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Aspects of Rhythm in Webern's Atonal Music

Allen Forte

Music Theory Spectrum, Vol. 2. (Spring, 1980), pp. 90-109.

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Fri Dec 21 17:33:27 2007
Aspects of Rhythm in Webern's Atonal

Music

by Allen Forte

Introduction
I should like to begin by emphasizing the disclaimer that is atonal composition to produce a coherent and unified work?
apparent in the title of this article, in the phrase "aspects of." This is an interesting and difficult problem to approach for a
The topic of rhythm is difficult enough to approach within the number of reasons, not the least of which is Webem's character-
frame of tonal music, about which we presumably know a great istic disregard for the expected and routine at the surface level of
deal. In non-tonal music-and in the complicated atonal music his music. It will be shown, however, that beneath the complex
of Webem, in particular-very little has been done to pave the surface exists a considerable degree of regularity.
way for a better understanding of rhythmic phenomena.' A fully I will begin by presenting certain fragmentary examples from
systematic foundation for extended and detailed studies of the Webem's atonal compositions, examples that suggest that fur-
rhythmic dimension of Webem's music has yet to be estab- ther study in search of rhythmic regularities might be fruitful. I
lished. will then offer some observations on the rhythmic organization
This paper must therefore be regarded as a report-albeit a of a short composition without making reference to its pitch
rather extended one-on work in progress, as the first phase of a organization. Finally, I will give a number of longer examples
full-scale study to be completed at a future date. It is hoped that of relations between rhythmic and pitch structures and suggest
the tentative results will be interesting, that the methodological musically meaningful ways of interpreting those relations.?
aspects will be fruitful, and that the general approach will be
suggestive for work on rhythm in other kinds of non-tonal Basic assumptions
music.
Two familiar assumptions are made at the outset. First, it is
The basic problem to which this article addresses itself is:
assumed that duration is the most basic aspect of rhythm. Sec-
How do rhythmic and pitch structures interact in the Webem
21n a version of this paper read at the Second Annual Meeting of the Society
'An exception to this is found in Wallace Beny's Structural Functions in for Music Theory, New York City, November 3, 1979, the presentation was
Music (Englewood Cliffs, N.J.: Prentice-Hall, 1976), pp. 397-408, where the augmented by tapes of the string quartet compositions specially prepared by
author presents an interesting and valuable discussion of Webern's op. 1 1/3 and Steven Haflich, using the computer sound-generation facilities of the M.I.T.
op. 5/4. Studio for Experimental Music.
Rhythm in Webern's Atonal Music 91

ond, it is assumed that there is a basic "pulse" of some kind Other hints are not difficult to find. In op. 6/5 three sections
which provides a means of calibration. A more precise concept have precisely the same duration. In op. 9/5 pitch-class set 3-2
of pulse will develop in a natural way in the course of the is associated with almost every durational unit that occurs in the
presentation, although the term itself will not be used. work, suggesting the possibility of rhythmic development or
If the organization of pitch represents a new aesthetic posture progression with respect to pitch s t r u c t ~ r eThe
. ~ sixteenth note
in the music that emerged in the early part of the present seems to have a special function in op. 6/4: It is the short value
century-the music that came to be known as "atonalH-then that immediately precedes the first pitched attack by woodwinds
one might assume a corresponding development in the domain and that follows the long percussion introduction based only
of rhythm. This suggests that the traditional concept of meter, upon whole, half, and quarter values. And the last pitched attack
which is closely linked with tonal music, may not be especially in the movement has the value of a sixteenth note.
useful in approaching the problem and might even hinder a
fruitful investigation of pitch-rhythm organization. Accord- The proportional graph
ingly, no reference will be made to metrical notions such as
Example 2 shows, in full conventional notation, the music of
"weak," "strong," "accented," "unaccented," and so on.
the fifth of Webern's Sechs Bagatellen fur Streichquartetr, op.
Indeed, steps will be taken early on to detach the discussion
9.
from conventional music notation, in part just to avoid tradi-
Example 3 is a proportional graph of the rhythmic organiza-
tional notions represented by familiar graphic shapes.
tion of op. 9/5. Its purpose is to present rhythmic structure in the
On the other hand, the pitch organization of Webern's music
clearest possible way, detached from ordinary notation, with its
does exhibit certain basic characteristics shared by traditional
bias toward traditional interpretation.
tonal music. Repetition and transformed repetition are basic
The proportional graph is prepared in the following way. The
structuring forces in his music, just as they are in the music of
integer value 1 is assigned to the smallest durational value in the
triadic tonality. The same generalization applies in the domain
work (movement). The largest value is the least common mul-
of rhythm, as will be shown.
tiple of all the other values. Hence, any value between l and the
least common multiple is a multiple of 1 (trivial) and a divisor of
Some interesting surface features
the least common multiple. The result is a depiction of a precise
Webern's atonal compositions contain many indications that calibration of component durations, so that any temporal span or
study of their rhythmic organization might be interesting. As an pattern can be compared with any other. With the exception of
instance, Example 1 presents an excerpt from the opening of the the proportional graph of the fragment of op. 11/3 (Example 6),
fifth of the Sechs Stucke fur Orchester, op. 6 (1909). An analy-
sis of the rhythmic grouping, shown below the music notation,
reveals three subgroups, each symmetrical in itself, which form slur. In the later edition(s) a slur connects D and C, and the large slur is deleted.
the larger symmetrical pattern 2 3 2, measured in quarter notes.3 Moreover, in the first edition the final C-sharp is notated as a dotted quarter note,
which destroys the symmetry offered in the analysis of Example 1 but replaces it
with the equally interesting pattern (in eighth notes) 4 6 5.
31n the original edition of 1910, the "Opus 4" pieces published "im 4 ~ h nomenclature
e of pitch-class sets is given in the author's The Structure of
Selbstverlag des Komponisten," this trombone melody is notated under a single Atonal Music (New Haven and London: Yale University Press, 1973).
92 MUSICTheory Spectrum

