Wallace Bartok

Symmetrical Interval Sets and Derivative Pitch Materials in Bartok's String Quartet No.
3 Author(s): Wallace Berry Source: Perspectives of New Music, Vol. 18, No. 1/2 (Autumn, 1979 - Summer, 1980), pp. 287379 Published by: Perspectives of New Music Stable URL: http://www.jstor.org/stable/832989 . Accessed: 19/07/2013 05:02
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SYMMETRICAL INTERVAL SETS AND DERIVATIVE PITCH MATERIALS IN BARTOK'S STRING QUARTET NO. 3
BERRY WALLACE
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letter is usedfor reference topitch-class The italic (PC); staff notation, capital for theoctaves letters numerals or lowercase from (with superscript ascending in the second middlec-c1), forspecific Specific pitchreferences. pitches belowc' aredenoted letters. octave byuppercase
SYMMETRICAL INTERVAL SETS AND DERIVATIVE PITCH MATERIALS IN BARTOK'S STRING QUARTET NO. 3
WALLACE BERRY
While its explicitfunctions are oftenproblematic, can be tonality demonstrated to be a potentorganizing factorthroughvirtually all of as in its fivecompanions, the 'tonal' Bart6k'smusic.In the third quartet, oflinesandvertical affiliations areofprimary implications pitch importance. while is as such not a ofthisstudy, central concern it seems Thus, tonality to giveexplicit in prefatory and in comment, necessary acknowledgement, to a fewmanifestations ofquasi-tonal illustration, representative analytical function. If such function is moreproblematic in thethird thanin quartet the first of vitalimportance, whatever therangeof two,it is nevertheless of its particular Thus, the broad plausible interpretations applications. referential of C#1is immediately in its appearance evident as significance the'root'ofcadential sonorities theprima as concluding parteandthework a whole.
2The term to refer to thecentral roleofa particular is meant 'function' PC, that PC as 'root',as the focal, structure and at timesan harmonic having in thissense,tonal'function' is seenhereas oflinear motions; orienting point in preparations analogousto thatof the tonicand its subsidiary distinctly in important of whileof coursedeparting conventional particulars tonality, application.
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291 in thequartet can be of quasi-tonal function of thenature Something and to motivic in which treat as a illustrated, perspective generative underlying At the same time,it can be sketches. interval sets,in a few interpretive are identifiable not onlyas of quasi-tonal thatfactors centrality suggested and forexample, : butas specific pitches: pitch-classes, of pitch-registral one of quasi-tonal This principle, specificity centrality of in anyfullconsideration bearsexploration of pitch-class, and notmerely in evident the least it is a principle at the work's'tonality'; tentatively and successiontowardthe examplesof quasi-tonalfunction2 following (PC) C#,and thepitchC# as citedabove. pitch-class
on of a chromatic tetrachord The initiating consisting 'pedal'complex is the less is of apparent descending C# palpablesignificance; immediately first violin oftheopening theforeground linear phrase, sequenceunderlying 5th above the sustained a sequence directedtowardG#, the clarifying 'tonic'root(Ex. 1).
at thework's oftonalorientation Thereis thusa persuasive expression of the introductory in bothcomponents of the texture phrase, inception, in a strongly voicecontrolled directed themoving (fundamentally conjunct) linearsuccessionwhichis onlyone of manyexamplesof its kindin the violinlinewhichfollows, thefirst forfurther (Consider, quartet. example, at m. 83-in its own termsof mm. 7-21, or the cello phrasebeginning with concurrent voices descenttowardC#, and in interaction forceful a few other We consider on then ). examplesof B# may (concluding A#, within tonal circumstances, differing particular, relatively explicit expression and ofotherlevelsof structure.
