
and only I (or i) and V chords in major and minor.
Phrase Endings
Modulation
IV. Diatonic
Harmony, 1. Strengthening Endings with V7 (.pdf, .docx, spotify playlist).
Strengthening
Tonicization, 45 Asks students to write and resolve V7 chords and provide
Endings with V7
and analysis of cadences in select passages.
Modulation
IV. Diatonic
1. Strengthening Endings with Strong Pre-Dominants (.pdf,
Harmony, Strengthening
.docx). Includes part writing from Roman numerals and
Tonicization, 46 Endings with Strong
figures, analysis of phrase endings, and a discussion question
and Predominants
of a number from Hamilton.
Modulation
IV. Diatonic
Harmony, 1. Embellishing tones (.pdf, .docx). Asks students to write
Tonicization, 47 Embellishing Tones embellishing tones in a two-voice texture and label
and embellishing tones in an excerpt.
Modulation
IV. Diatonic
Harmony, Strengthening 1. Strengthening Endings with Cadential [latex]^6_4[/latex]
Tonicization, 48 Endings with (.pdf, .docx, .mscz of score). Includes unfigured bass
and Cadential 6/4 exercises and analysis.
Modulation
IV. Diatonic
Prolonging Tonic at 1. Prolonging Tonic at Phrase Beginnings with V6 and Inverted
Harmony,
Phrase Beginnings V7 (.pdf, .docx, recording). Asks students to write from
Tonicization, 49
with V6 and Roman numerals and figures and complete a guided analysis.
and
Inverted V7s Download score.
Modulation
1117 | DIGITAL WORKBOOK
Book
Part Chapter Name Assignments
Order
IV. Diatonic
Performing
Harmony,
Harmonic Analysis 1. Performing Harmonic Analysis Using the Phrase Model (.pdf,
Tonicization, 50
Using the Phrase .docx). Asks students to analyze three short excerpts.
and
Model
Modulation
IV. Diatonic
Prolongation at
Harmony, 1. Prolongation at Phrase Beginnings using the Leading-tone
Phrase Beginnings
Tonicization, 51 Chord (.pdf, .docx). Asks students to write from Roman
using the
and numerals, complete analysis, and realize figured bass.
Leading-tone Chord
Modulation
IV. Diatonic
Harmony, 1. [latex]^6_4[/latex] chords as forms of prolongation (.pdf,
6/4 chords as forms
Tonicization, 52 .docx). Asks students to review previous concepts, write from
of prolongation
and Roman numerals, write from figures, and analyze excerpts.
Modulation
IV. Diatonic
Harmony, Plagal Motion as a 1. Plagal Motion as a Form of Prolongation (.pdf, .docx). Asks
Tonicization, 53 Form of students to identify bass lines and analyze an excerpt.
and Prolongation Download audio (.mscz).
Modulation
IV. Diatonic
Harmony, Mi (scale degree 3) 1. Mi [latex](\hat3)[/latex] in the bass at beginnings (.pdf,
Tonicization, 55 in the bass at .docx). Asks students to realize unfigured bass, analyze, and
and beginnings do a transcription with analysis.
Modulation
IV. Diatonic
Harmony,
Predominant 1. Pre-dominant Seventh Chords (.pdf, .docx). Asks students to
Tonicization, 56
Seventh Chords realize figured bass and analyze.
and
Modulation
DIGITAL WORKBOOK | 1118
Book
Part Chapter Name Assignments
Order
Book
Part Chapter Name Assignments
Order
Reinterpreting
V.
64 Augmented-Sixth 1. Coming soon!
Chromaticism
Chords
Reinterpreting
V.
65 Diminished-Seventh 1. Coming soon!
Chromaticism
Chords
2. Do step 1 for several cases and identify any that seem similar
to each other, and to the above. For instance, for the cases
given as V+ in the anthology, are many of them similar to the
chromatic passing motion in the Hensel, above? Can you find
any dramatic examples like the Bach? Do you see any other
recurring practices not described in this chapter?
V. Equal Divisions of
67 1. Coming soon!
Chromaticism the Octave
V. Chromatic
68 1. Coming soon!
Chromaticism Sequences
V. Parallel Chromatic
69 1. Coming soon!
Chromaticism Sequences
DIGITAL WORKBOOK | 1120
Book
Part Chapter Name Assignments
Order
V. The Omnibus
70 1. Coming soon!
Chromaticism Progression
Altered and
V.
71 Extended Dominant 1. Coming soon!
Chromaticism
Chords
Book
Part Chapter Name Assignments
Order
Book
Part Chapter Name Assignments
Order
Introduction to
VII. Popular
84 Form in Popular
Music
Music
Introduction to
VII. Popular
87 Harmonic Schemas
Music
in Pop Music
Book
Part Chapter Name Assignments
Order
VII. Popular
93 Pentatonic harmony 1. Coming soon!
Music
VIII. 20th-
and Pitch and pitch 1. Pitch and pitch class (.pdf, .mscz). Asks students to translate
95
21st-Century class between pitch class integers, note names, and staff notation.
Techniques
VIII. 20th-
and Intervals in Integer 1. Intervals (.pdf, .docx). Asks students to identify interval types
96 (integer notation) within pieces of music. Worksheet playlist
21st-Century Notation
Techniques
Book
Part Chapter Name Assignments
Order
VIII. 20th-
and Interval Class 1. Worksheet on Interval Class Vectors (.pdf, .docx). Asks
99
21st-Century Vectors students to calculate interval class vectors for several sets.
Techniques
Book
Part Chapter Name Assignments
Order
IX. Basics of
Twelve-Tone 104 Twelve-Tone 1. Coming soon!
Music Theory
IX. Naming
Twelve-Tone 105 Conventions for 1. Coming soon!
Music Rows
IX.
Twelve-Tone 106 Row Properties 1. Coming soon!
Music
IX.
History and Context
Twelve-Tone 109
of Serialism
Music
X. Core Principles of
110 1. Coming soon!
Orchestration Orchestration
X. Subtle color
111 1. Coming soon!
Orchestration changes
DIGITAL WORKBOOK | 1126
Book
Part Chapter Name Assignments
Order
X. Transcription from
112 1. Coming soon!
Orchestration piano
1127 | PDF WORKBOOK
PDF WORKBOOK
Kyle Gullings
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CHAPTERS IN
DEVELOPMENT
This section houses chapters that the authors are currently testing with their own students. While others
are welcome to read and use these chapters, instructors are advised not to plan syllabi around the chapters
in this section, as their content may change significantly over time. The authors are aware that the
chapters are missing examples, assignments, etc.
TWENTIETH-CENTURY RHYTHMIC TECHNIQUES | 1130
TWENTIETH-CENTURY RHYTHMIC
TECHNIQUES
Samuel Brady
KEY TAKEAWAYS
• Asymmetrical meters contain measures which are divided into unequal groupings of beats or divisions,
creating an uneven metrical pulse.
• Ametric music may or may not have an explicit meter signature, and is not played or sung in a strict
metrical style.
• In some cases, the meter written in the score may not be the meter that the listener perceives, which is an
issue of perceived versus notated meter.
• Changing meter is a method of composition which incorporates any change of meter.
• Polymeter occurs when two or more meters are performed simultaneously.
• Metric modulation is a rhythmic technique that smooths out abrupt tempo changes by introducing
subdivisions or groups of beats in the first tempo that match durations in the new tempo.
• Timeline notation is a contemporary metric technique that uses seconds as the measure of time, rather
than traditional bar lines and meters.
• Feathered beaming is a gradual change in the speed of notes within a single beam.
• Ostinato is a repeated rhythmic or pitched musical idea.
Many composers in the twentieth century expanded the traditional rhythmic palette of music in order to
explore new musical ideas. Below, nine less traditional rhythmic techniques are discussed.
Asymmetrical Meter
Music in asymmetrical meters contain measures which are divided into unequal groupings of beats or
1131 | TWENTIETH-CENTURY RHYTHMIC TECHNIQUES
divisions, creating an uneven metrical pulse. Listen to Example 1, whose meter is . Notice the division
of the two beats; one is grouped into three eighth notes, and the other into two eighth notes. This creates a
feeling of a long pulse followed by a short pulse:
One or more interactive elements has been excluded from this version of the text. You can view
them online here: https://viva.pressbooks.pub/openmusictheory/?p=10495
Example 1. “Ladies In Their Sensitivities” (1979) written by Stephen Sondheim, performed by Peter
Polycarpou.
This song is found in the musical Sweeny Todd (1979) whose music is by Stephen Sondheim
(1930–2021). The off-kilter feeling of the meter reinforces the anxious thought process of the singer;
he is a servant, recommending his boss for a shave, and is hesitant to do so due to his bootlicking status.
Now listen to Example 2, which is also in meter. Notice how the division of the two beats is grouped
in the opposite manner of the last example, with the first beat divided into two eighth notes, and the
second beat into three eighth notes:
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Example 2. “Aufbruch” (2008) measures 141–149 written by Rolf Rudin (b.1961), performed by the National
Chiayi University Band.
The measures juxtapose the more metrically typical measures, creating a call and response texture
between the woodwinds and brass. The character of the woodwinds is much more lively and playful as
compared to the staunch and powerful brass.
There are other asymmetrical time signatures whose beat division unit is the eighth note, such as , ,
, etc. Usually we can identify the groupings of the meter’s subdivisions by either how the notes are
beamed, or via explicit directions written in the music (e.g. a meter signature may be written as
, , or another way).
TWENTIETH-CENTURY RHYTHMIC TECHNIQUES | 1132
Now listen to Example 3, which is in the time signature (3+3+3+2+2), beginning at 0:17. Try
counting along with the example!
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Example 3. “Skinbleshanks: The Railway Cat” performed by the Cast Of The Motion Picture “Cats” (2019).
This song is found in the musical Cats (1981), with music written by Andrew Lloyd Webber (b. 1948).
The section could have been written in a prototypical meter; however, adding an extra eighth note
reinforces the lively nature of the character by not allowing the listener to fall into a regular rhythmic
pattern.
Asymmetrical meters can have other beat units, such as the sixteenth note or quarter note. Some
examples you may encounter are , , or . The beats of these time signatures are still divided or
grouped unequally, though their beat unit changes. Observe Example 4, which is first written in and
rewritten in :
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This is an excerpt of the “Unsquare Dance” (1961) by the Dave Brubeck Quartet (1951–2012). A typical
square dance is in a quadruple meter; however, this “unsquare dance” is in an asymmetrical meter, which
diverts the listener’s expectations. Notice how the rhythm can be written in both and meters, while
still sounding the same.
Ametric Music
Music written ametrically does not have any perceivable meter. Ametric music may or may not have an
explicit meter signature, and is not necessarily played or sung in a strict metrical style. In other words, the
1133 | TWENTIETH-CENTURY RHYTHMIC TECHNIQUES
notes may still have rhythmic values, but rhythmic durations might not result in a perceivable beat pattern.
This technique may allow for a performer’s own improvisation and phrasing, and is employed in cadenzas,
passages of free improvisation, Gregorian chant, and post-tonal music. Listen to Example 5, a
post-tonal song that does not have a time signature:
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Example 5. “The Cage” (c. 1904) written by Charles Ives (1874–1954), performed by Corinne Curry
(soprano) and Luise Vosgerchian (piano).
“The Cage” (circa 1904) is a song written by American composer Charles Ives (1874–1954). The ametric
nature of the song supports the anxious behavior of the leopard who is pacing his enclosure. Without a
strict metrical pulse and explicit meter signature, the rhythm of the piano is erratic, which showcases the
leopard’s temperament from his long-term confinement.
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Example 6. Measures 1–8 of “Density 21.5” (1936) written by Edgard Varèse (1883–1965), performed by
Emmanuel Pahud.
Though “Density 21.5” (1936) uses a written common time signature, the listener perceives ameter due to
various syncopations, tuplet rhythms, and obscured bar lines.
However, in some cases, the notated meter is different than the aurally perceived meter, as seen in
Example 7:
TWENTIETH-CENTURY RHYTHMIC TECHNIQUES | 1134
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In this excerpt, the time signature of is implied, as seen by the dotted barlines. This is not written
however, as the excerpt is notated in . Additionally, the pattern of accents and the harmonic resolutions
of the phrase further imply a meter.
Changing Meter
Changing meter is a method of composition which incorporates any change of meter. There are no limits
or rules to changing the meter, and it can happen multiple times within a piece, even measure to measure.
Listen to Example 8, which features several metric changes from to to to to to :
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Example 8. Measures 54–60 of “Libera Me” from Requiem (1995) written by Tui St. George Tucker
(1924–2004).
This is measures 54–60 of Tui St. George Tucker’s “Libera Me” from her Requiem (1995). The “Libera
Me” text fearfully depicts judgement day: “Deliver me, O Lord, from death eternal in that awful day,”
proceeds the line of text from this excerpt “When the heavens are shaken…” Tucker paints this chaos
musically in part through changing meter, showing how the “heavens are shaken” through the this metric
instability.
It is also important to note that the subdivision of the meter can change from simple to compound or vice
versa, as seen in Example 9:
1135 | TWENTIETH-CENTURY RHYTHMIC TECHNIQUES
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Example 9. Measures 10–19 of “Agean Festival Overture” (1967) written by Andreas Markis (1930–2005),
performed by the London Symphony Orchestra.
This is a condensed score of measures 10–19 of Andreas Markis’ Aegean Festival Overture (1967). It is
common for Greek folk music to incorporate changing meter, and Markis evokes this folk style by
including this compositional technique.
Changing meter doesn’t always include a constant subdivision. Instead, it can have a constant beat and a
changing subdivision. This is explored in more detail below (see Metric Modulation).
Polymeter
Polymeter occurs when two or more meters are performed simultaneously. This technique can be heard in
many modernist works—those created after ~1900—and the meters can be explicit or implicit. Explicit
metrical notation means that two or more meters are actually written, while implicit polymeter is only
implied. Example 10 demonstrates this concept explicitly:
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Example 10. “Ara táskor” (Harvest Song) (1931) written by Béla Bartók (1881–1945).
Example 10 shows “Ara táskor” (“Harvest Song”) (1931) written by Béla Bartók for two violins. Notice
that Bartók uses more than one meter simultaneously beginning in m. 11. Bartók was heavily inspired by
folk music, and he chose to write in polymeter in order to imitate this style.
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Example 11. “String Quartet in F Major,” Second Movement (1902) written by Maurice Ravel (1875–1937).
In the second movement his of “String Quartet in F Major” (1902), Ravel utilizes a time signature,
while also implying a melody in . In the first seven measures of this piece, the first violin and cello are
implied to be in a time signature, whereas the second violin and viola switch every other measure
between and an implied . Beginning in m. 8, the lower two instruments play in the written time
signature, whereas the upper two instruments imply .
Metric Modulation
Metric modulation is a means of smoothing out abrupt tempo changes by introducing subdivisions or
groups of beats in the first tempo that match durations in the new tempo.1 In this way, the change is near
indeterminable by the listener, and is only recognized in retrospect. Metric modulations are most
commonly notated with a “note value = note value” (for example, 𝅘𝅥 = 𝅘𝅥 ) indication above the music.
Observe Example 12 and the metric modulation which occurs in m. 4:
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Example 12. Metric modulation in which the division of the beat is kept the same.
Notice how the eighth note division stays the same between the and meters. Keeping the subdivision
the same is one technique of metric modulation.
1. Jane Piper Clendinning and Elizabeth West Marvin, The Musician's Guide to Theory and Analysis, 3rd ed. (New York: W.W. Norton &
Company, 2016), 834.
1137 | TWENTIETH-CENTURY RHYTHMIC TECHNIQUES
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Example 13. Metric modulation in which the beat is kept the same.
Notice how the quarter note beat of the first meter becomes the dotted quarter note beat of the new
meter. In this case, the eighth note division becomes faster.
Now observe metric modulations in the context of the composition “Canaries” written by Elliott Carter
(1908–2912) in Example 14:
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Example 14. Measures 1–24 of “Canaries” from “8 Pieces for 4 Timpani” (1949) written by Elliott Carter
(1908–2012).
