Chapter 4 Centricity, Referential Collections, and Triadic Post-Tonality Tonality “Tena common practice tonality, he muse ngage of Westen dasa ve ro oh tine of Bae roghy dete of Brahms. iste ix ‘Sheers: ey A paiular ote deed the oni (sine ey (EA) wih he remaing notes deed i eatin ot ep eo, Panes made rough eceston o keys wih he ete dasa by perfec ith ory majororminr ids Pees nd inthe ey In they Dai 4 Bison sealer The pina sees are the mp and nr eles 4 _FiSieTpetasc harmonic soca mor or migra, Seventh chords play secondo oe : ‘5. enti harmon. Harmonies general have he action of nia pm) eran eating fone or predominating donna, Weer ledng. Te wie leading slow erin adios! norms, nting Rosine of al pees consoances ante resluon of neal tne as cisonanto hos deed consonant ofr or"he ey In common-pacie os, sic aes ert in away of mee ay ens wy tsp psce howe ors ohana af or SUIS ambos withing al em Mes ie tia as ee Sak cammon rai wy wot oy bmg od ste esting enc a anes he Bt or aoe a sgt Bay fo test onset in woo oy Postona us as eons ‘Sesaing ee of aon pasa ren aon be ree ncettegescle emai men. fen fllorng the ph fo ero ARE tonal msc oer aes wr of aoe an a mabe com Centvicity,Referental Collections and Tad Pst-Tonality 131 ‘on sclsa wel incaig ors, boi ad we sone sek Fon ‘rune a tough ye ome connd none ‘ys Tela wo atc. homre ym Fos ea ‘ose with ne domino peor tenes prea vate of poptr mass, veal pang. nmin oe ea a ‘dion Asa ret Roma amen sa hen Sr willow eof ‘steamy teepeone dacd nhs Tene eae ae swine opel pee conan on ks melas ieoe ‘coors hse ben adel yah woe pa as Centricity ‘rl mis cee ew pi th ses ea en tmnt Eves woe aay ee ‘odd refenal center. A pet del of poston mule feet on ig Fics pc eset opts Sam a sane see fre inte sen cn! ney eel ee ae Dae acuta ese se fest oe aot pny esd eh ce ape Payed lowly, and ehythmialy or metcly sessed tendo hve peer aoe Feat Cpe i open Be hid ee Memes tase Qaa Op Saupe ipa pay Seve pei, it esa ae mee pense fe ine bore erent asge elation we Tae Cece en omen rp povaniaieatealne nes noes Keeton Tiegh ep ow neciane nape inf maha at en ett essa ates ecaee eee ie pt mune s eo sehen en nly sccm Come fr on ie ean a San ee Ont hI oat och w ange 1) Pas one cee Shen sponpaons nce acorpnes tie eee ‘omenin Beso ges of Sinn re ‘icany pure Sts gas ne Be tesa ee et pnd mst ae ree a tims mene ers os Ox tani Eanes tres eces Iie nce brava ede eo peered rel Sune apse ewe nay ape eae ya ‘ests etl gow unin rare pee a Betsy stttcey mo kamen see at, ie view natn ps ema to aa feat mys ras sna) ee onto am py woe mee=a em Morements Sag Quatet,Op. No.3). ‘Centricity, Keterential Collections, and Triadic Post-Tonality 133 Discussing pth cemcy in pos-tomal musi s more competed han iden ‘lying te von fa orl pee. Im posttona muse. we can ak abot an enire Spec of canter. Aton extreme represented ty mich weve ne si ‘hee ite ro sense of cei Eves 5, of ours he pc classes ae aot ‘wea ideal an itis import to be sense ony Kind of pia wetment scotded to pic clases or pecan ste At the ter exe, many ea ess are deeply pesecpid by gustan of exticy Inversional Axis Cenc in posto music canbe esl by varios Kind of diet emphasis and renorcemem: cee pices are usually std longer, ade, mae te, nd Inte beising ofthe ssp rom Sofa Guidi’ Sting To shown a Example 42, teeinstunensesbish the teh Bde = ea tone, -hample 2 meson symmetry (Gusta, String Ti, rt movenen154 Centrcty, Keerentiat Colections, and Triadic Post-Tonality tones stove: As alncd by C1, Gi is balanced by Df nd 3 