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293 The section beginningat m. 66, and extendingto the relatively is made above, is unequivocalcello arrivalat m. 87, to whichreference in its ambivalence betweentendencies of tonal ambiguity and striking a processofexploitation relative (i.e., transitory 'resolution') clarity during of one of the work's to be a subjectof treatment laterin cellularmotives, thispaper.It is notpossibleto treat in adequatedetailthedevicesof tonal area, as rootemphasisaccordedC#,F#, and G# in thisdevelopmental in 'chordal'structures as well as in relations of imitative prominences entries. A glimpse of thesetendencies can be seen in thefollowing sketch, in which Bart6k's of 'neutral' (in purposeful opposition relatively complexes whichthetritone is muchinvolved) withrelatively 'focal'points(C#, F#, in isolated, and in therelations of occurrences, compositionally singled-out imitative entriesat m. 84) is vivid.(See Ex. 23.)
of thispassage (Comparethechordsof mm. 53-64, and the orientations and C and and their enharmonic toward, on, F#, equivalents.)
The fugato of theseconda and has as itsbasis partehas A as its'tonic', an interval set (scale) of fundamental in the That set, importance quartet. which hasextensive within treatment this is illustrated concern, major paper's in Ex. 3, together withits transposition (t7), thebasis up sevensemitones forthesubject'sanswers in thefugato exposition.
This collectionis symmetrical in a sense to be definedlater [the interval itsinferable axialcenter sequenceis (2)-2-1-2-1-2-(2)], C#andthat of its duplication in the quartet's tonal centrality t7G#,PCs of primary embraceten PCs, primaparte. Moreover,the set and its transposition in and its forms. fundamental lacking onlyC# G# these,
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295 of A in the initiating The 'tonicization' (s. p., m. subjectstatement its first as thesubject's of: itsemphatic assertion attack, 242) is theresult its of course and insistent as the subject'sconcludingpitch, repetition theelaborate theansweron E (m. 246, cello),notto mention return after m. far back as of least as and at of the 194, which A, fugato, preparation of harmonic succession a quasiquasi-dominants, paced inaugurates broadly with the the latterin 'firstinversion', and quasi-tonics, subdominants, theinitiating subject parte'sC#as bass. Withall ofthisas precedent, prima actof 'tonicization'. and moresubtle, statement revealsstillanother,
This statement, byitsown'reduction', quotedin Ex. 4, is accompanied in 'imitation' is in modified it enhanced form which a derivative 'doubling', by of directions and of interaction of restricted changing 'angles' contrapuntal be the in Ex. 4, in whichcan seen are represented These relations relation. in m. 245, wherethe of the viola's reiteration critical tonally departures affirmative in a and PCs G# tonally clarifying, appear complementary C# of the subject'stwopenultimate alteration pitches-the G# 'leading-tone' 4 alsoindicates initsresolutive, function. Example tonicizing potent especially in the viola's part, of motivations implicit voice-leading contrapuntal the already in which the functional succession factors by significant A is enhanced as 'tonic'. established to quasi-tonal hereof a higher As a finalreference function, level,an of view of the bass the essential broad, pitches prima extremely telescopic in its of function show the broad central would C#(especially registral parte as C#, two leger lines below the bass clef) in a numberof specificity whichwill be an underlying recurrences. Moreover, principle prolonging intwopentatonic interval as 'black-white'opposition characterized (itssource G attheconclusion inthejuxtaposition ofC#and setsgiveninEx. 6i ) persists of theprimaparte. of these examplesand references For all of the relativeclarity (by intoBart6k's is afforded of meansof inquiry whichillustration quasi-tonal is predictably muchof the work'spitchstructure functions), problematic of tonal to 'tonality', the withrespect opposition ambiguity although shaping is in itself a telling withrelative (oftencadential)clarity aspectof 'tonal' structure.
