Last Wave Reached. and. Timothy Robert Hambourger. Department of Music Duke University. Date: Approved: John Supko, Supervisor.

Transcription

1 Last Wave Reached ad Register, Harmoy, ad hrase Desig i Weber s O ad O 7 by Timothy Robert Hambourger Deartmet o Music Duke iversity Date: Aroved: oh Suko, Suervisor Scott Lidroth hili Rurecht elix Woerer Dissertatio submitted i artial ulillmet o the requiremets or the degree o Doctor o hilosohy i the Deartmet o Music i the Graduate School o Duke iversity 01

2 ABSTRACT Last Wave Reached ad Register, Harmoy, ad hrase Desig i Weber s O ad O 7 by Timothy Robert Hambourger Deartmet o Music Duke iversity Date: Aroved: oh Suko, Suervisor Scott Lidroth hili Rurecht elix Woerer A abstract o a dissertatio submitted i artial ulillmet o the requiremets or the degree o Doctor o hilosohy i the Deartmet o Music i the Graduate School o Duke iversity 01

3 Coyright by Timothy Robert Hambourger 01

4 Last Wave Reached Abstract Last Wave Reached is a settig o oems by Kay Rya, S oet laureate, , or three emale sigers ad large chamber esemble Rya rites comact, itricate miiatures ull o uexected rhymes ad alliteratios, odd meters, layul ord choices, ad eetratig imagery I this sirit, Last Wave Reached uolds as a series o distict musical vigettes, each oe evokig a sigle orld o soud The laguage is succict, ad istrumetatio varies idely rom movemet to movemet Overall, the iece exlores themes o reetitio, retur, iality ad (im)ermaece Register, Harmoy, ad hrase Desig i Weber s O ad O 7 May aalyses o Weber s mature music have cosidered itch-class relatios i deth, but e authors have exlored Weber s rich use o registral itch sace urthermore, little has bee ritte about the desig o idividual Weberia hrases I Register, Harmoy, ad hrase Desig i Weber s O ad O 7, I make stes toards illig both gas I sectio 1, I ocus o the irst movemet o the O Cocerto, sho ho Weber grous ro orms by trichordal ad hexachordal ivariace, ad demostrate that ivariat harmoy iteracts meaigully ith register to shae the global orm o the movemet I sectio, I broade my scoe to demostrate that register also lays a crucial role i shaig hrases ad creatig cadeces throughout O ad 7 I additio to itrisic, itch-based aroaches, I sho that e must cosider extrisic actors like rhythm, temo, ad articulatio to arrive at a ull uderstadig o Weber s hrasal techique iv

5 Table o Cotets Abstract List o igures Ackoledgemets art I: Last Wave Reached Istrumetatio ad Note o trasositios Note o amliicatio ad rogram ote Drum ma ad ercussio list Guide to teor saxohoe multihoics Guide to iao rearatio Note o the electric iao Texts iv vii ix xi xii xiii xiv xv xvi xviii xix 1 Almost Without Surace I 1 aired Thigs The Thigs o The World Iterlude 0 Almost Without Surace II 6 The Sel is Not ortable 6 7 Bladeur 60 Set Whole 6 9 Almost Without Surace III 6 10 Sharks Teeth 71 v

6 11 Last Wave Reached 9 art II: Register, Harmoy, ad hrase Desig i Weber s O ad O 7 11 Register, Harmoy, ad hrase Desig i Weber s O ad O igures 1 Reereces 17 Biograhy 177 vi

7 List o igures (or art II) igure 1 The O ro 1 igure The O matrix 16 igure Some trichordally related ros 16 igure Trichordal ivariace relatios 17 igure The - relatio 1 igure 6 Cocerto O /i, iao, mm igure 7 The six trichord areas 19 igure Some hexachordally related ros 19 igure 9 Commo ic 1 adacecies i hexachordally related ros 160 igure 10 O /i, ro statemets by trichord ad hexachord areas 161 igure 11 Odd-to-eve trasitio, Cocerto O /i, mm 16 igure 1 Ic 1 dyads i the iao, O /i, mm 0 16 igure 1 Other registral reetitios 16 igure 1 O /i, ixed-ote ercetages by measure 16 igure 1 Coordiatio o ro toograhy, harmoy, ad register i O /i 16 igure 16 Cocerto O /i, mm igure 17 Cocerto O /i, mm igure 1 Variatios or iao O 7/i, mm igure 19 Acceleratio o rhythmic ostiatos, O 7/i, mm igure 0 Cocerto O /i, mm 6 69, registral costellatios 169 igure 1 Variatios or iao O 7/iii, mm vii

8 igure Variatios or iao O 7/i, mm igure Comariso o registral costellatios 17 igure (01) voicigs i O /iii, mm igure Cocerto O /iii, mm viii

9 Ackoledgemets This dissertatio ould ot have bee ossible ithout the geerous suort oered by my advisor oh Suko So may times a e ords o advice rom oh as all it took to get me ast the hurdles ad creative blocks alog my ay My dissertatio committee, Scott Lidroth, hili Rurecht, ad elix Woerer added ivaluable eedback I also oe a great debt to Stehe ae or schedulig the December, 01 readig ad March, 01 remiere o Last Wave Reached, commuicatig ith the Wet Ik esemble, trasortig istrumets, ad orkig through the may logistical tagles alog our ath I have had the great ortue o orkig ith a amazig grou o taleted ad dedicated sigers ad istrumetalists or the remiere It has bee a icredible leasure to hear the ruits o their hard ork Through it all Verea Moesebichler-Bryat has coducted masterully, demostratig her dee koledge o the score ad easy ability maagig rehearsals I have alays ko that ith her the iece as i very good hads ially, Kay Rya has bee extremely geerous ith her time ad ith her ork I hoe my music might do ustice to the oy ad isdom i her ords ix

10 This age Let Itetioally Blak x

11 art I: Last Wave Reached or three emale sigers ad large chamber esemble Music by Tim Hambourger Texts by Kay Rya ull Score xi

12 Istrumetatio lute/iccolo Clariet/Bass Clariet Alto Saxohoe/Sorao Saxohoe (layer 1) Teor Saxohoe (layer ) Trumet i C (or layer may use a trumet i D at their discretio) ercussio (1 layer) reared iao/electric iao Sorao (doublig Triagle) Mezzo-sorao Alto Violi/Viola (1 layer) Cello Note o trasositios The score is NOT i C Clariet ad sorao saxohoe soud a maor secod loer tha ritte Bass clariet ad teor saxohoe soud a maor ith loer tha ritte Alto saxohoe souds a maor sixth loer tha ritte iccolo souds a octave higher tha ritte Glockesiel ad crotales soud to octaves higher tha ritte The trumet souds here ritte xii

13 Note o amliicatio Amliicatio is otioal i Last Wave Reached ad should be used at the erormers discretio I amliicatio is used, it is advisable to emloy a egieer to adust levels betee movemets I the remiere, the olloig layers ere amliied slightly: all sigers, violi/viola, cello, lute (movemet 10 oly), ad reared iao (movemets 1,, 9, ad 11 oly) Amliied istrumets ere set to a stereo outut, ith additioal moitors or the coductor ad the iaist rogram ote I love Kay Rya s oems or their comact itricacy, or their quirky sese o rhythm ad acig, or the ay her laguage rigs ith sarigly-srikled rhymes ad hidde assoaces ad alliteratios With Rya a e simle uderstated seteces someho crystallize erectly ito a sigle vivid image, like stray thoughts that ust eed a small ucleus to codese ito a meaigul hole May o her oems deal ith a sese o reetitio or retur, o idig yoursel agai ater a log time I Cho, Rya its this idea o retur agaist images o iality, sigularity, ad (im)ermaece Is the last ave reached ial like a emeror s guillotie is ial Or is it like the last o last eek, merely the most recet istace i a series that has o oreseeable ed I the sirit o Rya s oetic miiatures, I have ritte Last Wave Reached as a series o musical miiatures, each oe evokig a sigle orld o soud, sometimes lyrical, sometimes dark, sometimes uy, but almost alays strage xiii

14 Drum ma or ay ercussio sta ith the cle Hi-hat Hi-hat (oot, closed) (oot, oe) Kick drum loor tom Sare x x o ( ) Suseded tom Ride cymbal Hi-hat (closed) Hi-hat (oe) x x x o x Crash cymbal Comlete ercussio list Drum set: (kick drum, sare drum, 1 loor tom, 1 suseded tom, hi-hat, ride cymbal, crash cymbal, oodblocks or temleblocks) crotales ( octaves) glockesiel additioal kick drum additioal sare drum (otioal, eases set chages) additioal hi-hat (otioal, eases set chages) additioal crash cymbals (otioal, eases set chages) large tam-tam melodic toms vibrahoe 1 additioal oodblock xiv

15 Guide to teor saxohoe multihoics No 11 'Last ave reached' calls or ive distict multihoics, idicated as dyads ith diamod oteheads The erormer should choose each multihoic so that 1) it cotais at least oe itch o the otated dyad (ithi a quarter-toe i either directio) ad ) it its the timbral characteristics described belo Noe o the mutihoics should be too harsh/dissoat, ad all should be layable over a ide dyamic rage Although I sometimes call or these multihoics to be o quite short duratio, the reerece should be or igerigs that roduce the desired timbre over igerigs that seak easily - a ideiite, barely audible soud is erectly accetable or shorter ote values Multihoic otatio Cosoace/Dissoace Other timbral characteristics o a scale o 1 (comletely cosoat) to 10 (suer b 1 dissoat) 1 getle, sot, hisery, breathy, teuous 1 getle, sot, hisery, breathy, teuous clearer, sharer, more stridet, but ot too much getle, sot, but a little clearer airly clear at higher volumes, hisery he soter xv

16 Guide to iao rearatio Last Wave Reached calls or three dieret kids o iao rearatios: 1) Some strigs eed to be muted by lacig a small amout o adhesive utty at either ed o the strig (ust uder the hitch is at the ar ed or higher strigs, belo the cao bar at the close ed or loer strigs) The roduct I used is DA BLESTIK Reusable Adhesive utty available at Home Deot (i the ait sectio), but other roducts may ork as ell Be sure ot to use so much utty that you latte the itch ercetibly The resultig soud should be soter but should still resoate clearly ad ossess deiite itch ) I call or some strigs to be muted at either the d or a th artial ode As log as you mute recisely at the desired ode, this roduces a clear multihoic toe cosistig o the seciied artial o the origial udametal lus a loer toe latter tha the origial udametal This loer toe ca be adusted by alterig the amout o utty laced o the strig - the more utty, the loer the toe The same utty used to mute the strigs i umber 1 ca be used here, but to loer the origial udametal by more tha a hole toe, I recommed usig a deser roduct The oe I used is irely EZ Shae modelig clay available at Michaels arts ad crat stores, but agai other roducts may ork equally ell The key is to id roducts that loer each strig the desired amout ithout soteig the toe too severely ) ially, I call or some otes to be altered by simultaeoulsy mutig those otes ear the hitch is (as i umber 1) ad by isertig a ey or dime betee the three strigs or that ote Adustig the ositioig o the coi alog the legth o the strigs alters the tuig o the resultig soud: lacig the coi recisely at the secod artial ode roduces a clear multihoic ith harmoic toe ad loer toe similar to umber O the other had, as you move the coi closer to the hitch is, the harmoics roduced become higher ad less deiite i itch ad the loer toe moves uard closer to the origial udametal Belo is a comlete chart ith all otes to be reared or clarity, I have used the same otatio belo as i the score ad art, reresetig otes o to airs o staves The loer air deicts the actual keys to be layed/reared; the to air shos the resultig souds xvi

17 iao S o u d i g l a y e d 1 Mutig at eds o strig ith BLESTIK ar ed o strig ust belo hitch is close ed o strig belo cao bar Mutig at d or th artial ode ith BLESTIK or EZ Shae o S o u d i g l a y e d b b b b b b b b b b b d artial th artial BLESTIK BLESTIK d artial d artial EZ Shae EZ Shae d artial d artial EZ Shae BLESTIK d artial BLESTIK xvii

18 S o u d i g Mutig at ed o strig ith BLESTIK ad isertig dime or ey betee strigs ith higher idetermiate harmoics ith higher idetermiate harmoics ith higher idetermiate harmoics o l a y e d dime at d artial ode mute ust belo hitch is dime at ar ed o strig arox 1 i belo hitch is mute ust belo hitch is ey at ar ed o strig arox 1 i belo hitch is mute ust belo hitch is Note o the electric iao The electric iao art should be erormed o a -key keyboard or the remiere, a Korg M0 Music Workstatio as used All atches used ere actory origials - o idividual atches ere edited Hoever, I did reorder the atches o the M0 so as to acilitate ast atch chages i erormace I the score ad art, I have idicated atches ith three idetiiers: 1) A digit code, such as 'E17,' that is seciic to the ay I ordered atches or the remiere ) A ame, such as 'Direct Eiao,' that corresods to the actory origial ame ad ca be used to locate the same atch o aother Korg M0 ) A short descritio, such as '(or ay electric o or suitcase o),' that should be used as a guide to idig a aroriate atch o a dieret brad o keyboard xviii

19 Last Wave Reached Music by Tim Hambourger Texts by Kay Rya 1 Almost Without Surace I Almost Without Surace rom The Niagara River, Grove ress, 00 [THE ORTION BELOW IS NOT SET] Sometimes beore goig to slee a erso seses the give behid the last give, almost hysically, like the strai o lush agaist a ski The erso imagies a ig or each, erhas a oma or a dee costellatio: some athomless xix

20 ruit [THE ORTION BELOW IS SET] But e are each that, hile e live, hoever much e resist: almost ithout surace, barely cotaied, but crazy as clouds comoudig each other, reusig to rai aired Thigs aired Thigs rom lamigo Watchig, Coer Beech ress, 199 Who, ho had oly see igs, could extraolate the skiy sticks o thigs birds use or lad, the backard ay they bed, the silly ay they stad xx

21 Ad ho, oly studyig birdtracks i the sad, could thik those little orks had decamed o the id So may aired thigs seem odd Who ever ould have dreamed the broad iged rave o desair ould quit the air ad go badylegged uo the groud, a commo cro The Thigs o the World The Thigs o the World rom lamigo Watchig, Coer Beech ress, 199 Wherever the eye ligers it ids a huger The thigs o the orld at us or dier Iside each ebble or lea or uddle is a hook The aetites o the orld comete to catch a look What does this mea xxi