Example 1 . Webern. Sechs Stucke fur Orchester, op. 6 / 5 , mm. 1 - 3

O Copyright 1961 by Universal-Editlon AG, Vienna. Used by permission of

European-American Music Distributors Corp. Sole US agent for Universal-

Edition, Vienna.

the value 1 in the graph is equivalent to the thirty-second note Terms used in connection with the graphs
within a dodecatuplet. This is not to suggest that the thirty-
In discussing the graphs the following terms will be used:
second note of this type is a kind of latter-day tactus. The
Anattack occurs with the onset of apitch in some instrument.
numerical relations shown on the graph comprise a scheme
The attack differential is the temporal interval between at-
intended to illuminate structure; the numbers have no special
tacks.
significance in isolation, but only in relation to each other-
The basic attack dzfferential is a fixed unit of special impor-
thus, the term proportional graph.
tance in the work, usually stated clearly in the opening music.
The graph consists of solid lines, dotted lines, nodes, num-
An initial attack is the first in a series of attacks in an
bers alone and numbers enclosed in brackets. Measure numbers
instrument.
are supplied above the graph for convenience of reference. A
A release occurs when a pitch ceases to sound. It may coin-
node preceded and followed by a solid line represents both an
cide with an attack.
attack and a release, while a node followed by a solid line, but
Afinal release is the last release in a series of attacks and
not preceded by one represents only an attack. Similarly, nodes
releases in an instrument.
that terminate solid-line segments represent releases only. Bro-
Adurational unit is a temporal unit determined by the follow-
ken lines indicate temporal intervals between attacks and re-
ing pairs of nodes?
leases and, where there are no intervening solid lines, a silence.
attack to attack
The latter is of the utmost significance in Webern's music, as
connoisseurs will recognize. 'Clearly, the cross products (Cartesian products) of these offer a segmentation
of some sophistication, and some of the possibilities are indicated in the graphs
that follow.
Rhythm in Webern's Atonal Music 93

Example 2 . Webern, Sechs Bagatellen fiir Streichquartett, op. 9/5

Copyright 1922 by Universal-Edition AG, Vienna. Copyright renewed. Used by


permission of European-American Music Distributors Corp. Sole US agent for
Universal-Edition, Vienna.
94 Music Theory Spectrum

Example 3. Webem, op. 9/5: proportional graph

attack to release graph in Example 3 as two coextensive durational units of length


release to attack 24, partitioned by a single instrument's attacks and releases as
release to release two units each of length 12. Attack-release partitions may be
A basic durational unit is a unit of fixed length which is of regarded more concisely as attack patterns o r rhythmic patterns.
special importance to the work's pitch and rhythmic structure. It They divide the total duration of some musical unit into cells of
may be closely related to the basic attack differential. specific length.
A partition is notated with parentheses. Thus, the first meas-
The tonal segmentation of a span of music by attacks and ure of Example 3 is represented as (12)(12). In their most
releases (see footnote 4) is an attack-release partition, or simply important musical function, attack-release partitions articulate
partition. For example, measure 1 of Example 2 appears on the pitch components, shaping subset structures, coordinating the
Rhythm in Webern's Atonal Music 95