4,
from a 4A sole exception, ofEx. 6d, maybe seenas issuing thepentachord in Ex. 6c. the source, hexachord, 'major' generic represented symmetrical as 2-(2+ 1)-2-2, wouldbe regarded inverted. Thus,3-2-2-3
297 A secondand very ofpitchrelations in theBartok important principle in certainscalar has alreadybeen implied:the basis of pitchstructures formulations liketheheptachord citedin Ex. 3, or thetetrachord givenas Ex. 5a. Such collections of can course be-and have been-viewed, and referred the 'major'tetrachord to, in variousways.Thus, forexample, (Cto as to itsconstituent or D-E-F,ifit is on C) can be referred PCs, C-D-E-F, in a unique,simplest ordered from 0-2-4-5, quite apart arrangement, any of C, in whichthesmallest tonicimplications intervals its possible separate Or sucha setmight elements. be identified numerical byan assigned symbol, or other, to distinguish itfrom In suchmodesofreference other collections. theset'stransposition is seen as a discrete form: forexample, theset 4-6-8is a duplication to theprototype 'reducible' 9 (E-F#-G#-A) one in 0-2-4-5, whichPC numbers can be seen as derivedby the addition of a constant oftransposition). and retrograde forms can (here,4, theinterval (Inversion of coursebe viewedas derivedthrough of PC numbers complementation and ordernumbers in well defined processeswhichneed not be reviewed in thepresent further context.) A further modeofreference to sucha setis withrespect to itsinterval content viewedas to the sequence of intervals (or interval-class, IC) (as distinct from theset'svector of totalIC content) from occurring degreeto when the set is in its when it is form-i.e., degree disposed 'simplest' ordered so thatthe intervallic in that linear in are their spaces disposition smallest or so thattheintervallic distance forms, encompassed bythesetis reduced to itssmallest than potential range.In thissense,Ex. 5a is 'simpler' Ex. 5b; Ex. 5a represents the majortetrachord in its simplest, definitive form.
ofthetonicpotential of C or F, is (Again,theissueoftonalfunction, besidethe present and othergerminative collections point.)Tetrachordal citedas basic in theBart6k are citedin their forms in this sense.4 simplest
to such a collection Reference as to its interval sequencein simplest form a modeofidentification in a sensemoreabstract thanthatof suggests PC names or numbers-one in which the 'major' tetrachord mightbe referred to as 2-2-1, theintegers the ofintervals interior denoting succession to thesetdisposed in itssimplest form. in whichsuch (A modeofreference a collection is simply identified as No. 1-would of bychosensymbol--e.g., coursebe comparably but wouldin no waybe suggestive of the 'abstract', set'scontent.) the direct of the abstract 2Beyond applicability designation
5Ordering in thesequence'interior' to thescalarset is of of the intervals of 10 or 11 wheresuch a set spansa 7th (the distance courseproblematic in a subsequent octave: as to repeat itself andthenis so structured semitones) In such that of Ex. is a like where 3 cases, i.e., 'begins' problematic. heptachord form is seenas 'interior' tothesetin its'definitive' oftheintervals theordering tonalfactors in thework, as stemming from to demonstrable (as applications as to compositional withthe conventional majorscale), and/or applications affirm criteria theinitiating inherent reflect which (All three symmetries. directly sets ofA and E in thetwosetsof Ex. 3.) Mostof theunderlying functions andtetrachords. trichords discussed hereare,or arereducible to,symmetrical in symmetrical form are 6Examples ofscalarsetsnotstatable , ?
7
a and
form of orcomplementary one semitone up,or bya compound Transposed that distance.