sand by ie The nly exceptions othe pater ae tht Ps lance apsit FS stead 5 und tha he sto low notes F and 3, ak pn, Ober BS the sis of ymmety an Il the cena tre inthe pase Im soe pssges, nts ali ota ona etl tne nan exunding ‘vee nthe tinh Lige's Ten Pees for Wind Quint te te iste (the hr and soon a act) ae ican (Example 4-3), The shred canoe lines on aod then ates eatward (Exper +3). Sat tee Co Fee Example43 Espung wed (LigetTen ices or Wid Quit, No.9) Centric, Referemtn Collections, and Tad Post-Tonality 135 Example 3 Cominuet A conan wedge, whore eveything comers one axis nt, can tae song cael fe a a teen of We et moverent of Bas Sis Que Na 5 (Example 44a). The lines hpi on Ein four diferent tne, ten con ‘ge on thecal B (Example «4, “Tempo I (d= 138) Poco allarg. = 130 sample 4 Contracting wee (Band Sting Quart No.5 movement). Someting sini happens ia the 8th mova the same sing quate but now the synmety i relied ia pice spac ar than i pl spe (Example 450) The postage bepins wih he dat -D-and expan ina sya ‘al wetse, When the wedge reaches IG both nots ae doubled athe ec Filly the oiginal nd C-D retusa in ferent ote fom ss ste mest. Because focae dispacemen ks eseo gas the inversions same ‘ith a piel clockface (Example 45 On sacha clocklace the xs of136 Centricity Referenial Collections, and rade Pot Tonality er Example 45 Instn ls Ban, Sting Que No.5 8 mover). symmetry consis of two nts (or ops fmt) atone apr these ar the pots fe as. Bank mates smiar we of am ivesonal ais in pics space in his Bagatelle Op. No.2 (ee Example 4a). The ice bps with epee Ae is Benth righ band 1 which an expnding melodic wedge isadedin th elt hand ‘Band (semitone above ad below he repented gu) Cand Go semitones shoe and below): and Fests above an lon and (fur en tones above and below and al pct th can be undentoad toe five ‘emiones bth stove and below: Tec oe of the weep eases hat as not ‘een esr whic esi te mide fe repeated gre, kind feet Centric, ReferentilColectins, and Tadic Post Tnality, 137, pea Example 46 Inversion Aus Ba Bape Op 8, No.2) ‘er aod which everything balances (ae Example 4-60). sith ais. at ‘ALB isthe pics ans The B devs ot ply much of acm ln ti pe gp atria the pee the opening maces ansposed tT, (Example +440) that poi be pels ks iA tno the st parte ‘aly emp. ‘There are ele axes of imerso, and thee can Beenie by ether the sum ofthe balancing pairs of notes oby he ts notes theres (ce Figure), Foceachsuma, the iversional ans wil pss ough Wand +6 Ferexamp, ‘he sumo alnced ness, the eon acs wile 410. he som 0, theaxis will pss erneen to pis of ste For example the sm ote bleed bes 7, tb imetsioal aks pases tween and and between 9a 10. We ‘eke at aia 12-78, ‘The tweveimersonl ates have he potential to fancton tke the twee joins keys of waiioral tra, cluding the poy that mie might “mode fom one ass vo another. The begasag of Bak» Sorta for Teo Panos and Percussion, shown in Exampe 47, fetes a setet-noe cca ave tt is symevial around frat oe The He sateen i esse ‘epeaed anata higher in mesure 3) symmeicl wood F wile te second138 Centicity,Referential Collection, and Tridic Post Tnalty Centricity Refeential olkcton, and Wadi Post-Tnalty 139 ample 4-7 Sting ste of imeion (Ba, Sonata for Two Pinos and Pec, st movement person prom). statement (measure 3) is symmevial rnd C. These share the sie ais of sym ‘ney: 0-6 (sum 0). The we overlapped ents ofthe mnie esse 8-9 ae Symmetical on G aid then Dk These share a diferent ans of syne: 1-7 (um Faw 1 2.The passe fas