elements of overlapping (intersecting) sets and, in general, is evident in the array of cells (12)(6)(18). The intimate relation
controlling their interaction and mode of presentation in the total between the rhythmic configuration of each instrument and the
fabric of the music. overall partition can also be read from the graph. For example,
the pitched unit of length 18 just discussed is immediately
preceded by a silence of that length in first violin, extending
from the final release at the beginning of measure 4 to the initial
The proportional graph of op. 9/5
attack in the same measure.
As indicated at the outset, a consideration of rhythmic organi- Beginning at the end of measure 4 with the initial attacks in
zation alone will precede a more detailed study of pitch-rhythm violins another new durational unit is formed, of length 30. Its
interaction. The following discussion relates to the graph of op. relation to the previous structure is made clear by the initial
9/5 shown in Example 3. attack and final release in viola and by the final releases in
It was pointed out above that the first durational unit, of violins at the end of the measure which form the partition
length 24, is divided into two units each of length 12, creating (1 8)(6)(6), the reverse of the immediately preceding and over-
the proportio dupla. For this piece, the duration 12 is highly lapping pattern (6)(6)(18). Thus, the entire pattern for this
significant, for it is both the basic durational unit and the basic segment of the music is the palindromic (6)(6)(18)(6)(6), one of
attack unit. There follows a silence of length 12 before the next many such symmetries in Webern's atonal music.
attack, in first violin in measure 2, thus defining a total duration The familiar word development aptly describes a general
of length 36 from the beginning. This duration (36) is then aspect of the rhythmic structure of the remainder of this short
extended over the next pitch structures, one of which begins work. For example, the configuration formed by the three in-
exactly 12 after the other so that there is a clear articulation of the struments in measure 8 has a total duration of length 18, defined
basic attack differential and a direct link to the opening pattern by the initial attack and final release in viola. That instrument, in
(12)(12). These interlocking formations span a duration of turn, is partitioned as (6)(12) by the attack in second violin, and
length 48, twice the length of the opening statement (proportio the attack and release in first violin then partitions the unit of
dupla) and form the partition (12)(12)(12)(6)(6), thus bringing length 12 into three cells of length 4, so that the total partition
into play a unit half the length of the basic durational unit 12, becomes (6)(4)(4)(4), representing the proportio dupla (12)(6)
again theproportio dupla. It should also be noted that of the two and the proportio sesquialtera (6)(4) as well as the proportio
cells of length 6, the first is formed by the sequence release- tripla (4)(4)(4). These relations and others are amply repre-
attack, the second by the sequence attack-release. This attack sented in the complete attack-release partition, Example 4.
occurs in 'cello, measure 4, and initiates a span of length 36, From this introductory consideration of rhythmic structure
thus providing immediate continuity with the preceding spans in alone it should be evident that silences, represented as non-
the three other instruments. The 'cello segment of length 36, pitched temporal intervals (broken lines) between nodes on the
however, is partitioned as (6)(6)(18)(6), so that the accelerando graph, are of essential significance to the attack-release parti-
represented by the cells of length 6 is suddenly interrupted by the tions and to the structures which they form as the music unfolds.
cell of length 18, the longest cell in the total partition. With the Using the descriptive terms introduced earlier, these durational
basic durational unit 12 this forms the proportion 3/2, the classic units enter into an analysis in a natural way and without recourse
sesquialtera, here organically related to theproportio dupla, as to the traditional nomenclature of rests, thus avoiding unneces-
96 Music Theory Spectrum

Example 4. Webem, op. 9/5: attack-release partition

sary complexity in a study which involves an elaborate instru- simple it may be, is coherent and interesting in itself. It remains,
mental flux. however, to present some of the ways in which rhythmic struc-
ture corresponds to pitch structure. The first section of the third
The correspondence of rhythmic and pitch structures: of theDrei kleine Stiickefiir Violoncell und Klavier, o p . I 1 will
op. 11/3 serve well to introduce some basic notions.
The entire score of o p . 11/3 is provided in Example 5 , while
From the brief consideration of o p 9/5 it can be seen that the is a proponional graph of measures -3, up to the
rhythmic structure of an atonal work by Webem, however

Example 5 . Webern, Drei kleine Sriicke fur Violoncell und Klavier, op. Example 6. Webern, op. 11/3: proportional graph and segmentation,
11/3 mm. 1-3

Cello

P lan0

L-J
4-17:6
J
Copyright 1924 by Universal-Edition AG, Vienna. Copyright renewed. Used by
3-3:15 (piano alone)

permission of European-American Music Distributors Corp. Sole US agent for I


Universal-Edition, Vienna. 3-3:15 (vc, alone)
Rhythm in Webern's Atonal Music 97

piano F-sharp at the end of the measure. Below the graph, decrescendo-crescendo, a pattern which is the exact reverse of
brackets delimit pitch-class sets that comprise the pitch structure the dynamics pattern that governs the p h r a ~ e . ~
of the segment. In this graph the value 1 has been assigned to the Thus, the apparent simplicity of the surface configurations
sixteenth note within a triplet. Thus, the quarter note has the conceals a substructure based on the interaction of the compo-
value 6 and the quarter note within a triplet has the value 4. nents which exhibits a considerable degree of diversity. In this
'Cello first presents the trichord 3-3, consisting of the pitches connection it will be evident that the total duration 33 is only the
E-flat-F-flat-C and with duration 15, as can be ascertained grossest possible descriptor here. Even the partition given in the
from the graph, Example 6. Piano enters in measure 2 with graph is amenable to further refinement and interpretation. The
another form of 3-3 (an inversion), and this also has length simplest shape, for example, is created by the two instruments
15-one of many instances in Webern's atonal music in which as (15)(15)(3). And from the vantage point of 'cello alone, each
equivalent sets have equivalent durations, perhaps the simplest component has a different length, all after the first smaller than
of pitch-rhythm correspondences. it. Since the complete piece is not under examination, it is not
The overall rhythmic structure of measures 1-2 consists of the possible to further interpret these events analytically.
duration 33 partitioned as (12)(3)(5)(4)(6)(3), and this is dis-
played in Example 7. The sustained trichord in piano forms Simple composite segmentation of op. 9/5, mm. 1-8
tetrachords with the 'cello's attacks and the release in piano as
In the study of non-tonal musics, the determination of the
indicated on the graph, Example 6 . Each of these tetrachords has
musical units that comprise the total presents a number of
a different duration, effecting a partition of the duration 15 as
problems. At issue here is "segmentation," the way in which
(5)(4)(6), which may be interpreted as a rhythmic
one takes apart a work to examine its components for relations.
Since this paper is concerned with the interaction of rhythmic
and pitch structure of the whole, the segmentations shown in the
examples that follow are of the composite type; they involve
more than single instrumental parts.7
As indicated in the caption of Example 8, the pitch-class set
Example 7. Webern, op. 11/3: attack-release partition, mm. 1-3
structure shown there is determined by a segmentation of the
simple composite type. This consists of segments that contain
all the notes demarcated by the brackets. Thus, all the pitches in

