A Theory of Segmental Associations in Twelve Tone Music PDF

A Theory of Segmental Association in Twelve-Tone Music
Author(s): David Lewin

Source: Perspectives of New Music, Vol. 1, No. 1 (Autumn, 1962), pp. 89-116
Published by: Perspectives of New Music
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A THEORY OF SEGMENTAL
ASSOCIATION IN TWELVE-TONE MUSIC
DAVID LEWIN
I: Introduction
A: Examples and discussion

SEGMENTAL relations between different forms of a row can and
often do play an important constructive role in much twelve-t
music. In any of Schtnberg's "hexachordal" pieces, for instance, m
significant consequences of the hexachordal construction of the ro
are apparent upon even the most cursory examination of the musi
The row 00 of the Violin Concerto Op. 36 is of typical hexachord
structure (Ex. 1): there is an inverted form, Io, such that the segme
consisting of the first six pitch-classes of 00 is also a segment (
last six pitch-classes) of Io; likewise, the segment consisting of the l
six pitch-classes of 0o is also a segment (the first six pitch-class
of Io.
00 I I I I
6.
T
tl Eap
I i 1
Ex. i
This relation is not the only segmental correspond

tance in the piece, however. For instance, note that
trichords of 0o" (Ex. 2).
I , 1 I 1 I" i F i
q0
SEx. I , 2
Ex. 2
* 89 *
PERSPECTIVES OF NEW MUSIC
We may see two conspicuous exploitations of

and about the cadenza of the first movement. (
upbeat to m. 230 through m. 235, is reprod
First, notice that at the formal conclusion of
the solo violin plays a presentation, not of 00 (a
but of In. Nevertheless, this presentation of
stress, among other things, the trichords of
then, it associates strongly with 00.1
A more complex exploitation of the trichorda
at the opening of the cadenza. After the first t
brief 64th note figure is presented; there then f
position of the three 3-note chords a semitone
form used for the opening 3-note chords w
A-Eb-E-Bb-B-F-Ab), one naturally tends to h
ness" when the chords appear transposed. Ac
chords do not arise from 04, but from RI3:
Bb-Eb-B-E-F). Thus the trichordal relation b
(Ex. 3) is exploited very strongly, in spite of th
is never explicitly presented in the passage.
A I ' i ' I I r I
04
JJi
I I I I f t I
RI3
R1.m'Ex. 3IEx. 3
These examples are of considerable value in cautioning us ag
the naive but plausible assumption that all effective associative r
tions in such music as this must be presented explicitly. The rea
is urged to keep this moral in mind throughout the sequel. Of cou
the extent to which we will recognize any such relations, wh
explicit or not, is heavily dependent on the extent to which the co
sitional presentation of the notes involved supports or obscures
abstract relation, and/or the extent to which the sonorities invo
have been explicitly established as referential.2
1 Since 0o itself does not appear in the immediate environs, a critical evaluatio
the "success" of the exploitation of the trichordal relation here would become in
with the question of how firmly the trichords of 0o have been established, in the
as a referential sonority-group. That is, we "accept" the trichordal presentation
at least to the extent that we would "accept" a trichordal presentation of 00 at t
point, as far as the trichords themselves are concerned.
2 Milton Babbitt ("Set Structure as a Compositional Determinant," Journal of Music
Theory, April 1961) has pointed out that the row of Schainberg's Fourth Quartet
* 90 0
A THEORY OF SEGMENTAL ASSOCIATION IN TWELVE-TONE MUSIC
It will be noted that the segmental relations I ha

far have been such as to involve the entire row (tw
three tetrachords [in footnote 2], four trichords).3 H
segments of rows may also function associatively, and
instance, in Sch*nberg's Violin Phantasy Op. 47, the ro
in Ex. 4 are such that the last three pitch-classes of th
the same, in toto, as the first three of the second form
Ex. -
Ex. 4
possesses significant trichordal and tetrachordal structures, as well as the commonly

recognized hexachordal structure:
A I I77 Ii ' I A 'I FF I I
iI I II II 1 -i
i, -- rr--
, 'r
'111 LM-i i I-
I have heard the musical relevance of this observation questioned by some, who
point out that trichordal and tetrachordal equivalences are not to be found conspicu-
ously exploited explicitly in the piece. It seems to me, however, that this criticism does
not really come to grips with the issues involved. For the most important implication
of the observation, I feel, is that whenever a trichordal or tetrachordal texture is heard,
a potential enriching structural ambiguity is manifested.
Thus, e.g. in the opening section of the first movement, there is a prominent tri-
chordal texture in the accompaniment which persists at least until m. 21, where the
hitherto vertically presented trichords become linearized. First we hear trichords from
0o: (D-C#-A-Bb-F-Eb-E-C-Ab-G-F#-B), then trichords from Io: (G-Ab-C-B-E-F#-F-A-
C#-D-Eb-Bb), then trichords from Q0 again, and then trichords from Io again, all
presented vertically.
Note, however, that the trichords of I, could also have been derived from 0,:
II I I r r----i
10
9)" ]
rl J I [ , I ' I
lOl - --T i I
Similarly
not like t
from
sense, 0o"
the
of trichor
3 For a m
tionship,
material o
a 91 *
This relation is conspicuously exploited in mm

Poco meno mosso Meno mosso
32 33 34
p dolce cantabile
dpdolce legatoa. a
Ex. 5
The positions of the segments (at the end of the first form and at
the beginning of the second) make the association especially strong
here, as do the compositional factors of texture and registration. But
even segments which occur within the middle of a row may easily
become involved in associative relations, particularly if rhythmic and
metric factors are propitious. For instance, the row forms of Ex. 6,
from Sch5nberg's Fourth Quartet Op. 37, are not only related hexa-
chordally, but also have the indicated trichordal segments in common.
. I I I I
Ex. 6
In mm. 25-28 of the quartet (Ex. 7), I find the associative effect
of the corresponding trichordal groups quite audible.
25 26 27
3F-
--:J p dolce
pizz.
-1Z
W Iz r7
Ex. 7
* 92 *
This example also demonstrates that more than on

relation between two row forms may be functioning in a
(above, not only the hexachords but the trichordal segmen
within them).
A further example of segmental association, one in wh
the segments involved appears either at the beginning or
of either row form, is provided by the opening of Schti
Suite Op. 25. This passage presents two row forms, th
which is the tritone transposition of the first; the r
common four two-element segments: two "tritones" and
thirds":
S i I - II m I I
I1 I I 1 I I
00 06 - ge"m- . = I I I'
Ex. 8
In the music (mm. 1-21/2, Ex. 9), the tritone segments are de-
ployed in such a way as to interact strongly with rhythmic and
metric factors. Rhythmic support for the establishment of the meter
is provided by the fact that the only two places in the first one and a
half measures where two notes are attacked simultaneously are on
the fourth beat of m. 1 and on the first beat of m. 2 (both metrically
"strong"). Interacting is the association of the tritone G-Db in the
right hand in the last half of m. 1 with the tritone Db-G in the left
hand in the first half of m. 2. Observe that no other pitch-classes
appear more than once in the opening one and a half measures, a fact
which strengthens the segmental association.
Rasch (J.= 80)
Sf
A f
Ex. 9
The association of the tritone Ab-D in the right hand, m. 2, with