shied is onic fom one ais taser (sample 75).140 Centric, Referetal Collections and Tadic Post-Tnality ‘The Diatonic Collection Composers of post os! music ofen se cen age st sourcs of pich mater {a By drain lor most ofthe alerts fom ingle ge elect, com er can uly entre sections of muse By changing the le vlreta se he ompose can cree a sense of lage stalemoveren fom ne harmon ro ‘nother. Many lage callectons are vial, bt fut n parr hve aaced "ent compostioal nd tere tenon the dt octuon, heal nd winietone colectons. Ea f tear colton a rena struct pop ‘ies nd aoc esousces and each anced witha dint sound wor “The ditont collection any watson of he seen vest” ofthe plano. is st els 7-35 (38687), This calleton i of ou, th tsi fr talsouce ara ot Western orl musi A yp os pee bein win one i tonic colton, mover tough shor waned dei cllecton then ends wher it tegan All th mor els, (aa) mine ss, ed share oes re ionic colectons. Ditaleealcons azo are comin in twesitrcenuy tsi: Large techs of msc hy Sravishy and others canbe ler oon ot ‘mere tonic oto. In poston mui, however, te dine election ‘sed without funtion harmony and tratona vielen oa mse. Example -8 isntesnoafuctionl, nate dnc in Staves Parushta Although he cent of he usage sce on G forthe ft eight ‘measures, he hing oA, is onl tonal ty aeleing wth ‘Roman numer! I docs, bower ee oly dane lon. Tes cobectons ‘sed In measure 9 Pus epic by, resaing ina difeetdstonic aletion, 9 "ansposin othe rst We hechange neato, we haves sea of large cle ‘ht rom ne area o ante. The change clnides with change ice r- tng ear muses relation “Te pening af Perak mores from G-Mlsolyian (G-A--C-D-E-F-0) ‘© A-Daian (A-B-C-D-E-F1-G~A), Tere ae seve possible orderings ofthe dt ‘onc colton: Ionian (eualent 6 the white noes fom © wo ©), Do om Dw Dy, Phopan (E-6, Lydian (FF), Mineyean (G-O), Azan (AA), and Locrian(B-B) Ea ofthese ederng can ep o9 oth tele phases i enalying pono toni ms, we wil aly ano ow bth he cee toned the sar erdeing Tr some as, cant tne cn beefalo eterine or msl ine ‘ant. Then ia be cesar Worefer tte dole ellen a ome more me ‘alway. wthot eens either fo cen tone odie by simpy sing the ‘umber facies needed write coletion In his temin the twee Aion olson are Osu. hry, Dhar, ha, tshap, sry 6 sharp or 6 S.A, 3,2 and It For example, Cyan, Clon, E-Acoln and F-Locrn, meng evn dil ct odeings al preset the |-sharp colton. Comers, the 2a colton lo exami be rept sehied by Beonian, Devan, D-Phnian. et. The reve diferent aenic Centricity, Retreat Collection, and Tadic Post-Tonality 141 Example 4-8 Ti tone calectons (Seay, ru, Resan Danse. Dr b> cf cw Bo ab A> of GFA sample 423 Minas ejected rough compet cle (Cum, Matraesmen The rots ofthe rads inte ight han pat descend by Snstoe tough an mie ete he ot ae gien capital leer: witha oF syne date ‘rd quay) At the same tine, he scl ste ral acon rm he dep Wi ach ate moving ep othe nearest aval poston inthe sext chord Each ighcand ad pecdedbysprac-ete wad stone loverin et an ‘These ethand ids ao wacea ele spr ones wth he gt hand diferent kind of moti pani fede in Example 424 the end of sm orchestra snp by Bien Hee the Weds re all joan they ate aranped *ymmerialy ren Dimajor "and B stround D symm ad sey ‘wedgtoward it The Cate caenc anesthe Ein mate 30 Th hey sig Turan be in chord be sages tt Ds the bet i tony reed lmesio sme. acter harmon ncn. ‘thie Mid of mot aay is late sample 25, from sing quae by Shosakvih AC teen fhe psig we Hers progrestion of fur ‘ior ade GAB and D- The id ae