22 ad ho does it ork Why are't rocks comlete Why is't gree adequate to gree We are't gods hose gaze could save, but that's ho the thigs o the orld behave Iterlude (istrumetal) Almost Without Surace II See 1 Almost Without Surace I (above) 6 The Sel is Not ortable The Sel is Not ortable rom The Niagara River, Grove ress, 00 The sel is ot ortable It caot be acked It comes seakig back to ay lace rom hich it s bee extracted, xxii

23 or it is othig aloe It is ot a etity The ratio o sel to home: oe art i sevety 7 Bladeur Bladeur rom Say cle, Grove ress, 000 I it lease God, let less hae Eve out Earth s rodure, latte Eiger, blade the Grad Cayo Make valleys slightly higher, ide issures to arable lad, remad your terrible glaciers ad silece their calvig, halvig or doublig xxiii

24 all geograhical eatures toard the mea lea agaist our hearts Withdra your gradeur rom these arts Set Whole Set Whole rom Elehat Rocks, Grove ress, 1996 You are't set u hole, hoever it eels You're atomized The id asses You recogeal It's a surrise 9 Almost Without Surace III See 1 Almost Without Surace I (above) 10 Sharks Teeth Sharks' Teeth rom The Niagara River, Grove ress, 00 Everythig cotais some silece Noise gets its zest rom the xxiv

25 small shark's-toothshaed ragmets o rest agled i it A hour o city holds maybe a miute o these remats o a time he silece reiged, comact ad dagerous as a shark Sometimes a bit o a tail or i ca still be sesed i arks 11 Last Wave Reached Cho rom The Niagara River, Grove ress, 00 The bird alks do the beach alog the glazed edge the last ave reached His each ste makes xxv

26 a erect stam smallish, but as shar as a emeror's cho Stride, stride, goes the emeror do his ide mirrored romeade the sea bos to reolish All texts used ith author s ermissio xxvi

27 1 Almost Without Surace I lute Clariet With quiet itesity h = $ b $ $ b $ Trumet Harmo mute, stem out throughout b $ $ b $ $ b $ ercussio Crotales (metal mallet) X Crash cymbal (drum stick) X X X X X X X x X reared iao S o u d i g l a y e d Sorao Mezzo Alto Violi o o 1 o o * harmoic gliss o o o o o o o 6 ȯ 7 loco 9 1

28 1 Almost Without Surace I l Cl $ b $ $ b $ A Tt b to Woodblock take u rubber mallet erc x X X X X X X X X x S o u d i g () o l a y e d () $ So Mezzo Alto Vl 10 o o $ 11 o o 1 o o 1 o o 1 o o 1 o ȯ 16 But e are loco 17 each that, 1

29 1 Almost Without Surace I l Cl b b b b b b b b- b b - b b b b - b - Tt erc b ã b l Woodblock (hard rubber mallet) x b Crash cymbal ad kick drum (drum stick) b l x b to Crotales take u metal mallet o So Mezzo Alto Vl S o u d i g l a y e d () () hile e 19 0 loco b b b loco b b b b b l l b al-most ith-out sur-ace, sist: live, hoever - muche re - b b b b b ith-out sur-ace, b al-most ith-out sur-ace, o the rog l 1 b b b b b b b b b b b l b b b l b b bare-ly co-taied, b b but b b bare-ly co-taied, b b but b b bare-ly co-taied, l but b b b b b b b b b b b b craz - y as clouds b b b craz - y as clouds b b b craz - y as clouds, bb

30 1 Almost Without Surace I l Cl b b b $ $ Tt l l $ b $ erc ã X Crotales (metal mallet) X X o S o u d i g l a y e d b b b b b b b b So Mezzo b b b com - oud-ig each oth - er re - us - ig to rai Alto Vl b l b b o o 6 o ȯ 7

31 aired Thigs iccolo B Small, quirky, ad graceul h = Ú q = q Æ Clariet Alto Sax ercussio Glockesiel (metal mallet) Vibrahoe (yar mallets) dead stroke sim Electric iao Sorao Very short, clear, ol-like, bell-like Hoo hoo hoo hoo hoo hoo etc Mezzo Violi Cello

32 aired Thigs icc Ú q = q Æ Ú q = q Æ Ú q = q Æ Ú q = q Æ C 6 aster, liltig q = 6 Cl A Sx 6 erc E o So Mezzo Who Who, hohado-ly see Vl izz Vlc

33 aired Thigs icc 9 6 Cl 9 b 6 echo A Sx 9 6 erc 9 9 b b 6 6 E o So Mezzo Vl Ah igs, Lyrical, light ah ah b Hoo b could ex-tra-olate - the ski-y arco b echo Ah sticks o thigs ah ah izz birds use or Vlc

34 aired Thigs icc Temo I h = D Cl A Sx erc E o So Mezzo lad, Ah ah ah ah Hoo hoo etc the backardaythey bed, b the sil-ly ay they stad Vl arco Vlc

35 aired Thigs icc Ú q = q Æ Ú q = q Æ Cl - - A Sx erc E o So - - Mezzo Vl - - Vlc

36 aired Thigs icc Ú q = q Æ Ú q = q Æ E Slightly aster h = 6 Cl - A Sx erc b E o So Mezzo Vl - - Ad ho, ho, o-ly stud-y- ig birdtracks - i the Lyrical Ah sad, b Hoo Vlc

37 aired Thigs icc Cl A Sx erc b b E o So Mezzo b hoo b etc b b b couldthik those lit-tle orks haddecamedo the id Vl Vlc

38 aired Thigs icc Cl Ú q = q Æ Same temo b q = 11 b A Sx erc (Glockesiel) to hi-hat take u drum stick E o So E17 Direct Eiao (or ay electric o or suitcase o) b Mezzo Vl Vlc

39 aired Thigs icc b b b b Cl b b A Sx erc () E o So Mezzo Vl Vlc 6 b b b b 71 1

40 aired Thigs icc b Ú e = e Æ 7 Ú e = e Æ b Cl cresc 7 cresc A Sx erc cresc 7 7 cresc E o () 7 7 So 7 Mezzo 7 Vl Vlc cresc cresc cresc b b cresc 7 b b 7 7 1

41 aired Thigs icc G b b b b b Cl b cresc A Sx cresc erc E o () Hi-hat (drum stick) So Mezzo Vl Vlc cresc cresc b b 7 79 b 0 1

42 aired Thigs icc b b Ú e = e Æ Ú e = e Æ b Cl A Sx erc E o () So Mezzo Vl b b b Vlc 1 16

43 aired Thigs icc Cl b b Ú e = e Æ b 7 7 A Sx 7 7 erc E o () So 7 Mezzo Vl b b 7 7 b Vlc

44 aired Thigs icc Cl Ú e = e Æ Ú e = e Æ 7 7 A Sx 7 7 erc E o () So 7 Mezzo Vl 7 7 Vlc

45 aired Thigs icc Cl A Sx Ú e = e Æ erc E o () So Mezzo Vl Vlc

46 aired Thigs icc Cl A Sx H erc E o So Mezzo Vl () b Somayairedthigs seem Somayairedthigs seem odd loco odd So may So may Vlc

47 aired Thigs icc Ú e = e Æ Ú e = e Æ b Cl A Sx erc E o So Mezzo Vl aired thigs aired thigs b seem seem odd odd So mayairedthigs So mayairedthigs b b o o Vlc

48 aired Thigs icc Cl A Sx erc E o So Mezzo seem Vl o o o o o o Vlc

49 aired Thigs icc I Much sloer ad heavier q = Cl A Sx erc to sare drum Sare drum (drum sticks) take u drum sticks æ E o So Mezzo Vl o o Vlc

50 aired Thigs icc Cl A Sx b b erc æ æ æ E o So Mezzo Who - ev - er ould have Who - ev ould @

51 aired Thigs icc Cl A Sx erc E o So æ æ æ æ æ Mezzo the broad ig ra - ve o de - sair ould quit the the Vl the ra - ve o sair ould quit the @

52 aired Thigs icc Cl A Sx erc æ æ æ æ æ E o b bb b b bb b b b b b bb b b b b So b b b b b Mezzo air ba-dy - legged u - b b b b o the b groud, b air ad go ba-dy - legged u - o u - o the groud, Vlc

53 icc Cl A Sx erc E o So Mezzo Vl Vlc b b æ bbbb b b 19 b b æ bbbb b b 10 aired Thigs b æ bbb bb b b 11 Ú q = q Æ to vib ad glk take u metal ad yar mallets 1 * ** molto rit ** a com - mo 1 * To coductor: Wait or ercussioist to get set beore cuig dobeat o bar 1 Mezzo leads temo i bar 1 lace dobeat o bar 1 ith mezzo To mezzo: Wait or coductor's cue to start bar 1 Solo, out o time, ith lots o ritard lace dobeat o bar 1 ith coductor Temo I h = cro Glockesiel (metal mallet) Vibrahoe (yar mallets) Hoo 1 7

54 aired Thigs icc Ú q = q Æ Ú q = q Æ Cl A Sx erc E o So hoo hoo etc Mezzo Vl ọ Vlc

55 aired Thigs K icc Ú q = q Æ Ú q = q Æ Ú q = q Æ Ú q = q Æ Cl A Sx erc E o So Mezzo Vl ọ ọ Vlc

56 aired Thigs icc Cl Ú q = q Æ Ú q = q Æ Ú q = q Æ Ú q = q Æ A Sx erc E o So Mezzo Very clear, ol-like, bell-like Hoo Vl ọ Vlc

57 icc Cl A Sx So Mezzo Vl Vlc erc E o aired Thigs 1

58 The Thigs o the World iccolo L Quiet but bitig e = 10 Bass Clariet Alto Sax Teor Sax Trumet straight mute throughout ercussio Drum set (drum sticks) Electric iao E16 M0 Grad iao (or ay grad o) b Sorao Mezzo Alto r K Wher - ev-er the eye lig - ers it ids a huger The thigs o the orldatusordi-er r K ith shar, ocused eergy ith shar, ocused eergy Wher - ev-er the eye lig - ers it ids a huger The thigs o the orld at us ordi-er ith shar, ocused eergy r K r K r K r K Wher - ev-er the eye lig - ers it ids a huger The thigsothe orld atusordi-er 1 6 7

59 The Thigs o the World icc B Cl b b A Sx T Sx b b Tt erc x r x E o So Mezzo Alto r K b Wher r K b Wher rk b Wher b - ever - the eye lig - ers it ids a hug-er The thigs o the orld at us or di- er Wher- b - ever - the eye lig - ers it ids a hug-er The thigs o the orld at us or di- er Wher- b b - ever - the eye lig - ers it ids a hug-er The thigs o the orld at us or di- er Wher- 9 b b r K r K r K 10 b b b 11 r K r K rk 1

60 The Thigs o the World icc - b M B Cl b - b A Sx - T Sx b - b Tt erc - x mute ith had x x x E o b b - b - b b b b b So Mezzo Alto R Ô R Ô ev-erthe eye lig - ers it ids a hug-er The thigs o theorld at us or di-er Wher - ev-er the eye lig - ers it ids a ev-erthe eye lig - ers it ids a hug-er The thigs othe orld at us or di-er Wher - ev-erthe eye lig - ersit ids a r K r K b ev-erthe eye lig - ers it ids a hug-er The thigs othe orld at us or di-er Wher - ev-er the eye lig - ersit ids a r K R Ô

61 The Thigs o the World icc - - B Cl A Sx - - b - - T Sx Tt erc - - x b mute x x x - - x E o So Mezzo Alto b - - R Ô hug-er The thigs othe orld at us or dier Wher - ev-er the eye lig - ers it ids a hug-er b R Ô hug-er The thigs othe orld at us or dier Wher - ev-er the eye lig - ers it ids a hug-er r K b 1 b b b b hug-er The thigs othe orld at us or dier Wher - ev-er the eye lig - ers it ids a hug-er 19 b R Ô R Ô r K 0 b 1 - bb - RÔ The R Ô The r K b The

62 The Thigs o the World icc - b R B Cl A Sx T Sx Tt erc l x mute x x x b r R R R x E o So Mezzo Alto l thigs otheorld at us or di-er Wher - ev-er the eye lig - ers it ids a huger The thigso theorldat us ordi-er thigs otheorld at us or di-er Wher - ever - theeye lig - ers it ids a huger The thigso theorldat us ordi-er b b R Ô r K rk b thigs otheorld at us or di-er Wher - ev-er the eye lig - ers it ids a huger The thigso theorldat us ordi-er b - b - R Ô RÔ RÔ 6 b b R r b b 7 6

63 The Thigs o the World icc R R b R N Í Í R R Í Í Í Í Í Í B Cl A Sx r r R R r R Í Í b Í Í r r Í Í b R Í Í R Í Í Í Í b b Í Í Í Í T Sx Tt r r R R R R Í Í b b Í Í R R Í Í b R R Í Í Í Í Í Í b b b Í Í Í Í erc o x o x x x x Take ritte art as a suggestio uky, layig aroud the accets x ox x x x x x ox x x x x x o x ox x x x x x ox x x x x x x x o E o r R r b r b b R r b b b R R b b r r b So Mezzo Alto

64 The Thigs o the World icc R Í Í Í O b B Cl A Sx r Í Í b Í Í R Í Í b Í Í Í b Í r l b R b T Sx Tt erc R Í Í b b R Í Í x o x x x x x x o Í Í Í Í Í xo x x x x x ox x Í x o x x x x x x x r l b r l x x x o x x o x o x o x b Back to layig art as ritte b x E o So Mezzo Alto b R r b b b b b R r l b r I b r I b r I b b b - side each ebble or lea or uddle - is a hoo - b b - side each ebble or lea or uddle - is a hoo - b b - side each ebble or lea or uddle - is a hoo - b b b b

65 The Thigs o the World icc b b b B Cl b A Sx T Sx Tt erc E o So Mezzo Alto r k The b l b b b b b b b aetitesotheorldcomete to b b x catch a loo k The aetitesotheorldcomete to catch a loo r k The aetiteso theorldcomete to catch a loo k What doesthismea adhodoes it or - l x b b x k What doesthis meaadhodoes it or k What doesthis meaadhodoes it or - 7 9

66 The Thigs o the World icc B Cl b A Sx T Sx Tt erc E o So Mezzo Alto b x o x o x o x o x o x l k k l k x x b What does this mea ad ho does it or b What does this mea ad ho does it or b What does this mea ad ho does it or 9 x o x o x o x o x o x l k k k x x x o x o x o x o x o x l Why are't rocks com-le - Why are't rocks com-le - Why are't rocks com-le - 1 te l te l te 0