the tritone D-G4 in the left hand, m. 3, is aurally clear because of
the strong metric position of the D and ancillary rhythmic position
of the Ab (G#) at both places (in each case, the tritone is heralded
by a crescendo); in addition, the tritone appears at both places as
the final (and falling) interval of a linear phrase, particularly
0 93 ?
conspicuous because the strict melodic imitation

tritones.
The segment C-A in the left hand, m. 2, is cl
the C-A in the right hand, m. 3, through the m
seem to be any aurally prominent exploitation
segment.
There are two reasons why I have drawn all these examples from
works of Schoinberg. First, his production displays a great variety of
structural utilization and compositional deployment of segmental rela-
tionships. Second, his segmental relations are generally such that the
order of succession of pitch-classes within the corresponding segments
of the row forms is not simply preserved or retrograded, but is
permuted in more complex fashion. This tends to emphasize the
"harmonic" aspect of any associative exploitation of the relationships;
it is that aspect to which the following discussion will be devoted.4
4 In contrast to Sch*nberg's practice in the latter respect, e.g. most segmental
relations exploited by Webern either preserve or retrograde the ordering of pitch-
classes within the segments. The following examples are typical:
Op. 18, No. 2

I -I I I
00
A I I I
Io
Op.24
1 I ' I
--e) 11'F - ,,.

/, i > i - I I - I I 1
,, ! I I c I I - I I - I
RI6
Footnote 4 continued
Op. 28
00
SII - I IL
_1 r , r _ o b, I 1 1
TIK
A-
I I I - I I 1
In these cases, the "harmonic" aspect of the segmental structures, while obviously
significant, is complicated by, and to some extent ancillary to the serial correspond-
ences.
An interesting example of Webern's attitude toward the

of segmental relations is provided by mm. 56-63ff. of the t
Variations Op. 27. Here the trichords B-Bb-D and F-A-G#
relating presentations of the following rows and their retr
- 3 LT
Note that although the trichor

pitch-classes within them, in th
In contrast, the latent hexach
which does not preserve or retr
is not exploited here (nor is any

pair of row forms ever exploite
ture of the row may perhaps h
have as basic a function in the p
hexachordal music.
95
B: Prolegomena
In the preceding section, I have discussed e
tional and structural exploitation of segmental
forms. Compositionally, we have observed that
between two row forms can supply a natural ba
musical presentations of those row forms by "a
Structurally, we have observed that certain a
structure of a row may be manifested through
with various other row forms; conversely, ever
between two twelve-tone related row form
manifestation of some properties of that interna
and all other rows related to them through any
share. For instance, in connection with Ex.
preserves the trichords of 0o" is equivalent to t
row derived from 0o by transposition, inversion
combination of these operations will be such th
trichords can be inverted into itself. In conn
statement that the first three pitch-classes of
are the same, in toto, as the last three pitch cl
is equivalent to the statement that the last thr
twelve-tone related row will be a transpositi
pitch-classes.
The general importance of segmental associations5 as constructive
5 I use the word "associations" here (rather than "relationships"), because seg-
mental relations may be and have been exploited in other than associative ways. In
particular, the "combinatorial" aspect of segmental relations is of great importance in
the literature and theory of twelve-tone music.
(Segments from two or more rows may be said to be in a "combinatorial" relation
when no two of the segments have any pitch-classes in common, and when the seg-
ments collectively "add up to" an aggregate of a priori structural significance, such as
the total chromatic, a Babbitt source set, et al. The reader is referred to Babbitt,
op.cit., and to his earlier article "Some Aspects of Twelve-Tone Composition," Score,
June 1955; also to George Rochberg, "The Harmonic Tendency of the Hexachord,"
Journal of Music Theory, November 1959; finally to Donald Martino, "The Source Set
and Its Aggregate Formations," Journal of Music Theory, November 1961, the most
thorough and exhaustive study of generalized combinatoriality in print to date.)
In cases of what Babbitt calls "62, 43, 34 and 26 combinatoriality," it is possible for
a given segment of a row to be functioning both combinatorially and associatively.
These are situations in which the segments entering into a combinatorial relation are
transposed or inverted forms of one another (as collections of pitch-classes).
E.g. in Ex. 1, the first six pitch-classes of 00 are in combinatorial relation with the
first six pitch-classes of Io; they are also in associative relation with the last six pitch-
classes of I1. In the chart of row forms from Webern's Opus 24, presented in foot-
note 4, the first three pitch-classes of 00 are in combinatorial relation with the first
three pitch-classes of Io (they add up to a Babbitt source set, the "chromatic hexa-
chord"), they are in associative relation with the last three pitch-classes of I,.
I recommend the study of Babbitt's song cycle "Du" as fruitful in this connection:
within a framework of 34 and 62 combinatoriality, the compositional deployment of
. 96 ?
elements in twelve-tone music, it seems to me, lies precisel

duality between their compositional and structural aspec
any associative exploitation of a segmental relationship may
simultaneously as an exploitation of some aspect of the stru
the row. Or, taking the dual point of view: any aspect o
mental structure of a row can potentially be exploited by m
a compositional association.
From the former viewpoint, we may distinguish, in the an
a given piece, certain compositional associations (arising
mental relations) from others, as possessing a peculiar type
tural significance. Other associations may possess other
structural significance, or they may be purely "formal."6
From the latter viewpoint, it is interesting to note that th
exploitation of segmental relations it is possible to expose a
a serial structure by "harmonic" compositional techniques.
With these considerations in mind, I believe that a pr
systematic study of segmental associations, both as they
exploited compositionally and in their abstract relation
structure, will be of interest.
Part II of this article will develop synthetically the theore
and concepts that are desirable for the project. Since their d
may not become fully apparent until Parts iii and Iv, I
the reader's indulgence for a certain amount of formalism
terminology which this derivation will entail.
In Part III, I hope to show that the "precision tools" de
Part II are useful in illuminating certain aspects of Sch
compositional technique.
In Part Iv, I shall discuss two theoretical topics arising
concepts developed in Part II; the material is highly specula
I think, suggestive. Once more, there will be a good deal of f
I shall try to intersperse it with indications as to its possible
but the reader can omit this section without missing mu
pertinent to the central argument.
the combinatorially functioning segments at times supports and at times obscures

potential segmental associations.
6 Thus, e.g. the association from the Violin Phantasy displayed in Ex. 5 is structural
in our present sense. In contrast, turning again to the opening of the cadenza in the
first movement of the Violin Concerto, the association there of the Db-G-Bb immedi-
ately preceding the cadenza with the Db-G-Bb in the upper "voice" of the opening
S-note chords is not structural in our present sense. Since, however, the Db-G-Bb
which precedes the cadenza is a presentation of a segment, we might call this associa-
tion "semi-structural"; as we shall see later, the diminished triad-as-segment plays a
strong structural role in the piece.
. 97 *
II: The "Nesting" Concept

