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A

E
C
f
c
a
A
c E a C f
N R N R N R
9 9 9 9 9
Figure 1: Weitzmann cycle of the A-C-E region
A c
E
a
C
f
R
N
R
N
R
N
A c
E
a C
f
R
S
R
S
R
S
A c
E
a C
f
R
N
R
N
R
N
A c
E
a C
f
S
N
S
N
S
N
exchange
R-pairs
exchange
N-pairs
exchange
S-pairs
A c E a C f
N
R
N
R
N
R
A c E a C f
N
S
N
S
N
S
C-E-A
Region
NR cycle
SN cycle RS cycle
A
c E a C f
S
R
S
R
S
R
NR cycle:
SN cycle:
RS cycle:
(NR cycle): A c E (a C f
N
R
N
R
N
R
Figure 2: Weitzmann A-C-E regional cycles
Weitzmann Regions and the Adagio of Mahlers Ninth Symphony
Brenna J. Langille, McGill University
February 26, 2012
Brenna J. Langille 1
)
A list of transformations and their definitions is included as an appendix on page 3 of this handout.
(Example 18.4)
Steven Rings. Riemannian Analytical Values, Paleo- and Neo- in The Oxford Handbook of
Neo-Riemannian Music Theories (New York, New York: Oxford University Press, 2011),
491492.
_
_
_
_
_
_
_
_
_
,
,
,
,
,


,





_
,
,
,
,
,
,




_
,
,
,
,
,


,






_
,
,
,
,
,

SN cycle:
mm. 142143:
mm. 78:
SN cycle:
F+: i V vi III iv ii [vii ] (V)
F+: I
V
vi
III IV ii [vii ] (V)
7 7
6
5
7
7
6
5
F C A d A
Example 1: A composed-out version of the SN cycle and mm. 142143 of the Adagio of
Mahlers Ninth Symphony
Example 2: A composed-out version of the SN cycle and mm. 78 of the Adagio
Brenna J. Langille 2
D+:
D+: I
V
7
V
7
vi i III
VI
7
III
7
iv I
IV I
f C a d A
D A A E F C
d A a E f C
Figure 3a: Rings analysis of the B section of
Schuberts Impromptu in G , D. 899, no. 3
mm. 3253
Figure 3b: My version of the analysis with
use of the SN cycle
S
N
S
N
S
N
C f
E
a
e
D
G
c
SN cycle
(S)
(T)
(D)
L
1
1
C E A C
a f c
A C E A
c a f
E A C E
f c a
C E A C





R
R
R
R
R
R
R
R
R
R
R
R
S
S
S
S
S
S
S
S
S
S
S
S N
N
N
N
N
N
N
N
N
N
N
N
T
8
8
Figure 5: Weitzmannian TonnetzWeitznetz
Brenna J. Langille 3
R: Relative, minor third up or down
(change of mode). (C to a)
P: Parallel, change of mode. (C to c) L: Leittonwechsel, major third up or down
(change of mode). (C to e)
N: Nebenverwandt (Riemanns Seitenwechsel)
up or down a forth (change of mode). (C to f)
S: Slide, a semi-tone higher or lower
preserving the third (change of mode). (C to c)
T: Terzschritt, up a major third from a major
sonority or down a major third from a minor
sonority (no change of mode). (C to E) (a to f)
Appendix: List of transformations used within this paper including definitions (the below
transformations are a mix of Lewin, Hyer, Cohn and Kopp). The addition of to a transformation
describes its inverse.
-1
9 F C+ D E+ A E+ F 9 9 9 9 9
N S R N N S
A
c E
a
C
f
N
R
S
N
R
S
S
Figure 4a: Cohns analysis of Schubert, Fantasy in
F minor, D.940, mm.5791
Figure 4b: My version of the analysis with use
of the RNS cycle
(Figure 6b.)
Richard Cohn, Square Dances with Cubes, Journal of Music Theory 42.2 Neo-Riemannian Theory
(1998): 290291.
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