67 The Thigs o the World icc B Cl A Sx T Sx Tt erc E o So Mezzo Alto b b b b b b b b b b x x x o x o x o x o x o x b b b l b Why is't gree b Why is't gree b Why is't gree b x x x o x o x o x o x o x b b b b - - a-de-quate to gree b - - a-de-quate to gree l b - - a-de-quate to gree l xo x o x o xo x o x o xo x o x o xo x o x o l l l l b b xo x x x o x x x x x x o l - Agai take ritte art as a suggestio Groovig, ith lots o obeat hits - l b b x o x x x o R r l 6 1

68 The Thigs o the World icc b b b B Cl A Sx T Sx Tt b b b erc xo x x x x x x xo xo x x x o x x x x x x o x o x x x o xo x x x x x x xo xo x x x o x x x x x x o E o - - l - - l R r l - - l - - l So Mezzo Alto

69 The Thigs o the World icc b b b B Cl A Sx T Sx Tt b b b erc x o x x x o xo x x x x x x xo xo x x x o x x x x x x o x o x x x o xo x x x x x x E o R r l - - l - - l R r l - - So Mezzo Alto

70 The Thigs o the World icc B Cl A Sx T Sx Tt erc E o So Q b b xo l x x x o x o x o x o x x x - - l b b x o R r l x x x o xo x x o x o x o - - x o x o x o x b b b x o x x o x l l l b b b b x o x o xo x o x x Mezzo Alto

71 The Thigs o the World icc b b b B Cl b A Sx b b T Sx b bb b b b Tt b b b b b erc x o x x o x x o x x o x o x o x o x o x x o x x o x x o x o xo x o x x x o x x o x x x x E o l l l l b b l l l l So Mezzo Alto

72 The Thigs o the World icc Í Í R B Cl Í Í R A Sx T Sx Tt erc E o So b b bb x x l b x x x b x l b b x x l x x x x x x x l l Í Í Í x x x x x x x x b b æ æ b Back to layig art as ritte Í Í Í x x x x x x b b æ b æ R R R x x x x b b R r b x x x x b æ b æ l x x b b l Mezzo Alto

73 The Thigs o the World icc R Sloer, ith rubato e = c 7 B Cl A Sx T Sx Tt erc let rig x sitch to ire brushes ad lib cymbal sells util m 96 E o b b b b So Mezzo Alto Why are't rocks comlete - Why is-'tgree a - de-quate to gree

74 The Thigs o the World icc Temo I e = 10 R R R R B Cl b R R b R b r A Sx b b R b R R T Sx b b b b b Tt erc Wire brushes Back to layig art as ritte æ x X æ æ x X æ E o R R r r R r So Mezzo We are't gods hose gaze could save, R R but that'shothethigsotheorld be-have Alto We are'tgodshose gaze could save, but that'shothethigsotheorld r be-have 9 We are't godshose gaze could save, but that'shothethigsotheorld 9 99 be-have

75 This age Let Itetioally Blak 9

76 Iterlude Alto Sax Teor Sax ercussio S Slo shue e = 96 Drum set (ire brushes) very loose ad relaxed x b bb x x x x b b b bb x x x x b b b b x x x o Electric iao b E16 M0 Grad iao (or ay grad o) b b bb b b b b b b b b b bb b b b b 1 ª A Sx T Sx erc x b x Ú e = e Æ b x x x xo Ú e = e Æ b b x x b x x E o bb b b bb b b 6 0

77 Iterlude A Sx T Sx b b b b b b b b erc x x x x x x x o bb b b b E o b b b b b ª 7 A Sx T Sx b b b b b b b b b b erc x x o x x x æ x æ x b bb b bb b E o b b b b b b b b

78 Almost Without Surace II Bass Clariet Alto Sax Teor Sax Trumet T Omious h = c 6 cu mute throughout b b ercussio ã Woodblocks (hard rubber mallet) S o u d i g b b b b b b b b b b b b b reared iao l a y e d b b b b b b b b b b b b b Sorao Mezzo Alto Cello b b b b b 1 6 7

79 Almost Without Surace II B Cl A Sx T Sx Tt erc o S o u d i g l a y e d ã b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b So Mezzo b b But e are b b each that, b hile e b live: Alto Vlc b b b b b

80 B Cl A Sx l l - Almost Without Surace II - l T Sx Tt l - l - erc ã Drum set (drum stick) x x x x o So Mezzo Alto Vlc S o u d i g l a y e d b b b b b b l l b al-most ithout sur-ace, b al-most ithout sur-ace, b al-most ithout sur-ace, o the rog l 1 b b b b b b b b bare - ly cotaied, b bare - ly cotaied, b bare - ly cotaied, l l but but l 16 but b b b b b b b b b b craz - y as clouds b b craz - y as clouds b craz - y as clouds, 17 b b b b b b l 1 b b b com-oud- igeach oth- er b 19 b b b b b b 0

81 Almost Without Surace II B Cl A Sx T Sx Tt erc ã S o u d i g b b b b o l a y e d b b b b So Mezzo re - us - ig to rai Alto Vlc 1

82 6 The Sel is Not ortable lute V Not i strict time Coductor cues each measure reeat sloly ad lib, ot i time ith erc ad o, util coductor cues held chord Lightly q = 90 I time ercussio Crotales (metal mallet) Electric iao E16 M0 Grad iao (or ay grad o) Sorao l Alto ª ã Triagle (metal mallet) 1 Out o time I time q = 90 lat ad umetered, like chat The sel is ot 6 Lyrical or ta-ble 7 Out o time erc () E o So Alto ã 9 10 It ca 11 - ot be acked

83 6 The Sel is Not ortable l W b I time q = 90 erc b b b b E o () b $ $ b b $ b So Alto ã ª It comes 16 b b seak ig back to a - y lace b b 0 rom l erc () $ E o So ã Alto hich it's 1 bee ex-tract ed, 7

84 l X 6 The Sel is Not ortable Out o time I time q = 90 erc b b E o () b b b b b b bb b b So Alto ã ª or it is 1 oth - ig a loe l Out o time I time q = 90 Out o time erc () E o So Alto ã It is ot a e ti - ty 6 7 The ra-tio o 9

85 l I time q = 90 6 The Sel is Not ortable Out o time Y I time q = 90 erc $ $ E o () b b $ $ So Alto ã ª sel 0 to home 1 $ $ $ oe art i $ sev-e-ty 6 l b b b b b erc $ E o () b b g g bb b So ã $ Alto $ $ $ $ $ $ $

86 7 Bladeur Clariet Alto Sax Teor Sax Trumet Electric iao Mezzo Alto Z Straight-aced ad roer, like a ared Aglica hym q = 6 seza sord b E1 ie ull Orga (or ay church orga) b b b b b I it lease God, let less ha - e - b 1 I it lease Ev e God, let less ha - e Ev-e 6 60

87 Cl A Sx T Sx Tt E o Mezzo Alto Cl A Sx T Sx Tt E o Mezzo b b b b b b b b b b ª A1 Alto out Earth's ro-dure, lat - te Ei-ger, bla-de the Grad Ca Bladeur out Earth's ro-dure, lat te Ei-ger, bla-de the Grad Ca b b b yo yo 11 1 Make Make val-leys slightly higher, i - de issures to ar-a- ble lad, re - mad yourter-ri-ble gla - ciers ad si-lecetheir cal-vig, val-leys slightly higher, i - de issures to ar-able - lad, re - mad yourter-ri-ble gla - ciers ad si-lecetheir cal-vig,

88 Cl A Sx T Sx Tt E o Mezzo Alto Cl A Sx T Sx Tt E o Mezzo Alto b b b b b ª b b b b b halv-ig or dou-blig all ge-o-grah-i- calea- tures toard the mea - lea agaist - our hearts With- halv-ig or dou-blig all ge-o-grah-i- calea- tures toard the mea - lea agaist - our hearts With b b drayourgradeur rom drayourgradeur rom these arts these arts 7 Bladeur B

89 Cl A Sx T Sx Tt E o b b b 7 Bladeur C1 Mezzo b Alto Cl A Sx T Sx Tt E o b ª b b b 0 1 b b Mezzo b Alto b

90 7 Bladeur Cl A Sx T Sx Tt E o Mezzo b b b b b b b b g g arox - 10 Hit the give G, the oodle i G lydia ade to othig Hit the give sc, the oodle i D lydia ade to othig Hit the give D, the oodle i G lydia ade to othig Hit the give, the oodle i lydia ade to othig Hit the give chord, the oodle i lydia ade to othig Alto b 0 1 6

91 Set Whole lute Ghostly q = 76 D1 As thi ad ale as ossible 6 lz æ æ æ æ o ercussio 6 Mezzo Violi 6 6 o As thi ad ale as ossible æ æ Cello ª l lz æ æ æ æ erc Mezzo Vl æ æ æ æ o o Vlc

92 Set Whole l E1 æ æ æ æ o erc Mezzo Glockesiel (metal mallets) Narro icisive soud Vl You are't set u hole, o o ho - ev - er it eels Vlc 17 o 1 ȯ 19 ȯ 0 ȯ 1 o l ª o æ æ 1 æ æ erc Mezzo Vl æ æ You are't set u hole, æ æ Vlc ȯ ȯ 6 ȯ 7 ȯ 9 0 b b 1 66

93 Set Whole l o æ æ æ æ o lz æ æ erc b Mezzo Vl You're b a - tom - ized The id as - ses Vlc b b ª l erc Mezzo Vl Vlc You o 1 b b re æ æ - co - geal It's a sur-rise æ æ to oodblock take u rubber mallet o ã æ æ Woodblock (hard rubber mallet) 6 7 Whisered X

94 9 Almost Without Surace III lute G1 b Distat q = 7 t Clariet $ $ $ $ ercussio ã S o u d i g b b b b reared iao l a y e d b b b b Sorao Alto ã Triagle (metal mallet) Violi b b

95 9 Almost Without Surace III l loco ord - - Cl erc ã Woodblock (hard rubber mallet) o S o u d i g l a y e d loco b b b loco b b b b b b b b b b b b b b b b b b b b So Alto ã al-most ithout surace, bare-ly co-taied, but craz - y as clouds Vl

96 9 Almost Without Surace III l Cl t o o o o b o o o o o o o o o o o o o o o o o o o o o ( ) Not i time Ad lib o o aves ade out ascedig ideiitely arox - 10 erc ã S o u d i g o l a y e d So Alto ã Vl 1 70

97 iccolo Bass Clariet Sorao Sax Teor Sax Trumet H1 b A oisy mess q = 11 b seza sord b 10 Sharks' Teeth b b b b b b b b b b b b b b b b b b b b b b b b b b b b ercussio ã Melodic toms (drum sticks) Electric iao E1 M0 Grad iao (or ay grad o) b b b b b b b b b b b b b Sorao Mezzo Alto Violi Cello b 1 b b b b b b b b b b b 6 71

98 10 Sharks' Teeth icc B Cl S Sx T Sx b b b b b b b b b b b b b b b b b b b b b b b b b b Tt b b b b b erc ã E o b b b b b b b b b b b b â bb b b b So Mezzo Alto Vl Vlc b b b b 7 b b 9 b b b b b b 10 b b 11 b b 1 b 7

99 10 Sharks' Teeth icc B Cl S Sx T Sx Tt I1 b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b erc E o So ã b b b b b b b b b b b b b b b b b Mezzo Ev - 'ry - thig Alto Ev - 'ry - thig Ev - 'ry - thig Vl Vlc 1 b 1 b b b b 1 16 b b 17 b b b b b b 1 7

100 10 Sharks' Teeth icc B Cl S Sx T Sx Tt b b b b b b b b b b b erc ã E o b b b b b b b b So Mezzo Alto Vl Vlc b b b b b b b b b b b b b b

101 10 Sharks' Teeth icc B Cl S Sx b b b b b b b b b b b b b b b T Sx Tt b b b b b b b b b erc E o So ã b b b b b b b b b b b b b b b b Mezzo Ev - 'ry - thig Alto Ev - 'ry - thig Vl Vlc Ev - 'ry - thig b b 0 b b b b b b 1 7

102 icc B Cl S Sx T Sx Tt erc E o So Mezzo ã ã b b b b b b b b b b b b b b b b b b Ï b b Ï 10 Sharks' Teeth b b b b b Ev - 'ry - thig b b b b b b b b Ï b Ï b b Ï Ï Ï Crash cymbal (drum stick) mute ith had Ï Ï Alto Ev - 'ry - thig Ï Ev - 'ry - thig Vl Vlc b b b b b b b b b b b 6 7 b b Ï b b b b Ï 76

103 icc B Cl S Sx T Sx Tt 1 Hal temo q = 6 b o Harmo mute, stem i o b b K1 Temo I q = 11 b seza sord b erc ã ã to tam-tam Large tam-tam (sot mallet) æ to vibrahoe take u yar malletvibrahoe (yar mallet) æ æ æ æ to crash cymbal to toms take u drum sticks ã Crash cymbal (drum stick) Melodic toms (drum sticks) 10 Sharks' Teeth E o b b b b b b b So Mezzo Alto Whisered Vl Vlc 9 izz b 1 co-tais some si-lece arco b 9 0 b b b 1 b

104 icc B Cl S Sx T Sx Tt erc E o So ã ã b b b b b b b b b b b b b b b b b b 10 Sharks' Teeth b b b b b b b b b b b b b b b b b b b b Ï b b Ï b b Ï Ï Ï Ï mute b Ï Mezzo Noise gets its zest Noise gets its zest Alto (sug) Noise gets its zest Vl Vlc b b b b b b 6 b b b b b b 7 b b Ï b b Ï 7

105 icc B Cl L1 b Hal temo q = 6 10 Sharks' Teeth b b b b S Sx T Sx b Tt erc ã ã to tam-tam to vibrahoe take u yar mallet æ Harmo mute, stem i Large tam-tam (sot mallet) æ Vibrahoe (yar mallet) æ o æ æ o æ æ to crash cymbal to toms take u drum sticks E o b b So Whisered Mezzo small shark's-tooth-shaed rag-mets Alto Noise gets its zestrom the smallshark'stooth - -shaed rag Whisered mets o rest a-gled Vl Vlc izz b shark's-tooth-shaedragmets - arco b

106 icc B Cl S Sx T Sx Tt b b M1 Temo I q = 11 seza sord b b b b b b b b b 10 Sharks' Teeth erc ã ã Crash cymbal (drum stick) let rig Melodic toms (drum sticks) E o b b b b b b b b b b b So Mezzo i it Alto Vl Vlc b b 7 b b b b 7 7 b b b b 7 76 b b 77 0

107 10 Sharks' Teeth icc B Cl S Sx T Sx Tt b b b b b b b b b N1 b b b b b b b b erc E o So ã b b b b b b b b b b (sug) b b b b b Mezzo A hour o b ci - ty A hour o ci - ty Alto Vl Vlc b b b 7 b b b b 1