A: Definition and derivation
Since in the following I will deal with both ordered and unordere
collections of pitch-classes, they will be distinguished from each oth
as follows: ordered successions of pitch classes will be hyphenated; e.
"A-Bb-Eb" denotes that specific succession of those three pitch-classe
In contrast, when I refer to unordered collections of pitch-classes,
shall enclose their names in parentheses. Thus, "(A Bb Eb)
"(A Eb Bb)," "(Bb A Eb)," "(Bb Eb A)," "(Eb A Bb)," and
"(Eb Bb A)" all denote the same thing: the unordered collection
those three pitch-classes.
If P, then, is some unordered collection of two or more pitc
classes, and if 0 is some twelve-tone row, "P is a segment of 0" me
that the elements of P appear consecutively, in some order of s
cession, within 0. Thus (A B Eb), (C# G), (C F# C#),
(Er B C F# E), et al., are all segments of the row A-Bb-Eb-B
F#-C-C#-G-Ab-D-F.
We are to be concerned with segments which two given rows h
in common. Although in all of the specific cases we shall exam
the two given rows will be related via a twelve-tone operation (tr
position, inversion, retrogression, or some combination thereof),
can carry out a good deal of the following work without making
assumption. It seems fruitful to do so, in light of the use, in s
twelve-tone works, of relations between rows other than the "class
ones mentioned above.7
Hence, let us suppose that 0 and 0' are any two rows. The pattern
of segmental relations between 0 and 0' may be quite complex. There
may be "segments within segments" in common (see the discussion
of Ex. 6 and 7 on p. 92); also some of the segments in common
may "overlap" (Ex. 10).
Ex. 10
It may then be difficult to be sure we have ascertained eve

segment in common between two given rows by merely inspecting
7 See, for instance, George Perle, "Evolution of the Tone-Row: the Twelve-Tone
Modal System," Music Review, In, 1941.
. 98
them in a haphazard way. For this reason, it is worthwh

a systematic method of finding all the segments in commo
two given rows.
Such a method is available. Rather than describe it ab
shall illustrate its operation in a specific example. The r
then, I think, be able to apply the method to any other sp
For this example, then, let 0 and 0' be the rows shown in
We wish to find every segment which 0 and 0' have in com
TI
Ex. 11
(A Bb), the collection of the first two pitch-classes of 0, is not

a segment of 0'. (Bb Eb) is not a segment of 0'. (A Bb Eb) is not
a segment of 0'.
(Eb B) is not a segment of 0'. Nor is (Bb Eb B). Nor is (A
Bb Eb B).
(B E) is not a segment of 0'. Nor is (Eb B E). But (Bb Eb B
E) is a segment of 0', and so is (A Bb Eb B E).
Again, (E F#) is not a segment of 0', etc.; but (A Bb Eb B
E F#) is.
Going on in this fashion, we see that the two rows have in common
the segments (Bb Eb B E), (A Bb Eb B E), (A Bb Eb B E
F#), (C C# G Ab), (C C# G Ab D), and (C C# G Ab D F); and
we know that they have no other segments in common.
It will be observed that some of the above collections are sub-
collections of others. The following "spatial" array (Ex. 12) displays
these relations among the collections.
(Bb EblB E) (C C# G Ab)
(A BE Eb B E) (C C G Ab D)
(A Bb Eb B E FO) (C CO G AbD F)
total (pitch-class) chromatic
Ex. 12
I shall call the array of Ex. 12 the nesting8 of the total (pitch-class)
chromatic with respect to the rows 0 and 0'. It will be denoted sym-
bolically by N(0,0').
8 The word "nesting" has a mathematical meaning which is not being used precisely
here. I choose the word in order to have some term with which to denote the type of
array of which Ex. 12 is an example, and "nesting" seems intuitively plausible.
. 99 .
Observe that Ex. 12 may be regarded from tw

points of view: it shows us what segments the
have in common, but also represents, as it stands,
idea." Any compositional exploitation of any seg
tween the rows of Ex. 11 will, in its associative
this "harmonic idea."
The nesting format is well suited to displaying overlapping seg-
ments in common between rows. For instance, let us now take, as
"0" and "0'," the rows of Ex. 13. We see that these rows have in
common (among others) the segments (A Bb E B E F#) and
(B E F# C C# G), which overlap.
0 I II
Ex 13 I
ExI I
Ex. 1S
Ex. 14 displays the nesting of the total chromatic

the rows of Ex. 13. Notice that the overlapping segm
naturally.
(A Bb) (E FI) (C CC)
(A Bb Eb) (B E F) (C CO G)
(A Bb Eb BE F#) (B E F# C C G) (Ab6D)
(A Bb Eb B E F# C C G) (Ab D F)
(total chromatic)
Ex. 14
B: Interactions between nestings and the

twelve-tone operations
As a preliminary remark, I should point out that the nesting of t
total chromatic with respect to two given rows 0 and 0' is, of cour
the same as the nesting with respect to 0' and 0. For we are involv
only with the segments that the two rows have in common; wh
of the rows we happen to mention first is irrelevant.
Thus, although the algorithm we went through following Ex.
seized on one of the two rows as a point of departure and referen
the result would have been the same had we used the other row as
a basis for carrying through the work.
* 100 *
In terms of our symbolic notation, this observation is