pesded by welt elo a the atl, The al motes f hat lay (D, By ad F) cone ack the highest ces ff he ads Ina ene the tae simply hanno, n+ pl ont "onal vay pevious melody. There isan n6Stonl, more sie move Tk Centric, Referens Collections, and Tadic Post-Tonalty 158 BY chreht oF cEFeDY ettahtorctY tc! ps sample 424 Syme argent of orn sound D Cite, Seeder Teer om, snd Stings Of 31“Somer teryen th melo an td A mee of 513) i embed in he ‘ely. and he sceson oud os tes ner ener ef eset lo. Ses te sora melo ade ropes lows mt pt “The sco pcan haan etna os mes rac noma cmc wat ore yma pes ee td vie vn) Ta eso deed Wo une: sce ‘arsine an comer fein Weeding pase mes he el, ‘Secon ine Senex sie way sith ees meio se ‘the The most panimonon Yl ning etree eres {vo common tne) ad te Ys tht es eds soy ely ome sens Signy ss parsimonious oc leading it melee wes tenes oad ne moving wo smn or one ie nk ode eso sre temo each. Contr ineaon mesa oon thee ier rund re wo fh tnt ea rome ba ne ‘al ands mio ca alvayste eden alae pees meta, "pve 10 hstraes or ade ensfomaon The ist sea Poa it ‘sates jor nmi id Conn sue peer ian she eso to ke "pC When Carmona neo vice tee), Eines (rvice ea) single vis moving by sete: Ths two ass elite theimesion a mayeCandGand exh Tesco vuntoraoiseed160 Centric, Referemal Collections, and Tadic Post Tonlity Centric, Referentia Collections, and Tadic Most-Tonaty 161, nm | oonein | Gat | ions fra ae free fae © SS TT seen cama [ne mine Example 425 Maire progression of ids Shasta, Sung Quart. 2 ‘econ novenen, nitrates 2 major and mind at contin he sme min hied—he hid of the major id becomes the root of the minor ad (ad vice Yea. In moving beeen ad fr etampl, youve aro thie ins hi ad hat profuees pasimosous vice eli wih Cravings semitone o . The rd eatsforaton i elledR, ad relies «jor a ior rid tht contain the eo [rrawtarau [tame Fie 410 ‘ame major hin. Iveing around that shared major tid wil aus ve woe 10 moe by two semitones, Moving rem Cfo for example, sate he vesioe thatexchnges Cand End moves O10 ‘These he ansomaton are widely usd in pstionl msi (nd in ae ineeen-cenury chromatic muses wel Ths thee deseo gates ‘iy the theorist Hugo Riemann and has been clboesed in contemporary ‘eo Riemannian teary Totes, we bd ote atonal antonio ta Lewin fall SLIDE. This transformation res mee sd minor iad hat she the sane thin. ike ang C- Tis tasformation involves cores meson sto ale ent (aero pu of ates) and cues two vies to meve hough ey ‘ach ove oly by ene “These ransformatioas an oct independently, ote cn be combine ino lager progressions Figure 11 lsat one important sac posi I we san wi C* and move by Pand Lit aeration we cee x eel of sin as ‘major and mine ids bait on C, Ean Each move sr he enol ‘ging single note by one semitone, the vice lending awe move aroun te {ele sas parsimonious as possible Each wd fee frm he acetic by ony a singe semitone. The ecleas a whole iets oly diferent pth clases, {andthe conespond to oe of th estan calstions HEX, « Thetis th ‘opposite each fe on he yee like Cand Gr) are known 3 soon ples ty hae no nes in common and ogeter hy exhat he heaton oeeon. “The fos heaton syste o Preyer, aed in Pape 1W62 Centricity, Referetal Collections and Talc Pos-Tonalty HEX. eee bo [ HEX nate (ets IeEnaal Aiteres ee a PLA silos in igure +12 Tice coms of he stad ee maj ed three inn) at ll saa single ph ls in ths case piccns . Each la inthe cle ils from i neighbors by only neo ta semitones, Two ofthe tris ying opposte each thera elated BS SIDE. en