108 10 Sharks' Teeth icc B Cl S Sx T Sx b b b b b b b b b b b b b b b b Tt b erc ã E o b b b b b b b b b b b b So b b Mezzo holds may-be a mi b (i)-ute b Alto Vl b holds may-be (sug) holds a b b may-be a mi b mi (i)-ute b l (i)-ute Vlc 6 7 b b 9 b 90 b

109 10 Sharks' Teeth icc B Cl S Sx T Sx Tt b b b b b b b b b b b b b b b b b b b b b b b b b erc ã E o b b b b b b b b b b So a Mezzo a mi (i)-ute o these Alto a mi (i)-ute o these Vl b b b b mi b (i)-ute o b b these b bb b Vlc

110 icc O1 10 Sharks' Teeth b b b B Cl S Sx T Sx Tt b b erc ã E o So Mezzo Alto Vl Vlc b b 10 remats - remats - remats b b o a o a o a 110 time time b time b b he b 11 b he he b b b b b b si - lece reiged, b b si - lece reiged, b b si - lece reiged, b 11 b

111 10 Sharks' Teeth icc b b cresc B Cl b b cresc l b b S Sx T Sx b b cresc cresc Tt b b cresc erc E o So Mezzo Alto Vl ã () b b comactaddager - - -ous b b comactaddager - - -ous b b b b comactaddager - - -ous as a as a as a b shar shar b shar cresc cresc cresc b b b b l b b b b b b b b b b b b (ar)(ar) (ar)(ar) (ar)(ar) Vlc b b b b b cresc b l

112 icc B Cl S Sx T Sx Tt erc E o So Mezzo Alto Vl Vlc ã ã b b b mute (toms) b b l k k k 1 (crash cymbal) l 1 b b b b b b b b b b 1 b b b b b b b 10 Sharks' Teeth b b b b b b 1 b b b 6 b b 1 b b b b b b b b 16 b b b b b b b b b b b 17 b b b b b b b b 1

113 10 Sharks' Teeth icc B Cl S Sx T Sx Tt b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b erc ã b bb b b b b b b b b b b b b E o b b â b So Mezzo Alto Vl b b b b b Vlc b b b b b b b b b b b b

114 10 Sharks' Teeth icc B Cl S Sx T Sx Q1 b b b b b b b b b b b b b b b b b Tt b erc ã E o b b b b b b b b b b b b So Mezzo Alto Vl Vlc b b 1 b b 16 b b b b b 17 b b 1 b b b b b b b b b b b 11

115 icc B Cl S Sx T Sx Tt erc ã b b b b bb b b b b b b 10 Sharks' Teeth b b b bb b b b b Ú h = h Æ (q = 16) b b E o b b b b b b b b So Mezzo Alto Vl b Vlc 1 1 b 1 1 b 16 b B b 17 b B b 1 b 19 9

116 R1 10 Sharks' Teeth icc B Cl S Sx T Sx Tt b b Ú h = h Æ (q = 11) b b oco cresc b b oco cresc b b oco cresc oco cresc oco cresc b b erc ã cresc E o b b b b b oco cresc b b So Mezzo Alto Vl Vlc b 10 b b b 11 b 1 b 1 b b 1 1 oco cresc oco cresc 16 90

117 10 Sharks' Teeth icc B Cl S Sx T Sx Tt erc ã b b b b b S1 E o b b b b bb So Mezzo Alto Vl Vlc b b 17 1 b b 19 b 160 b b b 161 b b b 16 91

118 10 Sharks' Teeth icc B Cl accel b 6 molto cresc 6 molto cresc 6 6 b b S Sx T Sx Tt 6 molto cresc 6 molto cresc b molto cresc b 6 6 b 6 6 b b 6 6 b 6 6 b b 6 6 b erc ã molto cresc E o molto cresc So Mezzo Alto Vl b 6 molto cresc b 6 b 6 b 6 b b 6 b 6 Vlc b 6 molto cresc b 6 b 6 b 6 b 6 b

119 10 Sharks' Teeth icc B Cl S Sx T Sx b b b Tt b b b b b b b b b b erc ã E o So Mezzo Alto Vl b b b 6 b 6 b 7 b 7 b Vlc b b 7 b b 7 b b 7 b b

120 10 Sharks' Teeth T1 icc B Cl S Sx T Sx Tt q = c 10 Î Î Î Î b b Î b b b b erc E o ã Î Î So Mezzo Alto Vl Vlc b b 171 b 17 Î b Î 17 b 17 b 17 b 176 b 177 b 17 9

121 icc B Cl S Sx molto rit b b b b b b 10 Sharks' Teeth 1 Hal temo q = 6 % % T Sx % Tt erc ã ã to tam-tam Crash cymbal Large tam-tam (sot mallet) (drum stick) mute Large tam-tam (sot mallet) æ $ æ Î b % æ % to vibrahoe take u yar malletvibrahoe (yar mallet) b o Harmo mute till ed æ æ % o æ æ % æ o b æ E o So Mezzo () % b a bit o a b tail Alto Some - times Vl b b % Vlc

122 10 Sharks' Teeth icc B Cl b b $ $ b S Sx T Sx Tt o erc ã æ æ æ æ æ æ æ E o loco $ b b b $ So Mezzo Alto Vl Vlc b b 19 b b 19 or $ i 19 ca still B 196 b 197 b 19 be $ sesed

123 ã B icc B Cl S Sx T Sx Tt So Mezzo Alto Vl Vlc erc E o () b o æ 00 æ i 01 $ æ 0 b o æ arks 0 $ æ 0 b æ 0 æ 06 æ 07 $ æ Sharks' Teeth

124 11 Last Wave Reached Teor Sax V1 1 b Meditative, calm, arm h = b b b b b b b S o u d i g b b b b b b b b b b b b b b b b b b b b b b b b b b b b b - b reared iao l a y e d b b b b b b b b b b b b b b b b b - b b - r Sorao Viola B lautado b b 1 light ueve tremolo b b b b b b b b 6 b b tremolo sim semre 7 b b b 9

125 11 Last Wave Reached T Sx b b - S o u d i g b b b b - b - $ R b b b b r $ b b b b b r b $ b b - b - $ R o l a y e d b b b b - $ r b- b bb b b $ r b b b $ r b b b - $ r b- So b b the bird Vla B b b

126 11 Last Wave Reached T Sx b W1 Ú q = q Æ S o u d i g b b - b - R b b r b b b - b - b b b b b b b b b b o l a y e d b b - r b- b b r b b b - b - b b b b b b So b alks do the b beach $ b a - Vla B ord ith more itesity b b 1 19 b 0 100

127 11 Last Wave Reached T Sx Ú q = q Æ b $ $ S o u d i g b b b b b b b b b b b b b b b b b b b b b b b b b b b o l a y e d b b b b b b b b b b b b b b b b b b b b b So b log $ $ b the b glazed edge Vla B b $ $ b lautado

128 11 Last Wave Reached T Sx Ú q = q Æ Ú q = q Æ o S o u d i g l a y e d () b () b b b b b b b loco b loco b b b b b So b the last ave b reached b his Vla B b b 1 10

129 T Sx o So Vla S o u d i g l a y e d Ú q = q Æ B b his X1 b b Eergetic ad recise q = 10 b b b b b b b b b b his b ord b b ea - ch ste - makes a er-ect stam - b 11 Last Wave Reached b b b b b b b b 6 b b b b b b b b b b 7 b b b b b b b b b b b b b b 9 b b b b b b b b b b b b 0 10

130 11 Last Wave Reached T Sx sla togue ^ Stoig suddely h = ord seza vib o S o u d i g l a y e d ^ ^ b ^ ^ b So Vla izz ^ small - i - B arco seza vib Y sh Y

131 11 Last Wave Reached T Sx Eergetic agai q = 10 ord vib b b b sla togue ^ Sloig agai h = ord seza vib sla togue ^ o So Vla S o u d i g l a y e d B b b b b b b b b b b ord vib 9 but b b b b b b b b b b b as 0 b b b b b b b b 1 ^ ^ ^ ^ izz ^ B shar - as a emer - -or's cho - arco seza vib 6 ^ ^ ^ ^ izz ^ 7 10

132 11 Last Wave Reached T Sx o So Vla S o u d i g l a y e d ^ b ^ ^ ^ ^ ^ 9 Y1 ord vib 60 Oeig mood h = b b b b b b b b B b arco ord vib 61 Ú q = q Æ b b b b b b Stride, 6 b b b b b b b b b b b b b b 6 Ú q = q Æ b b stride, b 6 106

133 11 Last Wave Reached T Sx o So S o u d i g l a y e d b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b stride, stride, stride, stride Vla B b b b b

134 11 Last Wave Reached T Sx S o u d i g b b b b b b b b b b b b b b b b b b b - b - b b b b b b b b o l a y e d b b b b b b b b b b b b b b b b - - b b b b b b So b b goes the the Vla B 7 b 7 7 b b 7 76 b

135 11 Last Wave Reached Z1 T Sx - - Ú q = q Æ Ú q = q Æ S o u d i g b b b b b b o l a y e d b b b b So b em - - eror do his Vla B

136 11 Last Wave Reached T Sx b b o S o u d i g l a y e d b b b b b b b b b b b b b b b b b b b b b So ide ide ide mir - rored rom-e -ade the Vla B 6 b 7 b 9 90 b b

137 11 Last Wave Reached T Sx, N B Sloig agai h = b seza vib b b b b b o S o u d i g l a y e d b - b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b So b b b Y sea bos to re - ol - i sh Vla b B b seza vib 99 b b b b 111

138 11 Last Wave Reached T Sx b b G A ord vib Oeig mood h = o S o u d i g l a y e d bb b b b b b b b b b b b b b b b b b b b b b G G b b b b So Y Y G deress siletly ad hold till ed ith sost edal Vla B b b G ord vib

139 11 Last Wave Reached T Sx o S o u d i g l a y e d b b b b b b b b So Vla B

140 11 Last Wave Reached T Sx Ú q = q Æ Ú q = q Æ S o u d i g b b b b b b b b b b b b b b b o l a y e d b b b b b b b b b b b b So Vla B lautado

141 art II: Register, Harmoy, ad hrase Desig i Weber s O ad O 7 11

142 art II Cotets Register, Harmoy, ad hrase Desig i Weber s O ad O igures 1 Reereces

143 Register, Harmoy, ad hrase Desig i Weber s O ad O 7 To this day the recetio o Weber s music is still idely ilueced by the geeratio o serialist comosers, both Euroea ad America, ho succeeded him They are the oes hom e have most to thak or the stadard descritio o his music: orgaized, symmetrical, crystallie 1 There is ideed oly Debussy hom oe ca comare ith Weber i their commo tedecy to destroy all ormal orgaisatio reexistig the ork itsel, i their commo recourse to the beauty o soud or its o sake, i their commo ellitical ulverizatio o the laguage Weber as obsessed ith ormal urity to the oit o silece requetly, as i this quote rom Boulez, this emhasis o ormal urity says as much about the author s o aesthetic goals as it does about the substace o Weber s music The O Cocerto, esecially its irst movemet, has ote bee the ocus o this lie o aalysis This is uderstadable: Weber himsel ackoledged that the toe ro or the iece develoed out o a attemt to realize i music the symmetries cotaied i the Lati acrostic 1 See or examle Boulez 19, ousseur 19, ad Stockhause 19 These essays are rom the Weber issue o Die Reihe, ublished origially i Germa (Viea: iversal Editio, 19) ad reublished i Eglish by Theodore resser Co Boulez 19,

144 SATOR AREO TENET OERA ROTAS The outcome o Weber s eorts ca be see i igure 1 He costructs his ro out o our (01) trichords such that each successive trichord is related to the iitial oe via the same classical oeratios ormally used to relate etire ros i telve-toe music ad theory As a cosequece, he the ro is iverted, retrograded, ad retrograde-iverted at the roer trasositio levels, ros ill result that cotai the same our trichords as the origial ro, but i some ermuted order We ca eve arrage these ros i a square very much like the Lati acrostic above (see igure 1b) Iroically, may o the same commetators ho rite so extesively about Weber s ro take comaratively little iterest i his musical realizatio o that ro George erle rites that, The oeig bars o the Cocerto give us the earliest istace e have o music that is totally orgaized i terms o serial relatios But o the etire iece he rites, O the hole, hoever, there is a discreacy, as ith the Trio, betee the oerul itegrative otetialities o the ro ad the comoser s ability to May aalyses discuss the magic square See erle 1971, Smalley 197, ad Bailey 1991, 1 I the igure, as throughout this essay, I ollo George erle i usig a ixed Do system or amig ros or istace 0 is the rime orm begiig o c 0, ad likeise I 0 the iverse orm begiig o c 0 Retrograded orms are amed i relatio to the corresodig rime or iverse orms, so that R 0 ad RI 0 both ed, rather tha begi, o c 0 See erle 1971, Or as Milto Babbitt ould have it, derived rom See Babbitt 00 11

145 exloit these otetialities 6 Likeise, Milto Babbitt deely admires the symmetrical costructio o the O ro it clearly bears a close relatio to his o use o trichords but seems disaoited by the iece itsel: Weber does ot exloit the combiatorial roerties o this set; he does ot create rogressio through secodary sets or aggregates, or does he determie his trasositios i terms o such roerties 7 Sice the time o these serialism-ilueced aalyses,may more recet scholars have begu to restle seriously ith the substace o Weber s music Christoher Hasty, Adre Mead, Christoher Witle, ad most o all Kathry Bailey have all made maor cotributios i this vei I Bailey s ork i articular oe ids a tremedous urge to embrace the ull gamut o Weber s telve-toe outut i all o its multivalet ormal ad cotrautal detail The reset article is i may ays a eort to sythesize ad reiterret asects o her aalyses The reset essay arises out o to related uderlyig goals The irst is to argue strogly or the role o register as a key orgaizig ricile i Weber s mature style The secod is to restle ith still uresolved questios cocerig hrase desig i Weber s music Basic questios still aait ull asers, questios such as hat musical rocesses drive hrases orard i Weber s music ad hat rocesses cosire to create momets o closure, dare e eve say cadeces, i Weber s music These are ot easy questios, ad they ill certaily ot be ut to rest aytime soo My aim here is to exlore to ossible aroaches, oe itrisic ad oe extrisic, ad to suggest that 6 erle 1971, Emhasis i origial 7 Babbitt 00, 7 See Hasty 19, Mead 199, Witle 19, Bailey 1991, Bailey 199, ad Bailey