1: N(0, 0') = N(0', 0)
Now note that, since segments are conceived as unordered col

tions, every segment of a given row 0 is also a segment of its r
grade r (0). Thus, any segments which 0 has in common wit
other row 0' will also be segments in common between r (0)
conversely, any segments which r (0) has in common with 0
also be common to 0 and 0'. Therefore the nesting with resp
r (0) and 0' will contain exactly the same collections as does
nesting between 0 and 0'. Similarly, we can retrograde 0' a
without affecting the nesting. In symbolic notation, we write:
2: N(0,0')=N (r(0),0')=N (0,r(0'))=N (r(0),r(0'))
Nestings can be transposed and inverted by transposing and invert-
ing the constituent collections of pitch-classes. For instance, Ex. 15
shows the nesting of Ex. 12 transposed by the pitch-class interval
(+-)2; Ex. 16 shows the nesting of Ex. 12 inverted, with Bb-and-A
(or E-and-Eb) as center of inversion.9
(C F C# F#) (D Eb A Bb) (A E GO D) (G F# C E)
(B C F C# F#) (D Eb A
I Bb E) (Bb
I A E G# D#) (G F# CB F)
(B C F C
(tota
Ex. 15 Ex. 16
As one would suppo

inverting a nesting
nesting with respect
forms of those rows
by transposing Ex.
about Bb-and-A. Ex.
respect to the rows
the interval 2 (Ex.
the total chromatic
9 A pitch-class inversion
a pitch-inversion can be.
interchanges Bb with A, B
Hence, the collection (B
collection (A E G# D9)
collection (C CQ G Ab
C#-->+F, G--C, Ab--B.
0 101 ?
Ex. 17
Ex. 17
And if we invert the rows of Ex. 11 about Bb-and-A (or E-and-

(Ex. 18), we see that Ex. 16 is the nesting with respect to th
new rows.
w -0 *
Ex. 18
Ex. 18
In general, if t is any transposition-operation (defined by the inter

val of transposition), or if i is any inversion-operation (defined b
the center(s) of inversion ), the array obtained by applying th
operation to a nesting with respect to two given rows will be th
nesting with respect to the correspondingly transposed or inverted
forms of the given rows. In symbolic notation:
3a: t (N(0, 0') ) =N (t(0), t(0') )

Sb: i (N(0, 0') ) N ( i(0), i(0') )
From laws No. 1 and No. 3, we can deduce two corollaries whic
are not intuitively obvious. Let us suppose we are considering tw
rows which are related inversionally (that is, for some inversion
operation i, defined by its center(s) of inversion, we can write th
two rows as 0 and i(O) ). Then the nesting with respect to thos
two rows will be inversionally symmetrical with respect to the inver
sion i-that is, i applied to the nesting yields back the nesting itself.
For example, the two rows of Ex. 11 are inversions of each other,
the centers of the inversion being F-and-F$ (or B-and-C). Observ
that the associated nesting (Ex. 12) is inversionally symmetrica
about F-and-F$ (or B-and-C). For that inversion, when applied t
the nesting, interchanges (Bb Eb B E) with (C C# G Ab), (A Bb
Eb B E) with (C C# G Ab D), and (A Bb Eb B E F#) with
(C C# G Ab D F).
* 102
Again: the two rows of Ex. 13 are inversions of each

center of inversion being B (or F). The associated nest
is inversionally symmetrical about B (or F).
What this "means" is that the "harmonic idea" arisin
mental relations between two inversionally related rows is
sionally symmetrical.1o
In symbolic notation: if i is any inversion-operation, an
row, then
4:11 i ( N ( 0, i( )) N (, i(0) )
In analogous fashion, if t6 is the operation of "tritone tr
and if 0 is any row, then N ( 0, t6(0) ) will remain
if its constituent collections are all transposed a tritone. S
5: t6 (N(0, t6(0)))=N(0, t6(0) )

Of course, in the light of law No. 2, retrograding any
involved in No. 3, No. 4, and No. 5 does not affect the re
III: Analytic Applications of the

Nesting Concept
In this section, I hope to exhibit, in studying some o
from in and about the cadenza of the first movement of
to The nesting for the two rows of Ex. 6 is
(D C$) (C# A) (C Ab) (Ab G)
(D C# A) (C Ab G)
(D CQ A Bb F Eb) (E C Ab G F# B)
(total chromatic)
The music of Ex. 7, as we saw, exploits both the hexachords and the trichords. In
addition, the texture differentiates the dyads whenever they appear within the tri-
chords. Thus Ex. 7 exploits the entire nesting. The resulting inversional harmonic
symmetry seems to me very strong. It is supported by, and supports, the rhythmic
symmetry.
11 As stated above, this fact follows deductively from No. 1 and No. 3. For those
who are interested, I give a proof.
Given 0 and i, we observe first that i (i(0) ) = 0. This is so because i, as an
operation, interchanges pitch-classes in pairs, except for those it may leave fixed. E.g.
if the center of i is C, then i leaves C fixed, leaves F? fixed, interchanges B with CQ,
interchanges Bb with D, etc. Thus if one application of the operation is followed by a
second application, any pitch-classes which were left fixed the first time remain fixed
(e.g. C--C-->C, F$-->F-->F$); and any pitch-classes which were changed the first
time are "re-interchanged" back to where they started (e.g. B-C-->--B, D---Bb--D,
etc.).
Armed with this lemma, we can simply write out:
i (N(0, i(0)) ) N (i(0), i (i(0))) (No. 3b)

=N (i(0), 0 ) (lemma)
=N ( 0, i(0) ) (No. 1) q.e.d.
. 103 ?
Violin Concerto (see the excerpt on pp. 115

utility of the nesting concept as a tool for exa
berg's compositional techniques.
Throughout Part III, "00" and "Io" will deno
These are also the "0" and "0' " of Ex. 11. E
N(00, Io).
Transposed forms of 0o and Io will, as in Part I, be denoted by
"0n" and "In," where n is the interval of transposition. Retrograde
forms of 0, and I, will be denoted by "Rn" and "RIn."
A: Trichordal structure of the row
The row-form I11 "preserves the trichords of 0o." This was noted
in Ex. 2.
00 and In1 were the "0" and "0' " of Ex. 13; hence Ex. 14 gives
the complete nesting N(0o, I,,).
In the discussion following Ex. 2 in Part I, two examples of con-
spicuous compositional exploitation of the trichordal structure were
noted in the music: in the solo part beginning at m. 234, and in the
3-note chords opening the cadenza. The nesting array of Ex. 14 gives
us further information about the segmental relations between 0o and
Ill. Note, in particular, that Ex. 14 highlights the structural distinc-
tion between the "diminished triad" and the other three trichords.
Evidence for the fact that SchSnberg was aware of this distinction
can be found in both the musical passages mentioned above. In the
solo part at mm. 234ff., observe that the compositional presentation
of the diminished triad is differentiated from the presentation of the
other three trichords both rhythmically and timbrally (harmonics
are used to demarcate the first notes of the presentations of the other
three trichords, but not of the diminished triad). See, incidentally,
mm. 52-55 in the solo part, where 0o was exploited "trichordally"
(Ex. 19)--the trichords, of course, being the same as those of Ill.
Poco meno allegro (ma non troppo) Rit.
(52) 53 54 F s.1,2,3
Bn. 1 .1
PP "P/(A) (E) PP
dolce (DXAXE)
(U) P" PP) PPE.1
Ex. 19
* 104 *
And in the opening of the cadenza, observe that t

triads are sharply differentiated from the other trichords
texturally, and dynamically.
B: A study in local association