6 ~ h i bs rief comment on the correspondence of rhythmic and dynamics pat-


D
terns is intended to suggest that further study of this dimension may be fruitful.
rtu
Another possibility, and one that has been investigated to some extent is the
F
correspondence of rhythm and timbre (including register).
h he absence of an extended discussion of segmentation here is not intended
VC. alone (12) (8) (4) (9)
to suggest that a general solution to the problem exists. Indeed, the study of
multi-dimensional structures in non-tonal music is of great interest (and com-
plexity) and deserves adequate and separate attention.
98 Music Theory Spectrum

Example 8. Webem, op. 9 / 5 : simple composite segmentation,


mm. 1-7

the first measure form pitch-class set 4-3. All the pitches from from op. 11/3 (Example 6), equivalent sets correspond to
measure 2 up to measure 6 form set 8-5, and so on. In a specific equivalent duration^.^
sense, the simple composite segmentation represents the har- Following a silence of length 12-which is the basic attack
monic components of the music at the absolute surface level, differential for this movement-a large segment of length 84
and therefore seems to offer an appropriate and effective means encompasses set 8-5, partitioned as (12)(12)(12)[6](6)[6]
to begin the study of a piece for its rhythmic and pitch-class set (1 8)(6)[6]. (Square brackets enclose durations that span silences
structures.
Turning now to Example 8, one sees that the opening section
s ~ l t h o u g hthis study neither departs from nor purports to explicate any aspect
(measure 1) consists of pitch-class set 4-3, with length 24. This
of the pitch-rhythmic organization of Webem's 12-tone compositions. it is
tetrachord is divided equally into two forms of 3-3 (inver- perhaps worthwhile to observe that there are multiple instances of set-equivalent
sionally related), creating the partition (12)(12) mentioned in duration correspondences in that music. for example, in the Concerto for Nine
the discussion of Example 3. Again, as in the fragment quoted Instruments. op. 24.
Rhythm in Webern's Atonal Music 99

in all parts.) Within this large set 8-5 occurs the set 4-5, the of these, 5- 1, with length 48, is partitioned into two equal cells
complement of 8-5, of length 30 or 36. The largest component of length 24, the first consisting of set 3- 1, the second of 4- 1.
of set 8-5, however, is set 7-7, which is formed beginning Set 2- 1, the chromatic dyad A-A-flat in first violin and viola,
exactly 12 (the attack differential) after the onset of 8-5 and intersects the two forms of 4-1 shown on the graph and has
ending simultaneously with 8-5 at measure 7. This segment length 8, a reduction of the basic durational unit in theproportio
thus has length 72, exactly twice the length of the 4-5 segment sesquialrera.
which it contains. Set 7-7 also contains its complement here, The complete attack-release partition of the section measures
the set 5-7. Indeed, it contains its complement three times, 6-7 is (6)(18)(8)(10)(3)(3), reducible to the palindromic group-
twice in a segment of length 30 and once in a segment of length ing (6)(18)(18)(6). In either case, the equal partition (24)(24)
12. The first segment of length 30 begins with the 'cello's initial becomes a much more complicated pattern with the total inter-
attack in measure 4 and ends with the isolated note in viola in action of attacks and releases, a pattern which can be interpreted
measure 5 (C), at which point the third form, of length 12, is only in the context of the movement as a whole.
initiated. The second form of 5 -7 (of length 30) begins with the
initial attacks in violins in measure 4 and ends simultaneously Complex composite segmentation of op. 9/5, mm. 1-8:
with the superset and complement 7-7 at measure 6 . Both 7-7 trichords only
and 5-7 begin with initial instrumental attacks and thus are
The term complex composite segmentation refers to the seg-
clearly presented at the surface of the music.
From the graph, Example 8, it can be seen that the three forms mentation which may take into account more than the single
of 5 -7 together occupy a duration of length 42, exactly half the voice, which does not encompass the total texture from top to
length of 8-5. Of greater interest is the proportional interaction bottom for any segment, and which may involve overlappings.
of 8-5 and 7-7 and their complements. While the relation (See footnote 7.)
Example 9 displays mainly the trichords of a complex com-
between the pairs 8-5/7-7 and 5-7/4-5 is represented by the
posite segmentation. Here the trichord 3 -2 is especially appar-
proporrio sesquisexra (7/6), the relation between the pairs
8 -5/5 -7 and 7 -7/4-5 is represented by the proportio dupla, ent, which is unexpected in view of the prominence of 3 - 3 and
and the pitch-class set inclusion relations (set-complex re- 3 -5 in the simple composite segmentation. First violin presents
lations) match the pattern of proportional relations set out in the
basic rhythmic structure of the music. And in this structure the
basic durational unit, 12, appears at significant points in support 9 ~ this
t point it will be evident to many readers that the spirit of Tinctoris
hovers over these proportions, an observation that might be regarded as far-
of the organization of the whole. For example, 5 -7 is formed at fetched if it were not for Webem's doctoral dissertation, his edition of the second
the end of measure 5, with length 12, as noted above, and the volume of Heinrich Issac's Choralis Constantinus, completed in 1906. Webem
important trichord 3-5, with length 12, separates the two forms must surely have known Tinctoris as part of his doctoral studies, and the latter
of 5-7 with length 30. was almost an exact contemporary of Issac. (For a lucid and eloquent treatment
In measures 6 and 7 of Example 8 segment lengths differ of rhythm and temporality in deep antiquity, see Lewis Rowell's two articles:
"Time in the Musical Consciousness of Old High Civilizations-East and
markedly from those in the preceding measures, reflecting the West," in The Study of Time 111, ed J. T . Fraser, Nathaniel Lawrence, and
radical change in harmonic (pitch-class set) content. In these David Park (New York: Springer-Verlag, 1978); and "The Subconscious Lan-
two measures the sets are all of the chromatic type. The largest guage of Musical Time," Music Theory Spectrum. 1 (1979), 96- 106).
100 Music Theory Spectrum