Elliott Carter is well-known for his metric modulations. In this example, six measures from the end,
Carter sets up the transition to the meter by adding triplets into the prior measure. This creates the
effect of having the measure seem like an extension of the previous triplet rather than a meter change.
By doing this, Carter creates a seamless transition between the two meters. Carter also uses the
measure as a transition to the next measure by keeping the eighth note the same, again making the
transition between the two meters quite seamless.
Timeline Notation
Timeline notation is a contemporary metric technique that uses seconds as the measure of time, rather
than traditional bar lines and meters. Composers indicate groups of seconds in uneven groupings or an
even grid. This technique often results in a feeling of ameter. Timeline notation can also be accompanied
by graphic notation, in which pitch and durations are specified by nonstandard symbols, as seen in
Example 15:
TWENTIETH-CENTURY RHYTHMIC TECHNIQUES | 1138
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Example 15. “Threnody for the Victims of Hiroshima” (1960) written by Krzysztof Penderecki (1933–2020),
performed by Polish National Radio Symphony Orchestra.
Threnody for the Victims of Hiroshima (1960) was written by Krzystof Penderecki in 1960. It was
originally called 8’37”; later, it was renamed to Threnody, and was eventually dedicated to the victims of
the bombing of Hiroshima in 1964. This composition features timeline notation, graphic notation, and
extended string techniques to create a jarring chaos that evokes programmatic sounds such as sirens or
screams.
Example 16 shows the timeline notation from one of the systems on the ninth page of Threnody:
Example 16. Timeline notation from “Threnody for the Victims of Hiroshima,” page 9.
Notice how the number of seconds is split unevenly on this timeline. First there is a section that is 10
seconds in length, then one that is 7 seconds, followed by two more that are 10 seconds and 5 seconds
respectively.
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Example 17. “Water Walk for Solo Television Performer” (1959) written by John Cage (1912–1992),
performed by Katelyn King (b. 1992).
Water Walk for Solo Television Performer (1959) is a composition written by John Cage (1912–1992) that
was premiered on the television program “Lascia o Raddoppia” in Milan in 1959. The composition calls
for 34 different objects, as well as a prerecorded single track tape. Most of the materials relate to water in
1139 | TWENTIETH-CENTURY RHYTHMIC TECHNIQUES
some way; some objects include a bath tub, rubber duck, ice cubes, etc. Additionally, Cage also calls for
five radios and a grand piano.
Example 18 shows the timeline notation from one of the systems on the first page of Water Walk:
Example 18. Timeline notation from “Water Walk for Solo Television Performer” (1959), page 1.
Notice how the number of seconds is evenly split on this timeline, increasing by five seconds in each
interval.
Feathered Notes
Feathered beaming is a gradual change in the speed of notes within a single beam. One can distinguish
deceleration from acceleration based upon whether the value of the beam’s final note is longer or shorter
than the note that the beam began with. Feathered notes are shown in Example 19:
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In Example 19, the first line shows an acceleration while the second line shows a deceleration.
Feathered notes are considered to be an extended technique, most often heard in contemporary
compositions, sometimes including cadenzas and ametric works. Due to the unpredictable nature of the
acceleration or deceleration of the rhythm, feathered notes are not usually found in strictly metered
compositions.
Ostinato
An ostinato is a repeated rhythmic or pitched musical idea. This repetition can be a single measure or
multiple measures. Now listen to Example 20, one of the most well-known examples of an ostinato:
TWENTIETH-CENTURY RHYTHMIC TECHNIQUES | 1140
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Example 20. Measures 1–16 of “Mars, the Bringer of War” (1918) written by Gustav Holst (1874–1934),
performed by the Chicago Symphony Orchestra.
“Mars the Bringer of War” (1918) is the fourth movement of Gustav Holst’s suite The Planets, a
programmatic work where each movement is named for a planet. The underlying ostinato in this
movement creates both a foreboding and militaristic atmosphere, supporting the war-like nature of the of
the Roman god Mars for whom the planet is named.
Online Resources
• Asymmetrical Meter (lcsproductions.net)
• Introduction to Asymmetrical Meters (Ash Stemke)
• Compound and Asymmetric Meter (learnmusictheory.net)
• Creating Interesting Motion with Time Signature Changes (David Bawiec)
• Advanced Rhythm and Meter/Percieved vs. Notated Meter (Frank Koonce)
• Songs that use Polymeter and Polyrhythm (David Bennett)
• Intro to Metric Modulation (Philippe Macnab-Seguin)
• Metric Modulation (Beyond Music Theory)
• Feathered Notes (Steinberg.org)
• Ostinato (Music Theory Academy)
Assignments
1141 | TWENTIETH-CENTURY RHYTHMIC TECHNIQUES
• Coming soon!
Media Attributions
Timeline Notation from “Threnody for the Victims of Hiroshima” © Samuel Brady is licensed under a CC BY-SA (Attribution
ShareAlike) license
Timeline Notation from “Water Walk for Solo Television Performer” © Samuel Brady is licensed under a CC BY-SA (Attribution
ShareAlike) license
Footnotes
MEDIANTS | 1142
MEDIANTS
Mark Gotham
KEY TAKEAWAYS
Mediant chords are rooted a third away from the tonic. In chromatic harmony these are sometimes divided into 3
types:
1. Grade 1 (a.k.a. Diatonic): 2 common tones; mode change (one is major, the other is minor).
2. Grade 2 (a.k.a. Chromatic): 1 common tone; mode preserved (both major or both minor).
3. Grade 3 (a.k.a. Disjunct, Doubly-Chromatic): No common tones; mode change (one is major, the other is
minor).
One main focus in the previous chapter on neo-Riemannian progressions, is the connection between triads
with roots a third apart. For instance, the L-relation connects C-major with E-minor (in either direction,
i.e., both from C to E and vice versa). Another way of looking at these third-related chords is in terms of
“mediants”. Recall from the fundamentals part that the third scale degree ( ) is sometimes called the
“mediant” and the sixth ( ) is the “submediant”. And remember that the same goes for chords built on
those scale degrees: in C-major, the pitch A is the “submediant” scale degree, and the A-minor triad is the
“submediant” triad. Again, the roots are a third away from the tonic.
What does this have to do with chromatic harmony? Well, again as we saw in the neo-Riemannian
progressions chapter, third relations do not have to be diatonic. For example, if we’re in C-major, then
E-minor would count as a diatonic mediant as all the pitches are in C major, but E-major would not: the
G makes it chromatic in C-major. And it doesn’t stop there! Still taking C as our reference, the
mediant-related triads include those rooted on E and A, but also those on E and A : the roots are still a
third away from C.
1143 | MEDIANTS
In some (both English- and German-speaking) traditions the combined collection of possible mediants is
divided into three categories as shown in the embedded example score-figure and sections below.
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Mediants by FourScoreAndMore
Please note that these terms (“L” or “Leading-Tone Exchange”, and “R” or Relative) are as typically seen
in English-language music theory today. Despite that English-language tradition having its roots in
German music theory (notably from Hugo Riemann from whom “Neo-Riemannian” theory takes its
name), contemporary German music theory would typically discuss these relations with the
terms Gegenklang (G) and Parallel (P). This gets confusing, so please see the section on “Function and
Transformations” at the end of this chapter. For now, we’ll stick with the “LPR” terms used so far (in the
previous chapter).
• E -minor
• A -minor
Summary
In total, these three types or Grades cover all 8 individual mediant relations: all chords rooted a third
above or below (from C to A, A , E, and E ) and with each in major and minor (i.e., 4 root destinations x
2 qualities = 8). The following table summarises those 8 cases for the example of C major:
1145 | MEDIANTS
From
C
-Major -Minor
major
to:
‘Upper
Sharp’
L-related (Grade
E- mediant
1)
(Grade
2)
‘Upper
Flat’
Eb- mediant Grade 3
(Grade
2)
‘Lower
Sharp’
R-related (Grade
A- mediant
1)
(Grade
2)
‘Lower
Flat’
Ab- mediant Grade 3
(Grade
2)
E.g.
from C Modern German Modern English
major (Funktionstheorie) (Transformations)
to:
(example of tonic function)
E
(-) PRP
-minor
A
(-) PLP
-minor
An Example
Enough theory! Let’s close with a wonderful example of mediant relation in a song by Augusta Mary
Anne Holmès.
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Assignments
1. Harmonic analysis: analyse the first 10 measures of the Holmès example above using whichever you
prefer of Roman numeral and Functional labels.
2. Identify the type (including grade) of mediant that Holmès keeps using.
3. Do this step 1 analysis using the other terminological system (Roman numeral or Functional labels,
which you disprefer and didn’t use before).
EXAMPLES FOR SIGHT-COUNTING AND SIGHT-SINGING: LEVEL 1 | 1148
KEY TAKEAWAYS
• Simple meters are meters in which the beat divides into two, and then further subdivides into four. (To
review this topic see Simple Meter and Time Signatures.)
• Time signatures in simple meters express two things: how many beats are contained in each measure (the
top number), and the beat unit (the bottom number), which refers to the note value that is the beat.
• This chapter covers beat units of the quarter note and eighth note.
• This chapter covers singular beat divisions.
• A pickup note, also known as an anacrusis, is a note that happens before the first measure of a musical
work. This chapter includes anacruses.
• This chapter covers the major and minor modes.
• Melodies within this chapter include stepwise motion.
• This chapter includes two-part rhythms and two-part melodies.
This chapter includes a series of gradated rhythms and melodies which can be used for practicing
sight-counting and sight-singing. Conducting while performing these exercises is highly recommended as
it can help the performer keep a steady tempo. Knowledge of simple meters, note and rest values, clefs,
and key signatures is assumed from the beginning of this chapter. All examples are author-composed.
Section 1
The following eight exercises are in simple duple meter. The quarter note is the beat unit for the first four
exercises and the eighth note is the beat unit for the second four exercises.
1149 | EXAMPLES FOR SIGHT-COUNTING AND SIGHT-SINGING: LEVEL 1
The following two exercises are two-part rhythms that could be performed by counting one line and
clapping the other. Which line is counted and which is clapped can and should be interchanged. When
clapping a sustained value, try to keep your hands together for the duration of the note and only separate
them when clapping again or when performing a rest.
Practice tips:
EXAMPLES FOR SIGHT-COUNTING AND SIGHT-SINGING: LEVEL 1 | 1150
• Use a metronome
• Slow down the tempo if needed
• Practice counting/clapping one line at a time
• Break the exercise into smaller parts
The following four exercises are in simple duple meter and the major mode. All melodic exercises in this
chapter exclusively use stepwise motion in the treble or bass clef, contain no more than four sharps or flats
in their key signature, and have an octave or smaller plagal range. For now, exercises will always begin on
the first scale degree.
The following four exercises are in simple duple meter and the minor mode. These four exercises are the
same melody as M1; however, each uses a different form of the minor scale. Each form of minor contains
a unique pattern of accidentals in the upper tetrachord.
1151 | EXAMPLES FOR SIGHT-COUNTING AND SIGHT-SINGING: LEVEL 1
The following two exercises are two-part melodies whose lines could be performed in tandem as a duet or
by an individual playing one line on a non-wind instrument and singing the other. Which line is played
and which is sung can and should be interchanged. Both exercises are in simple duple meter. The first
exercise is in the major mode and the second is in the minor mode.
Section 2
The following eight exercises are in simple quadruple meter. Beat divisions are now included.
EXAMPLES FOR SIGHT-COUNTING AND SIGHT-SINGING: LEVEL 1 | 1152
The following two exercises are two-part rhythms in simple quadruple meter.
1153 | EXAMPLES FOR SIGHT-COUNTING AND SIGHT-SINGING: LEVEL 1
The following four exercises are in simple quadruple meter and the major mode. Common time, which is
equivalent to , is now included.
The following four exercises are in simple quadruple meter and the minor mode.
EXAMPLES FOR SIGHT-COUNTING AND SIGHT-SINGING: LEVEL 1 | 1154
The following two exercises are two-part melodies in simple quadruple meter.
1155 | EXAMPLES FOR SIGHT-COUNTING AND SIGHT-SINGING: LEVEL 1
Section 3
The following eight exercises are in simple triple meter. Anacruses and dotted rhythmic values that have
the duration of a full measure are now included.
EXAMPLES FOR SIGHT-COUNTING AND SIGHT-SINGING: LEVEL 1 | 1156
The following two exercises are two-part rhythms in simple triple meter.
1157 | EXAMPLES FOR SIGHT-COUNTING AND SIGHT-SINGING: LEVEL 1
The following four exercises are in simple triple meter and the major mode. Melodies can now begin on
the third or fifth scale degree of the given key.
The following four exercises are in simple triple meter and the minor mode.
EXAMPLES FOR SIGHT-COUNTING AND SIGHT-SINGING: LEVEL 1 | 1158
The following two exercises are two-part melodies in simple triple meter.
1159 | EXAMPLES FOR SIGHT-COUNTING AND SIGHT-SINGING: LEVEL 1
Online Resources
• Melodies for Sight Singing with Recordings (How to Sing Smarter)
• Melodies for Sight Singing (Chorale Tech)
• Melodies for Sight Singing (Ronnie Sanders)
• Rhythms for Sight Counting (Summit Intermediate School Bands)
• Rhythms for Sight Counting (Blue Sky Music)
• Sight Singing by Level (YouTube)
Media Attributions
Section 1 Rhythms © Levi Langolf is licensed under a CC BY-SA (Attribution ShareAlike) license
Section 1 Two-part Rhythms © Levi Langolf is licensed under a CC BY-SA (Attribution ShareAlike) license
Section 1 Major Melodies © Levi Langolf is licensed under a CC BY-SA (Attribution ShareAlike) license
EXAMPLES FOR SIGHT-COUNTING AND SIGHT-SINGING: LEVEL 1 | 1160
Section 1 Minor Melodies © Levi Langolf is licensed under a CC BY-SA (Attribution ShareAlike) license
Section 1 Two-part Melodies © Levi Langolf is licensed under a CC BY-SA (Attribution ShareAlike) license
Section 2 Rhythms © Levi Langolf is licensed under a CC BY-SA (Attribution ShareAlike) license
Section 2 Two-Part Rhythms © Levi Langolf is licensed under a CC BY-SA (Attribution ShareAlike) license
4/4 Time Signature © Chelsey Hamm is licensed under a CC BY-SA (Attribution ShareAlike) license
Section 2 Major Melodies © Levi Langolf is licensed under a CC BY-SA (Attribution ShareAlike) license
Section 2 Minor Melodies © Levi Langolf is licensed under a CC BY-SA (Attribution ShareAlike) license
Section 2 Two-part Melodies © Levi Langolf is licensed under a CC BY-SA (Attribution ShareAlike) license
Section 3 Rhythms © Levi Langolf is licensed under a CC BY-SA (Attribution ShareAlike) license
Section 3 Two-part Rhythms © Levi Langolf is licensed under a CC BY-SA (Attribution ShareAlike) license
Section 3 Major Melodies © Levi Langolf is licensed under a CC BY-SA (Attribution ShareAlike) license
Section 3 Minor Melodies © Levi Langolf is licensed under a CC BY-SA (Attribution ShareAlike) license
Section 3 Two-part Melodies © Levi Langolf is licensed under a CC BY-SA (Attribution ShareAlike) license
1161 | EXAMPLES FOR SIGHT-COUNTING AND SIGHT-SINGING: LEVEL 2
KEY TAKEAWAYS
• No new beat units, time signatures, or beat divisions are introduced in this chapter.
• This chapter includes dotted rhythmic values that have a duration smaller than a full measure. (To review
this topic see Rhythmic and Rest Values.)
• A tie is a curved line that connects two or more notes with the same pitch. Tied-to notes are not
rearticulated.
• Dynamics and articulations are covered in this chapter. (To review this topic see Other Aspects of
Notation.)
• Melodies within this chapter include leaps of thirds, fourths, fifths, and octaves within the tonic triad.
• This chapter includes two-part rhythms and two-part melodies.
This chapter builds upon the prior gradated rhythms and melodies. Previously studied meters and key
signatures are included. Knowledge of dynamics, articulations, and phrase markings is assumed from the
beginning of this chapter. All exercises are author-composed.
Section 4
The following eight exercises contain dotted rhythmic values that do not have the duration of a full
measure. Dynamic markings as well as crescendos and decrescendos are now included.