From the upbeat to m. 230 up to the beginning of
strong linear presentation of 05 is made. The cadenza
03, RI3 and 13 up to lento, sul G, at which point
presentation of I6 appears which associates with the e
tion of 05 through its rhythm and contour.'2 If we com
(Ex. 20), we see that the only segment these rows h
is (B F). Note that in each of these rows, that trito
two hexachords appearing therein (of course, the nest
us this). As both linear presentations of 05 and I6
articulate the hexachords (in the first case, throu
instrument and register; in the second, through a rest
and phrasing), the (B F) relation may have some au
(B F)
(total chromatic)
Ex. 20
I should like to examine here certain techniques of "harm

association that are displayed in the intervening music which, I t
serve further to bridge the presentations of 05 and 16. I shall re
my attention to the portion of the cadenza from the first prest
lento, sul G, as the preceding parts of the cadenza contain trich
tetrachordal, and dyadic relationships which would complica
discussion. It should, however, be borne in mind that, by th
the first presto is reached, both 03 and RI3 (which is segme
equivalent to I3) have been firmly established.
The row forms involved in this portion of the music are 03 (
presto to feroce), 13, and 03 again. I shall refer to that point in
music where the last of the above forms is presented as fer
It will be convenient to tabulate the various nestings involv
(point of departure), 03, 13 (intermediate points), and I6 (imme
destination) (Ex. 21).
12 The association is particularly potent because the rhythm and contour are strongly
thematic. They refer to the solo part in m. 20, which was conspicuously established
as the first climax-point of the piece. (That climax is supported very powerfully.
Registrally: the Eb is the highest note of the piece, and particularly of the solo line,
so far. It is made even more conspicuous as such by the stepwise preparation
Bb-->C---C#---D in mm.
from m. 17, is the 18-19.
loudest Dynamically:
dynamic the so
indication ff,far
reached
in theafter the long crescendo
piece.)
. 105 -
N (05, 16)
(B F)
(total chromatic)
N (05' 03) N (05 13)

(C Db) (G6 C) (D6 G)
(B F) (G6 C Db) (G6 CIDb G)
(total chromatic) (total chromatic)
N (03' 13)
(Db Gb D G) (Eb E Bb B)
(C Db G6 D G) (Eb E Bb B F)
(C Db GbD G A) (Eb E Bb B F Ab)
(total chromatic)
N (03 16) N (13, 16)

(Db Gb) (Gb D) (D G) .(A Eb) (E Bb) (BF) (F E) (D Db G Gb)
(Db Gb D) (Gb D G) (A Eb E Bb) (E Bb B F) (F E B) (A6 D Db G Gb)
(Db Gb D G) (A Eb E Bb B F) (total chromatic)
(Db Gb D G A Eb E Bb B F)
(C Db Gb D G A Eb E Bb B F) (Db Gb D G A Eb E Bb B F Ab)
(total chromatic)
Ex. 21
Examining the presentation of 03 beginning at the first presto, we

see that its hexachordal segments are articulated by a rest, an
emphasized by the parallelism between their presentations.
Within the presentation of the first hexachord (C Db Gb D G A),
the tetrachord (Db Gb D G) is rendered conspicuous through regi
tration. The C is attached to this tetrachord as a "drone," and the A
is detached from the resulting pentachord (C Db Gb D G) rhyth
mically, timbrally, and registrally. Observe, by inspecting N(03s, Is
that the hexachord, the pentachord, and the tetracord are all segmen
of both 03 and I3. In fact, they constitute "half" of the nesting; th
is, within a presentation of the first half of 03, it is impossible to ha
any more segmental association with I3.
Note, in addition, that the tetrachord (Db Gb D G) is also a seg
ment of 16 (the local goal); i.e. that tetrachord is also part o
N(03, Is). More: observe that the dyads (Db Gb) and (D G), in
which that tetrachord is divided by the compositional presentation,
are also constituents of N(03, 16).
Finally, note that the trichord (C Db G), which is brought ou
* 106 *
A THEORY OF SEGMENTAL ASSOCIATION IN TWELVE-TONE MUISIC
compositionally by the slur and staccato repetition, is a constituent

of N(03, 05).
In the presentation of the second hexachord (Eb E Bb B F A
of 03 which follows (second presto), the constituent pentacho
(Eb E Bb B F) of N(03, I3) is brought out compositionally. How
ever, the tetrachord (Eb E Bb B) of that nesting is not brought out
here (as would be structurally analogous to the presentation of t
first hexachord); instead, the presentation emphasizes the tetracho
(E Bb B F). The latter is a constituent, not of N(03, I3), but
N(03, 16). The dyads (E Bb) and (B F) are also constituents
N(03, I6), and (B F) is also a constituent of N(03, 05).
The nesting diagrams have helped us to see that, in spite of t
formal parallelism between the two hexachord presentations, t
harmonic structure (in our sense) of the presentations is slight
different. That is, speaking very loosely: the presentation of the fir
hexachord maximized structural harmonic relation to I3, and also h
quite a bit of relation to l6. The presentation of the second hexacho
preserved the same amount of relation to I6 while somewhat weaken
the relation to I3. Both presentations related somewhat to 05.
The advantage of the nesting diagrams, of course, is that the
allow us to formulate the above rather vague statements quite p
cisely and with reference to specific harmonies involved. That is, w
can actually diagram the structural harmonies presented (Ex. 2
In connection with this, it is wise to keep in mind the positions
the presentation of 05 (original point of departure), 03 (where
are now), I3 (immediately following; also note the earlier presen
tions of RI3), and I6 (eventual goal).
first hexachord second hexachord
presentation presentation
constituents
of N (03, 05) (C Db G) (B F)
(Dm G6 D G)
constituents (D6 G6 D G)
ofN (03) (C Db G6 D G) (E6 E B6 B F)
(C Db Gb D G A) (Eb E Bb6B F Ab)
constituents (Db Cb) (D G) (E Bb) (B F)

o 3f N (63' 6) (D6G6 D G) (E\6B BF)
Ex. 22
In the presentation of Is beginning at feroce, the hexachordal seg

ments are again stressed by the formal parallelism.
Within the presentation of the first hexachord (F E B Eb Bb Ab),
the constituent tetrachord (Eb E Bb B) and pentachord (Eb E B
S107
B F) of N(I3, 03) are stressed. None of these is