Example 9. Webern, o p . 9/5: complex composite segmentation,


m m . 1-7

3-2 most forcefully, as the first trichordal melodic segment, in form of 3-5 which represents a durational expansion with
measures 2 - 3. respect to the immediately preceding form of that set. The
In measure 1 two trichords of type 3-2 are formed, and both expansion is durationally organic: half the value of the basic
have length 24. Measures 6 and 7 offer no fewer than four durational unit, that is, 6 , effects the expansion. As a result, the
trichords of type 3-2, the last of these with length 24. Two of proportio sesquialtera is created between the two forms of 3 - 5.
the forms of 3 -2 there span the entire two measures, hence have
length 48. Compared with the forms of 3-2 in measure I , this Simple composite segmentation of op. 5/4, mm. 1-2
length gives theproportio dupla again, another manifestation of
Example 10 provides the score of the first six measures of
the rhythmic relation stated at the very outset of the movement in
Webern's op. 5/4, a frequently analyzed work, as David Beach
the partition of 24 as (12)(12).
has pointed out.I0
As 3 -2 unfolds in first violin beginning with the initial attack
As shown in Example 1 1 , the set 6-5 encompasses the entire
in measure 2, two new trichord types are introduced in succes-
sion: 3 -5 and 3-4 (Example 9). Both are formed as simple
composite segments and share length 12 with the two opening ''See David Beach. "Pitch Structure and the Analytic Process in Atonal
forms of 3-3 shown in Example 8. With the final release in first Music: An Interpretation of the Theory of Sets," Music Theon Specrrum. I
violin at the beginning of measures 4 (Example 9) commences a ( 1 979), 7-22, footnote 18 and Example 5.
Rhythm in Webern's Atonal Music 101

Example 10. Webern, Fiinf Satze fir Streichquartett, op. 5/4,


mm. 1-6

Copyright 1922 by Universal-Edition AG, Vienna. Copyright renewed. Used by


permission of European-American Music Distributors Corp. Sole US agent for
Universal-Edition. Vienna Example 1 1 . Webern, op. 5/4: simple composite segmentation,
mm. 1-2

opening music, spanning a duration of length 60. Attacks and


releases effect the partitioning (12)(12)(12)(6)(6)(6)(6), and
that pattern may be compressed to (36)(24), revealing the under-
lyingproportio sesquialtera which is represented multiple times
and in many ways in the rhythmic structures of Webern's atonal
music. In this opening section, set 6-5 also occupies a duration
of length 24, beginning with the initial attack of 'cello in
measure 2, so that the two pitch-class identical forms of 6-5
also form the sesquialtera. It is important to recognize that the
components of the proportion derive from the basic durational
unit 12 and its half, 6 .
Sets 4- 8 and 4-9, which are the characteristic tetrachordal
components of this movement, span the basic durational unit 12
at the outset. The most remarkable duration event in the opening
music, however, is the occurrence of the set 5 - 19, the comple-
102 Music Theory Spectrum

ment of 7 - 19, which serves as the ''refrain" in measures 6 , 10, more complicated than the opening section it is not possible to
and at the very end of the movement. Here 5 - 19 has length 24, display the set structure in optimal detail, and the graph in
proportio dupla with respect to the basic durational unit, and it Example 12 should be regarded as suggestive of the intricate
relates to the total as does 5-6, with which it intersects, and the organization of the whole, rather than as a definitive representa-
second form of 6-5 cited above. tion of structure.
The entire section consists of set 9-5 with a total duration of
138, partitioned by attacks and releases as (1 9 ~ 6 ) ( 8 x 3 ) ,of
Simple composite segmentation of op. 5/4, mm. 3 -6
which the components of length 6 and 3 represent proporrio
Example 12 presents the simple composite segmentation of the dupla and proportio quadrupla, respectively, in relation to the
second section of op. 5/4. Because this section is quite a bit basic durational unit 12.