146 ay successul aser to the questios above ill have to be lexible eough to embrace both aroaches I all, I hoe to sho that register ad harmoy iteract meaigully i Weber s music ad that both have a role to lay i the structurig o hrases Cosequetly, to rather cotrastig sectios ollo The irst is a aalysis o the etirety o O /i ocusig o the close relatioshi betee harmoy ad register We ill see evidece ot oly that Weber's cotrol o register i this ork is coscious, but eve more that register ad harmoy iteract i meaigul ays ith each other ad ith the hrase structure o the movemet We ill see that, i this movemet, imortat harmoic evets ad roouced chages i register geerally coicide ith oe aother All o this ill rovide strog evidece or register s orgaizig role at a global level I the secod sectio I ill tackle the issue o hrase desig more directly Here, I ill tur my attetio to the local level o idividual hrases I additio to O, I ill cosider examles rom the O 7 Variatios or iao Key questios ill iclude, ho ca e describe the aatomy o a sigle Weberia hrase ad hat role does register lay i that descritio We ill begi ith itrisic aroaches that ocus o itch relatios Where these rove isuiciet, e ill cosider ossible extrisic aroaches that ocus more o surace eatures such as articulatio, the lacemet o rests, ad temo idicatios like rit or a temo Sometimes, the extrisic ad itrisic ill reiorce each other icely We ill see other examles i hich it seems almost as i temo idicatios ad the like have bee imosed o a itch domai that is idieret to them Ro structure ill lay a ambivalet role here hrase boudaries ote do alig ith the boudaries betee ros, but they ust as ote do ot arallel ith the 10

147 ro structure e ill id a almost overhelmigly rich orld o microscoic itch details, ad ote these seem to be the true determiats o hrase structure I both sectios symmetry ill make a requet aearace While Weber s music as ot aaretly as symmetrical or as systematic as erle ad Babbitt may have ished, symmetries, both horizotal ad vertical, still aboud 9 or horizotal symmetry, oe eeds to look o urther tha O 7/i, a movemet i hich every ro statemet costitutes a alidrome Meahile, both outer movemets o O begi ad ed ith vertically symmetrical itch costellatios, ad O 7/ii is vertically symmetrical i its etirety about A We ill see other more local examles There ill eve be cases i hich symmetry seems to act as a orgaizig ricile, at least over the course o several measures I this ay, my use o vertical symmetry ill recall i certai ays the ork o oatha Berard o Bartók ad Varèse 10 But hereas Berard has demostrated the role o vertical symmetry as a orgaizig ricile at the level o etire movemets, I am aare o o examle i Weber s music o vertical symmetry layig such a global role (O 7/ii ot ithstadig) ially, i hat ollos I ill rely heavily o the cocet o a registral costellatio I mea by this, more or less, a assigmet o all telve itch classes to a stable ositio i itch sace I other ords, a registral costellatio is a ully voiced telve-ote chord or istace, i the irst ive bars o O /i, all telve itch classes 9 Whe I seak o vertical symmetry, I do ot ust mea soorities that are symmetrical as a collectio o itch-classes (such as the O ro) May riters o all stries have oted these at great legth already I mea more seciically structures that are vertically symmetrical i their registral lacemet i itch sace 10 See or istace Berard 191, Berard 00, ad Berard 00 11

148 make to aearaces, ad i each case the secod aearace is i the same registral ositio as the irst We ca summarize this by sayig that the irst ive bars o the movemet occuy a sigle registral costellatio (see igure 17 belo) It ill become clearer as e roceed ust hat uctios registral costellatios serve I some ays, they act like aother layer o harmoy oeratig i arallel ith a iece s ro structure 1 I the aalysis o O /i that ollos I ill take a arametric aroach I ill sho that ro toograhy, 11 harmoy, ad register each lay a ideedet role i shaig the lo o the music 1 Yet these three arameters also cosire to create a sigle uiied sese o motio over the course o the movemet I this aroach I am idebted to Christoher Hasty: Rather tha regardig ay domai as rivileged, e may istead ocus our attetio o the result o the iteractio o all domais, that is, o the more geeral issue o musical articulatio or rhythm i the broadest sese o the term 1 irst e must sed a little more time ith Weber s ro The ro exhibits o iversioal or retrogressive symmetry, ad thus each o the ros sho i the matrix i igure is uique, ith o reetitios o etire ro orms Noetheless the ro does exhibit a great deal o iteral symmetry As I said above, each o the ro s our discrete trichords belogs to set-class (01), ad each o its discrete hexachords resets a 11 The hrase is Kathry Bailey s See Bailey Bailey reers to this kid o ideedece as the oaligmet o costituet elemets She sees O as the irst o Weber s orks i hich oaligmet lays a romiet role Bailey 1991, 1 1 Hasty 19, 1

149 comlete hexatoic collectio (019) As a result may orms o the ro bear a strog resemblace to oe aother i terms o itch-class cotet at the trichordal ad hexachordal levels Because Weber s surace ritig so strogly emhasizes trichordal uits, the most audible ro ivariace relatios are those cocerig the divisio o the ro ito discrete trichords or discrete hexachords To ros are trichordally related i their our discrete trichords share the same itch-class cotet (igure ) To trichordally related ros may reset the same our trichords ith the iteral order o itches ithi trichords uchaged but ith the order o the trichords ithi the ro altered i some ashio (igure a) Or the our trichords may aear i the same order, but ith their iteral itch orders reversed (igure b) igure lists all o the various ossibilities ad shos i each case a coveiet code describig the relatio s eect uo (i order) the ro s hexachords, trichords ithi hexachords, ad idividual otes ithi trichords I have also rovided ormulas to sho hich airs o ro orms exhibit each relatio 1 To o these seve trichordal relatios deserve secial metio here igure a shos to - related ros, R 6 ad I 1 These ros are idetical aart rom a reversal o their to discrete hexachords The irst hexachord o R 6 is idetical to the secod hexachord o I 1 ad vice versa This creates the ossibility o elidig the to ros such that they share a etire hexachord, somethig that Weber exloits o multile 1 It is imortat to emhasize that the seve trichordal ivariace relatios listed i igure are seciic to the O ro A dieret ro might admit more or eer trichordal relatios betee its various orms May ros do ot admit ay beyod the trivial --- 1

150 occasios, or istace i mm 1 17 (igure b) Notice that i additio to elidig R 6 ad I 1 i the ids ad strigs i the examle Weber also elides to other - related ros, I 6 ad R 11, i the iao The result is ot a exact alidrome o itches but rather to alidromes o hexachords, stacked the oe o to o the other Notice that Weber reeats the irst hexachord o each alidrome i register This decisio hels clariy the alidromes ad stregthes the sese that the etire excert orms a sigle uit A secod relatio that deserves metio is - To - related ros have the same corresodig trichords; the oly dierece is the order o idividual itches ithi trichords This is recisely the relatio that so may commetators have oited out betee 11 ad RI 0 at the oeig o the movemet (see igure b above ad igure 17 belo) The same relatio recurs betee R 10 ad I 11 ust beore the ed o the movemet i bars 6 67 (see igure 16 belo) Aother result is that to - related ros are idistiguishable i oe verticalizes each o the ros our discrete trichords So or istace it is imossible to decide hether the ro i the iao i measures 0 1 is R 1 or I (igure 6) This same ambiguity recurs a e more times i the iao art It is most romiet i the ial measure o the iece, here the etire esemble ois i a verticalized statemet o /RI 6 (see igure 16 belo) As there are seve dieret trichordal ivariace relatios i total, each o Weber s dieret ros is trichordally related to seve others Cosequetly e ca divide the ros ito six amilies o eight ros each (seve variats lus the origial), ith all o the ros i each amily trichordally related to oe aother igure 7 shos all six o these trichord areas I have assiged each area a umber based o oe o the to 1

151 orms that it cotais or istace trichord area 0 (heceorth TA 0 ) cotais 0, TA 1 cotais 1, etc These trichord areas are quite aalogous to the harmoic areas that David Lei osits i his ork o Schoeberg 1 I both cases small amilies o ros are held together by similarities i iteral segmetal itch class cotet We ill see hether Weber uses these trichord areas i a ay remiiscet o toality, as Lei suggests i the case o Schoeberg I e tur our attetio back to igure 1b e ca see that the our ros sho, together ith their retrogrades, i act orm a trichord area (TA ) The cocet o trichord area is thus itimately boud u ith the questio o ro symmetry, ad give this it is reasoable to suose that Weber may eve have bee aare o these trichord areas as harmoic uits I each trichord area is like a large uclear amily o closely related ros, ros that are hexachordally related are like distat cousis, or these ros do ot share commo trichords but oly commo hexachords That is, to ros are hexachordally related i their to discrete hexachords share the same itch-class cotet 16 As ith the trichordal ivariace relatio, to hexachordally related ros may reset their hexachords i the same order or i reverse order (igure ) Recall that each discrete hexachord o Weber s ro resets a comlete hexatoic (019) collectio Because o the trasositioal ad iversioal symmetries o that collectio there are oly our distict hexatoic scales: HEX 0,1 [0, 1,,,, 9], 1 or the clearest exositio see Lei 196, 1 1 Also see Lei 1967a ad Lei 1967b 16 This is o course ust aother ay o sayig that the ros are hexachordally ivariat 1

152 HEX 1, [1,,, 6, 9, 10], HEX, [,, 6, 7, 10, 11], ad HEX, [,, 7,, 11, 0] Note that these our c collectios all ito to airs o comlemetary sets: HEX 0,1 comlemets HEX, ad HEX 1, comlemets HEX, There are thus oly to dieret hexachord areas or the O ro Members o TA 0, TA, ad TA all uxtaose HEX 1, ad HEX,, hereas members o TA 1, TA, ad TA uxtaose HEX 0,1 ad HEX, We ca easily id the members o each hexachord area i e retur to igure 7 The irst, eve hexachord area is o the let hereas the secod, odd area is o the right 17 We ca quickly determie the hexachord area o a give ro orm rom its ame/trasositio umber or rime ad retrograde orms a eve trasositio umber idicates that the ro orm itsel is eve ad a odd trasositio umber idicates that the ro orm is odd or iverse ad retrograde iverse orms this relatioshi is reversed So or examle 0 ad RI 1 are both eve hereas R ad I are both odd igure 9a resets three dieret hexachordally related ros (oe rom each o the three odd trichord areas) Besides cotaiig the same discrete hexachords, these ros also share a umber o adacet ic 1 dyads I act, each ro cotais ive o the six dyads marked Collectio A i igure 9b 1 Odd ros alays cotai dyads rom collectio A ad eve ros dyads rom collectio B This is simly because o the hexatoic scales ivolved (igure 9c) We ill see belo that Weber ote treats these ic 1 adacecies motivically This rovides a strog audible coectio betee ros o the 17 The terms eve ad odd reer merely to the idex umber or the icluded trichord areas The eve hexachord area icludes all those trichord area ith a eve idex umber (TA 0, TA, ad TA ) ad likeise or the odd hexachord area 1 I each case the sixth dyad is reset as ell, but ot as a adacecy Comare or istace the seveth ad telth itches o 11 16

153 same hexachord area ad a equally audible discoect betee ros rom dieret hexachord areas igure 10 deicts every ro statemet i the movemet ad labels each by its trichord ad hexachord areas 19 Overlaig stair-ste boxes idicate elided ros (see or istace bars 1 17, hich ere discussed above) Eve rom a cursory glace at the igure e ca see that Weber uses a clear ro-toograhical oositio to structure the movemet: i bars 1 10,, 9, ad 6 69, the iao ad the rest o the esemble either alterate comlete ro statemets or ork together to exress a sigle comlete statemet o the ro These momets rereset eriods o toograhical stability i as much as oly oe ro uolds at a time throughout the etire istrumetal texture The bars i betee these rereset momets o toograhical istability as the esemble resets multile overlaig ros at oce I these sectios the iao acts as a ideedet layer searate rom the rest o the esemble Telligly, it is i these ustable cocertate assages that Weber most requetly elides ros I bar 6 or istace the iao begis a chai o elisios that stretches uiterruted all the ay ito measure This is accomaied by log (though broke) chais o elisios i the rest o the esemble igure 10 reveals several imortat roerties o the movemet To begi ith, Weber is clearly selective i his choice o trichord area TA is the most commo ith TA 0, TA 1, ad TA olloig close behid TA ad TA are i distat ith ad sixth 19 The umber i the to right corer o each ro box reresets its trichord area The shadig o each box reresets its hexachord area 17

154 laces 0 By avorig certai trichord areas, Weber i eect avors certai (01) trichords over others This leds a uiormity ad cosistecy to the movemet above ad beyod the cosistecy itrisic i Weber s sigle-mided reliace o (01) as the base harmoy urthermore, e ca see that i several istaces a etire assage o music ill be domiated overhelmigly by ust oe or to trichord areas I bars 1 17 it is TA, hich aears six searate times TA 0 ad TA, the oly other trichord areas reset i the assage, combie or oly ive aearaces I bars 1 ad 6 TA 1 domiates ad TA ollos i secod O the other had rom measure util measure 0 the oly trichord areas to aear are TA 0 ad TA Agai this leds a strog cosistecy ad stability to these assages, hich becomes quite audible i relatio to assages that combie dieret trichord (ad hexachord) areas more reely Steig back, e ca divide the movemet loosely ito three sectios accordig to Weber s reliace o seciic hexachord areas I bars 1 the emhasis alls overhelmigly o odd ros, hich outumber eve ros to to oe I bars 9 the emhasis alls eve more overhelmigly i the other directio Here eve ros outumber odd almost three to oe ially, rom the etrace o TA i measure 0 util the ed o the movemet odd ros agai receive more attetio, but eve ros also make a strog shoig, articularly durig the uiterruted stretch o TA i bars 6 6 Agai, there may be some questio as to hether all o these harmoic shits are audible Ideed, are the hexachord areas themselves audible harmoic uits O course, 0 The exact umber o istaces are: TA 0 11, TA 1 11, TA, TA, TA 1, ad TA 11 1

155 this deeds largely o ho exactly is listeig ad o ho amiliar the listeer is ith the movemet or most listeers, icludig mysel, hat ill be more readily audible tha the hexachord areas themselves is the ormal cotrast betee momets o (relative) hexachord-area stability ad momets o istability Bars 1, 17, 9, 9, 6, ad 6 6 all rereset assages o hexachord-area stability I these assages a sigle hexachord area domiates or a stretch o several measures ith at most oe or to ro statemets rom the rival hexachord area We ca see that all o these assages o stability come either toards the begiig or toards the ed o oe o the large harmoic sectios I outlied above That is, Weber teds to mark his harmoic trasitios by itesiyig the harmoic cohesio o each side o the trasitio This makes those trasitios, rom odd to eve ros at bar or istace, all the more audible derstadably it is toards the middle o each large harmoic sectio that Weber allos his ro choices to become more hahazard, cluttered, ad ambiguous O the surace, Weber s motivic treatmet o ic 1 adacecies rovides a strog audible marker or shits i hexachord area Cosider the shit at bar rom a redomiace o odd ros to a redomiace o eve oes (igure 11a) Locally, R 7 ad i bars are both odd hereas RI i bars is eve igure 11b reduces these our bars to a umber o romiet ic 1 dyads that oulate the musical texture Weber voices these dyads alterately as maor seveths or as mior iths The shit at the ed o measure rom dyads belogig to collectio A to those rom collectio B 1 1 Reer agai to igure 9b 19