EXAMPLES FOR SIGHT-COUNTING AND SIGHT-SINGING: LEVEL 2 | 1162
The following two exercises contain dotted rhythmic values that do not have the duration of a full
measure.
1163 | EXAMPLES FOR SIGHT-COUNTING AND SIGHT-SINGING: LEVEL 2
The following four exercises are melodies in the major mode that contain adjacent leaps of thirds and
fourths within the tonic triad.
EXAMPLES FOR SIGHT-COUNTING AND SIGHT-SINGING: LEVEL 2 | 1164
The following four exercises are melodies in the minor mode that contain adjacent leaps of thirds and
fourths within the tonic triad.
The following two exercises are two-part melodies that contain adjacent leaps of thirds and fourths within
the tonic triad.
1165 | EXAMPLES FOR SIGHT-COUNTING AND SIGHT-SINGING: LEVEL 2
Section 5
The following eight exercises are rhythms that contain ties that are within measures. Articulations are now
included.
EXAMPLES FOR SIGHT-COUNTING AND SIGHT-SINGING: LEVEL 2 | 1166
The following two exercises are two-part rhythms that contain ties that are within measures.
1167 | EXAMPLES FOR SIGHT-COUNTING AND SIGHT-SINGING: LEVEL 2
The following four exercises are melodies in the major mode that contain more frequent adjacent leaps of
thirds and fourths within the tonic triad.
The following four exercises are melodies in the minor mode that contain more frequent adjacent leaps of
thirds and fourths within the tonic triad.
EXAMPLES FOR SIGHT-COUNTING AND SIGHT-SINGING: LEVEL 2 | 1168
The following two exercises are two-part melodies that contain more frequent adjacent leaps of thirds and
fourths within the tonic triad.
1169 | EXAMPLES FOR SIGHT-COUNTING AND SIGHT-SINGING: LEVEL 2
Section 6
The following eight exercises are rhythms that contain ties that extend across bar lines.
EXAMPLES FOR SIGHT-COUNTING AND SIGHT-SINGING: LEVEL 2 | 1170
The following two exercises are two-part rhythms that contain ties that extend across bar lines.
1171 | EXAMPLES FOR SIGHT-COUNTING AND SIGHT-SINGING: LEVEL 2
The following four exercises are melodies in the major mode that contain larger leaps of fifths and octaves
within the tonic triad.
EXAMPLES FOR SIGHT-COUNTING AND SIGHT-SINGING: LEVEL 2 | 1172
The following four exercises are melodies in the minor mode that contain larger leaps of fifths and octaves
within the tonic triad.
1173 | EXAMPLES FOR SIGHT-COUNTING AND SIGHT-SINGING: LEVEL 2
The following two exercises are two-part melodies that contain larger leaps of fifths and octaves within
the tonic triad.
EXAMPLES FOR SIGHT-COUNTING AND SIGHT-SINGING: LEVEL 2 | 1174
Online Resources
• Melodies for Sight Singing with Recordings (How to Sing Smarter)
• Melodies for Sight Singing (Chorale Tech)
• Melodies for Sight Singing (Ronnie Sanders)
• Rhythms for Sight Counting (Summit Intermediate School Bands)
• Rhythms for Sight Counting (Blue Sky Music)
• Sight Singing by Level (YouTube)
Media Attributions
Section 4 Rhythms © Levi Langolf is licensed under a CC BY-SA (Attribution ShareAlike) license
Section 4 Two-part Rhythms © Levi Langolf is licensed under a CC BY-SA (Attribution ShareAlike) license
1175 | EXAMPLES FOR SIGHT-COUNTING AND SIGHT-SINGING: LEVEL 2
Section 4 Major Melodies © Levi Langolf is licensed under a CC BY-SA (Attribution ShareAlike) license
Section 4 Minor Melodies © Levi Langolf is licensed under a CC BY-SA (Attribution ShareAlike) license
Section 4 Two-part Melodies © Levi Langolf is licensed under a CC BY-SA (Attribution ShareAlike) license
Section 5 Rhythms © Levi Langolf is licensed under a CC BY-SA (Attribution ShareAlike) license
Section 5 Two-part Rhythms © Levi Langolf is licensed under a CC BY-SA (Attribution ShareAlike) license
Section 5 Major Melodies © Levi Langolf is licensed under a CC BY-SA (Attribution ShareAlike) license
Section 5 Minor Melodies © Levi Langolf is licensed under a CC BY-SA (Attribution ShareAlike) license
Section 5 Two-part Melodies © Levi Langolf is licensed under a CC BY-SA (Attribution ShareAlike) license
Section 6 Rhythms © Levi Langolf is licensed under a CC BY-SA (Attribution ShareAlike) license
Section 6 Two-part Rhythms © Levi Langolf is licensed under a CC BY-SA (Attribution ShareAlike) license
Section 6 Major Melodies © Levi Langolf is licensed under a CC BY-SA (Attribution ShareAlike) license
Section 6 Minor Melodies © Levi Langolf is licensed under a CC BY-SA (Attribution ShareAlike) license
Section 6 Two-part Melodies © Levi Langolf is licensed under a CC BY-SA (Attribution ShareAlike) license
HYPERMETER | 1176
HYPERMETER
Mark Gotham
KEY TAKEAWAYS
• Hypermeter refers to the use of strong/weak metrical accent at levels beyond the notated meter.
• Western classical music typically does this grouping by 2s (and so then 4s, 8s, etc.), just like it
does with metrical grouping within the notated meter.
• Grouping in 3s is rarer, partly because …
• Grouping in 3s at multiple metrical levels (within or beyond the meter) is rare
We first met the idea of Hypermeter briefly in the Other Rhythmic Essentials chapter. As discussed there,
the strong-weak style of patterns we have seen within measures do not necessarily only operate within the
measure and stop at the measure-length pulse. Especially when we have short measures and fast music
(like a presto in 3/4), there can be a strong sense of such metrical relations at “higher”, multi-measure
levels. In Western tonal music, just as the most common division/grouping within measures is by 2s (and
thus 4s, 8s etc), so it is also with hypermeter. That said, division/grouping by 3s is also eminently
possible, as are 5s and 7s, and when you look more closely, you notice that interesting composers
frequently rove between these options fluidly in a way that would be extremely unusual at the counting,
tactus, beat level.
the instruction also makes explicit the assumption that the grouping had been in 2s and 4s up to that
point. Example 1 reproduces the 4-measure grouping seen in the Other Rhythmic Essentials chapter:
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Example 1. 4-measure hypermeter at the start of Beethoven 9/iv from the Other Rhythmic Essentials chapter.
Now Example 2 shows the later “ritmo de tre battute” section (from m.152) with comparable
“hypermeter counts” as well as (editorial) double barlines to show each group of 3.
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Note that we’re talking about the “period” of the grouping here: that is, grouping in 3s or 4s. There’s
plenty more to say about the phase: that is, which measure in the cycle should be counted as “1”. There’s a
lot to argue for the phase shown in this movement, although the dominant-to-tonic movement in the first
to second measure of the figure sure might make you wonder about starting the phase a measure later.
Finally, for the sake of comparison, let’s see that same “ritmo de tre battute” section re-notated explicitly
in 9/4 to place both 3-grouping metrical levels within the notated meter.
HYPERMETER | 1178
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So, can we have more than 2 levels of 3-grouping? Well, “27/X” time signatures are not seen (at least in
this style), and neither is anything like “ritmo de 9 battute”, but Beethoven does occasionally use 3 sets of
3 levels in his late style, i.e., adding another layer of 3-time at the “short” or “fast” end of the spectrum.
This is always notated with triplets: another way to get 3-grouping into the metrical structure without
having to include it in the time signature. Examples include:
• In movement 4 of the string quartet no.14 (Op.131), there is an “Adagio ma non troppo e semplice”
section in 9/4 time (from m.186), so we already have two levels of 3s right away (3×3 quarters).
Later, it briefly uses triplet eight notes long enough to perhaps be called a metrical level
(mm.223–225, or 5–7 measures before the final Allegretto reprise).
• the second movement of last piano sonata (No.32, Op.111) is an “Arietta” in compound time
signatures: 9/16 at first but also 6/16, and 12/16 for some sections. Additionally, some of those
sections use triplet sixteenth notes to give another 3-level. When this happens in 9/16, we have 3
levels of 3 grouping that could have been written as 27/32. See Example 4 for an excerpt. That
said, the hypermeter is regular, so 3x3x3 seems to be the limit for now. And the triplets in 6/16 and
12/16 add another 3-grouping, but with 2-grouping in the metrical levels.
1. I specify "common practice" here because of divisions like 2+2+2+3 in later styles.
1179 | HYPERMETER
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Sensible Limits
(Where) do we stop looking for metrical levels above and below? Some accounts of hypermeter have
extended the idea to entry movements, describing them, for example, as a huge upbeat-downbeat pair.
The psychology literature suggests a more modest scope, with meter giving way to form not necessarily at
the limit of the notated measure, but also not far beyond. The idea is that we struggle to perceive metrical
cycles and patterns when the pulse is too short (about 1/10th of a second) or too long (a few seconds,
depending on the internal content). So in practice, it makes sense to consider hypermeter when the
measure is very short (like the 3/4 presto discussed above) but not for too many more levels beyond.
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Example 5. 3-grouping all the way down (in meter and in form) as a compositional plan in Sierpiński’s
Triangle.
Further Reading
• Cohn, Richard. 1992. “The Dramatization of Hypermetric Conflicts in the Scherzo of Beethoven’s
Ninth Symphony.” 19th-Century Music 15, no. 3: 188–206. https://doi.org/10.2307/746424.
• Rosen, Charles. 1992. “Ritmi de tre battute in Schubert’s Sonata in C minor”, Convention in
Eighteenth- and Nineteenth-Century Music: Essays in Honor of Leonard G. Ratner, edited by Wye J.
Allanbrook, Janet M. Levy, and William P. Mahrt.
Assignments
1. Coming soon!
Footnotes
1181 | METRICAL DISSONANCE
METRICAL DISSONANCE
Mark Gotham
KEY TAKEAWAYS
• “Metrical dissonance” refers to the presence of two or more different ways of hearing the music’s
metrical structure. This is usually divided into two types:
◦ Displacement dissonance sees two forms of the same meter displaced against each other, so with
the same period and structure but a different phase.
◦ Grouping distance sees two different metres occur at the same time.
“Dissonance” is one of those multi-purpose terms with a range of uses both within and beyond musical
analysis. Outside of music, terms such as “cultural” or “cognitive” dissonance usually have negative
connotations, but music has a way of making a virtue of the “wrong” or “ill-fitting”. Musical dissonance is
not “bad” in the same sense as some of these other contexts, though musical “rules” often require
“proper” handling and resolution, at least in the case of tonal counterpoint.
Within music, the separation of pitch “consonances” (octaves, fifths . . . ) from “dissonances” (semitones,
tritones, . . . ) is well established. The broad structure of this is relatively settled, though theorists have
long argued over the details, such as: the need for further divisions (separating “perfect” from “imperfect”
consonances, for instance); the membership of those categories (particularly in relation to the elusive
perfect fourth); and how this system came to be (naturally or artificially).
More recently (in the history of music theory, that is), these same notions of consonance and dissonance
have been applied to metre. The modern literature on “metrical dissonance” was galvanised by Krebs
(1999) who, in turn, cites a Berlioz article of 1837 as the earliest explicit comparison using these terms
(p.13,16). Notwithstanding notable differences, there are clear grounds for this analogy between harmonic
METRICAL DISSONANCE | 1182
and metrical dissonance and sufficiently strong commonalities to set them out in comparable ways, once
again based on the simplicity of proportional relationships.
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“Displacement” Dissonance
Example 2 provides an example from Bill Withers” iconic “Lean on me” (1972). This contrasting
section (at 1’45” and 2’36”, to the lyrics “you just call . . . ’) introduces a kind of rhythmic ingenuity that
can be helpful to consider in terms of displacement dissonance. While the “main” metre and grouping is
clear from the foregoing context and the vocal part, other parts of the texture shift to consistently
displaced positions. Starting with the bass guitar, while the anacrustic pattern in the low register stays with
the main metre, the bass has a prominent note in a higher register on beat 3 that asserts itself as a
different voice with an alternative take on the metrical phase, potentially displacing the metre by a
half-cycle to beat 3. The drum kit, in turn, emphasises beats 2 and 4 with its back-beat pattern. This can
be heard in terms of displacement by a quarter cycle, though it is important to note that this is a
particularly listener-dependent case: many listeners will find this pattern so familiar that the very presence
of that displaced emphasis serves instead to indicate where the strong beats “really” are. Finally, and most
strikingly, there are hand claps (prominent in the mix) on the 2nd and 6th eighth notes of the bar,
1183 | METRICAL DISSONANCE
suggesting an eighth-cycle displacement. The “real” phase of the meter may never be in doubt, but the
rhythmic-metrical richness of this passage can be helpfully understood in terms of the systematic
syncopations that potentially point to alternative displacements of the meter.
Example 2. Displacement dissonance in Bill Withers” “Lean on me” (author’s transcription). Brackets indicate
the displacements discussed in the text.
“Grouping” dissonance
“Grouping” dissonance sees the combination of two metres with different internal organisation.
Example 1b and 1c set out a “grouping dissonance’: the upper part implies an internally consistent
grouping in 3s (perhaps indicating a 6/8 time signature) which contradicts the implications of the lower
part’s grouping in 4s (2/4). In Example 1b, it is the lower, “2/4” part that aligns with the notated metre;
in Example 1c, the “same” dissonant pairing is notated to fit the upper part’s “6/8’.
Example 3’s 3-against-4 rhythm is probably the most ubiquitous form of rhythmic-metrical pattern that
can be readily heard in terms of “grouping dissonance’. Figure 2 sets out complete cycles of this grouping
dissonance, but partial cycles are more common in musical practice. Versions of this pattern are common
in popular musics from classic jazz (such as the melodic rhythm of Gershwin’s “I got Rhythm’) to
Electronic Dance Music (EDM) and owes its origins to the Afro-Cuban “tresillo” rhythm which can be
viewed as a partial cycle of the 3-against-4 dissonance broadly equivalent to the first two bars Example
1b, above. Example 3 sets out an example of the partial cycle in EDM from Calvin Harris” “I’m Not
Alone” (2009). Once again, the “real” metre is clear from the context, and this ri↵ (along with much of
the rhythmic content of this example) sets out a conflicting pattern based on grouping in 3s. The upper
part of the example provides the riff while the lower part makes explicit the continuing 3-grouping, the
possible reading of this rhythm in terms of 12/16 (with brackets), and the first note length to diverge from
this pattern (marked with “!”) which leads to a re-set at the start of the next note and bar.
METRICAL DISSONANCE | 1184
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Example 3. Grouping dissonance in Calvin Harris” I’m Not Alone (2009) as an example of a popular 3
against 4 pattern. (Author’s transcription).
Changing Dissonance
Some songs and pieces get into a metrical dissonant groove and stick with it. Most don’t – they use
metrical dissonance in some places and no others, to shape the piece overall. Consider the Bill Withers
example above: this rhythmic passage contrasts with the main section that rhythmically very straight and
without dissonance. Let’s close with well-known example from Brahms: his “Lullaby” (“Wiegenlied”, Op.
49, No. 4).
Click here for a full score transcription (available freely under CCO).
The melody is extremely well-known and its rhythm is highly regular in the notated 3/4. Now have a look
at the piano accompaniment in Example 4. The left hand (bass) is every bit as regular as the voice, but
the right hand (treble) goes its own way as shown with the markings a b, c, and d on the score and
described below.
• Example 4a: We start with a rhythmic pattern that might fit better in 6/8 rather than 3/4 and
displaced by an eighth. That’s right, before the voice even enters we arguably have both displacement
and grouping dissonance.
• 4b: The grouping dissonance disappears almost immediately. We settle on a 3/4 structure, but the
displacement by an eighth remains for the main part of the verse.
• 4a: The opening double-dissonance briefly returns before giving way to …
• 4c: Finally the right hand plays a note on the downbeat! The pattern still suggests
displacement dissonance but of a mild kind: displacement forward by a quarter note to emphasise
the second beat and give something of a saraband feel.