Example 12. Webern, op. 5/4: simple composite segmentation,


mm.3-6
Rhythm in Webern's Atonal Music 103

Within the hierarchy of segments shown in Example 12, set 7-7, which begins in measure 3 (Example 12). There 7-7 is
9-5 contains two forms of its complement, 3-5, the first of partitioned by two forms of 5-7 as (24)(12)-proportio dupla
length 6 , the second of length 12. Set 3 -5 is related in a special again, and the hierarchy of relations can be viewed on the graph,
way to the thematic tetrachord 4-9 of measure 2: It is the only Example 12. It is of interest that the second form begins and
trichordal subset of that set. ends with the 'cello double stop in measure 3, for here and
Set 9-5 is not the only large set in the section; 4-9 is also elsewhere in Webern's atonal music such minute instrumental
represented by its complement, the eight-note set 8-9 has components always have special significance with respect to
length 60, exactly matching the length of the first section. Like structures of larger scale.
4-9, 8-9 has special subset properties. Of particular interest Not only does 7-7 at the beginning of this section contain its
here are the eight 7-element subsets of 8-9. Four of these are of complement twice, but it is also followed by its complement,
type 7 -7; the remainder are of type 7 - 19. Occurrences of both which is presented in the segment that begins with the release in
types are discussed below. three instruments on the second eighth note in measure 4 and
Set 7 - 19 has been characterized as the refrain configuration ends with the attack in first violin and viola at the end of that
in this movement, and it has been shown that it was prepared or measure. This form of 5-7 has length 24, as did two of its
represented by its complement, 5- 19, in the very first section of predecessors. Before it is completed, however, another form of
the work, as a composite segment. (See Example 11.) Again in 7-7 is initiated, with the 'cello attack (F-sharp) in measure 4.
this section, the set occurs as a composite segment that begins (See Example 10.) It ends with the release in first violin and
with the last eighth note of measure 3 and extends through the viola in measure 6 and has a total length of 60, the duration of
fourth eighth note of measure 4. (See Example 10.) It has length 8-9 in this section and the duration of the opening section.
30 and thus represents an enlargement of the original 5 - 19 by 6 , Thus, again, long spans of music are associated by equivalent
half the basic durational unit. In its first melodic occurrence, in durations. Among the sets so associated, the harmonic relations
measure 6 , 7 - 19 has length 21 . Here and elsewhere the melodic are uncomplicated: 8-9 contains 7-7 and 6-5.
forms presented in individual instruments are durationally dis- As remarked above, the third form of 5-7 has length 24, so
tinct from the "harmonic" composite forms. that the three successive forms of 5 -7 from the beginning of the
The predominant set in this section, however, is the other section are based upon the proportio dupla and offer the palin-
7-element subset of 8-9, set 7-7, and its complement 5 -7. dromic arrangement (24)(12)(24). Their durations thus sum to
The set 5 -7 first occurs as a complex composite segment in the 60, the length of the second form of 7-7, which begins with the
first section: it is the sum of the tetrachords 4-8 and 4-9 that initial attack in 'cello in measure 4. From the graph in Example
begin the work, and thus has a total pitched duration of length 12 it can be seen that the third form of 5 -7 and the second form
24. The duration of the second occurrence of 5-7, beginning of 7-7 intersect in the set 3-5, an explicit connector to the large
with viola in measure 2 and extending to the end of the measure, harmony, 9-5, that governs the entire section. The duration of
is 18. This duration, 18, is doubled by the first occurrence of this intersecting trichord is 12, replicating the duration of the
second form of 5 - 7 and the basic durational unit -a particularly
"If one counts the silence between 4-8 and 4-9 in measures 1-2, the
duration of the first occurrence of 5-7 is 36: (12)[12](12). The second occur- compelling manifestation of the interaction of basic pitch and
rence of 5-7 is then inproportio dupla. Otherwise, the durations of the two sets rhythmic components.
are in proportio sesquiterria, which is closely related to the sesquialtera.
104 Music Theory Spectrum