156 is quite audible, esecially he Weber holds the aected itches i register across the harmoic boudary This is true o A, C, D, ad C ust the oosite haes i measures 0 o the iao (igure 1) This assage occuies the secod hal o a chai o our elided eve ro statemets i the iao that stretches rom measure through measure Weber stregthes the sese o harmoic cotiuity i the excert by oregroudig a sequece o te ic 1 dyads that orms a ear alidrome As these are eve ros all o the dyads come rom collectio B Weber articulates each dyad as a grace-ote ick-u igure, ad he holds each dyad ixed i register throughout the assage It is iterestig that Weber creates a ear alidrome i the audible musical surace here oe exists i the uderlyig ro desig The result is a subtle iterlay o register, harmoy, rhythm, ad gesture I have already discussed aother similar use o registral reetitio to reiorce harmoic cotiuity i the case o the hexachordal elisios o measures 1 17 (igure b) At other times Weber sigles out short dyadic motives i a ay that seems more idiosycratic or eve himsical I bars 1 (igure 1a) the reetitio o c ad c 11 i register creates a sese o musical cotiuity (ad a short ive-ote alidrome) he i act the harmoy is shitig do a trasositio level rom 1 to 0 He reeats this same trick he the harmoy shits do a urther trasositio level to 11, i measures (igure 1b) I have marked these registral relatios i igure 11b The ros rise by to trasositio levels each time: R 6, the R, R 10, ad R 0 Loer case letters i igure 1 corresod to those i igure 1b Ad thus also shitig rom the odd hexachord area to the eve 10

157 The above examles all demostrate Weber s local use o registral reetitios to create musical cotiuities that may either reiorce or comlicate revailig harmoic cotiuities But register also lays a more global role i the shaig o the movemet igure 1 outlies the etire movemet ad shos the ercetage o otes that are ixed i each bar By a ixed ote, I mea a ote that aears i the same register as the most recet revious aearace o that itch class ayhere i the istrumetal texture A ote that has chaged register sice its last aearace is ot ixed 6 Thus, as a irst aroximatio, the higher the ercetage o ixed otes i a give bar, the higher the registral stability our assages stad out rom the igure: bars 1,, ad 6 6 are all highly stable, ith ixed-ote ercetages at or ear 100% (ad alays above 70%) I cotrast bars 19 rereset the most exteded assage o registral istability Here the ixed-ote ercetage dros belo % or ive cosecutive measures I betee these our assages the music is more or less mixed registrally, ad ixed-ote ercetages luctuate raidly betee umbers above ad belo 0% igure 1 coordiates this registral iormatio ith my revious discussio o ro toograhy ad harmoy By ad large, these three arameters are ideedet, i that they do ot alig recisely ith oe aother But it is clear oetheless that they do reiorce each other ad cotribute i tadem to a uiied discourse o stability ad istability that orgaizes the etire movemet 6 By this deiitio the otes o the irst ro statemet, i bars 1, are strictlyseakig either ixed or uixed, sice there ca be o rior oit o comariso or ay o those itch classes I have chose to cosider these otes ixed, sice I ould argue that e hear the begiig o the movemet as itrisically stable util Weber gives us colictig iormatio to suggest otherise 11

158 Ad o occasio to o the three arameters ill chage i uiso The harmoic shit at measure 6 (rom the odd RI 0 to the eve RI 11 ) is accomaied by a clear icrease i registral istability This relatioshi is reeated at the ed o the movemet Weber kees the register ixed or three successive statemets o TA i measures 6 6, ad the chages register suddely or the ial shit back to the odd TA By coordiatig registral ad harmoic activity i these last seve measures, Weber is able to brig the movemet to a strog close 7 O course, rhythm ad articulatio also lay a role olloig the rhythmic alidrome o mm 6 67, Weber icreases the level o rhythmic activity ith three cosecutive beats o sixteeth otes i mm 67 6 There is the a dramatic ause beore the delivery o the ial three chords, all marked s ith staccato accets ad all delivered at a sharly sloer temo (igure 16) Ro toograhy, harmoy, ad register are thus ideedet, yet reiorcig Together they mark three assages as articularly stable: the begiig, mm 1, the ed, mm 6 6, ad also the assage i mm 9 To these three e may add measures Here toograhical ad harmoic stability alig, but ithout the added 7 We ill see Weber use a similar techique elsehere See my discussio o registral uctuatios belo Ho oe iterrets the ial measure o the movemet also has a bearig o the questio o hether trichord areas oerate i a ay remiiscet o toal key areas The astute reader may have oticed rom igure 10 that TA is both the irst ad the last trichord area o the movemet or some, this could costitute evidece that TA is the toic or home trichord area o the movemet Those iterested i this lie o aalysis may be ecouraged to lear that TA also eds O /iii Desite this, I have my doubts about the toal aalogy here or oe, TA occurs elsehere i the iterior o O /i ithout, I ould argue, the imortace ormally associated ith a retur to the toic urthermore, I ould argue that i its local cotext the ial measure o the movemet souds much more like a dearture aay rom TA tha a retur to TA We ill have sace to cosider this questio agai belo 1

159 suort o registral stability This segmetatio o the movemet its icely ith Kathry Bailey s ormal ad thematic aalysis 9 By ad large assages that I have marked as ustable corresod ith Bailey s secod theme, ad stable assages corresod ith the music that Bailey calls alterately the oeig theme or the ritorello So Bailey idetiies mm 9 as the recaitulatio o the oeig theme or Bailey the ial resetatio o this theme begis recisely i m 6 The momet o stability i mm also takes o sigiicace i Bailey s soata-orm aalysis: she locates measure 6 as the begiig o the develomet, ad treats measures as a exteded cadece to the movemet s exositio We have thus see that a aalysis based oly o the three arameters o ro toograhy, ivariat harmoy, ad register arrives at much the same segmetatio o O /i as a aalysis based o melodic theme tyes, texture, ad articulatio The it, hoever, is ot erect We have idetiied measures 1 as stable, but Bailey s oeig theme occuies measures 1 10 Likeise e have idetiied mm 6 6 as stable, but Bailey aturally sees the ial statemet o theme 1 extedig rom m 6 right to the ed o the movemet i m 69 I agree ith Bailey s segmetatio i both cases I aalyze mm 1 10 ad mm 6 69 as hrases belo Measures 9 are also slightly roblematic I terms o ro toograhy, these measures are a atural uit, but i terms o harmoy e should begi the hrase ot i m but ith the statemet o the eve ros R ad R 0 to ad hal bars earlier This is here register ould have us begi the hrase as ell: measures cotiue the registral costellatio o mm 9 Bailey 1991, ad 9 1

160 (begiig ith the clariet D i m ) But register ould also have us ed the hrase i m, sice by the dobeat o m 9 Weber is startig to shit registers agai To be more recise about the boudaries o our musical segmets, or erhas it is sae to begi callig them hrases o, e are goig to have to adot other aalytical tools Our techique so ar suers rom a aggig imrecisio: hile e have said a great deal about he Weber chooses to shit rom oe registral costellatio to aother, e have said almost othig about hat registral costellatios Weber reers ad eve less about hy he should choose to use oe registral costellatio i lace o aother We ill start to uack these questios belo irst, e must itroduce some theory regardig hrases I hrase Rhythm i Toal Music, William Rothstei ever resets a sigle cocise deiitio o hrase, but he is quite exlicit that or him a hrase must have a clear directio ad goal: I there is o toal motio, there is o hrase 0 Or, as he quotes eter Westergaard: A hrase, 1 establishes oe set o itches ad the moves to a secod set o itches i such a ay that a e exect those itches b e have some sese o he they are about to occur, ad c oce they have occurred e ko the hrase has gotte here it s goig ad that o urther itches are eeded to comlete that hrase 1 0 Rothstei 199, Emhasis i origial 1 Westergaard 197, 11 Quoted i Rothstei 199, 1

161 A assage that merely rologs a sigle harmoy may be a subset o a hrase, but or Rothstei ad Westergaard it caot cout as a comlete hrase uto itsel Aother ay to ut this is that a hrase must lead to some kid o a cadece Rothstei is talkig strictly about toal music; oetheless, his ad Westergaard s ormulatios are both useul or us here O course, to aly their ideas to Weber e have to decide hat, i Weber s ost-toal idiom, could ossibly ulill the role o toal motio i Rothstei s maxim More simly, ho does Weber create cadeces I ould argue that there is o sigle aser to this questio Weber does ot emloy ay oe cadetial techique to the exclusio o all others Rather, his techique chages rom cotext to cotext This is ot to say that oe caot extraolate certai treds or tedecies rom movemet to movemet ad iece to iece, oly that these treds seldom aly uiversally to all (or eve the vast maority o) hrases Regardless, eve as cadetial details chage, I ill take Rothstei s lead ad reserve the term hrase or those musical uits that reset a comlete rogressio (hether harmoic, registral, ro structural, or otherise) Cosider or istace the irst te bars o O /i (igure 17) Bars 1 reset a sigle telve-toe chord that is symmetrical i itch sace aroud / I bars 6 this symmetry is usettled by a e successio o itch structures, each o hich is vertically symmetrical i its o right I bar 6 ad the irst to otes o bar 7, Weber cotracts the tessitura iard to give us aother symmetrical ro statemet But begiig ith the third ote o m 7 through the ed o m, it is hexachords, ad ot ull ro statemets, that are symmetrical The register exads outard i these bars, but 1

162 uevely so: the highest ote G6 o bar is also the highest ote o mm 1, here as the loest ote D o m is oe toe loer tha the loest ote E o mm 1 Ater this ragmetatio a sese o order is restored he the registral sace cotracts iard agai ad the oeig soority returs i the iao i bars 9 10 Does this mea bars 1 10 (excludig the trumet etrace i the last eighth ote o m 10) do ideed costitute a hrase I ould argue yes Weber clearly establishes a oeig soority i mm 1 Bars 6 disrut this soority, ad bars 9 10 restore it Sigiicatly, the iao art o mm 9 10 resets a exact retrograde, by trichord, o the oeig ro statemet o the movemet, mm 1 The ial iao chord o m 10 literally comletes a retur to the begiig o the movemet My aalysis o this hrase deliberately recalls the begiig-cotiuig-ed aradigm that iorms, i various ays, the ork o may recet theorists o classical ad romatic orm, amog them William Cali, Koi Agau, ad aet Schmaleldt Ideed, oe ca easily assig Caliesque ormal uctios to the segmets o the hrase I Cali s termiology, mm 1 carry resetatio uctio These measures itroduce the basic idea (uderstood melodically ad harmoically/registrally) o the hrase (mm 1 ) ad the reeat this basic idea (mm ) The reetitio is key or Cali sice it hels to establish the basic idea i the listeer s ear Bars 6 carry I classiyig mm 1 10 as a sigle hrase, my aalysis diers slightly rom that o Kathry Bailey, ho discers a hrase boudary betee mm ad 6 O my readig, mm 1 ould roerly be cosidered a subhrase rather tha a hrase sice these measures cotai o harmoic or registral motio hatsoever Likeise, mm 6 10 ould ail to qualiy as a comlete hrase sice the cadece i mm 9 10 oly makes sese as a retur i relatio to the music o mm 1 See Bailey 1991, See Cali 199, Agau 1991, ad Schmaleldt

163 cotiuatio uctio ad clearly exemliy both o Cali s deiig characteristics or this uctio: ragmetatio, a reductio i the size o the [melodic] uits; ad harmoic acceleratio, a icrease i the rate o harmoic [ad, or us, registral] chage ially bars 9 10 exhibit cadetial uctio This is actually the biggest stretch o the three uctios, sice or Cali cadetial uctio deeds crucially o the resece o a toal cadece Noetheless, the sese o retur described above ould seem to suice It should be said that this hrase is ucommoly elegat ad that most hrases i this reertoire could ot be adated to Rothstei s ad Cali s criteria quite so easily We ill cosider various couterexamles shortly Still, lest e thik that the hrase above is etirely a outlier, e should examie aother relatively straightorard examle Measures 1 1 o O 7/i orm the irst o the movemet s three large-scale sectios i a overall ABA orm These three sectios are clearly searated rom oe aother by log auses The ed o each sectio is marked ith a rit ad the begiig o each subsequet sectio ith a temo The B sectio is also clearly distiguished rom the A ad A sectios by a shar icrease i rhythmic activity ad dyamic rage Cali 199, 10 Cali itroduces resetatio, cotiuatio, ad cadetial uctios i his discussio o setece structure As he roceeds, each e ormal tye receives its o characteristic set o ormal uctios Noetheless, these setetial uctios are i may ays the most basic They ill mostly suice or us here See Cali 199,

164 This A sectio, mm 1 1, orms as a sigle large hrase comosed o our costituet subhrases (igure 1) 6 Each o these subhrases cosists o a sigle alidrome, ad each oe occuies a comlete statemet o to ros, ith the elisio o at most a sigle ote betee ro statemets The irst subhrase, mm 1 7, is the oly oe o the our i hich all itches remai ixed i register or the duratio o the subhrase Heceorth I ill call ay such alidrome registrally stable ad ay alidrome i hich ay itches chage register as they retrogress registrally ustable rom its outset, the secod subhrase, mm 10, occuies a dieret registral costellatio rom the irst Ideed, ot oe o the itches soudig i m as heard i mm 1 7 urther, durig the secod subhrase oe itch, G, chages register to G i the retrogressio There is thus a ercetible icrease i the rate o registral chage as the music rogresses rom the irst to the secod subhrase This tred accelerates dramatically i the third subhrase, mm 11 1, i hich oly our itches retrogress i the same register i hich they rogress This creates a small registrally stable alidrome i the midst o a larger registrally ustable oe I terms o itch-class cotet, this subhrase is idetical to the irst Ad yet i terms o 6 Oce agai, my aalysis emhasizes larger uits tha that o Kathry Bailey She idetiies each o these our segmets as a comlete hrase This aalysis accords ell ith musical ituitio, sice each o the segmets is set o by rests, ad ith ro structure Noetheless, i the sirit o Rothstei I reer to reserve the term hrase or the etire assage, mm 1 1, sice it is oly i the ull assage that a comlete registral rogressio is stated Bailey is urther comelled to idetiy each o my subhrases as a hrase sice o her readig mm 1 7 costitute the irst theme o the movemet ad mm 10 the secod theme Without ecessarily cotradictig her aalysis, my readig emhasizes the harmoic uity o the etire assage See Bailey 1991,

