Hex Appeal: Prolongation and Transformation in Holst’s Neptune

Frank Lehman, Tufts University

MTSNYS 2014

Example 1:
Representative Neptunian Atmosphere: m. 95-99, from Two Piano Version

Example 2:
“Tarnhelm” Progression (Das Rheingold, Scene Three) Compared with Neptune Sound-Masses (mm. 34-36)

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 Example 3a:
Hexatonic Scale compared with John Foulds’s Mode IIP (“Prismic”)

6-20 (1-3 Hex Scale) 7-21 (“Prismic” scale)

Maximizing “exotic” (m2-A2) pattern without M2s Only possible 7-member superset of 6-20

Example 3b
From John Foulds, Essays in the Modes, “Prismic”

Example 4
Some Hexatonic/Neptunian Passages from Holst

Date Composition Shared Characteristics with Neptune

1908 “Battle Hymn” (Choral Hymns on the Rig Veda I) M3-cycling key scheme, A¨-C-E complex, Hex-Poles
1908 “Hymn to the Unknown God” (CHRV I) M3-cycling key scheme, A¨-C-E complex 6-20-like scale (7-29)
1908 Sāvitri M3-cycling key scheme, Hyper-hexatonic modulations, Hexatonic
subsets, Tarnhelm/Poles, Wordless Female Choir
1909 “Hymn to Varuna” (CHRV II) M3-cycling key Scheme, A¨-C-E complex, Tarnhelms, Timbres
1910 “Hymn to the Dawn” (CHRV III) Hexatonic Scale, Hex-Poles
1910 “Hymn to the Travelers” (CHRV III) Tarnhelms, Wordless Female Choir
1917 Hymn of Jesus M3-cycling Key Scheme, A¨-C-E complex, Tarnhelms/Poles, Hex-
allusive scales
1919 Ode to Death Tarnhelms, Hex-Poles and Cycles, Hexatonic subsets
1923 Choral Symph., Mvt. II, “Ode to a Grecian Urn” Hex-Poles, Semitonal Voice-Leading, Neptunian textures
1929 “Betelgeuse” from Humbert Songs Hex-allusive scale, Hex subsets, Neptunian textures
1932 “Before Sleep” from Six Choruses Tarnhelms, Hex-Poles

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 Example 5
Tonal Design of “Hymn to Varuna” from Choral Hymns from the Rig Veda, Book II

Example 6a
Analysis of Neptune, A-Section

Example 6b
Analysis of Neptune, B-Section

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 Example 6c
Analysis of Neptune, C-Section

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Example 7
Hexatonic Voice-Exchange Model for Neptune

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Partial Bibliography
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