• 4d: A measure later we have all 6 eight notes in the bar, in a strong-weak alternation and no sense of
dissonance at all.
1185 | METRICAL DISSONANCE
Assuming this reading (which you may, of course disagree with), it’s easy to see this as a process of
tension (albeit very slight) to release that is entirely in keeping with the mood of this lullaby.
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Example 4. Changing metrical dissonance in Brahms’ “Lullaby” (“Wiegenlied”, Op. 49, No. 4).
Further Reading
• Krebs, Harald. 1999. Fantasy Pieces: Metrical Dissonance in the Music of Robert Schumann. New
York ; Oxford: Oxford University Press.
• This chapter is based in part on the introduction to my chapter “Towards a Cognitively-Based
Quantification of Metrical Dissonance” OUP Handbook on Time in Music:
https://academic.oup.com/edited-volume/41628/chapter-abstract/353470064
Assignments
• Compose short pieces (perhaps just one measure which repeats) in two parts that suggest different
meters. For example:
◦ 4/4 in one part and 4/4 in the other, but displacement by a half cycle (a half note)
◦ 4/4 in one part and 4/4 in the other, but displacement by a quarter cycle (a quarter note)
◦ 6/8 in one part and 3/4 in the other (a classic hemiola)
METRICAL DISSONANCE | 1186
Media Attributions
Lean
1187 | DRUMBEATS
DRUMBEATS
Scott Hanenberg
KEY TAKEAWAYS
• The backbeat is common to most pop drumbeats. The backbeat is an accented articulation on beats two
and four in quadruple meters, usually played by the snare drum.
• The kick drum is often syncopated.
• Cymbals—hi-hats, ride, and crash—often play regular pulses at the beat, beat division, or beat subdivison
level.
• Common drumbeats other than the basic rock beat include double-time, half-time, four-on-the-floor, and
dembow.
• Quadruple meters are by far the most common meter in pop music; simple triple is the next most
common. A simple triple drumbeat in pop music will often have a snare hit on beat three.
CHAPTER PLAYLIST
Drumbeats are the rhythmic cornerstone of many genres of popular music, including rap, rock, and jazz.
Sometimes a drumbeat is performed on a drum kit, sometimes it’s sampled from an existing recording or
programmed into a sequencer or DAW (digital audio workstation). In this primer, we’ll learn about the
instrument itself, notating drum set parts, and the features of drumbeats that are common to many styles
of music. We’ll also learn how a few particular drumbeats are associated with specific genres.
Instrument
Description
Audio
1. Snare drum A drum with metal wires stretched underneath that buzz
when the drum is struck. This results in a noisy sound
(that is, one that fills out much of the audible frequency
One or more interactive elements spectrum). Played with force, it sounds like wood
has been excluded from this cracking or like a thunderclap. Played softly, it offers a
version of the text. You can view them range of effects from clicks and taps to buzzing rolls.
online here: https://viva.pressbooks.pub/
openmusictheory/?p=12926#audio-12926-1
2. Kick drum (or bass drum) The lowest-pitched drum in the kit, played with a foot
pedal. It is originally based on a modified concert bass
drum, and some still sound with the same booming
One or more interactive elements quality. Other kick-drum sounds have a dull thud, or a
has been excluded from this sub-bass effect that (over the right speakers) is felt in the
version of the text. You can view body as much as it is heard.
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3. Toms (or tom-toms) Drums with a more focused pitch fundamental than the
snare and are higher-pitched than the kick. There are
often two or three toms on a drum kit, each with a
One or more interactive elements distinct pitch. The pitch can be a more or less prominent
has been excluded from this feature of the toms’ sound.
version of the text. You can view
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DRUMBEATS | 1190
Instrument
Description
Audio
5. Hi-hat cymbals A pair of cymbals of the same size; the bottom cymbal is
upside-down so only their edges touch. The cymbals are
open by default and close when a foot pedal is pressed.
One or more interactive elements When struck, the hi-hats’ timbre depends on how open or
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version of the text. You can view struck while closed, producing a characteristic, bright
them online here:
“tick tick tick”; the open sound has a more aggressive
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crashing or rattling quality; and a wide range of
openmusictheory/?p=12926#audio-12926-5
intermediate timbres are also available. When played
with the foot pedal only, the cymbals make a splashing
effect.
6. Crash and accent cymbals Depending on size, contour, and playing technique, these
can produce a variety of crashing, splashing, sizzling, and
barking sounds. They range in size (6–18” diameters are
One or more interactive elements common) and thickness. Some have shapes and contours
has been excluded from this unlike other cymbals, or are augmented with rivets or
version of the text. You can view them large holes.
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The drum kit is uniquely modular—that is, most (some might say all) of its constituent parts are optional.
Other auxiliary percussion add-ons found on some drum kits include cowbells, tambourines, wood blocks,
and electronic pads that can trigger programmed sounds. The sheer variety of drum kit elements and their
various configurations is near-limitless.
1191 | DRUMBEATS
Not all pop music uses an acoustic drum kit for its percussion. Drum machines, electronic drum sets, and
plug-ins for digital audio workstations allow further customization for music composition and production.
Most of the sounds used in electronic percussion are samples or imitations of acoustic instruments.
Example 2 shows how each line and space of the staff denotes a different part of the drum kit. As a
percussion instrument, the drums take a percussion clef. Standard oval noteheads are used for drums
(snare, kick, tom, etc.), while cross (x) noteheads are used for cymbals. The kick drum uses the
bottom-most space on the staff, the snare takes the third space, and the toms are shown on the other lines
and spaces in the staff. Hi-hats occupy the space above the staff, the ride takes the uppermost line, and
other crash and accent cymbals use ledger lines above the staff. When the hi-hat is played with the foot
pedal, rather than with drumsticks, this is notated in the space just below the staff. Other elements and
effects may not have a standard representation, and should be labeled to avoid confusion.
Example 2. Common notation for various parts of the drum kit. Using these particular stem directions and
notehead types are important for clarity.
When notating a drum part, separate things into two voices, as in Example 3:
1. The cymbals, which usually keep a steady pulse; notated with upstems.
2. The kick and snare drum, which often cooperate to articulate the characteristic features of a drum
groove; notated with downstems.
DRUMBEATS | 1192
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Example 3. The standard rock beat with kick on beats one and three, a snare backbeat on two and four, and
regular eighth notes in the hi-hat.
When the hi-hat is played with the foot pedal, however, it may be stemmed either direction: up to show
coordination with other cymbal articulations, or down to show coordination between the feet (that is, with
the kick drum). Notated drum fills are another place where this two-voice rule may be broken, because a
regular cymbal pulse will often stop so that the drummer can use both hands to play snare, toms, etc.
In many genres the snare backbeat is the most stable of the three layers. Below, we’ll see how the kick
and cymbal layers can be manipulated to change the character of a groove, without sacrificing the
familiarity of the backbeat. Two common ways that songwriters and producers modify the backbeat are:
• Giving the backbeat rhythm to instruments other than the snare drum
• Speeding up or slowing down the backbeat rhythm enough to alter its relationship to the tempo of a
groove.
Non-Snare Backbeats
The snare isn’t the only instrument that can play the backbeat. In Queen’s “We Will Rock You”
(Example 4), the basic rock beat is made with stomping feet and clapping hands instead of drums. In
1193 | DRUMBEATS
hip hop and electronic music, it’s common to replace snare hits with hand claps, or to layer both together
to create a variety of backbeat timbres (as in Examples 8 and 9 below).
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Example 4. A backbeat without drums in Queen’s “We Will Rock You” (1977).
In many jazz subgenres, including swing and bop, the drummer might play a backbeat on the hi-hats by
closing the two cymbals together with a foot pedal. The result is usually a short, sharp, percussive sound,
similar in many ways to the timbre of the snare drum (see Swing Rhythms, Example 1). This hi-hat
backbeat was the precursor to the snare backbeat. Example 5, from Ella Fitzgerald’s rendition of
“Fascinating Rhythm,” shows a hi-hat backbeat on beats two and four (and one eighth-note anticipation).
Notice how the snare in this example plays a syncopated rhythm, whereas the hi-hat is much more
regular.
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Example 5. A typical jazz backbeat on the hi-hats in Ella Fitzgerald’s recording of “Fascinating Rhythm”
(1959).
Example 6. Box notation illustrating (a) double-time, (b) normal, and (c) half-time feels. The yellow
shading indicates the tactus, which would be the same for all three feels. Dark blue is used for kick drum,
and light blue for snare.
The main groove of Metallica’s “Trapped Under Ice” has a double-time feel (see Example 7). The snare
suggests a backbeat alternating at a tempo of about 320 bpm—a pace at which it’s uncomfortable to count
“1 2 3 4,” let alone move your body. Headbanging fans are more likely to lock into a tactus half the speed
of the backbeat (160 bpm). The disagreement between the unusually fast drums and the slower (but still
fast!) tactus gives this song a frantic, driving energy. Later in the song (2:00), the drums shift to a normal
feel.
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Phil Collins’s “Take Me Home” has a tempo of 119 bpm, right in the middle of the preferred tempo
range for a tactus. The song’s slow backbeat would suggest a tempo of only 60 bpm—too slow for most
listeners (see Example 8). If we instead keep time at the 119-bpm pulse, we hear a half-time drumbeat.
The tension between the slow pacing of the backbeat (with a clap substituting for snare) and the skittering
sixteenth-note hi-hats and syncopated toms, supported by a similarly fast synth ostinato, gives this groove
a fractured feeling, at once relaxed and anxious.
1195 | DRUMBEATS
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Dembow
The snare drum doesn’t always play the backbeat, and one non-backbeat snare pattern is particularly
noteworthy. Dembow refers to both a genre of music and a rhythmic pattern common in that genre and in
others (e.g., reggaeton, dance hall). In its simplest form, the dembow drumbeat has a kick drum on all
four beats and snare drum playing the last two parts of a tresillo (3+3+2) rhythm. The chorus of Bad
Bunny’s “Moscow Mule” is one example (see Example 9, 0:52).
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DRUMBEATS | 1196
Syncopation is more common in the bass drum than in the snare of pop drumbeats. Example 11 shows
the drumbeat of Kendrick Lamar’s “HUMBLE.”, which has a consistent backbeat provided by the hand
claps, but plenty of sixteenth-note syncopation in the kick drum. Note that the kick still enters reliably on
the downbeat of each measure, despite syncopation elsewhere.
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Example 11. Kick drum syncopation in Kendrick Lamar’s “HUMBLE.” (2017). The “o” over some hi-hats
indicates the cymbals are opened slightly with the foot pedal. The “x” in the snare space indicates claps.
Cymbals
The cymbals also can have varying rhythms in relation to the snare backbeat. The most common rhythmic
options are consistent eighth notes or sixteenth notes, though steady quarter notes are by no means rare.
Other patterns are also possible, like in “Heart of Glass” where the hi-hats mostly play only the offbeats
(see Example 10 above). The hi-hats are the most common cymbal used to keep this pulse in many
genres; the ride cymbal is also common; the crash cymbal is an option used most often for slower-paced
pulses and/or in more aggressive sounding grooves and genres.
The next two examples show the range of options for cymbals in drumbeats. The first is from Xiao Zhan’s
“Made to Love,”1 with a consistent sixteenth-note pulse in the hi-hats (Example 12; you can also hear a
snappy non-snare sample for the backbeat and, starting around 0:10, a syncopated kick drum). The
second example is from Dream Theater’s “As I Am” (see Example 13). The song’s first drumbeat (at
0:55) is a half-time backbeat with quarter notes on the china cymbal and downbeats marked by the crash
cymbal. The next groove (1:14) speeds up a little and shifts to a normal feel with the crash playing eighth
notes.
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Example 13. Two drumbeats using accent cymbals (china and crash) in Dream Theater’s “As I Am”
(2003; 0:55).
In compound quadruple time, the basic rock beat is simply adjusted for the new three-part beat division:
the kick drum still plays on one and three, the snare still plays the backbeat on two and four, and cymbals
(or some other instrument) still articulates the beat division, as in “If You Don’t Know Me by Now,” by
Harold Melvin & the Blue Notes (see Example 14).2
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2. Note that the tempo is just 31 bpm! The tactus is likely to be felt at the eighth-note beat division level.
DRUMBEATS | 1198
Example 14. A slow compound quadruple drumbeat in Harold Melvin & the Blue Notes’s “If You Don’t Know
me By Now” (1972).
In simple triple time, it isn’t possible to alternate kick and snare hits of equal length in each measure. The
most common approach is to delay the snare “backbeat” until the third beat of every measure; this is what
happens in Paramore’s “That’s What You Get” (see Example 15). After an intro with exuberant “3 e +
a” fills on the snare, the drums settle into the groove transcribed below. The tresillo kick-drum rhythm
keeps things interesting while delaying the snare hit. The second verse of this song (0:27) is also notable:
the drums shift to a basic rock beat (as if in quadruple meter) while the rest of the band keeps playing in
the triple meter established up to this point.
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Example 15. A 3/4 drumbeat in Paramore’s “That’s What You Get” (2007).
Further Reading
• Brennan, Matthew, Joseph Michael Pignato, and Daniel Akira Stadnicki, editors. 2021. The
Cambridge Companion to the Drum Kit. Cambridge: Cambridge University Press.
• de Clercq, Trevor. 2020. “Rhythmic Influence in the Rock Revolution.” In The Cambridge
Companion to Rhythm 182–95, edited by Russell Hartenberger and Ryan McClelland. Cambridge:
Cambridge University Press.
• Geary, David. 2019. “Analyzing Drums and Other Beats in Twenty-First Century Popular Music.”
Ph.D. diss., Indiana University.
• Ohriner, Mitchell. 2020. “Rhythm in Contemporary Rap Music.” In The Cambridge Companion to
Rhythm 196–213, edited by Russell Hartenberger and Ryan McClelland. Cambridge: Cambridge
University Press.
Assignments
Coming soon!
1199 | DRUMBEATS
Media Attributions
drum_set © Pbrks adapted by Megan Lavengood is licensed under a CC BY-NC-SA (Attribution NonCommercial ShareAlike) license
Drum key © Megan Lavengood is licensed under a CC BY-NC-SA (Attribution NonCommercial ShareAlike) license
Feel chart © Megan Lavengood is licensed under a CC BY-NC-SA (Attribution NonCommercial ShareAlike) license
Footnotes
1201 | GLOSSARY
GLOSSARY
Typically comprises three phrases of four bars each. The first phrase is entirely tonic harmony (I). The
second phrase contains two bars of subdominant (IV) and two bars of tonic (I). The final phrase begins
with one bar of dominant (V) followed by one bar of subdominant (IV) and two bars of tonic (I). The
third phrase may or may not end with a turnaround.
A variation on the 12-bar blues progression. Typically composed of four four-bar phrases, usually two
iterations of tonic, followed by subdominant and dominant. The final phrase may or may not end with a
turnaround.
AABA form
Also called 32-bar song form. AABA consists of at least four sections. It begins by repeating two
strophes, moving to a contrasting bridge section, and then repeating the primary strophe again. AABA
forms typically then include another repetition of BA, making the entire form AABABA.
absent tonic
Occurs when the tonic is never actually sounded as a harmony during the song, but is still implied
through the melody or through the use of conventional harmonic progressions.
absolute
Existing on its own, without reference to another system. For example, "absolute pitch" refers to the
phenomenon of being able to sing a pitch without referencing an instrument or another pitch.
GLOSSARY | 1202
accelerando
accent
accent cymbals
Cymbals ranging in size (6–18” diameters are common) and thickness. Some have shapes and contours
unlike other cymbals or are augmented with rivets or large holes. Depending on size, contour, and
playing technique, these can produce a variety of crashing, splashing, sizzling, and barking sounds.
accidental
A symbol that alters a pitch, such as the sharp (♯), flat (♭), and natural (♮) symbols.
acoustic collection
A seven-note collection similar to the mixolydian mode but with fi (↑4̂); corresponds roughly to the
lowest partials of the harmonic series.
acoustics
active note
In tonal music, a note that has a tendency to move to a specific note in the following chord, usually a
step up or down. Also called a "tendency tone."
additive rhythm
A compositional device that begins with a small rhythmic unit and gradually adds length to the
durations.
aeolian
A diatonic mode that follows the pattern W–H–W–W–H–W–W. This is like the natural minor scale.