The hexachord 6-26 appears twice in the section. In its first Since the tetrachord 4-8 is associated with 4-9 from the
appearance it has the duration 30 and consists of 5 -7 concate- outset in equal durations, it is not surprising to find that they also
nated with 3-5, the partition (24)(6). In its second appearance, have equal durations in this dimension of structure. Thus, 4-9
which begins with the initial attacks in first violin and viola at has length 18 in its first occurrence and length 48 in its second,
the end of measure 4, it has the duration 48. With respect to the where it is coextensive with 4-8, as can be seen in Example 13.
forms of 7-7 which contain each form of 6-26, the durational The third occurrence of 4-9 is then of length 30. This latter
proportions are both of the genus superparticulare form effects a partition of both 4-8 and 4-9 as (18)(30), the
(sesquiquinta and sesquiquarta). proportio superbipartiente tertias, a relation, which, like the
The close of the section begins with the final releases in violin others discussed in this article, acquires specific meaning in
and viola in measure 6 and comprises set 8-215, a new har- terms of the basic durational unit and attack differential.
monic component that marks the cadential passage here. Of the In the simple segmentation shown in Example 12 the promi-
two subsets of 8-215 shown on the graph, the smaller, 4-215, nent set 5-7 has lengths 12 and 24. The relation of those forms
is the complement of the total set (8-Z15), while the larger is of 5 -7 to the forms in the complex segmentation is very interest-
the refrain set 7 - 19. ing, and the following brief description may be taken as typical
of relations among sets of the same type over the two segmenta-
Complex composite segmentation of op. 5/4, mm. 3-6 tions.
The first occurrence of set 5-7 in the simple segmentation
The complex composite segmentation of the music just dis- begins with first violin in measure 3 and has length 24 (Example
cussed above yields multiple forms of the thematic tetrachords 12). In the complex segmentation we discover another form of
4-8 and 4-9 and the important trichord 3-5. 5 -7, with length 42, beginning at the same point (Example 13).
Of the first seven occurrences of set 3-5, all have the length This latter form has the same pitch-class content as the simple
18, partitioned as (6)(6)(6), except for the second, which has form, but is larger by 18 because two components (C and
length 30 and may be understood as (6)(6)(18). The three F-sharp in first violin and viola, respectively) are held over into
vertically formed trichords of type 3-5 in measure 5 all have the next measure. This is, then, an explicit and lucid instance of
length 6. All proportions grow organically from the basic dura- the rhythmic interpretation of the layering that is so characteris-
tional unit 12. tic of this and other Webern atonal compositions. An important
In its first occurrence in Example 13, the thematic tetrachord musical effect of the layering is that the set is extended, not just
4-8 has length 30. With respect to its first appearance this in some arbitrary way, but in terms of the durational
represents an expansion, and the partition (6)(6)(18) shows its structures-here the basic unit 12-idiomatic to the work.
rhythmic derivation from the basic unit 12. It is, of course, The complex form of 5-7 which begins with the dual attack
coextensive with the form of 3-5 just discussed above. The two of first violin and viola at the end of measure 4 extends to length
remaining forms of 4- 8 can be seen on the graph, Example 13. 48, effecting a partition of the large simple segment 7-7 shown
The larger of these, of length 48, contains the smaller, of length in Example 12 as (12)(48). If simple and complex segmenta-
18. And the difference is the length of the first form, 30, so that tions are combined, it is evident that interlocking and abutting
the three forms exhibit proportional relations derived from the forms of 5-7 span all the music from the beginning of the
unit 12 and its half, 6. section up to the first eighth-note rest in measure 6 (just before
Rhythm in Webern's Atonal Music 105

Example 13. Webem, op. 5/4: complex composite segmentation,


mm.3-6

the entrance of the refrain set 7- 19) and partition that span as sections of the orchestral work, op. 6/3, for which Example 14
(24)(12)(24)(48), a clear instance of an extension of the provides the full score.12
proportio dupla. Example 15 combines simple and complex segmentations of

Mixed segmentation of op. 6/3, mm. 1-2


he he score fragment reproduced as Example 14 is from the set of orchestral
It appears that many of the genera' aspects of rhythmic works published by Webern as Opus 4 . Upon subsequent publication by Univer-
ture in Webern's atonal music are independent of medium. As ..
sal Edition. these were assigned the oous number 6. The currentlv available
an indication of this, there follows a discussion of the first study score is for considerably reduced orchestra.
106 Music Theory Spectrum

Example 14. Webern. op. 6/3. mm. 1-6 J.. J


1 1.. ?
J..J
(.-
r6.r

Solo

O Copyright 1961 by Universal-Edit~onAG, Vienna. Used by permission of a ,'g-


+%
European-American Music Distributors Corp. Sole US agent for Universal-
Edition. Vienna
Rhythm in Webern's Atonal Music 107

Example 15. Webern, op. 6/3: mixed segmentation, mm. 1-2

Tpt. .'-.,
,' [I21
48
,'
, '\[?I
12
,,'
[61,," I61
Va. I8 18 . 12 ,-.-..- 6 .,-' I 2 , 12 ',:'6

the first two measures of the work. The total length of this hallmarks of atonal music. The first statement has duration 48,
section is 96, a duration which is replicated by the single pitch as remarked above, partitioned by viola as ( 12)(12)(6)(6)(12),
A-flat in first solo violin that begins with the initial attack in bringing into play the basic durational unit 12, and its half.
measure 6 , indicative of the special formal role played by Set 5-237, which, together with its complement 7-237, is
similar long, sustained, unchanging components in many consequential to the pitch organization of the remainder of the
Webern atonal works. That is, the duration of such components work, is coextensive with the large set 8- 19; both have length
repeats the duration of some other, more complicated, rhythmic 72. Set 5-237 consists of the first five notes of viola and the
structure in the work. upper note of the trumpet chord. In its second occurrence
The basic attack differential 18 is given clearly by the viola, (measure 2 of Example 15), 5 -237 has length 18 and is coex-
which also prepares the duration 48 occupied by the first state- tensive with the complement of 8- 19, set 4- 19, thus exhibiting
ment of 4-215 in trumpets, since its first dyad, C-D-C, a direct rhythmic correspondence among the three sets.
presents that durational span.
Perhaps the most striking feature of the first section is the
chord played by trumpets, the set 4-215, which is one of the
108 Music Theory Spectrum

Simple composite segmentation of Op. 6/3, mm. 3-4 Example 16. Webern, op. 6/3: simple composite segmentation.
mm.3-4
Example 16 presents a graph of the simple composite segmenta-
tion of measures 3-4. We note that the complement, 7-4, of
the melodically stated 5-4 (in viola) of the first section unfolds
here, also in a melodic shape. The durational relation of 5-4
and 7-4 in its simple form is represented by the proportio
tripla. There is, however, no additional obvious rhythmic corre- B.Dr.
spondence between the two sets. With the complete partition of
7-4 it can be seen that the rhythmic plan is a symmetry, the vc.
constituents of which are the units of 5-4, namely, 6 , 12, and
18. Specially, 7-4 is partitioned by strings and bass drum as S.Cb.

