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REFERENCES
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EDWARD R. PEARSALL
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EDWARD R. PEARSALL
In thisparadigm,
intervals. harmonic progressiveness is determinedbythe
consonantand dissonant intervalsthatoccurcontrapuntally betweenparts.
Therefore,harmonyis bound to the tonal vocabularywhichidentifies
consonancesand dissonances.It seemsunlikely thatwhenthevocabulary
is nottonal,harmony and consequently prolongation can be definedbythe
tonalUrsatz.
The questionofwhether or notalternative hierarchical systemsmaybe
establishedwellenoughto promotea senseofprolongation has notbeen
widelyaddressed.Schenker'sbasic premiseis that prolongations are
accomplished byvoice-leading techniques. For instance, theprimary note
'combineswithinitselfa mentalretention, thatis, a motionless state,and
an actualmotionof the linearprogression' (Schenker1979: 38). There-
fore,in spiteof Schenker'srelentless assertionof the superiority of the
Ursatz,his basic definition of prolongation requiresonlythata potential
existfor a dualityof interpretation based on voice-leading techniques
whereprimary notescan generate a linearprogression whilebeingmentally
retainedin a motionlessstate.It remainsto be demonstrated whether
voice-leadingtechniquesin post-tonalcompositionslead to similar
conclusions.Regardless ofthecontext, however, a hierarchy ofnotesand a
well-defined systemof consonanceand dissonancewould appearto be
indispensable forcreating thecircumstances necessary forprolongation.
The ineffectiveness of thetonal Ursatzin delineating a prolongational
background for atonal music has been demonstrated by severalauthors.
For example,in his analysisof Berg'sOp. 2, No. 2, CraigAyrey(1982)
showshow perfect fourths are projectedlinearly in thebass to producea
progression that appears to outline tonic-dominant opposition.This is
accomplished by means of a succession ofFrench sixth chordswhoseroots
are associatedwithtwo interlocking whole-tonescales separatedby a
perfectfourth (Fig. 1):
Fig. 1 (fromAyrey1982: 197)
I I I I I I
B% E A GI C F
I I
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HARMONIC PROGRESSIONS IN POST-TONAL MUSIC
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EDWARD R. PEARSALL
factorswhosemeaningmustbe discovered
compositional withinthe
workitself.
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HARMONIC PROGRESSIONS IN POST-TONAL MUSIC
moltorit.
-
-11 IT[&
pp.
However, unlike Travis, Baker does not confine his analysis to the
identification
of dyadic groups but goes on to explain how some pitches
may receivestructuralemphasisin the textureby means of neighbouring-
note relations. For example, Baker shows how B% (also spelled A#)is
groupedboth withByand withA? and resolvesalternately to both pitches.
Two of these resolutionsare shownin Ex. 2. These circumstancescompel
Baker to speculatethatA? and B? in this example are structurally
stronger
than theB%whichmediatesbetweenthem.He consequentlydemonstrates
how pitches associated with traditionalharmonic structures(e.g. tonic-
dominant)emergewithstructuralpredominancein the piece. Specifically,
Baker statesthatthe structurallyhighlightedB? functionsas the dominant
of E?, a functionwhich is highlightedby its participationin the voice
exchangewithD#.
While Baker's voice-leading ideas seem tenable, they are not well
supportedin his analysis.For instance,the A#lowerneighbourhe refersto
in b.3 is transformedto Bb before resolvingto B . Furthermore,the
melodic progressionin b.3 seems to outline A#and B% as structurally
prominentnotes, with B? functioningas an upper neighbour. Baker's
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EDWARD R. PEARSALL
Ex. 2
etwas z6gend. . . . . . . . . . . . . . . . . . fliichtig
wr
pp
tr
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HARMONIC PROGRESSIONS IN POST-TONAL MUSIC
Fig. 2
I I
E? A?-G# F?-F#-G A#-B?
Two of the elementsfound in b.1 do not have an ic 1 relationshipwith
either an adjacent linear pitch or a chord pitch. These are the E? that
beginsthe piece and the B? harmonicfoundin the cello part.The E? in b. 1
has an ic 1 correspondentrelationshipwhen combined with the F?
harmonicin the viola part on the fourthbeat of the bar; B? has an ic 1
correspondentrelationshipwithA#on beat five.
While ic 1 correspondencemay not constitutea clear case of con-
sonance withinthe piece, it may at least provide a reasonable qualitative
descriptionof the texture.Therefore,pitches that do not have an ic 1
correspondentmay be understood to operate essentiallyas dissonant
sonoritiesin the textureseekingic 1 correspondence.Bar 2 contains an
even more strikingexample of this prolongationaldissonance. The A?
pizzicato harmonicin the second violin findsno ic 1 correspondentuntil
the end of the bar, where the A? is reiteratedin a lower octave and
emphasized in the textureas a momentarysolo before its ic 1 corres-
pondent, the B% harmonic in the firstviolin, is articulated.A kind of
prolongationof dissonancewas also seen in Ayrey'sanalysisof Berg's Op.
2, No. 2 with regardto the tritonedivisionof the bass and its registral
emphasisas partofthefundamentalline.
As I statedpreviously,the identification of consonance and dissonance
does not alone reveal a structuralhierarchyamong pitches. This is
especiallytrue in this analysis,since no specificdissonantintervalshave
been identified.In each case, the prolongeddissonanceis shown to occur
because the dissonantpitch anticipatesor impliesits ic 1 correspondent.
Pitches which are registrallyor temporallyproximate but whose ic
relationshipis a non-ic 1 relationshipare largelydissociated and exhibit
strongerrelationships withtheiric 1 correspondents in the texture.
In all cases thereare two pitcheswhichformic is withany singlepitch
that is identified.However, where two pitches are separatedby an ic 2,
theysharean ic 1 correspondent.This can be seen in b.2 ofthe piece. The
outside voices, D? in the firstviolinand C? in the cello part,are separated
by an ic 2. Their common note ic 1 correspondentis C#foundin the viola
part. It can thereforebe seen that 0-2 dyads in the piece require special
consideration.Where an 0-2 dyad occurs, the potentialexistsforthe gap
between the two dyad pitches to be filledby a single pitch. This single
pitchcreatesic 1 associationsforboth pitches.The tendencyto fillin the
gap of the 0-2 dyad provides a basis on which to build a definitionof
harmonicgravitation withinthepiece.
As I have alreadynoted, 0-1 dyads are oftenassociated withother0-1
dyads,but the sets formedby thesedyadicgroupsdo not seem to conform
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EDWARD R. PEARSALL
Ex. 3
Leichtbewegt( = ca 120 )
n t.
I ohne
Dm 3 spicc.
2
tempo
________ m SteL
ohnem
Damprer _o
PP
p 3 .
ohneDlmpfer 3
picc
PP ---------- tempo
p P mS
:
___arcop - ppc
L . .
FPP
PP -P
1k
z- Imf -'
P 7j!'PP
p Spp:
a
pin
sg -r p
P
p
TEN.f
p.
, fimf- if ---
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HARMONIC PROGRESSIONS IN POST-TONAL MUSIC
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EDWARD R. PEARSALL
Fig. 3
D C
C#-B
REFERENCES
Ayrey,Craig,1982: 'Berg's"Scheideweg":
Analytical Vol.
Issues',MusicAnalysis,
1,No. 2, pp.181-201.
Baker,JamesM., 1990: 'Voice-Leadingin Post-TonalMusic: Suggestionsfor
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HARMONIC PROGRESSIONS IN POST-TONAL MUSIC
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