N(I3, I6). However, note that, whereas the o
(C Db Gb) of the preceding presentation of 03 r
the opening trichord (F E B) of this presentation o
brought out by the slur, now relates ahead to
constituent of N(I3, I6 ).
The dyads (E B) and (Eb Bb) are not constituen
under consideration.
In the following presentation of the second hexachord (D Db G
Gb C A) of 13, the emphasized pentachord (D Db G G G C) is a
constituent of N(I3, 03); the emphasized tetrachord (Db G G Gb C),
however, is not. It is, rather, a constituent of N(I3, 05).
Thus, whereas the opening trichord of this presentation of 13
related to I6 rather than to 05 (as did the opening trichord of the
presentation of 03), the tetrachord within the second half of the
presentation of I3 relates to 05 rather than to I6 (as did the analogous
tetrachord of 03). Observe that the dyads (Db G) and (Gb C) here
are also constituents of N(IS, 05).
The strong accent on the Ab (but not on the A) seems a puzzling
feature of this presentation of I3. I advance, with some diffidence, the
following suggestion: the creation of an artificial downbeat on the
Ab seems to rob the following D of what would otherwise be its down-
beat character. To my ear, one result of this is to associate the Ab
more strongly with the notes that follow it (as being within the Ab's
"measure") than with those that precede it. In this connection it may
be relevant that (Ab D Db G Gb) is a constituent of N(I3, I6).
We go on now to the following presentation of 03 at feroce (a).
The hexachords are no longer as strongly stressed compositionally.
Thus, perhaps the most characteristic aspect of N(03, Is) is liquidated
in preparation, presumably, for the subsequent change from "3-forms"
to a "6-form." That is: the appearance of the hexachord-and-its-com-
plement at a certain transpositional level [ (C Db Gb D G A) and
(E, E Bb B F Ab)] is characteristic of the exploitation of row forms
03, 13, R3, and RI3. Within the form I6, the hexachord-and-its-comple-
ment appear at a different transpositional level. Thus the liquidation
of the hexachord at its "3-level" makes for a smoother harmonic
transition. The pentachord (C Db Gb D G) and the tetrach
(Db G D G) are also liquidated by the new texture.
Note, however, that the opening trichord (C Db G), relating
05, is still prominent compositionally. And the dyads (Db Gb)
(D G), constituents of N(03, 16), are also prominent.
The dyads (E Bb) and (B F) and the tetrachord (E Bb B
S108
are prominent; all are constituents of N(03, I6); none are co

of N(03, I3). Among the constituents of the latter nesting,
prominent in this presentation is probably the pentachord
B F), but it is, even so, much weaker than it has been at its
appearances (second presto and feroce).
A further point which I think is of interest: in the presen
03 at feroce (a), note that the voice-leading in register is all
until the final Ab (C--D--,Eb, Db--E->F, Gb---A--Bb
accentuates the differentiation, prominent also rhythmicall
low Ab from the other notes of the presentation. Observe, c
ingly, that (everything but Ab) is a constituent of N(03
might, of course, say merely that 03 ends with Ab and 16 be
Ab; this formulation, however, does not suggest any ration
compositional differentiation of the Ab from everything e
the presentation of 03.
It is interesting to observe that Schdinberg exploited alm
constituent of every nesting listed in Ex. 21. Naturally, it w
extravagant to assert that these "structural harmonies"
passage by themselves. Other factors are potent, including s
operate very strongly in a larger context.'3 Nevertheless, I
the harmonies are functional.
Again, I would not claim that the structural harmonic tec
we have examined are to be found employed to as great
everywhere in Schinberg's twelve-tone music. I chose th
obviously, precisely because I found it one in which the t
were employed particularly conspicuously. I think it doe
that the nesting construct is useful in illuminating one of Sc
technical resources.
IV: Two Theoretical Conceits
A: What kinds of harmonic ideas can be nestings?

It was pointed out in Part II that every nesting may be view
not only as an aggregation of segments in common between two gi
rows, but also as a harmonic idea in se. Evidently it is possibl
construct harmonic ideas of this sort merely by selecting a certa
aggregate of collections of pitch-classes and drawing the appropri
lines to indicate which collections are included in which other
lections. Exx. 23a-23e, for instance, are harmonic ideas of this sor
13 Especially, e.g. the thematic variant Db-D-Fb-F latent in the texture at
first presto, followed by the latent E-Eb-C#-C at feroce. See the opening eight m
ures of the piece, and also the last lento of the cadenza.
0 109 *
a. b.
(C CO) (C#D) (C D) (C C#) (C D)

c. d.
(C C# D) (C# D E6) (C C# D)
e.
(D IEb)
(C C# D Eb) (B6 BD E6) (D Eb E F)
(total chromatic)
Ex. 23
It seems evident to me that in any totally chromatic music in whic

associative harmony plays a role, such harmonic ideas will often
manifested. Even in twelve-tone music, such ideas may easily emerg
without necessarily being derived from segmental relations.
The obvious question arises: is there anything particularly charac-
teristic about those harmonic ideas which are nestings, by means of
which we can distinguish them in se from those harmonic ideas whic
could not be nestings? More precisely, we ask:
QUESTION 1: Given a certain harmonic idea H (such as those o
Ex. 23), under what conditions is it possible to find two rows 0 and
0', such that H - N(0, 0')?
I believe that this question, in spite of its generality (we do not
demand any serial relation between 0 and 0'), is of musical interest.
For there is much music being written now (especially in the United
States) in which passages of more or less "free" total chromaticism
alternate with passages of more or less "strict" serial treatment. An
investigation of question 1 might shed some light on how some har-
monic ideas arising in a "free" context might "pull" in a serial direc-
tion, while others might not. In this connection, naturally, one would
have to examine specific pieces. I feel that Sessions' Third Symphony,
for example, will repay such study; it would be out of place, however,
to launch an analytic examination of such scope here.
Question 1 as a mathematical problem is extremely non-trivial.
As yet, I have been unable to solve it (that is, to find properties which
will completely characterize nestings from among all possible har-
monic ideas). I have found several properties which all nestings must
possess, but I have not been able to show that any harmonic idea
which possesses all these properties must be a nesting. To give the
reader an idea of the various sorts of complications which can arise
* 1100
in attempting to solve the problem, I shall show that