This scale can also be found by playing the white notes of the piano starting on A.
1203 | GLOSSARY
aeolian cadence
♭VI–♭VII–i, or A♭–B♭–Cmi in C minor. This schema implies the aeolian mode. Very frequently, the i
chord is altered to be major, yielding a sequence of three major chords related by steps in the same
direction. This progression, especially with a major I chord, is often associated with heroic themes in
video games and movies.
aeolian shuttle
i–♭VII–♭VI–♭VII. This progression can be understood as a shuttle between i and ♭VI, with the
intermediate ♭VIIs acting as passing chords.
Two consecutive weak-beat fifths or octaves in fourth species counterpoint; e.g., from two successive
9–8 suspensions.
aggregate (twelve-tone)
all-interval row
alternative path
A technique of internal phrase expansion. It occurs when new material causes a phrase to deviate from
its expected trajectory toward the cadence. These deviations may be permanent ("reroutes") or
temporary ("detours").
alto
The second-highest voice part in SATB style, written in the treble clef staff with a down-stem; its
generally accepted range is G₃–D₅.
alto clef
As a "C" clef, the alto clef shows that C₄ is the middle line of the staff by centering on it.
GLOSSARY | 1204
Designates specific musical frequencies by combining a note name (such as C) with an octave
designation (such as 4), creating a bipartite label (C₄).
ametric
anacrusis
answer
A repetition of the fugue's subject, transposed to another pitch level. May be a "real" answer (a literal
transposition) or a "tonal" answer (an inexact transposition).
antecedent
A phrase consisting of a basic idea followed by a contrasting idea that ends with a weak cadence.
anticipation
A two-note embellishing tone gesture in which a chord tone is heard early as a non-chord tone.
antiphony
applied chord
A chord from another key inserted into a new key, in order to tonicize a diatonic chord other than I.
appoggiatura
An embellishing tone often occurring on a strong beat that is approached by leap and left by step in the
opposite direction.
Arabic numerals
archetype
Phrases that are "archetypal" or that follow an archetype are related to the sentence, the period, or one
of the hybrid phrase-level forms.
arpeggiating 6/4
A 6/4 chord that results from an arpeggiated bass line (e.g., if the bass line alternates between the root
and fifth of the same chord).
arpeggio
A melodic, "horizontal" statement of a triadic harmony; in other words, each note of a triadic harmony
played in succession (rather than simultaneously). Also referred to as a "broken chord."
articulation
Refers to both a note's length and the accent level of its attack.
asymmetrical meter
A meter that divides measures into unequal groupings of beats or divisions, creating an uneven metrical
pulse.
atonal
attack
audiate
augmented intervals
Intervals that are one half step larger than a perfect or major interval.
augmented triad
aural
authentic
In church modes, authentic modes are those that range from final to final.
authentic cadence
A cadence with the harmonies V–I. The harmonies are typically in root position. Authentic cadences
can be further distinguished by their melody note in the I chord: an authentic cadence ending on 1̂ in
the melody is a perfect authentic cadence, while one with 3̂ or 5̂ in the melody is an imperfect authentic
cadence.
auxiliary section
Auxiliary sections help frame the core sections: introducing them, providing temporary relief from
them, or winding down from them.
backbeat
An accent on beats 2 and 4 of a quadruple meter. Backbeats are common in jazz and pop styles.
A binary form (either simple or rounded) in which the tail end of the first reprise returns at the tail end
of the second reprise.
bar lines
basic idea
Basic ideas are short units that are typically associated with beginnings. They don't usually end with
cadences, and they often establish tonic. They are the first units we hear in a presentation, an
antecedent, a consequent, and a compound basic idea.
A simple drum pattern in which the kick drum is played on beats one and three, alternating with the
1207 | GLOSSARY
snare on beats two and four, while eighth notes are played on a closed hi-hat. (This description
presumes a 4/4 time signature.)
bass (instrument)
Any one of several bass-range string instruments, including the double bass (upright bass, string bass,
contrabass, acoustic bass) or the bass guitar (electric or acoustic).
bass (voice)
The lowest voice in SATB style, written in the bass clef staff with a down-stem; its generally accepted
range is F₂–D₄.
bass clef
As an "F" clef, the bass clef shows which line of the staff is F₃ by surrounding it with two dots.
bass line
beam
beat
A pulse in music to which one can tap or clap along. A grouped hierarchy of beats forms a meter.
beat unit
Which note value gets the beat (e.g., the quarter note in 4/4 or the dotted quarter note in 6/8).
beginning
One of three formal functions (with the other two being middle and ending). Beginnings are often
signaled by establishment of a new melody or repetition of the beginning of a previously heard melody,
emphasis on tonic harmony (especially root position), a melody that opens up musical space by
ascending, a statement of a motive that is developed through the remainder of the phrase.
binary form
A type of form that has two core sections. These sections are often called "reprises" because each is
typically repeated. There are two main types of binary form: rounded and simple.
block chord
blue notes
Notes whose exact pitch sounds somewhere between the flat and regular versions of a scale degree,
particularly 3̂ and 7̂.
bpm
breath mark
Indicates a breath (for wind instrumentalists and vocalists) or a pause (for percussionists and string
players).
bridge
A type of contrasting section that tends to function transitionally in the formal cycle. Bridges tend to
emphasize non-tonic harmonies and commonly end on dominant harmony.
cadence
A melodic and harmonic goal. In classical tonal music, cadence types include Perfect Authentic (PAC),
Imperfect Authentic (IAC), and Half (HC).
1209 | GLOSSARY
cadential
One of the three common ending types. Its distinguishing characteristic is its bass line: mi–fa–sol–do
(3̂–4̂–5̂–1̂), which may be elaborated with chromaticism.
cadential 6/4
A common embellishment of the cadential V chord, in which the fifth of the V chord (re, 2̂) is replaced
with the sixth (mi/me, 3̂) and the third (ti, 7̂) is replaced with the fourth (do, 1̂). The sixth and fourth
form a 6/4 chord, hence its label. The cadential 6/4 resembles a I6/4 in its pitch content.
caesura
caesura fill
When a single voice of the musical texture bridges what would otherwise be a gap between two
sections.
call-and-response
A feature of musical phrasing that features a simulated dialogue between two instruments or groups of
instruments.
cantus firmus
Literally meaning “fixed voice," this is a pre-existing melodic line that serves as the basis for a new
counterpoint exercise or other composition.
cardinality
caret
A symbol akin to an angled bracket, placed above Arabic numerals to indicate scale degrees; a
circumflex symbol.
GLOSSARY | 1210
change of register
In counterpoint, a type of consonant weak beat that steps in the opposite direction following a large
leap.
changing meter
china cymbal
A kind of crash cymbal with an especially bright, forward, and splashy sound.
chord
chord construction
chord loops
Repeated chord progressions, often four bars long, that are repeated throughout a portion or all of a
song.
chord substitution
Replacing a standard chord (i.e., within a harmonic schema) with a different chord. The substituted
chord is typically identical in harmonic function to the standard chord, and often shares at least two
notes with the standard chord.
chord symbols
A system of naming chords that specifies the note name of the root, chord quality, and any alterations.
Some basic symbols are given below as a quick reference, but for more detail, see the Chord Symbols
chapter.
1211 | GLOSSARY
major triad C
minor triad Cmi, Cm, C-
chordal 7th
Refers to the 7th of a chord. For example, V7 in the key of C is spelled G-B-D-F. The note F is the
chordal 7th. We say chordal 7th to distinguish it from the leading-tone (Ti, ).
chordal seventh
Refers to the seventh above the root of a chord. For example, V⁷ in the key of C is spelled G-B-D-F; F
is the chordal seventh.
chorus
A core section of a popular song that is lyric-invariant and contains the primary lyrical material of the
song. Chorus function is also typified by heightened musical intensity relative to the verse. Chorus
sections are distinct from refrains, which are contained within a section.
chorusification
A process where modules are stripped away from the formal cycle until only the chorus module (C)
remains.
chromatic
Relating in some sense to the chromatic scale. The term may be used to refer to notes that are outside
the given key.
GLOSSARY | 1212
chromatic scale
circle of fifths
A graphic that shows the relationship between major (and/or minor) key signatures by placing the key
signatures around a circle in order of number of accidentals.
class
In set theory, a class is a group whose members are all equivalent in some sense—transposition,
inversion, octave, enharmonic, etc.
clausula vera
A contrapuntal cadence in which a perfect octave or unison is approached through contrary motion by
step. One line will have re–do (2̂– 1̂) while the other has ti–do (7̂-1̂). This results in the sequence of
harmonic intervals sixth–octave, tenth–octave, or third–unison.
clef
A symbol placed on the left side of a staff that indicates which notes are assigned to different lines and
spaces.
closed spacing
closing rhetoric
Closing rhetoric involves common patterns and techniques that signal that the end of the song is likely
coming soon.
closing section
A large suffix in sonata-form works. The closing section is usually very stable and often consists of
many V–I or IV–I motions confirming the local tonic.
1213 | GLOSSARY
coda (classical)
A large suffix section occurring at the end of a work (or end of a movement within a multi-movement
work), after the PAC that ends the piece’s core sections.
coda (pop)
A coda is a song-ending section that presents new material. Like outros, codas exhibit closing rhetoric.
codetta
A type of suffix (external expansion). Codettas are usually medium length (for example, between 4 and
8 measures), they often occur at the end of a section within a piece, and they often feature repeated
units. They may or may not contain a full phrase.
collection
A group of pitches being used as the basis for a composition. This term is more neutral than "key,"
which may imply a hierarchy.
color note
For modes in pop music, the color note is the pitch that distinguishes a mode from major (in the case
of mixolydian/lydian) or from minor (in the case of dorian/phrygian).
comes
common practice
common tone
A diminished seventh chord that, instead of having dominant function, is a neighbor chord that
GLOSSARY | 1214
embellishes the chord that comes after it. The CT°⁷ has a common tone with the root of the following
chord; all the other notes are a step away from a note in the following chord.
complement mod 12
An integer x's complement mod 12 is the number y that would sum to 12. For example, 11's
complement mod 12 is 1.
complementary set
The set that, together with an original set, will make the complete twelve-tone collection. Complements
are literal when referring to pitch class sets and abstract when referring to set classes.
A compound basic idea (c.b.i.) is an antecedent without a cadence. It consists of a basic idea followed
by a contrasting idea.
compound duple
A meter with two beats, each of which divides into three. The top number of a compound duple meter
will always be "6". 6/8 is the most common compound duple meter, though 6/4 is also somewhat
common.
compound form
Occurs when one form is composed of other smaller forms. For example, a period may be composed
of two sentences, or one or more of a ternary form's sections may be composed of a binary form.
compound interval
compound meter
compound quadruple
A meter with four beats, each of which divides into three. A time signature for compound quadruple
will always have "12" as the top number. 12/8 is the most common compound quadruple meter.
1215 | GLOSSARY
A type of ternary form where at least one of the form's parts (A, B, or the second A section) is
composed of its own complete form (typically a binary form). The term "compound" can also be used
to clarify that a single section contains a complete form. Compare with simple ternary form.
compound triple
A meter with three beats, each of which divides into three. The top number of a compound triple
meter will always be "9". 9/8 is the most common compound triple meter.
conductor
A category of formal sections that connect two core sections; for example, transitions and retransitions.
consequent
A phrase consisting of a basic idea followed by a contrasting idea that ends with a strong cadence. It
usually forms the second half of a phrase-level form.
consonance
continuation
A subphrase that features a mix of any of the following: fragmentation, increase in harmonic rhythm,
increase in surface rhythm, or sequences. Continuations end with a cadence and are usually found in
the second half of a theme.
contour lines
Lines that indicate whether pitch moves up, down, or stays the same.
GLOSSARY | 1216
contraction
Contraction refers to the process of making a phrase shorter than expected. It always occurs within a
phrase.
contraction (motivic)
contrary motion
When two voices move melodically in opposite directions—that is, one voice moves up and the other
moves down.
contrasting beginning
contrasting idea
A small unit that contrasts with the material that came immediately before it, usually in terms of
contour. It's featured in the antecedent and the compound basic idea.
contrasting section
A core section that provides contrast with the main section. May be stable or unstable.
A core bass pattern is the basic series of notes that defines a common progression. This series of notes
may be embellished with other, less important notes, but the pattern is still recognizable because the
basic series is still present.
A formal category including both main sections (e.g., A, primary theme, refrain) and contrasting
sections (e.g., B, C, D, secondary theme, episode, contrasting middle, development, digression). In
contrast to auxiliary sections, core sections present the main musical material of a work and generally
represent the bulk of a composition.
1217 | GLOSSARY
Core sections comprise the main musical and poetic content of a song. Core sections include strophe
(AABA and strophic form only), bridge, verse, chorus, prechorus, and postchorus.
counterpoint
A general term for music that involves multiple simultaneous and independent melodic lines. The term
comes from the idea that each note (point) has another note against (counter to) it. This term can also
refer specifically to a musical line added to a cantus firmus.
countersubject
A melodic line that is consistently sounded with (and complements) the subject/answer of a fugue.
crash cymbal
A mid-sized suspended cymbal. Can be various diameters (16–18” are typical) and thicknesses.
Depending on size, contour, and playing technique, these can produce a variety of crashing, splashing,
sizzling, and barking sounds.
crescendo
Getting gradually louder; sometimes represented in notated scores with a hairpin symbol.
crux
The moment when the tail end of the first reprise returns at the tail end of the second reprise of a
binary or sonata form.
cuatro
cycle
A grouping that contains one or more sections, typically in the same order. Sometimes one or more
sections are omitted in the repetition of a cycle, especially toward the end of a song.
GLOSSARY | 1218
dance chorus
An intensified version of the chorus that retains the same harmony and contains the hook of the song,
which increases memorability for the audience and encourages dancing.
deceptive motion
A cadence-like resolution from V to a non-tonic harmony. The most common deceptive motion is
V–vi; the next most common is V–IV⁶.
decrescendo
Getting gradually softer; sometimes represented in notated scores with a hairpin symbol.
In counterpoint, a type of consonant weak beat that skips by third and then steps into the following
downbeat.
dembow
A drumbeat in which the kick drum plays on every beat, while the snare plays the last two parts of a
tresillo rhythm.
dependent transition
A sonata-form transition that reuses motivic material from the primary theme.
derived row
A 12-tone tonerow formed of the same pitch class set several time such as 3 tetrachords or 4 trichords.
detour
A type of alternative path. A detour creates a temporary deviation from a phrase's expected trajectory
toward a cadence. Detours are initiated by a diversion onto the detour and they end with a resumption
of rhetoric from earlier in the phrase.
development
A section of a sonata form that is unstable, and that may or may not explore thematic material
established in the exposition.
1219 | GLOSSARY
diatonic
1. A scale, mode, or collection that follows the pattern of whole and half steps W–W–H–W–W–W–H,
or any rotation of that pattern.
2. Belonging to the local key (as opposed to "chromatic").
diatonic harmony
Harmony that is based in a diatonic scale, such as the white notes of the piano. In analysis, diatonic
harmonies may be labeled with with Roman numerals.
diatonic mode
dictation
A type of aural skills exercise in which aural examples are written by the student in staff notation.
diminished intervals
Intervals that are one half step smaller than a perfect or minor interval.
Another name for a fully diminished seventh chord, a seventh chord with a diminished triad and a
diminished seventh.
diminished triad
diminuendo
Similar motion into a fifth or octave. Also called hidden fifths or octaves.
discrete
Non-overlapping; separate.
GLOSSARY | 1220
Changing the metric position of the motive relative to its original statement.
dissonance
division unit
The note value that divides the beat into two or three parts (in simple or compound meters,
respectively); for example, the eighth note in 4/4 or 6/8.
dominant function
A category of chords that provides a sense of urgency to resolve toward the tonic chord, including V
and vii° (in minor: V and vii°).
dominant lock
Extensive prolongation of the V chord. Also known as "standing on the dominant." Often involves a
pedal point on sol (5̂).