299 such a nomenclature 2-1 to the entirerangeof potential transposition, further visiblesuch a property as theset's 'symmetry', makesimmediately or 'asymmetry'. thebasic(in a sense'source') connections between Moreover, set and such permutations as the mirror (in the foregoing case, 1-2-2,or visible. Pitch within materials discrete formal 2-2-1)areimmediately segments in the Bart6kquartetare attributable to certaininterval sets, variously as to relations to germinative or derivative sets,whichcan be 'explained' viewedas fundamental and vertical units,the sourcesof lines,motives, in muchof thework. complexes in the sense that the These collectionsare as a rule 'symmetrical' of intervallic havethecommon characteristic sequences interior quantities5 one sideofa central that axisis themirror oftheother. Thus,a symmetrical in interval set(e.g., C-D-F-G)is identical structure from (i.e., 2-3-2)viewed either direction. The setgivenin Ex. 3 is symmetrical in thissense: 2-1-2in thequartet.The 'pentatonic' set is 1-2, and it is exceedingly important ifordered notin itssimplest form as defined, 3-2-2-3, symmetrical although a major6th.6 encompassing forcombinatorial association [Such a set has,of course,thepotential withits transpositions at certainlevels,assumingit is not largerthan a hexachord: and itsfivetranspositions e.g., C-D-F-G byICs, 1, 4, and 6 (i.e., on C#or B, E or G#,andF#). It willbe suggested thatBart6k can be seen in the thirdquartetto adoptin certaindegreesthe (often'black-white') of such combinatorial the 3-2-2-3set of Ex. 6i opposition pairs(consider and the transposition, set 3-2-2-3is tl,7 shownwithit). The 'pentatonic' also appliedin opposition to itscombinatorially related at the transposition at with textural tritone, t6, (in view of distinct bitonal differentiations) to be noted.] implications The balanceofthisstudy is devoted to thediscussion ofextracts from thequartet in demonstration of the applicability of certain interval setsas 'sources'ofpitchstructures. Such applications notas to ultimate are,often, intervallic content (in thevector sense),but maybe withrespect potential to interval in in the itssimplest set form. Thus, it will ordering designated be suggested thatwhileBartok's structures can in certain instances be seen as groupings of interval-classes in thebasicsetin question, inherent without to simplest the applicability of the (Ex. 42b, and others), respect ordering set is oftenof 'motivic'fidelity to its interior interval That is, ordering. Bart6k from derives thebasiccollections linesthatrunalongthe commonly interval of the set as form, contiguous sequence germinative in itssimplest seen in many of theexamples whichfollow.
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301 interval interior The ordered, sequenceof theset-e.g., 2-2-1forthe andreference. identification -will be adopted as a basisfor tetrachord 'major' in a secondoctavemaybe represented (as in PC duplication parenthetically in in extension Ex. 3) whereit is inferable the set's parentheses practice; or itsincipience suchextension bysymmetrical mayalso be usedto suggest twoPC sometimes one and sometimes Pointsofaxis,involving repetitions. Where a in of sets. encircled the are often elements, principle representations itstheoretical continuation outonly is carried ofextension potential partially, the finalinterval the integer is suggested denoting by ellipsesfollowing (i.e., -2 . . =-2, et cetera).Stemsand beamsare used actually represented or germinative subsetsor to significant recurrent to draw attention only in or another The choice of one transposition subunits. othersignificant or maybe the notation, the actual PC contentshown,is oftenarbitrary, of are Underscored to a particular relevant importance examples application. Wherea in thequartet;thosefollowed significance. by'?' are of uncertain out in carried is not actually or derivation extension of potential principle to haveno itis becauseitis adjudged ofEx. 6, which thespecimens follows, or 1-2-1 as of the set the extension in work the 1-2-1-2-1, (e.g., significance is materials for set of 'sources' the While 1-2-1-1-2-1). pitch following limited consideration theforegoing, from concern treated as a distinct apart are byno it willbe clearthatthetwoapproaches of quasi-tonal functions, it has been notedthatthe set 2-1-2-1-2 meansexclusive:already (Ex. 3) tonal in seconda in the its has, implications. parte,strong applications as to howa are at timesthebasisforjudgment Indeed,tonalconsiderations to intervalused numbers are those set'begins'. represent commonly Finally, 2 for themajor2ndor itsenharmonic thesemitone, classes:1 for equivalents, in all its forms.As a rule, the sets are etc., through6 for the tritone ofa intervals to thesmaller restricted 3. In something 1, 2, andoccasionally a outlines discussion the circumstance, plausible following 'chicken-and-egg' views. alternate whileat timessuggesting processes 'path'ofgenerative
as theoverall It is possible to viewthesymmetrical, 'major'hexachord 2-2-1 as it does the 'major' tetrachord, material, containing progenitor as wellas, withitsownmirror inversion, 1-2-2), (overlapped bytwodegrees 'minor' the symmetrical in its middlefour degrees (or two intervals), tetrachord.