harmonic ideas of Ex. 23 can be a nesting.
As far as Ex. 23a is concerned, there can not be even
which (C C#), (C? D) and (C D) are all segments, muc
For if 0 were such a row, then since (C C#) and (Cj D
segments, either the succession C-C4-D or the success
would have to appear within 0; in either case, (C D) co
be a segment.
Concerning Ex. 23b: if there were two rows 0 and 0
this diagram were N(0, 0'), then, as in the discussion
either the succession C-C#-D or the succession D-C#-C
to appear within 0; likewise, one of these successions
to appear within 0'. In any case, the trichord (C C? D)
segment both of 0 and of 0'. As this trichord does n
Ex. 23b, the latter cannot be N(0, 0').
Now suppose we could find a 0 and a 0', such that E
N(0, 0'). Since (C C# D) and (C# D Eb) would be segm
one of the following successions would have to appea
C-C#-D-Eb, C-D-C#-Eb, Eb-D-C#-C, or Eb-C#-D-C.
(C# D) would be a segment of 0. Likewise, that dyad
segment of 0'. Since it does not appear in Ex. 23c, tha
not be N(0, 0').
Turning to Ex. 23d: there are only six possible orders of succession
for the three pitch-classes within any putative 0: C-C#-D, C-D-C#,
C?-C-D, C#-D-C, D-C-C#, and D-C#-C. Similarly, one of these suc-
cessions would have to appear within any putative 0'. The reader
may verify that, no matter which of the possible cases arose, either
(C C#), (Cg D), or (C D) would also be a segment of both 0 and
0'. Since none of these dyads appears in Ex. 23d, the latter is not
a nesting.
As far as Ex. 23e is concerned, as in the case of Ex. 23a, there
cannot be even one row 0 such that all the collections of Ex. 23e
would be segments of 0. For since (D Eb), (C C# D Eb), and (Bb
B D Eb) would all be segments, some succession such as C-C#-D-Eb-
B-Bb or B-Bb-Eb-D-C-C#, etc. would have to appear within 0. That
is, the (D Eb) segment would be "surrounded," in some fashion, by
(C C#) and (B Bb); thus (D Eb E F) could not also be a segment.14
14 After the rather lofty claim for the value of answering question 1, the reader
may be somewhat annoyed by the picayune discussion of Ex. 23. I should probably
explain why I do not consider my position inconsistent.
I believe that music theory is most fruitfully regarded as an attempt to construct
intellectual models for general modes of hearing. As such, it should be as thorough as
possible. To the extent that question 1 reflects a valid problem concerning a general
S111i *
Two special cases of question 1 would naturall

relevance to twelve-tone music:
QUESTION 2a: Given a harmonic idea H, under what conditions
is it possible to find a row 0 and a transposition t such that H
=N (0, t(0) )?
QUESTION 2b: Given a harmonic idea H, under what conditions
is it possible to find a row 0 and an inversion (-operation) such
that H=N (0, i(0) )?
The conditions for questions 2a and 2b would naturally include
the conditions for question 1; it seems fruitless to attack the special
problems until the general one has been solved.
B: Nestings as row-defining
In Part IB, I noted that ".... through the exploitation of segmental
relations, it is possible to expose aspects of a serial structure by
'harmonic' compositional techniques." In other words, every nesting
which involves a given row yields a certain amount of structural
information about that row. More exactly: the nesting will inform us
that the collections displayed are all segments of the row. It will not,
of course, tell us where in the row these segments appear. Neverthe-
less, a knowledge of sufficiently many segments of a row will enable
us to infer certain conclusions about the order of succession of some
of its elements; see the discussions of Ex. 23.
Now, the "knowledge" and "inference" referred to above are evi-
dently of an intellectual nature. Nevertheless, the "knowledge" can
obviously mirror a musical experience: the apprehension of a harmonic
idea. And to the extent that, in certain contexts, we tend to organize
our musical sensations in serial terms, the "inference" reflects a
genuine aspect of a certain mode of hearing. To the extent that that
mode of hearing is operative in a given musical context, it is plausible
mode of hearing, it is a legitimate theoretical question; the more thoroughly we

investigate question 1, the more sensitive we should become to that mode of hearing.
Any composition, however, although it will reflect certain assumptions about or
predispositions toward certain general modes of hearing on the part of the composer,
always unfolds in specific musical contexts. At any point in the music, it is possible
that several modes of hearing may be operative, including some which have not as
yet been abstracted into a body of theory.
To me, question 1 represents an inquiry into one aspect of a very broad mode of
hearing. It would be presumptuous to suppose, even if question 1 were to be
answered, that one would immediately find striking and "pat" examples of its relevance
throughout the literature. What I would hope to be able to find would be examples
in which, in a "free" totally chromatic context, those harmonic ideas which were
more "nesting-like" (i.e. violated few of the conditions demanded by question 1, and
violated them in relatively inconspicuous ways compositionally) tended to "pull" the
music in a serial direction.
* 112 *
that we should tend to hear the constituent collections of harmonic

ideas as putative row segments. In fact, if we hear sufficiently many
and varied harmonic ideas, it is possible that the putative segments
will be many and varied enough so as to actually define one specific
row. What I mean, in musical terms, by "define" is obviously vague.
The topic is highly speculative; nevertheless, I believe that it is sug-
gestive enough to warrant closer investigation. Even in cases where
we do not have sufficient harmonic information to "define" a row, I
feel it is legitimate to conceive of several harmonic ideas as being
collectively highly definitive or not very definitive in serial terms.
For example, let us consider the Violin Concerto once more. We
have observed that the nestings N(oo, Io) and N(o0o, I ) are of
significance in the piece. Considering these nestings now purely as
harmonic ideas, let us call them H1 and H2 respectively (Ex. 24).
H1 H2
(B6 E6 B E) (C
(A Bb El B E) (C C# G A6 D) (A Bb Eb) (B E F#) (C CO G)
(A B6 El BE F#) (C C# G A6 D F) (A B6 E6,BE F, ) (BE F# C# G) (A6D)

(total chromatic) (A Bb Eb B E F# C CI G) (AI D F)
\total chromatic)
Ex. 24
I will show that these harmonic ideas almost completely determine

00 (or its retrograde); that is, any row which includes as segment
all the constituent collections of H1 and H2 must be "nearly" 00 or Ro
Let 0 be any row which includes all these collections as segments.
Obviously r (0) will be another such row. We are to show that 0
must be "nearly" 0o or Ro. We reason as follows:
(A Bb) is a segment of 0 (H2). Hence either the succession A-Bb
or the succession Bb-A appears within 0. Since we are willing to
accept r (0) as readily as 0, we may assume that A-Bb appear
within 0.
(A Bb Eb) is a segment (H2). Hence either A-Bb-Eb or Eb-A-Bb
appears within 0. But if the latter were the case, then (Bb Eb B E)
(H1), which does not contain A, would not be a segment. Hence
A-Bb-Eb appears within 0.
(Bb Eb B E) is a segment (H1). Hence either A-Bb-Eb-B-E or
A-Bb-Eb-E-B appears. But in the latter case, (E F#) could not be a
segment (H2). Hence we infer A-Bb-Eb-B-E and, since (E F#) is
a segment, A-Bb-Eb-B-E-F#.
S113
(C C?) is a segment (H2). Hence either C