Adams, whos mis fle rae, x SLIDE to contect voids in amonium (ee Example 26) emo nd Einar she Gti hi and Centric, Referemal Collections, and Tadic Post-Tonality 163, c 4 Figues12 tarsi not, along wi the moth mation inthe ther vices binds opti ‘ese toaly tant chon In his opera Mion de Chin, Adams use Lo comet ids (ee Example 4-27. Allfoschordsin the wo progressions are dav om he sae heaton syste, HEX, "sot minimaia opera, Gs Einsteln o he Beach, ins ee fen ‘elite by conetal aversion and pusimaniow oie lang. Inthe propeson Shown in Example 425, ae tocar wth some eqency i the opera the Best thee chords elon othe same erstoi )ten—the store fled ty Land the second andi bya condition of Pome The fist andthe chads ne heats oles. From the A-major chr, the prog conc in oly eral fs: IV-V-. Bu even here thre oat of esol sym. {is as th Ai approach by Winds whose rot are four emitnes above ad "eow the cadena Es approached by tds whe rot te five semitones ‘Showsovieh's mas could hay be deserted ss iimaistin ay sens, bt Inako wes propresions of irds shape by cotta meron td persion soe leading the pssoge in Example 429, Ama jananosed with Femi ‘These amon ar hexatnie poles thy He oppose eachother ashes sp ‘es an tus ete exhaust he al sit cllecton The mover rom ich the passages taken mis js ew menses ao ej aoe fom ne ‘snc heaton sysom, stoma popesions of ad can be lengthy, nthe opening menses of ‘Zui’ Chamber Cone (se Example 30), There areight overpping tas ters tematng major and ino. The al aeration of Pand SLIDE res ain fri ot deseadng by serve: BA~As When A" hs ben ech the progression moves sound on ofthe etn ayes niles he eat tent pole,64 Centricity Referenial Cottons and Tisdc Pst Tonality ‘ample s-25 Progreso fwd via SLIDE (Adu Harmony, Pa) ‘There is a sini gro of works, by Stony sn ters that rete some sot of eee smbig between ids tht are etd by P, Lo Inthe ‘ase Fom Stains Symphony ar shown in Exale 431,190 Lele t- [ns (© and E) compete or poy. Te neompaimest consis only a opened ead Gx nies hat common tbh ids. That companies col! po ‘er te mele B producing or CroacingC), at the conor and yt Cenc Releential Collections and Tadic Pst Toray 168 STE jethaltcdhtcktedlitcbathidbab spusslseaeeee anes ~ os oo Iasaag aaa. Example 4-27 Tow proressont wits hentonc sytem (Adame, Mo i (hou Ath oft melody make it ard ell which is srucural and which embellishing. A en- on between Cmajoe snd Eomnoe wal is rca to his passage and ote emi ‘moremeat Thre no progression betes athe they ae poled aps. ‘hoe nase of ureoved een,16 Centricity, Referental Collections, and Tadic Fost Tnality Centricity, Refeentiat Collections and TiadicPost.Tonalily 167 a ppt eat 1 = he bexatonie poles Example 428 Pogession ih asa stem (Gs, Ease othe Beh. ample 4-29 Hextonc os Stohr, Sing Quart No.4 eed mvcmea BIBLIOGRAPHY ‘eng 0 aay ott! ao of ltl cages Ae ey ‘Si cial umany ane peed pay sno ake Syma oe feeble theron ach sn nie ne hes pe sae cen Fano Pose Opi, No, he fren ey Wl Op "How Tony ances in cnet’ Opus No.1 fh Aro Scone tt 5 (ina p.l-Sarestn Gs Rll Brn mol Schone. Dre ‘were Op 11 Sa fon Aa Sy Wetbet t ‘ompat Ms 105-3 paper pce oth Soyo aT, 1986) ae Ij prbegaic Fhe oat of 8. Se anne ape ‘sty ened mas of Sorbo’ Le Paso Pe, AAR Example 430 Propesion as Zc, Chamber Concer for Trumpet ond Pre Pser Op. No.2: Hugo Lleensn ia Frm (Cangas Har Uns Press 1951) anes ie 8: Hermans Sdn Homan nd Ragen Srneuren Mas Lp,1927 repaid 1989) sae in Sepes of sess. Se Fe Ser, Src! Hea Toa Cate Mae ihe Yk: Dove, 197 Roy