165 itch cotet the to could ot cotrast more 7 While ot vertically symmetrical, the irst subhrase is staid ad registrally cotaied The third subhrase, o the other had, executes a dramatic doard see rom B i m 11 to G i m 1 This aloe should oer a lesso i the imortace o register as a ideedet arameter The ourth subhrase, mm 1 1, is early idetical, ote or ote, to the secod like the third subhrase, hich oly reeats subhrase oe i itch class cotet, the ourth subhrase reeats subhrase to i register The oly alteratios are a slight rhythmic comressio i m 16 ad the idicatio o a ritardado ad dimiuedo i mm 17 1 Ater the registral istability o subhrase three, these measures rereset a retur to relative registral calm There is thus a rogressio rom registral stability to registral istability ad back agai over the course o the etire assage This motio arallels the overall cotour o the hrase Subhrase 1 sits the loest o the our, saig 1 semitoes rom A to E Subhrase moves uard ad sas semitoes rom C u to A Subhrase is the clear climax o the etire hrase It sas a ull 0 semitoes, ad the B ad G that rame the begiig ad ed o the subhrase are resectively the highest ad loest itches o the etire hrase Subhrase cotracts the registral sace iard agai The assage thus executes a exadig-the-cotractig registral shae, ad the registral costellatios o the idividual subhrases chage accordig to a abcb la I ould argue that these shaes together cositute a strog eough musical rogressio to qualiy the etire assage as a hrase 7 Their rhythms are also quite dieret; see belo 19

166 There is also a rhythmic sese o acceleratio ad deceleratio over the course o the hrase, though the eak o rhythmic activity does ot alig ith the registral eak i m 11 Subhrase 1 cosists o our statemets o a uderlyig rhythmic ostiato lastig ive sixteeth otes (igure 19a) I this ostiato the to hads each make to attacks i a legato gesture, ad the to hads ever attack simultaeously The result is a stately successio o gestures that closely matches the registral costrait o these measures I subhrase the rhythmic itesity icreases There is oce agai a rhythmic ostiato, but this time it lasts oly three sixteeths (igure 19b) Whereas the ostiato i subhrase 1 begis ith a sixteeth ote o rest, there is a attack o every sixteeth ote o subhrase urther, i each reetitio o the ostiato there is oe simultaeous attack by both hads Subhrase uses the same ostiato as subhrase It shits the ostiato relative to the barlie ad resets our, rather tha three, statemets, but otherise the to subhrases are rhythmically idetical At the begiig o the ourth subhrase, i mm 1 17, the rhythmic activity icreases agai (igure 19c) No successive statemets o the ostiato overla by a sixteeth ote so that the rhythm reeats every to sixteeths Measure 16 cosists o three successive simultaeous attacks by both hads Istead o a stately successio o gestures e hear a three- or our-ote chord o every sixteeth ote The, i m 17, thigs suddely decelerate The secod sixteeth o m 17 is silet, the irst momet o rest i the middle o a subhrase sice subhrase oe The remaider o mm 17 1 reset oe isolated statemet o the ostiato ith aother rest olloig urthermore, there is a rit markig over all o mm 17 1 beore a temo markig i m 19 to start 10

167 the B sectio Measure 16 is thus the rhythmic climax o the etire hrase The deceleratio i mm 17 1 mitigates, but hardly balaces, the log acceleratio that has come beore This is actually a very tyical rhythmic roile or Weber May hrases execute a log acceleratio beore edig ith a ause ad a short deceleratig gesture I this case, I ould argue that eve though this rhythmic roile does ot alig erectly ith the registral roile described above, the to still reiorce each other ad mutually cotribute to the sese that by m 1 a cadece has bee comleted As above, e ca easily assig Caliesque ormal uctios to the segmets o this hrase The most straightorard uctio is cotiuatio We have already see that mm 17 execute a icrease i the rate o registral chage, a icrease i the rate o rhythmic activity, ad a shorteig o the melodic uits ivolved All match Cali s deiitio o cotiuatio uctio erectly Naturally mm 1 7 should carry resetatio uctio These measures rovide the registral startig oit or the hrase to come ad itroduce the basic melodic ad rhythmic ideas that ill domiate that hrase urthermore, mm 7 (begiig ith the third sixteeth o m ) oer a exact reeat o mm 1 (edig ith the irst sixteeth o m ), so log as e tolerate reeats i retrograde This reetitio is imortat registrally; mm 1 cotai every itch class, but it is oly ater m 7, he e have heard each o these itches reeated i register, that e ca say e have heard a stable registral costellatio O course, this stability is immediately udermied i m This leaves cadetial uctio or mm 17 1 (begiig roerly ith the third sixteeth o m 17) I oe ay, this is atural sice e have already see that these 11

168 measures execute the deceleratio that brigs the hrase to a close But is there a ay to uderstad the cadetial uctio o mm 17 1 i terms o itch cotet Ater all, all o mm 1 1 rereset a retur to registral stability ater the istability o mm 11 1 What distiguishes mm 17 1 I have to thoughts about this: irst, mm 17 1 echo m 10 exactly Mm 1 17 do echo mm 9, but ith the dierece that the C o m ad the D-G-C chord o m 9 have bee codesed ito a sigle chord i the secod sixteeth ote o m 16 This gives subhrase ad subhrase dieret shaes Subhrase is balaced Measure 9 does ot ecessarily soud like a exact alidrome, both because G chages registers ad because, as Bailey uts it, otes are hadled i such a ay that the coicidece o arts is ot the same goig ito ad out o the cetre o the alidrome But measure 10 does soud like a exact retrograde o m This balace is missig i subhrase The subhrase is rot heavy, ad measures 17 1 may recall m 10 more tha they do mm 1 16 All o this meas that mm 17 1 create a stroger sese o retur tha mm 1 17 do Aother ay to thik o this is to ask ho the etire hrase ould soud i oe ere to ed at the C o m 17, ithout the cocludig three attacks I ould suggest icomlete My secod thought has to do ith vertical symmetry This hrase ad mm 1 10 o O /i dier markedly i their treatmet o vertical symmetry The O examle roceeds rom ad to a vertically symmetrical registral costellatio I the O 7 examle, ot oe ro statemet occuies a vertically symmetrical registral costellatio Bailey 1991,

169 Ad yet, the music o mm, 10, ad 17 1 is vertically symmetrical, eve i these bars state oly a hexachord ad ot a comlete ro I e accet that vertical symmetries ca act as harmoic goals i Weber s music, the it seems lausible to coclude that the vertical symmetry o mm 17 1 (agai excludig the C o the dobeat o m 17) cotributes to those measures cadetial uctio This symmetry is abset rom mm 1 17 recisely because o the same chage i chord costructio described above 9 We have o see to hrases i hich a rogressio to ad rom registral stability seems to be a mai drivig orce These hrases ed more or less here they begi The O 7 examle is more comlex i this regard tha the examle rom O, but eve here there is a strog sese o retur It may ot be a coicidece that both o these hrases stad at the begiigs o their resective orks We ill see resetly that ot all o Weber s hrases ollo such a balaced arc; stragely, it ill be hrases rom the eds o movemets that make this clear We have already observed ho, at the ed o O /i, Weber holds all itches ixed i register ad harmoy throughout mm 6 6 beore shitig suddely to a e registral costellatio ad harmoy i the ial bar o the movemet, m 69 (igure 0) 0 9 O course, as a exact echo o m 10, mm 17 1 are also a exact retrograde o m This suggests the ossibility o a dieret aalysis o these eightee measures that osits ot oe but to hrases, the irst occuyig mm 1 7 ad the secod occuyig mm 1 I id this readig a lausible alterative to the oe I have advaced above ltimately, hich readig oe reers may deed o hich registral rocesses oe ids more covicig: rogressios rom stability to istability ad back agai, or rogressios to ad rom vertically symmetrical itch costellatios seciically 0 Both o the relevat registral costellatios are vertically symmetrical The to are also related motivically Weber voices the costellatio o m 69 as to symmetrical hexachords ---- These hexachords exted soorities --- ad --- that are 1

170 Measure 69 also sits sigiicatly loer tha mm 6 6: the etire measure sas a ull semitoes, rom G to E6; the ial chord aloe sas 7 semitoes, rom G u to Bb This is the archetye o hat e ill call registral uctuatio: a rologed assage o roouced registral stability is olloed suddely by a short burst o registral istability, usually but ot alays describig a doard shit i register, markig the ed o a iece or movemet We ill see more examles shortly No, there is every reaso to cosider measures 6 69 a comlete hrase As already oted, these measures strogly recall the oeig o the movemet They stad aart registrally, texturally, timbrally, ad harmoically rom the recedig measures Ad Weber marks m 6 ieder etas lebhat, edig a oco strig sectio that bega i m 7 Still, i light o the theory o hrase that e have oly ust begu to lesh out, these measures are roblematic I the revious to examles, e more or less equated cadece ith retur to the startig harmoy/registral costellatio This seems deesible i light o the aalogy ith toality But i our e examle Weber dearts rom his startig harmoy ithout ever returig I e are to accet the cadetial uctio o m 69, as it seems e must, the e must accet that sometimes a cadece i Weber is ot a retur to the startig harmoy but ust the oosite, a sudde ad ial dearture 1 embedded i the costellatio o mm 6 6 Traces o these soorities ad the related soorities -- ad ---- ca be oud i every movemet o O 1 There is oe other ossibility i this case As e sa above, it is ossible to aalyze TA as the toic harmoy o the movemet So maybe it is mm 6 6 that are the 1

171 The other ormal uctios also become roblematic i this hrase I e temorarily igore harmoy ad register ad ocus istead oly o rhythm ad melodic segmetatio, the there is o diiculty Measures 6 6 restate the oeig melodic ad rhythmic theme o the movemet i retrograde; measures 6 67 (oly u to the dobeat o m 67) reeat this material, this time i its origial orietatio We ca thus easily assig mm 6 67 resetatio uctio Measures 67 6 (excludig the dobeat o m 67) obviously itroduce shorter melodic ragmets; these measures carry cotiuatio uctio ially, m 69 ith its heavily acceted chords carries cadetial uctio But ith harmoy ad register reitroduced this aalysis loses much o its credibility Measures 67 6, hich e assiged cotiuatio uctio, oer o e harmoic/registral material hatsoever I light o this it seems more reasoable to assig all o mm 6 6 resetatio uctio But the e are let ith a hrase ith o cotiuatio uctio Or maybe m 69 erorms a hybrid o cotiuatio ad cadetial uctio Such hybrids are at home i Cali s ork; still, is this a valid use or them erhas the most ractical solutio, esecially i light o the other examles to ollo, is to itroduce a e registral uctuatio uctio as a subsecies o cadetial uctio O this readig, mm 6 6 ould all exress some versio o resetatio uctio dearture ad m 69 that is the ial retur I am sketical o this aalysis or three reasos: 1) it resuoses that e someho remember TA as a quasi-toic harmoy ad hear it as such he it ially returs I id this doubtul ) It ostulates a hrase that starts i media res The aalogy ould be o a ial hrase i a toal ork startig o the domiat This is ot imossible, but it does seem to suggest that oe might ot be aalyzig the hrase correctly ) erhas most damigly, the aalysis ails to exlai the other examles o the same registral uctuatio techique discussed belo 1

172 ad m 69 ould erorm registral uctuatio uctio This may seem ad hoc, but it does do ustice to the requecy o the techique igure 1 rovides a registral reductio o the sixth ad ial variatio o O 7/iii I m 6 our e itches hel to distiguish the begiig o Variatio 6 rom the recedig Variatio The most otable is the lo Eb, hich ot oly begis the variatio but is the loest ote heard sice the C o m 1 Most o the variatio, mm 6 6, is structured as our successive ro statemets arraged i alidromic airs, irst ad R, the I ad RI Both alidromes are o the registrally stable variety, but they do ot occuy the same registral costellatios as oe aother I mm 6 9 the total soudig ambitus sas semitoes, rom Eb u to C6 I mm 60 61, Weber itroduces our e itches, ad the overall ambitus o mm 60 6 (u to the dobeat o m 6) is loer tha that o mm 6 9, saig oly semitoes rom C u to Bb The C o m 61 is the loest ote o the etire iece so ar Begiig ith the last chord o m 6, Weber elides aother statemet o R, ad e retur to the registral costellatio o mm 6 9 to this oit, e have thus had a very balaced rogressio aay rom ad back toards the registral costellatio o mm 6 9 The registral uctuatio begis i m 6 I mm 6 66 Weber suddely itroduces ie e itches, ad the ambitus shits doard dramatically Telligly, the lo B1 that souds i the last chord is the loest itch o the etire iece I all, mm 6 I am olloig Bailey s amig covetio here Sice the irst sectio o the movemet, mm 1 1, i o ay acts as the harmoic or melodic basis or ay o the variatios that ollo, Bailey chooses to call this sectio ot the theme but rather the irst variatio The ext sectio becomes the secod variatio, etc This cotradicts the umberig i the 1979 iversal Editio rit o the score See Bailey 1991,

173 66 sa semitoes, rom B1 u to A The doard movemet o mm 6 66 ca be see as both a cotiuatio ad a acceleratio/itesiicatio o the doard movemet e have already see rom m 6 to m 61 As i the O examle, harmoy also lays a key role here The irst ive ro statemets o the variatio, mm 6 6, reset ros that are all hexachordally ivariat rom oe aother The ial ro, I, mm 6 66, does ot share this ivariace This shit is quite aalogous to the harmoic shit i the last bar o O /i As ith the O examle, i this case the harmoic shit aligs erectly ith the shit i register O 7/i rovides aother, subtler examle (igure ) We have already cosidered mm 1 1 i detail The closig A sectio o the movemet, mm 7, reeats the rhythm o mm 1 1 early exactly Yet this sectio does ot reeat mm 1 1 i itch or itch class cotet Like mm 1 1, mm 7 cosist o our subhrases, each a alidrome But ulike mm 1 1, i mm 7 each subhrase states a uique air o ros, ad each occuies its o uique registral costellatio I act, the costellatio o mm 6 66 is almost a exact trasositio do oe semitoe o the costellatio o mm 60 6 The oly discreacy is the Eb o m 6, hich arise rom the elisio o R ad I sig hexachordal ivariace as a guide, oe ca grou all trasormatios o the O 7 ro ito six hexachord areas Withi each hexachord area, all ros are hexachordally ivariat These areas uctio much as trichord ad hexachord areas do i O I the laguage o hexachord areas, mm 6 6 all occuy oe hexachord area ad mm 6 66 shit to aother A aalysis o O 7 by hexachord areas reveals several iterestig iterrelatios betee harmoy ad register, much as i O There is o sace or a ull exloratio o these ideas here The hads sa roles, ad the closig sectio has a stroger ial chord tha the oeig sectio 17