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As to the'major' anditsmirror, tetrachord, 2-2-1, 1-2-2, overlapped to form thesymmetrical is the hexachord there 2-2-1-2-2, byone degree further of extension of the tetrachord defined as by possibility juxtaposition, its or with of inversion8 the duplication linking superposition transposed in theinitiating established this interval oneofthose unit--in case2 or 1. 1 is of no apparent in the Whilejuxtaposition byinterval significance 2 can as of the interval be the source quartet, juxtaposition by regarded very inEx. 3. (See Ex. 6b.) factor identified important already Thehexachord two of as anoverlapping 2-2-1-2-2, by regarded degrees 'minor' 2the'major' anditsmirror has the tetrachord tetrachord, (Ex.6a), its it in as middle can thus also be as the 1-2, subset; regarded 'originating' 'minor' ofone degree tetrachord extended (interval 2) in byoverlapping eachdirection with itsbasisinthe2-1-2 would set, (Ex. 6c). Thisprocess, thus alsobe seenas 'source' for theimportant 3-2-2-3 (Ex.6d). pentachord The latter otherwise viewed as the'major' hexachord 2is,as noted earlier, 2-1-2-2 itsthird seeExx.6a and6d. (2- 3 -2-2); lacking degree 2+1
forregarding Therearepractical reasons the'minor' the tetrachord, as germinative Notonly doesitgenerate material. the 2-1-2, symmetrical inEx. 6c, hexachord, 2-2-1-2-2, 'major' symmetrical bytheruleillustrated but it contains, from either 5 in one extremity, proceeding byinterval 2 in and interval or the 2 or other the 3 direction, (5 31), extremely motivic inEx. 6e. ideaillustrated important
An important andvariation ofthe2-1-2 is its tetrachord application extension an (Ex. 6f),forming bytranspositions overlapped byonedegree intervallic resource evident as the basisof certain linesin thequartet. Theseextensions attimes tobeconsiderable; totheextent that itis appear out in carried Ex. 6f, itcanalsoberegarded as embodying, ina symmetrical the2-2-1-2-2 with itstransposition hexachord (ofEx. 6c) together complex, intervals-as thus: (att5)overlapped illustrated; bythree degrees-two
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305 Because of its relevanceto certainpitch structures in the quartet intervalset 2-3-2 mightbe noted (illustratedlater), the symmetrical in a sensean expansion at thispoint, ofthe2 - 3 formuparenthetically (1+2) lationnotedin Ex. 6e, and a subsetofthepentachord givenas Ex. 6d. That interval set(2-3-2)has twooccurrences in the'major'hexachord 2-2-1-2-2, one thetransposition of as in the seen Ex. other, (t2) 6g.
an incipient basedon the2-1-2set(cf.Ex. 6f)contains Further, 'string' the symmetrical set withits trans'pentatonic' 3-2-2-3(Ex. 6d) together Ex. (t5). (See 6h.) position
Note should also be takenof the symmetrical formulation (Ex. 6i) whichincludesthepentachord withits ('combinatorially' 3-2-2-3together in thequartet as a manifestation related) (tl): it is important transposition of 'bitonal'oppositions of pitchstructures of parallelinterval but content in 'black-white' exclusive PC content juxtapositions.
ofthegerminative 'minor' 2-1-2bytwodegrees tetrachord Overlapping one of thequartet's mostimportant the (one interval) materials, produces hexachord in connection discussed withEx. 3. Example6j shows 2-1-2-1-2, thehexachordal as wellas itsextension, form, 2-1-2-1-2, (2)-2-1-2-1-2-(2), as appliedin the quartet'ssecondaparte. (See Ex. 4.) The lattercan be otherthanas an extension ofthe2-1-2-1-2 hexachord regarded, emanating from the 2-1-2tetrachord as deriving from the bytwodegrees, overlapped 2-2-1juxtaposed withits inversion, the 1-2-2,yielding 'major'tetrachord same important set,as notedearlier (see Ex. 6b).