A seventh chord in which the triad quality is major and the seventh quality is minor.
doo-wop schema
𝄆I – VI – IV – V 𝄇, or C – Ami – F – G in C major.
dorian
A diatonic mode that follows the pattern W–H–W–W–W–H–W. This is like the natural minor scale,
but with a raised 6̂. This scale can also be found by playing the white notes of the piano starting on D.
dorian shuttle
IV–i, or F–Cmi in C minor. This shuttle implies the dorian mode. It can sound like ii–V to someone
who is not used to the dorian mode.
1221 | GLOSSARY
double flat
double neighbor
An embellishment that surrounds a note with its upper and lower neighbor (e.g., C–B–D–C). The note
being embellished may be articulated between the two neighbor tones, as in C–D–C–B–C.
♭VII–IV–I, or B♭–F–C in C major. The term comes from duplicating the plagal relationship (IV–I) by
applying it to IV as well (IV/IV–IV, or ♭VII–IV).
double sharp
A note value that lasts the duration of two whole notes. Notation: 𝅜
double-time feel
A drum pattern where the backbeat is played twice as fast as usual (that is, on the second eighth of
each beat, rather than on beats two and four).
doubling
downbeat
duple meter
duplet
A tuplet that involves dividing a beat in compound meter into two parts.
GLOSSARY | 1222
dux
dynamics
eighth note
A note value that lasts half the duration of a quarter note, or the duration of two sixteenth notes.
Notation: 𝅘𝅥𝅮
eighth rest
A type of rest that lasts half the duration of a quarter rest, or the duration of two sixteenth rests.
Notation: 𝄾
embellishing harmony
A harmony whose function is to prolong another harmony, rather than to advance the phrase toward its
cadential goal. Embellishing harmonies are often said to be passing or neighboring.
embellishing tones
Notes that decorate other, more structurally important notes. Embellishing tones are often not part of
the prevailing chord. Types of embellishing tones include passing tones, neighbor tones, appoggiaturas,
escape tones, pedal tones, suspensions, and anticipations.
emergent tonic
A tonic that is initially absent for the first sections of a song, but arrives later on (often in the chorus).
Often tied to lyrical themes of attained triumph, self-confidence, or clarity.
energy gain
A quality in a passage of music that heightens the perceived energy of the passage. This can be through
more active rhythmic activity, faster harmony changes, thicker texture, expanded range, crescendo, or
drive toward a cadence or goal.
1223 | GLOSSARY
enharmonic equivalence
A relationship between notes, intervals, or chords that sound the same but are spelled differently.
episode
A term used when describing the sections of a rondo form that are not the main theme (a.k.a. A or
refrain). Episodes provide contrast with the main theme through changes in multiple domains,
primarily key and melodic/rhythmic/harmonic material.
escape tone
An embellishing tone that is approached by step and left by leap in the opposite direction.
The goal of the S area. The EEC is the first satisfactory PAC that is followed by new material (not
based on S).
evaded cadence
Any situation where a composer sets up the expectation for a cadence, then avoids cadencing.
Examples include deceptive motion, inversion of the cadential dominant or tonic, and/or omitting an
essential voice (such as the bass note of the tonic chord or the soprano note of the tonic chord).
expansion
The process of making a phrase longer than expected. This lengthening might occur within the phrase
(internal expansion) or outside of the phrase (external expansion).
exposition (fugue)
The first part of a fugue, in which each voice states the subject or answer.
The first large section in a sonata-form work. It usually establishes the main themes of a work and sets
up a conflict that is later resolved in the work. This conflict often takes the form of differing key centers
(such as when the primary theme of a sonata is in tonic and the secondary theme is in the dominant).
GLOSSARY | 1224
A subphrase that harmonizes the core bass pattern mi–fa–sol–do (3̂–4̂–5̂–1̂). Functions similarly to a
continuation.
extension (harmony)
Adding additional thirds on top of the triad. Most commonly refers to ninths, elevenths, or thirteenths
rather than sevenths, although sevenths are also extensions.
A category of auxiliary sections including prefixes (which introduce a piece/section) and suffixes
(which follow the generic conclusion of a piece/section).
external expansion
Lengthening a phrase by adding extra material to it either before it begins ("prefix") or after it cadences
("suffix").
feathered beaming
fermata
A symbol that indicates one should hold a note longer than its written duration. Notation: 𝄐
ficta
Musica ficta are un-notated accidentals added to Renaissance music. Competent performers know to
add ficta in appropriate places. In modern editions of Renaissance music, ficta are often provided by
the editor.
figured bass
Arabic numerals and symbols that indicate intervals above a bass note. These are realized into chords
and non-chord tones by musicians.
final
In church modes, the final loosely corresponds to the modern notion of "tonic," in that it is a melodic
1225 | GLOSSARY
goal. However, the final may not always be emphasized in the way a tonic is. Finals are named by the
fact that the last note of a Gregorian chant will always be the final of the mode.
first inversion
fixed do
A system of solfège in which do is always the pitch class C, re the pitch class D, etc., regardless of
scale.
flag
A curved line placed at the end of a stem. Each flag added to a stemmed note represents the reduction
of the note value by half. For example, the symbol for an eighth note is like a quarter note plus a flag;
the eighth note is one-half the value of the quarter note.
flat
form
Refers to the structure of a passage or piece. Form can be understood as a hierarchical grouping of
units, and we often speak of form at one of two levels: phrase-level form (referring to motives, ideas,
subphrases, or phrases) or composition-level form (referring to sections, movements, or whole pieces).
forte
Loud.
Forte number
A nomenclature for set classes developed by Allen Forte; each set class has a unique Forte number. The
first number refers to the cardinality of the set, and the second number is semi-arbitrary, but generally
proceeds from the most compact to the most expanded set.
fragile tonic
The tonic chord is present, but weakened. Usually, the weakening comes from using the tonic chord in
inversion, or otherwise from placing the tonic chord in a metrically unstable mid-phrase position
(versus a more typical usage where the tonic is a stable point of arrival or departure).
fragmentation
Making unit sizes smaller than the previously established size. For example, if units had previously
been two measures long, fragments might be one measure long.
Music that is atonal, avoiding a traditional pitch center and harmonic hierarchy, but is not serial.
free counterpoint
frequency
function
The role that a musical element plays in the creation of a larger musical unit.
gap-fill
A principle of melody writing suggesting that any large leaps that open up a new register ought to be
filled in afterward with stepwise motion.
generic interval
grand staff
Two staves placed one above the other, connected by a brace. The top staff has a treble clef, while the
bottom staff has a bass clef.
graphic notation
A notational technique where pitch and durations are specified by nonstandard symbols.
ground bass
A repeated bass pattern that forms the foundation for a set of variations, not unlike the cyclical
progressions of pop/rock songs.
hairpins
A kind of inconclusive cadence that occurs when a phrase ends on V. Occasionally, particularly in
Romantic music, the final chord of a half cadence will be V⁷.
half note
A note value that lasts half the duration of a whole note, or the duration of two quarter notes. Notation:
𝅗𝅥
half rest
A type of rest that lasts half the duration of a whole rest, or the duration of two quarter rests. Notation:
𝄻
One-twelfth of an octave; generally considered to be the smallest interval in Western musical notation.
A seventh chord in which the triad quality is diminished and the seventh quality is minor.
GLOSSARY | 1228
half-time feel
A drum pattern in which the backbeat is twice as slow as usual (that is, the snare hits occur only on
beat three of each measure, instead of beats two and four).
harmonic elision
The suppression of an expected chord. Two kinds of elision are a leading-tone elision, in which the
expected triad is replaced by the dominant seventh chord with the same root or by a functionally
equivalent diminished seventh chord, and raised-root elision, in which the root of the expected chord is
raised to become a leading tone (or applied leading tone).
harmonic function
Refers to three categories of chords: tonic, predominant, and dominant. A chord's membership within a
category indicates something about how that chord typically behaves in tonal harmonic progressions in
Western classical music. For example, tonic function chords are stable and tend to represent points of
resolution or repose.
harmonic interval
harmonic inversion
Changing the bass note of a harmony so that, for example, the third is in the bass instead of the root.
harmonic major
harmonic minor
An ordered collection of half and whole steps with the ascending succession W–H–W–W–H–3Hs–H.
Like natural minor, but with a raised 7̂.
harmonic rhythm
The rate at which chords change, usually expressed in chords per measure. A common rate of chord
change in 18th-century classical music is one chord per measure, for example.
1229 | GLOSSARY
harmonic series
A series of notes whose frequencies are multiples of the first frequency: 1:1, 1:2, 1:3, 1:4, 1:5, etc.
Starting with the pitch C₂, this would result in the series of pitches C₂, C₃, G₃, C₄, E₄, G₄, B♭₄, C₅, etc.
harmonically
harmonically closed
A phrase or module is harmonically closed when it ends with tonic harmony (I in root position).
harmonically open
A phrase or module is harmonically open when it ends on a harmony other than tonic.
harmonics
harmony
A vertical sonority.
head refrain
Hertz
A unit of measurement for the frequency of a sound, equivalent to one cycle per second.
heterophony
hexachord
A six-note collection. In serial music, "hexachord" is typically used to refer to either the first or last six
notes of a twelve-tone row.
GLOSSARY | 1230
hexachordal combinatoriality
A property of a row in which combining one hexachord from a version of a row with a hexachord from
another version of a row creates the chromatic collection.
hexatonic scale
A six-note collection that alternates between half steps and minor thirds, such as C–C♯–E–F–G♯–A.
A Neo-Riemannian transformation that connects a triad to its modal opposite a third away by moving
each voice by a single semitone (e.g., connecting C major and A♭ minor).
Hi-hat cymbals
A pair of smaller cymbals, matched in size, typically 14” in diameter, mounted on a specially designed
stand. The bottom cymbal sits upside down, unmoving, and the top cymbal is attached to the stand so
that it can be controlled by a foot pedal. When struck, the hi-hats’ timbre depends on how open or
closed the two cymbals are. The hi-hat is most often struck while closed, producing a characteristic,
bright “tick tick tick”; the open sound has a more aggressive crashing or rattling quality; and a wide
range of intermediate timbres are also available. When played with the foot pedal only, the cymbals
make a splashing effect.
hierarchical
home key
A term used to describe a piece's overall tonic. If a movement is in the key of A major, then the home
key is A major. The term is used to distinguish itself from local keys.
homophony
A musical texture consisting of one melodic part (usually the topmost) and other subordinate
accompanying parts. This includes chorale texture and melody-and-accompaniment texture.
homorhythm
hopscotch schema
IV–V–vi–I. This four-chord schema has become increasingly common in pop music since 2010.
hybrid form
A phrase form that combines aspects of the sentence and the period into one phrase-level form.
hypermeter
idea
The smallest unit of music identified by a segmentation analysis. Ideas need not end with cadences, and
they may combine to form subphrases or phrases. Examples include basic idea, contrasting idea, unit,
cadential idea, and fragments.
ii–V–I
imitation
Imitation sees two or more parts enter separately with (versions of) the same melody.
A V–I cadence in which V, I, or both harmonies are inverted, and/or do (1̂) is not in the soprano over
the tonic triad. Additionally, IACs are often used to evade a cadence.
imperfect consonance
incomplete neighbor
A type of embellishing tone that is approached by step and left by leap or vice-versa. The name comes
from the idea that it functions as a neighbor tone on only one side of its embellishment. Incomplete
neighbors may be called appoggiaturas or escape tones.
GLOSSARY | 1232
independent transition
A sonata-form transition that introduces new motivic material (as opposed to reusing material from the
primary theme).
index number
In a transformation (T⯑ or I⯑), n is the index number, representing the interval of transposition in
semitones.
inflected
integer notation
internal expansion
Making a phrase last longer than we expect by lengthening it after it begins, but before it cadences.
interval
Unordered pitch-class intervals; that is, the smallest possible distance in semitones between two pitch
classes. Thus, mi2 and ma7 are both IC 1; ma2, mi7, +6 are IC 2; mi3, ma6, +2 are IC 3, etc. The
largest interval class is six semitones, because if order is disregarded, the tritone is the largest possible
interval.
interval size
The number of letters (or lines and spaces) that make up the span of an interval. Interval size is written
with Arabic numbers (2, 3, 4, etc.).
interval subdivision
In counterpoint, a type of consonant weak beat that divides a larger consonant leap (from downbeat to
downbeat) into two smaller leaps.
1233 | GLOSSARY
intervallic inversion
Occurs when two notes are flipped: for instance, C below E is an inversion of E below C.
A section of music that occurs before the start of the first core section.
Introduction sections transition from the unmetered silence that precedes the song to the musical
activity of the first core section. They tend to be short and untexted (i.e., instrumental) and tend to
present musical material from one or more core sections to come.
invariance
In serial music, invariance refers to keeping a property of a row the same through different
transformations. For example, when a retrograde version of a row contains the same ordered pitch
classes as a prime version of the row, we would call it "retrograde invariant" to mean that the order of
pitch classes doesn't change when the row is reversed and transposed
ionian
A diatonic mode that follows the pattern W–W–H–W–W–W–H. This is equivalent to a major scale.
issimo
jazz blues
The jazz blues incorporates several alterations to the 12-bar blues to blend together blues harmony and
jazz harmony. In the eighth bar, instead of remaining on tonic, there is an applied ii–V that leads to the
ii chord in bar 9. In the third phrase, the V–IV–I of the standard blues is replaced with a ii–V–I more
common to jazz.
key signature
In music notation, a collection of sharps or flats written at the beginning of each line (immediately after
the clef) to signal that certain notes are always sharp/flat.
GLOSSARY | 1234
Kick drum
A large cylindrical drum, usually 18–24” in diameter, set on its side, typically with a wooden shell and
two tensioned heads (the back one is sometimes removed or “ported,” meaning a circle is cut out),
played with a foot pedal comprising a beater (a large mallet of felt, wood, or plastic) mounted to a cam
and chain. The lowest-pitched drum in the kit, it is played with a foot pedal. It is originally based on a
modified concert bass drum, and some still sound with the same booming quality. Other kick-drum
sounds have a dull thud, or a sub-bass effect that (over the right speakers) is felt in the body as much as
it is heard.
kinesthetically
A variety of harmonic progressions that harmonize a stepwise descending bass line from tonic to
dominant. The simplest diatonic version uses the bass notes do–te–le–sol and is harmonized by the
progression i–v⁶–iv⁶–V. Chromatic alternatives are common.
lead sheet
A type of jazz/pop score that typically notates only the melody and the chord symbols (written above
the staff).
leading tone
A 7̂ that is one half step below 1̂. The leading tone is diatonic in major keys, but requires an accidental
in minor keys.
leading-tone chord
A Neo-Riemannian transformation that preserves the minor third in the triad, and moves the remaining
note by semitone (e.g., relating C major and E minor).
1235 | GLOSSARY
leap
A melodic interval of a third or greater. Note that some refer to thirds as "skips" rather than leaps.
ledger lines
Small lines written above or below a staff to extend the staff's range of notes.
legato
Lied
link (fugue)
A passage of a fugue that does not contain a subject statement in any voice.
locrian
A diatonic mode that follows the pattern H–W–W–H–W–W–W. This is like the natural minor scale,
but with a lowered 2̂ and lowered 5̂. This scale can also be found by playing the white notes of the
piano starting on B.
loose-knit
lydian
A diatonic mode that follows the pattern W–W–W–H–W–W–H. This is like the major scale, but with
a raised 4̂. This scale can also be found by playing the white notes of the piano starting on F.
lydian shuttle
I–II♯, or C–D in C major. This progression can easily be confused with IV–V in major or ♭VII–I in
mixolydian, so one should be careful when referencing this progression. It implies the lydian mode.
GLOSSARY | 1236
lyric-invariant
A module or phrase is lyric-invariant if each time it appears it brings (mostly) the same lyrics. Lyric
invariance tends to come at points of formal closure (tail refrains at the ends of strophes, choruses at
the end of a verse-chorus song’s formal cycle).
lyric-variant
A module or phrase is lyric-variant if each time it appears it brings (mostly) different lyrics.
main section
A section that presents the work's primary musical ideas. Usually, the main section is the first core
section of the work. Examples include primary themes, refrains, expositions, choruses, or strophes.