174 This results i the to sectios havig very dieret registral outlies Thigs start out similarly Like mm 1 10, mm 7 6 reset a registrally stable alidrome i a restraied registral costellatio These measures sa semitoes rom u to Next, measures 6, like measures 10 ad measures 1 1, are stable excet or the shitig o oe itch class I this case, C moves rom C to C i m These measures sa 1 semitoes rom G u to Startig ith the third subhrase o mm 7, hoever, thigs start to chage Like mm 11 1, this subhrase is the most registrally active o the etire closig sectio like mm 11 1, its overall registral cotour is ot rom high to lo but rom the middle register outards This subhrase achieves both its loest itch, A, ad its highest itch, C6, i the same measure, m 0 This C6 ties or the highest itch yet heard i the movemet; this is its irst aearace sice m The ial subhrase, mm 1, like measures 10, measures 1 1, ad measures 6, is agai registrally stable excet or the shitig o rom to i measure But ulike the ourth subhrase o mm 1 1, this subhrase does ot retur to the middle register o the istrumet but stays i the soraio register achieved at the ed o m 0 It sas 1 semitoes rom u to Eb6 This Eb6, heard i measures ad, is the highest itch o the movemet Thus, hile mm 1 1 reach their high oit at roughly the halay mark beore descedig back to ceter, mm 7 reach their high oit ust three bars rom the ed o the movemet Cosidered as a uit uto themselves, mm 1 are airly stable registrally; agai, oly oe itch class chages register over the course o these bars But cosidered i relatio to the recedig subhrases, these measures are extremely 1

175 ustable They rereset a ureared move ito the highest register o the movemet ith o comesatig retur do Thus I ould aalyze the etirety o mm 0 as a registral uctuatio (begiig ith the third sixteeth o m 0) This uctuatio diers rom those cosidered above i that 1) the ial uctuatio evet occuies our ad a hal bars ad cotais te distict attacks, makig it the logest examle yet, ) the recedig measures, hile stable i relatio to the closig uctuatio, are still airly active registrally, ad ) this is a ascedig rather tha a descedig examle We id ourselves i a strage ositio We ca say ith some coidece that sometimes, esecially at the begiigs o movemets, Weber creates goal-directed harmoic motio by itroducig a stable registral costellatio, icreasig the rate o registral ad rhythmic chage dramatically, ad the movig back toards registral stability We ca say ith equal coidece that at other times, esecially at the eds o movemets, Weber creates goal-directed harmoic motio usig recisely the oosite meas Namely, he itroduces a stable or gradually shitig registral costellatio ad the ums suddely to a cotrastig costellatio i a strog ial gesture Ho ca the secod techique make semiotic sese i the resece o the irst Oe eatures dearture ad retur, the other a seemigly icomlete rogressio o dearture aloe The act that the registral uctuatio techique seems to mark edigs i articular oly makes it more o a uzzle, sice edigs are here oe ould most exect to id strog cadeces To make all o this messier still, Weber does ot mark all o his edigs ith registral uctuatio A sigle romiet examle ill suice here 19

176 The ial sectio o O /iii, mm 6 70, occuies a sigle vertically symmetrical registral costellatio saig semitoes 6 Sigiicatly, this costellatio is a exact trasositio, do 17 semitoes, o the costellatio that occuies mm 6 6 o O /i (igure ) No uctuatig harmoic or registral shit eds the sectio, or is there ay develoed sese o dearture ad retur The itee bars rolog a sigle harmoy Weber does ot eve alter the grouig o itches over the course o the assage; the etire sectio reiterates ust our chords, each a voicig o a (01) trichord (igure ) Weber costructs the etire assage as oe log alidrome o trichords Adotig the labels o igure, the orderig is d c b a d c d a b a d c d a b a d c d a b a d c d a b c d (igure ) It is imortat to emhasize that this is a alidrome o trichords, ot o itches or istace the viola lie G Eb o mm 61 6 returs i the violi i mm 67 6 i the same order, ot retrograded as i a true alidrome o itches This large-scale alidrome also cotais several istaces o the shorter alidromes d c d ad a b a, each oe lastig aroximately oe to to bars These alidromes cut across istrumetal grouigs Kathry Bailey has also oited out the alidromes 6 Bailey aalyzes this sectio as the ial variatio i a theme ad variatios orm Bailey 1991,

177 b a d c d a b, c d a b a d c, ad b a d c d a b i mm 60, 6 6, ad 6 70 resectively These alidromes reserve istrumetatio; each cosists o a cetral trichord i the o-iao grou laked o each side by three iao chords 7 With the same our chords reeatig i a comlex atter o ested alidromes, the overall imressio o the assage is very much oe o harmoic stasis Ad yet Weber does rovide a kid o textural uctuatio to ed the iece I mm 6 6, Weber artitios the iao ad the o-iao grou by material tye: the iao resets oly block chords hereas the o-iao grou resets oly overlaig three ote lies But i m 69 e get a block chord i the ids, olloed by aother i m 70 These chords are the irst time sice m 7 that more tha to o-iao istrumets have souded simultaeously Marked s, they rovide a strog coclusio to the iece I ould argue that these chords lay a uctio very much like that o registral uctuatio above, amely, articulatig the close o the movemet Ideed, the ial bars o O /i ad o O /iii are almost idetical texturally The oly dierece betee the to is that m 69 o O /i reresets a registral ad harmoic shit relative to the recedig measures hile m 70 o O /iii does ot Maybe this dierece is ot actually as sigiicat as it might seem We have maily bee ursuig itrisic, itch-orieted aroaches to hrase aalysis But the O /iii examle strogly suggests that sometimes i Weber s music textural cues ca give rise to hrase structure i the absece o ay sort o harmoic motio hatsoever We have see somethig similar at least tice already I our 7 Bailey 1991, 06 11

178 aalysis o O 7/i, mm 1 1, our decisio about here recisely to locate cadetial uctio had more to do ith the lacemet o rests ad temo markigs tha ith itch relatios Ad i our aalysis o the ial hrase o O /i, e oered to readigs, oe based rimarily o itch ad register ad oe based rimarily o rhythmic iormatio These readigs robably have about equal relevace to the assage I do ot at to thro aay our itch-based aalyses; they clearly sho that registral rogressios are oe tool i Weber s cadetial arseal But ithout various orms o extrisic aalysis, certai hrases, such as mm 6 70 o O /iii, ill remai iexlicable to us Does this mea that there is o hoe or aythig like a theory o Weberia hrase desig I oe requires such a theory to ossess a sigle all-ecomassig deiitio o cadece based exclusively o itch structure, the robably yes But this is robably a urealistic stadard to begi ith There is o oe toal cadece, but rather a rolieratio o tyes erect authetic, imerect authetic, hal, decetive, etc Idetiicatio o these tyes deeds ot ust o itch structure but o rhythm, harmoic rhythm, melodic ragmetatio, ad a host o other cotextual cues Cali s ad Rothstei s theories are ull o detailed descritios o seciic hrase tyes, classiicatios o excetios, ad aalysis that is highly cotext- ad style-deedet Vieig the roblem i this light, e are actually ell o our ay We have idetiied three coheret aradigms or Weberia hrases: there is the balaced dearture-ad-retur aradigm, the imbalaced registral uctuatio aradigm, ad the lackig-i-harmoic-motio/extrisically-drive aradigm We are o i a ositio to go lookig or other hrases matchig these aradigms We ca also ask e questios 1

179 like does the dearture-ad-retur aradigm oly hae at movemet oeigs ad does registral uctuatio ever mark the eds o uits other tha hole movemets Ad o course, e ca still roose e aradigms here these three rove isuiciet We are also equied ith a umber o extrisic eatures tha ote mark Weber s hrase edigs To risk statig the obvious, may o Weber s hrases ed ith ritardados This is true o the oeig ad closig hrases o O /i ad O 7/i ad the closig hrase o O 7/iii We have see that may o Weber s hrases ed ith a allig cotour This is true o all o the hrases e have aalyzed ith the artial excetio o the closig hrase o O 7/i We have see that may o Weber s hrases ed ith uctuatig chords This is true o the oeig ad closig hrases o O /i, the closig hrase o O /iii, ad to a lesser extet the closig hrases o O 7/i ad O 7/iii Last but ot least e have see that may o Weber s hrases ed ith a ause recedig a short ial gesture This is true o all o the hrases e have aalyzed ith the artial excetio o the closig hrase o O 7/iii 9 These extrisic eatures ca be eormously helul i idetiyig hrase boudaries eve he other harmoic determiers o hrase structure are reset Ad, as e have see i O /iii, he harmoic determiers are abset these extrisic eatures are crucial It is thus essetial that e cosider extrisic ad itrisic aroaches to hrase structure side by side Oly by cosiderig the to together ca e begi to cature the This hrase does ed ith a allig cotour i its ial measure, but the ial our ad a hal measures o the hrase rereset a roouced rise relative to the recedig measures 9 This hrase does ed ith a ause beore its ial chord, but the ause is oly a quarter ote log, ad auses o equal legth occur regularly throughout the hrase 1

180 ull rage o Weber s hrasal techique Registral aalysis is vital to this udertakig At the level o idividual hrases, registral costellatios shae the rogressio toards cadece ad ote rovide the strogest audible marker that a cadece has i act occurred At a global level, register ad harmoy are coordiated ith ro toograhy, thematic material, ad texture to articulate the hrase structures o etire movemets Ideed, o study o harmoy i Weber s mature style is comlete ithout a study o register It is oly by uderstadig the ay both arameters iteract ith oe aother ad ith extrisic actors like articulatio, temo, ad timig that e ca uderstad ho Weber builds hrases ad, out o them, movemets 1

181 a The ro b RI b R b I b I a square 11 1 b b b R b b 1 b RI 6 b b 1 b I 0 b b b 1 igure 1 The O ro 1

182 e t e t 7 e t t e e t e 1 9 t t 9 e t 1 e t e 6 7 t e t e t 6 7 e rime orms are read let to right, retrograde orms right to let, iverse orms to to bottom, ad retrograde iverse orms bottom to to igure The O matrix a b b b b b b 11 R b b b b b b b 11 RI 0 igure Some trichordally related ros 16

183 - reverses hexachords, reserves order ithi each hexachord $%'( )* ( $%' * - maitais hexachords, reverses trichords ithi each hexachord $%', reserves order ithi trichords ( $%'(, - reserves hexachords ad trichords, reverses order ithi each $%'( - trichord ( $%' )- - - reverses trichord order, reserves order ithi trichords $%( - ' $%'( reverses hexachords, maitais trichords ithi hexachords $%, reverses order ithi trichords ' $%', ( $%(, '( $%'(, - - maitais hexachords, reverses order ithi hexachords $%( )* ' $%'( )* reverses everythig $%' ( $%'( Codes o the let rereset each relatio s eect uo a ro s discrete hexachords, discrete trichords ithi hexachords, ad otes ithi trichords, i that order So or istace the relatio -- reverses a ro s discrete hexachords (the irst mius), reserves the order o trichords ithi hexachords (the lus i the middle), ad reverses the order o otes ithi trichords (the ial mius) The ormulae o the right iclude a variable that reresets ay ossible ro orm idex umber (0 11) Additio ad substractio are erormed mod 1 So or istace 0 is - related to RI 7 ad - related to R 6 The relatio --- is trivial i that it merely relates a give ro orm to its retrograde, but I have icluded it or the sake o comleteess igure Trichordal ivariace relatios 17

184 a To - related ros b H b b R 6 h h b b I 1 H b b Cocerto O /i, mm 1 17 Noiao sehr mäßig q = ca 0 1 R b - - b - - I b b iao b - b b - - b - b - igure The relatio I 6 R 11 R 1 /I iao 0 - b b b igure 6 Cocerto O /i, iao, mm 0 1 1

185 TA 0 : 0 6 I 1 I 7 TA 1 : 1 7 I I R 0 R 6 RI 1 RI 7 R 1 R 7 RI RI TA : I I 9 TA : 9 I I 10 R R RI RI 9 R R 9 RI RI 10 TA : 10 I I 11 TA : 11 I 6 I 0 R R 10 RI RI 11 R R 11 RI 6 RI 0 igure 7 The six trichord areas b H b b h b H b h b 11 RI b H b b h h b b H b 11 R igure Some hexachordally related ros 19

186 a b b d b c a b b b 11 (TA ) R (TA ) c e d b b b d b b RI (TA 1 ) a c e b Collectio A b a b c d e b b g h i k l Collectio B b Collectio A Collectio B c HEX 0,1 b HEX, b b HEX 1, b b HEX, b a c e b d g i k h l igure 9 Commo ic1 adacecies i hexachordally related ros 160

187 $ % $ $% ' '% ( % ) ) ' ) ) ( $ ($ (% ) )% % %% * % $ ) ) ) ( ) $ ) $ ( ' % % $ $ ) % $ *$ *% $ ( ' $ ( ) ) ) %,- /01-, 01-,,- /-, -,,- /-, -, % % % % $ $ ( % $ -6716,9:191,::6716,9:191 0::9,ABC1C-CB ;0<=9$/')0@9,ABC1C-CBDEC906,9:1-:6716,9:191B $

188 a Cocerto O /i, mm ODD EVEN Noo esate (q = ca 0) æ æ R 7 (cot) b b R RI r b o b b b b b /RI b Cocerto O /i, mm, reductio Noo ODD b EVEN b o b b b b igure 11 Odd-to-eve trasitio, Cocerto O /i, mm 16

189 iao 0 R (cot) l h R 10 i g : \ k b g i - R 0 h l RI 1 igure 1 Ic1 dyads i the iao, O /i, mm 0 a O /i, clariet ad violi, mm 1 b O /i, clariet ad tromboe, mm Cl 1 (cot) 1 b 0 Cl 0 (cot) b Vl 1 R Tb b - igure 1 Other registral reetitios 11 16

190 ))* %)* )* $)* ()* )* ')* )* )* )* )* $ % $ % $ % $ % ' ' ' '$ '% $ % ( ( ( ($ (%,-/01-01-'676'9:;<-=@A--1B-A-/CDE-/01- -1B-A-@;@A-/G-H=;<-=