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inturn, the Theset2-1-2-1-2, important symmetrical exceedingly yields in the of structure a recurrently source tetrachord 1-2-1, pitch applicable a is included Ex. there In its as parenthetically quartet. representation 6k, motive ofthe set's interval-class beamed delineation 3-1, occurring component inboth directions.
with The 2-1-2 (see Ex. 6f),yields byonedegree overlapping string, in Ex. 61. Thatpentachord as shown thesymmetrical 1-2-2-1, pentachord 2-2-1 from tetrachord canalsoberegarded the as deriving overlapped 'major' inEx. 61. shown with itsinversion (twointervals)-also bythree degrees
as theoverlapping The set 1-2-2-1-2-2-1 (Ex. 6m) is derived bytwo 1-2-2-1 oftheset oftheforegoing 1-2-2-1. Andthejuxtaposition degrees which with itstransposition a nine-PC set,1-2-2-1-2-1-2-2-1, (t8)produces 2hexachord of the canbe regarded as a further source important possible in the form with as 1-2-1-2 Exx. its 6b,j) together (cf. applied expanded
seconda quartet's parte(Ex. 6n).
2-1-2-1A thesis could alsobedeveloped the hexachord that important 2 [orheptachord as itunderlies thefugato ofthe (2)-2-1-2-1-2-(2), quartet's is itself sets seconda a basisforderivative, andfurther parte] generative, (Ex. 7).
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A wordshouldbe interposed at thispointregarding theprinciples, or forms of thegenerative in Ex. 6, setsare derived rules,bywhichextended as wellas somefurther observations suchgenerative sets(often concerning themselves. tetrachords) Of theeightpossible tetrachordal of permutations involving orderings threecontiguous in theBartokare ICs 1 and 2, byfarthemostsignificant 1-2-1and 2-1-2(Ex. 8). The anomalous1-1-2and 2-1the'opposite' forms 1 do not, so far as it has been possibleto determine, have significant The chromatic and the whole-tone tetrachord, 1-1-1, tetrachord, application. albeit and 2-2-2,have limited significance, very explicit appreciable impact at certain as derivative thangenerative rather times,and maybe regarded wheretheyare briefly forms as maythe 'major'tetrachord and applicable, itsinversion, 2-2-1<-> 1-2-2, whichcan also be regarded as generative, as notedearlier.
One rule of extension (for effecting derivativeforms)is that of of a tetrachord its and to form a symmetrical superimposition transposition unitin whichthe interval of juncture, is one of thoseof the usuallyIC2, set. relation The within the isoneofmirror germinative inversion, composite or if the germinative set is itselfsymmetrical, each component mirrors itself at thesametimethatthisproperty is relevant to (is itsown inversion) theextended, derivative unit(See Ex. 9a).
A secondrule is thatof overlapping byone, two,or threedegreesto form or pentachords, derivative, as hexachords, symmetrical heptachords, in Ex. 9b and in segments illustrated of Ex. 6. In thissense,the 'natural minor' scale is a derivative of the'minor' tetrachord 2-1-2.