[4](4)(4)(4)(4)(4)(6)(6)(6)(18), which reduces further to


(3 x4)(3 x4)(2 x6)(6)(18) or (24)(12)(24), a symmetry based Cb.

upon proportion dupla derived from the basic durational unit.


Indeed, at a more abstract level, 5 -4 offers a succession of four
symmetric patterns, effected by the trumpet chord's partition:
( 18)/(6)( 12)( 12)[61/(6)( 12)[61/(6)(6)(6).
Two other sets carried over from the first section and shown in
the graph, Example 16, require discussion. First, 4-215, the
7-4:56 (0,1,3,4,5,6.71
trumpet chord of measures 1-2, reappears beginning with the 1 I

7-4:32 (simple)
third note of the clarinet line and extending through the first note I I
(G-flat) of the solo contrabass. Remarkably, the duration of this 5-z37:36 11,4.5,6.9)

form of 4-Z15 is 18, the length of the first pitched component in


the music and the duration that serves as basic attack differen-
tial. Here it is partitioned as (4)(4)(4)(6), that is, (12)(6), the
music, appears to serve a unifying and referential function. Here
proportio dupla.
it enters exactly 6 after the last pitched instrumental attacks (the
The set 5-237, of which there were two instances in meas-
string chord), continuing the pattern established at the very
ures 1-2, returns in this section beginning with the initial attack
beginning of the music and associating itself with the first
of contrabass in measure 4 , and consists of the two contrabass
trumpet chord.
notes G-flat-F and the lower three notes of the string chord. It
has the same pitch-class content as the second form of 5 -237 in
Simple composite segmentation of Op. 6/3, mm. 5-6
measure 2, and its total duration is twice that of the latter
(proportio dupla again), here partitioned as (6)(6)(6)(18). That One final section of op. 6/3 will be discussed briefly, meas-
is, the proportion is quite explicitly reflected by the partition. ures 5-6 shown in the graph of Example 17, a section which
The bass drum here, and percussion in general in Webern's contains both old and new sets.
Rhythm in Webern's Atonal Music 109

The new set type shown on the graph is the tetrachord 4- 18, Although 4- 18 is a new set here it is closely related in basic
which occurs three times in direct succession. Each form has pitch-class set structure to 4- 19, the tetrachord prominent in the
length 12. The first two are partitioned (4)(4)(4), the third first section. Its association with 4- 19 and its relation to the
(6)(6). Thus, the durational-rhythmic pattern is ( 3 ~ 4 ) ( 3 ~ 4 ) overall set structure of the movement is evident here since it is
(2x3) or (12)(12)(6) or (24)(6), an ultimate resolution into the contained within 7-237, the complement of 5-237 from the
proportio quadrupla based organically upon the basic dura- first section. It is also coextensive with 7-237. Indeed, this
tional unit 12. section may well be regarded as a development, both with
respect to set structure and rhythmic structure, despite the sur-
face differences. The most striking demonstration of this is
Example 17. Webem, op. 6/3: simple composite segmentation, provided by the large set 8-19, which encompasses all the
mm.5-6 pitches from the beginning of measure 6 up to but not including
the last eighth note in that measure, the harp's A. This contains
the second form of 7-237 and thus repeats and develops the
structural interaction of 8- 19, 5-237, and 4- 19 which was
discussed above in connection with the first section of the
movement. Here 7-237 partitions 8- 19 as (12)(18), the
sesquialtera again. From the graph and from the score the
further partition of both sets into cells of length 6 is evident.

Conclusion
The correspondences and relations of various types illustrated
in the atonal works of Webern cited above suggest that, in
general, the pitch-class set structure of those works, both in the
simple and complex segmentations, is intimately allied to the
fundamental rhythmic structures of the work. Perhaps even
more important, it can be tentatively concluded that the relations
among pitch-class sets in terms of intersections, unions, and
complements have structural analogues in the relations among
rhythmic formations in terms of combinations and partitions of
durations.
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Aspects of Rhythm in Webern's Atonal Music
Allen Forte
Music Theory Spectrum, Vol. 2. (Spring, 1980), pp. 90-109.
Stable URL:
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[Footnotes]

9
The Subconscious Language of Musical Time
Lewis Rowell
Music Theory Spectrum, Vol. 1. (Spring, 1979), pp. 96-106.
Stable URL:
http://links.jstor.org/sici?sici=0195-6167%28197921%291%3C96%3ATSLOMT%3E2.0.CO%3B2-G

10
Pitch Structure and the Analytic Process in Atonal Music: An Interpretation of the Theory
of Sets
David W. Beach
Music Theory Spectrum, Vol. 1. (Spring, 1979), pp. 7-22.
Stable URL:
http://links.jstor.org/sici?sici=0195-6167%28197921%291%3C7%3APSATAP%3E2.0.CO%3B2-I

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