Tis "Toward New Conc oy ™ ful of te Try 395), p. 287-8: Hoy Tr “Ded None In Sch td Wns Penpecesof Row Mc 4 36), pp. Bea Rete Ngo “Dssoumotnpasns Thea nd Composinl Preet” oa | ate Theory 29 (975.531 Pa Won, "Concepts Polen k's Ope 2 hae Teo pera 1985) pp. 9-4 Ae Fe, Tony, Se nS Le Ber st te Quan pe ‘Sehr Tn nn (1950, 7-20 a Bao Ted168 Centricity, Refereatal Collections, and Tadic Pos-Tonality a sample #31 Combination of Le ns (Sink, Symp Cft + mover Centricity, Referential Collection and Tadic Post Tonaliy 168 ice ening Mad of Manel Ana: Eal Tei Cony Mas onan Dash (Ona Bul ace 193 pp. 3 Sn A nd Nell Aa Pa: Siey Op hemi 2 eo ow ere Be hing Qa ot Me Tory Secon 17 (991 esi a agen To Se! en 8 8 182 Mase eases 27999) 2309. Te regen peach 5 ge ieane Baker “Stn At el ot ea pe of ‘Scheer Theory el Das Beach New Hee: Ya User Pes 19) sd Joseph Sma The Prom fPgton a Peo Mc Jara! of Mt They i (98D, 9p. I-22 Fro nw Scenerian pit fess Fd ena he dese nd wel pls yf pkgs fer ea ‘oa Pk Spee (Goes Ons Vey Pen 201) ‘The cen induce yen abc i ea eo ge Pte see sean Capone Bele User of Calan Pres 199), eso Eat ‘Ante The Muse of Ble Bart? A Sof Taaliy nd Proven ‘een Cony sie Bey Uivesy of Calo Pes 196) Fp Lame, Cot Toon raf ws 30 CR), Pie atria eco a nt nid ‘Theor “Savina Osan’ Resa Me They Sram 2m G02 pp 02 ih dicate aster pan separ Arba eg ee ‘tre remo ck mint iy sp ofr ‘The ae of rainy New Hae: Ye User Pes 98) See ihrd ‘en, sy an hey PA hy fe as Tia ‘cite se Eliot Asal, The of Bl Bal sod Ran Cr ‘Rents Samii Sait Mae Ap de of Sr ‘Otier Messin modes flied wamspostion” See The Technige of My Musical ange ns. Sere Par: Alpe Lee, 196) pp. Se, ‘ryt tena yee" Msc Qvorry 317 10am The Ope ‘Aton es sone ee: ates Uae Eas Pe 198) St ‘Ste Bohne hacnl Cle sn Sys Ely al aa f te ‘Aneel Scien 3198), 9p. 784 Be Mean ho170 Centricity, Referental Collections ad TriadicPost-Tonlity {jks Compositional Resouces inthe Music of Charles Ive Misic Theory ‘Spc 21 (050 p82 a Richart Cot, "Prgerit nd Gey Msosinsly it Se" Souma of Mae Fer 3 (0980 pp 18, 2 concer wh pasion Woe ean a comentario wd he ‘ent ouguig nolnaian te Anog te founda abo this we efile by Ror Cee: “Mscnaly Sox Ce, Hetane Sytms an the Ams of Lae Rona Tae Popes” Mae Aas Tie Toon Represent doa of Me Toy (987). pe Sgae Dances wt tea ef Peo) 12198) pp 2896 ‘ares Ne-lemnan Ty A Suey and Hea Penge ara of se Tr 4198p 6-2 te ep ‘Set eel of as Tory indo Ram ay Exercises THEORY 1. tevesionl ani: vein symmetrical sete mop oot themselves under “T,L The ax of syne forsachaset new 8 Foresch af the followings, deen if they ae iverson y= etic they are fin the aso aks) ney. [lasa) B (io24) © (123.489) @ paatiss) © tid © 2360.10) Conic test phen sett re symm and the Following air tes). Gite yor siver normal or. =a) 4 tanto 1. Reterent callecions 1 Foreach ofthe arg colons dissed in his chap (e stenc tts wholeone, an eratons cole) do the flovng ‘Comparer nenal eto. Centricity, Referential Collections, and Tadic Pos-Tnalty 171 |b Compare hem with regio trnspostns sd inveronl sy Compare them wit ear te he chords they ons. To do this, you wil have o ext al of hecho sete an ny he etches to which hy belong, 2. Write tte following sae, 2 DMiolyian OCT, berining on G CTY eying on G 1. Wr, Begining on 1 HEX, beponing 00 A 3 ens each of te folowing colton, wing nomenlatie presented SSS IL, Tac wansfomatons: Majors minor ids canbe cones with 9 a ty of wansformatons that eons contexte! inversion wih voce eaing pasion 1 Apply wie wansfomatonras ini Pca) Brey ele)