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Chapter Thirty-Three
Atonality and Twelve Tonality
Atonality
A.
bw bw w
1
w w
& bw w w bw bw w w
2
w bw #w w bw #w w w #w #w
& #w bw
3
w bw nw
& w bw nw w w
bw w bw w b # wwww
#w #w #w #w
4
#w #w w #w w #w w w
& w #w w #w
5
w bw
& w #w w #w w
w w bw w w
◊
B.
1 2 2 2 3 4 4 1 5 2 6 6 7 1 8 5 9 4 10 6
C.
1 (0125) 2 (0256)
bw bw w #w bw w w w
bw
w w w
bw
& #w w bw
3 (0356) 4 (0234)
? w #w #w w
w #w w #w w #w bw w w #w w bw
2
5 (0456) 6 (0347)
w bw
w w
& w bw w bw nw
bw #w #w w #w #w
w
bw bw
7 (0146) 8 (0257)
? bw
w w bw nw w w bw b w
bw bw bw
bw
w
9 (0137) 10 (0125)
w bw w #w w #w #w w
&w w w bw w
w w #w
D.
1 2
& w #w w w bw w w #w w w w #w nw w w
#w w bw
3 4
bw nw bw
& bw bw w bw bw bw bw #w w w
w
5 6
& w bw w w w w #w w #w w w w #w
w
w
w w w w bw
7 8
w bw bw
bw #w #w w #w w w w
& #w
#w
#w w w
9 10
w bw #w #w nw
& bw nw w w w w #w
3
E.
1. Phrase a encompasses mm.1-8. Cadential extensions repeat the final bar
of the basic phrase (mm.4-5) in mm.5-6 and mm.7-8. Phrase b entails
mm.9-11.
4. The most prominent secondary set is the (026), found in m.4, beat 2, m.5,
beats 2-3, m.7, beats 1-3 (right hand), m.8, m.11 (left hand), m.17, beats
1-2 and beat 3 (left hand), and m.18 (left hand). Other sets, less pervasive
and less obvious, can also be found.
(0134)
• The three-note chords formed by the violins and violas in mm.1-3;
m.5, beats 1 and 2; m.6, beats 2, 3, and 4; and m.8
• The melodic fragments of m.6 in each of the three upper strings
(0145)
• The eighth-note figures in m.7
• Violin I, m.5, Violin II, m.5-6
• In partial form, Cello m.8 (final three-note figure)
Twelve Tonality
A.
1
&# w w #w w #w ‹w
#w #w w nw w #w
2
w w #w w bw nw bw
&b w nw w #w nw
4
3 bw w bw bw nw w
w w w w bw bw
&
4
bw bw w #w w w bw
& bw w bw w nw
B.
1 RIo
b w bw nw w nw #w w
& w bw nw w b w
2 Io
w w w bw
& w #w bw bw w w bw nw
3 R6
& w w bw w w #w w bw w #w w #w
4
w7 w
P
w #w w bw bw nw #w #w
& w nw
C.
1. The row is: D Eb A C# Bb E G# G C B F F#
The only linear statement is by the voice, which completes a Po form in
m.7 followed immediately by Ro, which concludes in m.10. The remain-
der of the voice part (mm.11-14) contains Po and Ro statements of the
third tetrachord.
2. The only row forms used are Po and Ro. The piano part uses only Po
statements.
5
3,4. Schoenberg treats the row as three tetrachords. These segments are con-
sistently distributed among three “parts”—the voice, the piano right hand,
and the piano left hand—so that no pitch is duplicated (although immedi-
ate pitch repetitions occur in motivic fashion). A diagram follows:
Voice: A B C
Piano RH: A B A B C B A B
Piano LH: C C B A A B A
m.: 1 2 4 6
Voice: B A C
Piano RH: A B A and B alternate in repeated-note motives
Piano LH: C* B and A alternate in repeated-note motives
m.: 9 10 11
Voice:
Piano RH: A B
Piano LH: B C
m.: 14 15 16
* The C tetrachord is also heard in the mid-register piano (right hand, mm.9-10),
but in retrograde so that pitch duplication with C prime form does not occur.
5. In both the prelude (mm.1-3) and the postlude (mm.14-18), Schoenberg employs
tetrachord C in the lowest register, pairing the pitches to produece open fourths
and fifths (C-F and B-F#), producing an ominous tone that aurally distinguishes
these passages from the body of the song.
Note: Schoenberg’s use of a single row form seems to reflect the first line of the text: “If
all is one, what does it matter?”