A scale that proceeds ma2–ma2–mi3–ma2–mi3. For example, starting on C, the C major pentatonic
scale is C–D–E–G–A.
major scale
An ordered collection of half steps (H) and whole steps (W) as follows (ascending):
W–W–H–W–W–W–H.
major triad
A seventh chord with a major triad and a major seventh. Also known as a major seventh chord.
A seventh chord with a major triad and a minor seventh. Also known as a dominant seventh chord.
1237 | GLOSSARY
marcato
measure
Created by bar lines, a measure (or bar) is equivalent to one beat grouping.
medial caesura
In sonata form, the cadence that is the goal of the transition and marks the boundary between the
transition and the secondary theme. Usually a HC, in I, V, or the secondary key; sometimes an
authentic cadence in the secondary key; rarely, it could be an AC in the tonic key.
melodic interval
An interval whose notes are sounded separately (one note after another).
melodic inversion
The act of mirroring pitch content vertically, so that motion down becomes up and up becomes down.
Inversion often preserves intervallic content.
melodic minor
An ordered collection of half steps (H) and whole steps (W) with the ascending succession
W–H–W–W–W–W–H and the descending succession W–W–H–W–W–H–W.
mélodie
melody-and-accompaniment
A type of homophony in which one can clearly distinguish between melodic and supporting voices,
usually with differing rhythms between them.
meter
A recurring pattern of accents that occur over time. Meters are indicated in music notation with a time
signature.
GLOSSARY | 1238
metric modulation
A means of smoothing out abrupt tempo changes by introducing subdivisions or groups of beats in the
first tempo that match durations in the new tempo.
metronome marking
mezzo
Moderately.
microtone
A tone that exists outside of the twelve-tone equal-tempered scale (for example, quarter tones).
mid-song introduction
Mid-song intros function similarly to introductions, but in the middle of the song. They usually
introduce the first section in the formal cycle.
middle C
C₄; the C near the middle of the piano keyboard, written on the first ledger line below the treble clef
staff or the first ledger line above the bass clef staff.
milieu
minor blues
The minor blues differs from the standard 12-bar blues by having minor seventh chords on the i and iv
chords, and replacing the V–IV–I cadence with a ii–V–I cadence.
minor iv schema
Use of a minor iv chord in a major key. This creates a semitone descent between scale degrees ↓6̂ and
5̂. It is common to precede iv with IV (major), creating a descent 6̂–↓6̂–5̂.
1239 | GLOSSARY
A pentatonic scale with the intervals mi3–ma2–ma2–mi3–ma2. For example, starting on A, the minor
pentatonic would be A–C–D–E–G. The minor pentatonic is a rotation of the major pentatonic.
minor triad
A seventh chord with a minor triad and a minor seventh. Also known as a minor seventh chord.
mixolydian
A diatonic mode that follows the pattern W–W–H–W–W–H–W. This is like the major scale, but with
a lowered 7̂. This scale can also be found by playing the white notes of the piano starting on G.
mnemonic device
mod 12
Short for modulo 12, where numbers wrap around upon reaching 12. Arithmetic in mod 12 is most
commonly encountered in clock time: after 12 o’clock, the time becomes 1 o’clock again.
modal brightness
"Bright" refers to a more major sound, while "dark" refers to a more minor sound.
mode mixture
The intermixing of major and minor versions of 3̂, 6̂, and/or 7̂ within a composition.
modulation
A change of key.
GLOSSARY | 1240
monophony
monotonality
A piece that has one overarching tonic, that is, it starts and ends in the same key and contains a single
tonic that gives the impression of being the primary key of the work.
motive
A regularly recurring unit of music that's smaller than an idea, and which is typically transformed
across a work. The word "motive" usually refers to pitch material, but other kinds of motives such as
rhythmic or contour also exist.
motivic enlargement
motor rhythm
Persistent rapid note values, especially sixteenth notes. Common in Baroque music.
movable do
A system of solfège in which do is the first scale degree in a scale; this is in contrast to fixed do, where
do is always the pitch class C.
music-invariant
A module or phrase is music-invariant if each time it appears it brings (mostly) the same music.
music-variant
A module or phrase is music-variant if each time it appears it brings (mostly) different music.
musicologists
Music scholars.
natural
natural minor
An ordered collection of half steps (H) and whole steps (W) with the ascending succession
W–H–W–W–H–W–W.
Neapolitan sixth
A ♭II⁶ chord.
A Neo-Riemannian transformation that moves both members of the minor third in a triad by semitone,
and again changes the mode (e.g., relating C major and F minor).
Embellishing tones that are approached by step and left by step in the opposite direction.
neighboring
A type of motion where a chord tone moves by step to another tone, then moves back to the original
chord tone. For example, C–D–C above a C major chord would be an example of neighboring motion,
in which D can be described as a neighbor tone. Entire harmonies may be said to be neighboring when
embellishing another harmony, when the voice-leading between the two chords involves only
neighboring and common-tone motion (as in the common-tone diminished seventh chord).
neighboring 6/4
A kind of 6/4 chord that embellishes a harmony with neighbor motion. This is usually labeled with
figures, e.g., with 5-6-5 in one voice and 3-4-3 in another.
normal feel
In contrast to a double-time or half-time feel, a normal feel occurs when the backbeat is aligns with
beats two and four of a quadruple measure (that is, the expected timing of the backbeat).
normal order
nota cambiata
A five-note species counterpoint embellishment that may occur in one of two different forms:
note
A musical sound that has both a pitch and a rhythmic component; the symbol may include a stem,
beam, and/or flag.
note value
notehead
The elliptical part of the note. Can be either filled in (black) or outlined (white).
oblique motion
When one voice moves melodically while another voice remains on the same pitch.
octatonic collection
The octatonic collection is built with an alternation of whole steps and half steps, leading to a total of
eight distinct pitches. One example is C–C♯–D♯–E–F♯–G–A–B♭. Jazz musicians refer to this as the
diminished scale.
octave
An interval of twelve half steps between two notes with the same letter name. The frequencies of two
notes related by octave form a 2:1 ratio. Abbreviated “8ve.”
octave equivalence
A relationship between pitches that share a letter name but are separated by one or more octaves.
off-beat
A rhythmic or note value that does not fall on a beat (1, 2, 3, etc.).
1243 | GLOSSARY
off-tonic
on-tonic
A phrase or module is on-tonic when it begins with tonic harmony (I in root position).
one-more-time
A technique of internal phrase expansion. Coined by Janet Schmalfeldt, the technique involves three
steps: (1) the music tries to cadence, (2) the attempted cadence is evaded, and (3) the music retries the
cadence.
open spacing
Notes of a chord are spaced out beyond their closest possible position.
The distance between two pitches measured in semitones, with a plus or minus symbol to indicate
ascending or descending, respectively. For example: C₄ to E₅ would be an ordered pitch interval of
+16.
The distance between pitch classes from lowest to highest. In other words, pitch class intervals are
measured on the clock face, always going clockwise.
ordered set
A group of things that appear in a specified sequence. An ordered pitch set, for example, appears in a
consistent order within a piece of music. Compare against a pitch class set, where the pitches are
unordered, meaning they can appear in any order in the piece of music.
ostinato
outro
Outros function as a transition from song back to silence, and thus decrease energy. Often this is
accomplished in the recording studio by way of a fadeout.
pandiatonic
Pandiatonicism uses the notes of a diatonic collection without imparting a sense of pitch center.
parallel motion
When two voices move melodically in the same direction and by the same interval—for example, both
voices move upward by a melodic second. (Note: the quality of the interval may vary, and it still counts
as parallel motion.) By definition, two voices moving in parallel motion will also maintain the same
harmonic interval between them.
parallel relationship
When two keys/scales share the same tonic, such as C major and C minor.
A Neo-Riemannian transformation that preserves the perfect fifth in the triad, and moves the remaining
note by semitone (e.g., relating C major and C minor).
partial
passing
A type of motion where a chord tone moves by step to another tone, then resolves by step in the same
direction. For example, C–D–E above a C major chord would be an example of neighboring motion, in
which D can be described as a passing tone. Entire harmonies may be said to be passing when
embellishing another harmony, when the voice-leading between the two chords involves mainly passing
tones (as in the passing 6/4 chord).
passing 6/4
A 6/4 chord built on a passing tone in the bass, most commonly found prolonging tonic or predominant
harmonies. Importantly, the chords on both sides of the passing 6/4 are always the same function.
1245 | GLOSSARY
pedal tones
Pedal tones are often found in the bass. They consist of a series of static notes over top of which chord
changes occur that do not include the bass.
pentatonic collection
A pitch collection built with the interval pattern ma2–ma2–mi3–ma2–mi3. This collection can also be
generated by using scale degrees 1̂, 2̂, 3̂, 5̂, and 6̂ only of the major scale.
penultimate
Second-to-last.
percussion clef
A clef used by non-pitched percussion instruments, where each line or space is dedicated to a different
sound. Notation: 𝄥
A V–I cadence that ends with do (1̂) in the melody. Both harmonies must be in root position.
perfect consonance
Perfect octaves (twelve semitones), perfect unisons (zero semitones), and perfect fifths (seven
semitones). Perfect fourths (five semitones) are sometimes considered a perfect consonance, sometimes
a dissonance; this depends on the context.
period
periodize
phrase
A relatively complete musical thought that exhibits trajectory toward a goal (often a cadence).
GLOSSARY | 1246
phrase elision
The overlapping of two phrases, functioning as the ending of one phrase and the simultaneous
beginning of the next.
phrase expansion
The lengthening of a phrase, whether internally or externally, beyond its expected duration.
phrase model
phrase-level form
Refers to the various ways in which a phrase may be constructed of subphrases, ideas, and motives.
Examples of phrase-level forms include sentences, periods, repeated phrases, and hybrid forms.
phrasing
The way a passage might be shaped in performance (where to push and pull the tempo, where and how
to change dynamic levels, etc.).
phrygian
A diatonic mode that follows the pattern H–W–W–W–H–W–W. This is like the natural minor scale,
but with a lowered 2̂. This scale can also be found by playing the white notes of the piano starting on E.
The phrygian half cadence (PHC) is a special kind of cadential phrase ending that occurs only in minor
and involves the progression iv6–V. It's called “phrygian” because of the half step that occurs when le
(↓6̂) moves to sol (5̂) in the bass, a sound that’s similar to when ra (↓2̂) moves to do (1̂) in the phrygian
mode.
piano
Quiet.
1247 | GLOSSARY
picardy third
Substituting a major I chord for a minor I chord (for example, using C major instead of C minor in a
piece that is in C minor overall).
pitch
pitch class
pitch interval
A type of interval that is measured in semitones. For example, the pitch interval 2 is two semitones; the
pitch interval 7 is seven semitones.
pitch-class set
pivot chord
plagal
A mode with a range of a fifth above and fourth below its tonic.
plagal cadence
plagal motion
polymeter
polyphony
A musical texture with multiple independent melodic voices, distinguished from one another through
different rhythms and/or intervallic profiles. Also known as counterpoint. Polyphony may occur in
many styles but is commonly associated with contrapuntal genres like fugues and canons.
A type of suffix (external expansion). Post-cadential extensions are usually short, they often occur at the
ends of phrases within a section, and they typically prolong the final chord of the cadence or re-state
the two chords that created the cadence.
postchorus
A short section that follows a chorus and serves only to close the cycle—does not introduce or
transition to the beginning of the next cycle.
prechorus
Prechorus function is most significantly typified in energy gain. Prechorus sections often use motivic
fragmentation, acceleration of harmonic rhythm, movement away from tonic harmony, and harmonic
openness.
predominant function
Predominant function chords are those that transition away from tonic function toward dominant
function.
prefix
An external expansion that occurs before the beginning of a phrase. Prefixes are usually introductions,
and they may be small, as when the accompaniment for a lied begins before the singer, or they may be
large, as when a symphony begins with a slow introduction.
presentation
A subphrase consisting of a basic idea and its repetition. Presentations don't usually end with cadences.
The main section of a sonata-form work, in the tonic key. P themes are usually stable.
1249 | GLOSSARY
prime form
A name for a set class. The prime form is the version of the set class that is most compact to the left
and transposed to begin on 0.
prime symbol
A symbol (′) that is used in the analysis of phrases and forms to indicate that some repeated material
has changed, in some way, from its initial statement.
progressive tonality
A piece that starts and ends with different tonics. Compare with monotonality, which is the default
harmonic plan in most tonal works from the 17th, 18th, and 19th centuries.
prolongation
When a given harmony’s influence lasts longer than a single chord. Usually this is accomplished by
alternating the prolonged chord with other, less important chords.
protonotation
A system of musical notation stripped of complicating elements, focusing only on basic elements of
meter, rhythm, and scale degree.
quadruple meter
quality (chord)
A term that summarizes the quality of the third, fifth, and seventh (if applicable) above the root of the
chord. Common chord qualities are major, minor, diminished, half-diminished, dominant, and
augmented.
quality (interval)
A term that indicates the exact number of semitones between two pitches in an interval (compare with
interval size, which indicates only the number of letters between two pitches). Common interval
qualities are major, minor, perfect, augmented, and diminished.
GLOSSARY | 1250
quarter note
A note value that lasts half the duration of a half note, or the duration of two eighth notes. Notation: 𝅘𝅥
quarter rest
A type of rest that lasts half the duration of a half rest, or the duration of two eighth rests. Notation: 𝄽
quatrain
range
real answer
A fugue subject transposed by fourth/fifth, stated in a second voice in response to the first voice's
subject statement.
realizing
recapitulation
A section of a sonata-form work that brings back themes from the exposition and resolves the conflict
established in the exposition.
The primary theme of a rondo-form work, typically stated at the beginning, after each contrasting
episode, and as the last section (though a coda may follow).
A lyric-invariant passage within a section that is otherwise lyric-variant. A refrain is too short to form
its own section—typically a phrase or less.
1251 | GLOSSARY
relative
Considered in relation to some other system. For example, modes are said to be relative if their scales
share all the same notes (like C major and A minor).
relative relationship
A Neo-Riemannian transformation that preserves the major third in the triad and moves the remaining
note by whole tone (e.g., relating C major and A minor).
repeat signs
repeated phrase
Two phrases where the second one is a repetition of the first. The repetition is always written out
(repeat signs don't signify a repeated phrase), and usually the repetition is a variation on the initial
statement.
repetition
A technique of internal phrase expansion. Sometimes a composer repeats material to create extra
length in a phrase. Such repetitions may be exact or varied.
reprise
A section of a work that bears repeat signs, like either of the parts of a binary form.
reroute
A type of alternative path that involves a permanent change of a phrase's trajectory toward the cadence.
Reroutes are initiated by a diversion.
rest
retardation
An embellishing tone that is approached by static note and left by step up. The retardation is on a
stronger part of the beat.
retransition
A retransition is very similar to a transition, but retransitions lead to a return to the main section in the
tonic key, while transitions move away from tonic. Retransitions may have a clear half-cadential ending
(possibly followed by a suffix), or they may have an elided ending that coincides with the initiation of
the following section.
retrograde
Describes when a theme, row form, or motive is played backward in comparison to an initial (or
original) statement.
rhythm
rhythm dot
rhythm section
rhythmic solmization
Ride cymbal
A large suspended cymbal, usually 20–24” in diameter. Depending on the thickness of the cymbal, the
ride may sound like a warm wash of sound (thinner rides, common in jazz) or a sharp, high-pitched
crunch (thicker rides, common in metal music). High, pure ringing sounds can be produced by playing
the “bell” of the ride, located in the middle of the cymbal.
1253 | GLOSSARY
ritardando
Roman numerals
Numerals I, II, III, IV, V, VI, and VII for 1–7, respectively. In the analysis of harmony, Roman
numerals represent triads built on the corresponding scale degree (for example, a V chord is a triad
built on 5̂).
root
The lowest note of a triad or seventh chord when the chord is stacked in thirds.
root motion
The distance between roots of adjacent chords. For example, "root motion by step" refers to the
distance between two chords that are only one step apart, such as I and ii, IV and V, etc. Note that the
root is not always in the bass, so this is a separate concept from bass motion.
root position
Ordering the notes of a chord so that it is entirely stacked in thirds. The root of the chord is on the
bottom.