C?-C (subcase 2) appears.
Subcase 1: If C-Cg appears, then, since (C C
(H2), we must have C-Cg-G or G-C-Cg. Then
is a segment (H1), we must have either C-Cg
And since (Ab D) and (Ab D F) are segmen
have either C-Cg-G-Ab-D-F or F-D-Ab-G-C-Cg.
Recalling that we have already established
now observe that (B E Fg C Cg G) is a segm
only possibility for collocating the two hexacho
Fg-C-Cg-G-Ab-D-F, and 0 = o.
Subcase 2: If Cg-C appears, we follow the
conclude that 0 must be the row: A-Bb-Eb-B-
that is, 0 is the same as 0o, only with the ad
changed. In this sense, then, H, and H2 "pra
are "highly definitive" of 0o.
An important structural aspect of 0o which w
tioned is the inclusion, within it, of a six-elem
an all-combinatorial hexachord (Ex. 25).
Ex. 25
A complete discussion of this aspect of the row would be outside

the province of the present paper;15 for our purposes it is sufficient t
note that 06, 13, and I9 preserve that hexachord (Ex. 26).
II
A I I
19
Ex. 26
Ex. 27 shows the complete nestings N(0o, 06), N(Oo, 13), and
N(0o, I9). Note that every constituent of N (0o, 06) is also a con
15 See Babbitt's discussion of the all-combinatorial tetrachord in the row of Schon-
berg's String Trio (Journal of Music Theory, April 1961).
114 *
stituent of N(0o, I9). Hence the former nesting gives

information than does the latter.
N (o' 9) N (0 , 06)
(F C) (C C) (C G) (G Ab) (A D) (F\ C) (C# G) (A D)
(F# CC#) (CC G) (C#G A) (G A D) (F# C C# G) (C# G Ab D)
(F C C G) (C CG Ab) (C G Ab D) (F# C C# G Ab D)
(F# C C# G Ab) (C C# G Ab D) (total chromatic)
(F# C CI G Ab D)
(total chromatic)
N (00o )
(B6 E6) (E6 B) (B E) (F# C) (C# G) (A6 D)

(Bb Eb B) (Eb B E) (F# C C# G) (C# G Ab D)
(Bb E6 B E F6 C C# G A D)/
(A B6 E6 B E F# C C# G A6 D) (Bb Eb B E F# C C# G A6 D F)
(total chromatic)
Ex. 27
The reader may verify for himself that N(00, Io), N(00, I3), an
N(0o, Is), considered purely as harmonic ideas, collectively define
0o. He should start by observing that (everything-but-A) is a seg
Schbnberg: Violin Concerto Adagio ( = 52)
230 Cl. picc.
Cl.picc.
3 Fls.
S3 Fls.,a3 3 j
3
I 2A a3
Obs. .4m* w
z p
-A Trp. 1,con sord.

3 Trps.
con sord. __-

pp
3 Trbs. 3 Trbs. Trb. 3, con sord.

con sord. - __ _ _ _-- 4 -
Tubaa uba
pp
PPP)
Vns.
-V A' Vn.II
TT
Tutti (Va.) p
f.. a2
* 115 -
ment; hence A must be the first or the last pitc

0. Since r (0) is equally acceptable, it may be
the first pitch-class of 0.
CADENZA
Lento
p ~P p__.___ ..#
acceto. - Presto Lento
P P
f~P
leo Feroce
APresmo e (aPco
E
eto
Pb .s=-'6)
fp
or
64 : (e*-to (:I )
I IoI
Lentto Pet
A tepo (a poo leto 86

2 4 R sres oG3S
SulG Sl
Ti - * = - dw l
4w f
L e~ map
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A Theory of Segmental Associations in Twelve Tone Music PDF

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A Theory of Segmental Associations in Twelve Tone Music PDF

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A Theory of Segmental Association in Twelve-Tone Music

Author(s): David Lewin

ASSOCIATION IN TWELVE-TONE MUSIC

A: Examples and discussion

This relation is not the only segmental correspond

We may see two conspicuous exploitations of

It will be noted that the segmental relations I ha

possesses significant trichordal and tetrachordal structures, as well as the commonly

This relation is conspicuously exploited in mm

This example also demonstrates that more than on

The association of the tritone Ab-D in the right hand, m. 2, with

conspicuous because the strict melodic imitation

Op. 18, No. 2

--e) 11'F - ,,.

An interesting example of Webern's attitude toward the

Note that although the trichor

is not exploited here (nor is any

elements in twelve-tone music, it seems to me, lies precisel

the combinatorially functioning segments at times supports and at times obscures

II: The "Nesting" Concept

It may then be difficult to be sure we have ascertained eve

them in a haphazard way. For this reason, it is worthwh

(A Bb), the collection of the first two pitch-classes of 0, is not

total (pitch-class) chromatic

Observe that Ex. 12 may be regarded from tw

Ex. 14 displays the nesting of the total chromatic

B: Interactions between nestings and the

In terms of our symbolic notation, this observation is

Now note that, since segments are conceived as unordered col

As one would suppo

And if we invert the rows of Ex. 11 about Bb-and-A (or E-and-

In general, if t is any transposition-operation (defined by the inter

3a: t (N(0, 0') ) =N (t(0), t(0') )

Again: the two rows of Ex. 13 are inversions of each

5: t6 (N(0, t6(0)))=N(0, t6(0) )

III: Analytic Applications of the

i (N(0, i(0)) ) N (i(0), i (i(0))) (No. 3b)

Violin Concerto (see the excerpt on pp. 115

And in the opening of the cadenza, observe that t

B: A study in local association

I should like to examine here certain techniques of "harm

N (05' 03) N (05 13)

N (03 16) N (13, 16)

Examining the presentation of 03 beginning at the first presto, we

compositionally by the slur and staccato repetition, is a constituent

constituents (Db Cb) (D G) (E Bb) (B F)

In the presentation of Is beginning at feroce, the hexachordal seg

B F) of N(I3, 03) are stressed. None of these is

are prominent; all are constituents of N(03, I6); none are co

IV: Two Theoretical Conceits

A: What kinds of harmonic ideas can be nestings?

(C CO) (C#D) (C D) (C C#) (C D)

It seems evident to me that in any totally chromatic music in whic

in attempting to solve the problem, I shall show that

Two special cases of question 1 would naturall

mode of hearing, it is a legitimate theoretical question; the more thoroughly we

that we should tend to hear the constituent collections of harmonic

(A B6 El BE F#) (C C# G A6 D F) (A B6 E6,BE F, ) (BE F# C# G) (A6D)

I will show that these harmonic ideas almost completely determine

(C C?) is a segment (H2). Hence either C

A complete discussion of this aspect of the row would be outside

stituent of N(0o, I9). Hence the former nesting gives

(B6 E6) (E6 B) (B E) (F# C) (C# G) (A6 D)