Beginning a harmonic schema on a different chord within the schema, but proceeding through the
harmonies in the same order.
A type of binary form where the material at the start of reprise 1 returns somewhere near the middle of
reprise 2. Both appearances of that repeated music are expected to be in the home key.
GLOSSARY | 1254
row
The ordered elements in a serial composition, also referred to as a series. These elements are often
pitches, but could be other things such as durations or dynamics.
row class
A collection of all forms of a given row. Most row classes contain 48 versions of a row, but some
contain fewer due to duplications of row forms. For example, a prime version of a row may be
equivalent to a retrograde version of the row.
row form
A particular version of a row in serial music; that is, prime, transposed, inverted, or retrograded.
row matrix
SATB
A musical texture with soprano (S), alto (A), tenor (T), and bass (B) parts.
scale
scale degree
The relative position of a note within a diatonic scale. Indicated with a number, 1–7, that indicates this
position relative to the tonic of that scale.
scale-degree names
A movable system of names for scale degrees based on their function within the scale, such as tonic
(do, 1̂) and dominant (sol, 5̂).
schema
second inversion
secondary dominant
A chromatic chord that temporarily tonicizes another key besides the tonic key, by taking on a
dominant function in that new key.
secondary key
A temporary key within a piece that is overall in a different key. For example, a piece in A major may
temporarily modulate to E major; E major is a secondary key within A major.
secondary leading-tone
A leading-tone chord that makes a non-tonic chord temporarily sound like tonic. Most often, secondary
leading-tone chords are fully diminished, though occasionally they are half-diminished.
The contrasting section of a sonata-form work. The S theme begins and ends in a contrasting key
(usually V in major-mode sonatas and either III or v in minor-mode sonatas). S themes are usually
stable.
section
The highest-level division of the overall form of the piece. Examples include the exposition in sonata
form, the first part of a binary form, or the chorus of a pop song.
segment
A portion of a larger grouping. In serial analysis, segments of a row can be any number of elements
(for example, in a twelve-tone row, it's common to look at three- or four-note segments).
segmentation
The process of dividing a passage or piece of music into its component parts.
sentence
sentential
A phrase that differs substantially from the archetypal sentence while still exhibiting some traits of a
sentence-structure phrase.
sequence
A pattern that is repeated and transposed by some consistent interval. A sequence may occur in the
melody, the harmony, or both.
sequence copy
The segment of a sequence that repeats and transposes the material from the model.
sequence model
The segment of music that establishes the pattern for a sequence; in other words, the segment that gets
copied in a sequence.
serialism
A strategy of putting elements of music (pitch, duration, dynamics, etc.) in a particular order.
series
Refers to the ordered elements in a serial composition. These elements are often pitches, but could be
other things such as durations or dynamics.
set
set class
A group of pitch-class sets related by transposition or inversion. Set classes are named by their prime
forms; for example, (012) is a set class.
set theory
A methodology for analyzing pitch in atonal music. Pitch classes are given an integer name (0–11,
where C is 0, C♯ is 1, etc.). Groups of pitches are considered together as "sets." Sets may be related by
inversion or transposition.
1257 | GLOSSARY
seventh chord
A triad with an additional third above the fifth, creating a seventh between that top note and the bass
and totaling four notes.
sharp
sight counting
Counting at "sight" (that is, never having seen or heard the rhythm before).
sight singing
similar motion
When two voices move melodically in the same direction (either upward or downward).
A type of binary form that does not contain the thematic return of a rounded binary. Instead, the
second reprise continues with A material without ever having departed from it (thus there is no
“return”), or it contains relatively new material throughout.
simple duple
A meter with two beats, each of which divides into two. The top number of a simple duple meter will
always be "2". 2/4 and 2/2 (cut time, 𝄵) are the most common simple duple meters.
simple intervals
An octave or smaller.
simple meter
simple quadruple
A meter with four beats, each of which divides into two. The top number of a simple quadruple meter
will always be "4". 4/4 (common time, 𝄴) is the most common compound quadruple meter.
A ternary form whose sections are each made up of one or more phrases but not complete forms. The
term "simple" can also be used to clarify that a single section does not contain a complete form.
Compare with compound ternary form.
simple triple
A meter with three beats, each of which divides into two. The top number of a simple triple meter will
always be "3". 3/4 is the most common compound triple meter.
simultaneity
A general term for two or more sound events occurring at the same time.
singer/songwriter schema
I–V–vi–IV in major, or III–VII–i–VI in minor (C–G–Ami–F, for example). This chord progression
often loops throughout a pop song. Frequently, this progression begins on the vi/i chord instead of the
I/III chord.
sixteenth note
A note value that lasts half the duration of an eighth note. Notation: 𝅘𝅥𝅯
sixteenth rest
A type of rest that lasts half the duration of an eighth rest. Notation: 𝄿
skip
In counterpoint, a type of consonant weak-beat motion that is approached by skip (third) and left by
step in the same direction.
1259 | GLOSSARY
slash notation
An abbreviated form of musical rhythmic notation, that involves dashes to indicate articulations,
horizontal lines to indicate a sustained note, and circles to indicate rests.
A Neo-Riemannian transformation that moves the two pitches that form the perfect fifth in a triad by
semitone and changes the mode of the triad (e.g., relating C major and C♯ minor).
slur
A curved line placed over notes to indicate that they should be played or sung without separation.
snare drum
A cylindrical drum, typically 14” in diameter, made of wood or metal with tensioned heads (or skins)
on the top and bottom and a set of snare wires stretched below the bottom head to create the drum’s
characteristic buzzing and cracking sounds. Played with force, it sounds like wood cracking or like a
thunderclap. Played softly, it offers a range of effects from clicks and taps to buzzing rolls.
solfège
The application of solmization syllables (do, re, mi, fa, sol, etc.) to scale degrees.
solmization
sonata form
A complex large-scale musical form that can be understood as an elaborate version of rounded binary
form with a balanced component. The larger level names are as follows: Exposition (≈A), Development
(≈B), and Recapitulation (≈A′). In general terms, the exposition contains two main sections (primary
and secondary) separated by a transition. The secondary theme is presented in a non-tonic key in the
exposition, and crucially, it is restated in the recapitulation in the tonic key. The exposition and
recapitulation often end with a large suffix (closing section).
soprano
The highest part in SATB style, written in the treble clef staff with an up-stem; its generally accepted
range is C₄–G₅.
GLOSSARY | 1260
sound wave
spacing
The intervals between voices. For chords in strict SATB style, there should be no more than an octave
between upper voices (soprano and alto, alto and tenor), and no more than a twelfth between the tenor
and bass.
species counterpoint
spondee
srdc
A four-part phrase structure in popular music: statement, restatement, departure, and conclusion. An
srdc structure shares many features with the Classical sentence.
stability
A perceived quality created in music through tonic expansions, regular hypermeter, absence of
modulations, diatonic melodies, and diatonic harmonies, among other things.
staccato
staff
stanza
In lyrics, a stanza is a group of lines of lyrics. In music notation, a stanza is a group of staves that are
played simultaneously.
1261 | GLOSSARY
stem
A vertical line that originates at the notehead, used to indicate rhythm and voicing.
stem direction
On a grand staff in SATB style, the soprano and tenor are up-stemmed, while the alto and bass are
down-stemmed.
Eighth notes that are equal, as opposed to swing eighths (which are unequal).
straight syncopation
Taking a series of notes of equal durations, cutting the duration of the first note in half, and shifting the
rest early by that half duration.
stretching
A technique of internal phrase expansion. It occurs when a composer lengthens a harmony or melody
by increasing its duration so that it lasts longer than expected. When that happens, we say that the unit
that contains the harmony or melody has been stretched.
string instrument
strophe
A basic multi-phrase unit. In pop music, a strophe is a focal module within strophic-form and
AABA-form songs.
strophic form
A large-scale song structure, in which the same basic multi-phrase unit is repeated throughout (AAA).
The basic unit that is repeated is called a strophe. Strophic form is more common in early rock-and-roll
(1950s–1960s) than in the 1970s and beyond.
structural features
subdominant
A harmonic function that may either lead toward a dominant-function chord or back to a tonic-function
chord. Subdominant function is most typically associated with the IV chord, otherwise known as the
subdominant chord, and the II chord, otherwise known as the supertonic chord.
subject
A short melody that forms the melodic basis of a fugue and recurs throughout.
subphrase
A unit in some phrase-level forms that is one level smaller than a phrase, but one level larger than an
idea.
subset
substitution (counterpoint)
In counterpoint, a type of consonant weak beat that involves a leap of a fourth followed by a step in the
opposite direction. The name implies that this motion substitutes for a more common passing-tone
motion.
subtonic shuttle
♭VII–I, or B♭–C in C major. This shuttle can imply mixolydian if the tonic chord is major, or aeolian if
it is minor. In this shuttle, the ♭VII chord has dominant function.
subversion of a cadence
Occurs when a potential cadence point is declined by the material that follows it. A common strategy is
for a composer to write music that proposes a cadence, but then to "back up" in the phrase and try the
cadence again. See also the "one-more-time" technique in the chapter on phrase expansion.
suffix
A type of external expansion that occurs after the end of a phrase. There are three terms commonly
used to describe suffixes, ranging in size from smaller to larger: post-cadential extension, codetta, and
coda.
1263 | GLOSSARY
superscript
In typesetting, superscript characters appear higher on the page than the regular characters—like an
exponent in math. For example, in the chord symbol C⁷, the 7 is superscript.
superset
A larger set that contains other smaller sets. For example, a superset of (037) is the diatonic collection,
(013568t).
suspension
An embellishing tone that is approached via static note and left by step down. The suspension is on a
strong part of the beat.
swing eighths
A performance practice in which two notated eighth notes are performed unequally, in about a 2:1
proportion.
syncopation
A rhythmic phenomenon in which the hierarchy of the underlying meter is contradicted through
surface rhythms. Syncopation is usually created through accents and/or longer durations.
syntax
The norms or principles according to which musical elements are combined into meaningful and
stylistically appropriate successions.
tactus
The perceptual equivalent of a "beat"—the pulse that you might tap your foot or bob your head along
to. A tactus is felt, not notated.
tail refrain
tempo
How fast or slow a work is performed; many tempo markings are in Italian or another non-English
language.
temporal
Relating to time.
Related to the word "tenuto," the tenor of a mode is the pitch frequently sustained in a chant melody
using that mode.
tenor (voice)
The second lowest part in SATB style, written in the bass clef staff with up-stems; its generally
accepted range is C₃–G₄.
tenor clef
As a "C" clef, the tenor clef shows that the second-highest line of the staff is C₄ by centering on that
line.
tenuto
A type of articulation marking used to indicate smooth, connected playing, indicated by small
horizontal lines above or below the notes.
ternary form
A musical form consisting of three distinct sections, in an ABA (not ABC) formal structure. The B
section typically contains contrasting material in a new key. Repeat signs around each section are
common.
tetrachord
A four-note collection.
texture
third inversion
through-composed
An attribute of a musical form where no sections of music return. Similar motivic material may be
present in different sections, but the sections would each be considered distinct.
tie
Connects two or more notes of the same pitch; notes after the initial one are not rearticulated.
tight-knit
A perceived characteristic of music that is created by conventional theme types, harmonic stability,
symmetrical groupings, and consistent motivic material.
time signature
An indication of meter in Western music notation, often made up of two numbers stacked vertically.
timeline notation
A contemporary metric technique that uses seconds as the measure of time, rather than traditional bar
lines and meters.
Toms
Drums of various sizes (diameters of 10–16” are most common), similar to the snare drum but with
deeper bodies and lacking the snares. They have a more focused pitch fundamental than the snare and
are higher-pitched than the kick. There are often three toms on a drum kit, with pitches that are low,
middle, and high. The pitch can be a more or less prominent feature of the toms’ sound.
tonal
An adjective used to describe music that adheres to the Western system of functional harmony.
tonal ambiguity
A property of certain chord progressions, where the progression does not inherently imply a single
chord as the tonic chord.
GLOSSARY | 1266
tonal answer
An imitative repetition of a subject that is not an exact transposition of the subject (that is, a real
answer) but modifies the intervals to fit within the same key as the original subject. A common
modification is to change a perfect fifth do–sol (1̂–5̂) in the subject to a perfect fourth sol–do (5̂–1̂) in
the answer. The term "tonal answer" refers to the fact that this preserves the tonal relationships (e.g.,
between do and sol) instead of preserving intervallic relationships.
tone cluster
A chord composed entirely of seconds (major or minor), rather than thirds or any larger interval.
tonic
The home note or home chord of a scale, or something with the function of that home note.
tonic function
A category of chords that sound stable, providing a sense of home or center. The I chord is the
paradigmatic tonic-function chord, but vi and iii occasionally have tonic function.
tonicization
The process by which a non-tonic triad is made to sound like a temporary tonic. It involves the use of
secondary dominant or leading-tone chords.
transition
A section of music that functions to connect two thematic sections, especially where the upcoming
section is not the initiation of a large-scale return.
transposition
treble clef
As a "G" clef, the treble clef designates the second-lowest line of a staff as G₄ by curling around it.
tresillo
A division of a rhythmic unit (one beat, two beats, one measure, etc.) into three almost-equal groups, in
a 3+3+2 pattern: for example, dividing a half note into two dotted eighth notes and an eighth note.
triad
trichord
triple meter
triplet
A tuplet that involves dividing a beat in simple meter into three parts.
tritone
An augmented fourth or diminished fifth. The name reflects that the two notes of a tritone are three
(tri-) whole steps (tones) apart.
tuplet
A rhythm that involves dividing the beat into a different number of subdivisions from that usually
implied by the time signature.
turn
An embellishment that indicates to decorate a note with its upper and lower neighbor, in that order.
(The opposite order would be an "inverted" turn.) For example, a turn on C would be performed
C–D–C–B–C. This embellishment is a specific kind of double neighbor.
GLOSSARY | 1268
turnaround
The use of a non-tonic chord (usually dominant) at the end of a harmonically closed unit to transition
into the beginning of the following on-tonic unit. In jazz, the term "turnaround" often refers to the
progression vi–ii–V–I. The exact qualities of these chords are highly variable, and one or more of the
chords may be substituted with a different, related chord.
unit
A segment of music that expresses whatever the prevailing higher-level grouping expresses. For
example, if a unit is contained within a continuation, it expresses continuation function. We often apply
the term "unit" to ideas that aren't easily categorized using terms such as basic idea, contrasting idea, or
cadential idea.
The distance between two pitches, measured in semitones. For example, C₄ to E₅ would be an
unordered pitch interval of 16.
unvoiced
Spelling chords stacked in thirds or in closed position, within a single staff, usually for abstract or
theoretical purposes, rather than for performance.
upbeat
verse
Sections that are lyric-variant and often contain lyrics that advance the narrative.
1269 | GLOSSARY
verse-chorus form
The most common form of pop songs today, consisting of lyric-variant verses and lyric- and
music-invariant choruses that deliver the primary narrative material of the song.
An independent, monophonic part within a piece of music (instrumental or vocal). Each voice may be
played by a different instrument, or multiple voices may be played by one instrument (especially in
polyphonic instruments like keyboard or guitar).
voice crossing
When a higher voice part moves below a lower voice part. In strict SATB style, the ranges of voices
should not cross; the soprano must always be higher than the alto, the alto must always be higher than
the tenor, and the tenor must be higher than the bass.
voice leading
The way a specific voice within a larger texture moves when the harmonies change. For example, in a
choir with four parts, soprano/alto/tenor/bass, one might discuss the voice leading in the tenor part as
the entire choir moves from I to V.
voice overlap
In a multi-voice texture, when one voice leaps beyond the previous note in another voice.
voicing
wavelength
Western
whole note
A note value that lasts the duration of two half notes. Notation: 𝅝
GLOSSARY | 1270
whole rest
A type of rest that lasts the duration of two half rests. Notation: 𝄻
whole step
whole-tone collection
A pitch collection composed entirely of whole steps. There are six whole steps in a whole tone
collection, and there are only two possible whole tone scales: C–D–E–F♯–G♯–A♯, or
C♯–D♯–F–G–A–B.
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