in PC [Two such modesofextension mayproducevariants equivalent content.For example,given a symmetrical derivative by superposition
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311 in PC content to thereturn oftheinitial PC, itwillbe equivalent extending in whichthe form one to a form derived by degree--that byoverlapping seen in the For sets are is the axis PC (Ex. 10). part, greater duplicated as generating lines in whichIC successionis, as distinct present analysis so thatone or the of significance, fromPC contentor broadIC vector, to a 'better' sourcein a given be otherof such PC equivalents mayappear of lines as to the as Thus, opposed to vertical application. generating in whichtwosuchforms arenotequivalent, interval succession, complexes, ofPC content.] in importance ofequivalence thefactor commonly surpasses
in the The issue of relationsof PC contentarises only limitedly of the thata pointis madebyBart6k as in thesuggestion present analysis, of 'combinatorial' certain deliberate alignments-setstotally opposition in interval structure. (See the opposed in PC contentwhile duplicative in Ex. 6i.) illustrated for'black-white' potential opposition in whilecommonly Moreover, specific functioning lines,maintaining the motivic with discernible and interval succession, significance, readily function set the citedmaterials (especially tetrachordal 1-2-1)occasionally intervallic andpitch-class as IC and PC 'source'setsin thework, generating texture. the relations multidirectionally through
in the quartetwith(in citations We maybegina seriesof analytical 2'minor' to thesymmetrical some degreearbitrary) reference tetrachord, motivic derivative its and its as well as 1-2, extensions, important extremely in Ex. 6e. As indicated (one of relatively specific up-down configurations) arejustthat: thisseriesofexamples itmustbe emphasized thatthey begins, selected various sources of based on the derivative materials cited, specimens of taken for illustration principles. passages suggested
l.C(, o.17) (pp., mm. 16)
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are ac9As oftenin Bart6k, anomalies of enharmonic notation apparent todiffering its countable levels offunction: theinitial bb/a#lis a case inpoint; ithasa longer-range tob1, immediate relation relation is toa', while functional which thelineultimately from tog# (Ex. 1) descends four 10Most is thatthe set 2-1-2 is statedby the violin'sfirst significant as wellas inthenext three with thebasspedal.Itcanalsobe seen-not pitches, in view of the six measures'aggregate content-on six other surprisingly ofthe the 2-1-2 'roots'. andproximate form seton eight Thus,adjacent pitches sounded PCs. oftwelve aggregate
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313 has beenmadeto thequartet's Reference introductory phrase(mm. 1bars will be thesubjectof and these as to function, 6) opening quasi-tonal intervallic content. with andcellular inconnection motivic further reference is an of In general, it can be notedherethattheopening exposition phrase in the 'pedal' tetrachord of twelvePCs: a chromatic the full aggregate the remaining, voices (on C#), withthe violinmelody compleunfolding with resource as that set of nine PCs. Given (and many aggregate mentary collectionsof eight to twelvePCs noted in subsequentexamples)it is or othersubsetcan be deduced; obviousthatevery tetrachordal, trichordal, must contentin subsetgroupings intervallic of meaningful observations to adjacentor concurrent occurrences PC attacks. refer therefore ofrelated as notedin Contentas to thederivative 2-3 (Ex. 6e) is especially striking, in with to the fullminor Ex. 17a, but a case can be made passing respect and most tetrachord manifestations, 2-1-2,whichhas important especially of first line in of the four PCs the the interrelation obviously moving ofthe first violin(Ex. 11)9 (In one of the following instancesa citedPC, G#, in mm. relations Otherviewsof interval-class occursonlyproximately.)10 1-6 aregivenin laterexamples.
in Ex. of 2-1-2tetrachords illustrated The extended derivative string of thesein theseconda 12 can be seen as thebasisfortheinitial statement ofthegerminative is thetotalaggregate, butoccurrences parte.PC content of one degreeare demand its extensions 2-1-2 tetrachord by overlaping as to adjacenciesin the linearstreamsof individual onstrated voices,'in of as to voices the are identified theexampleparticular complex segments For the as intervallic bases. to whichtheyrelate in the Bart6kexposition oftheseconda measures is to thefirst reference moment, thirty-nine parte.
4^ 13(.'2.,
m, 40,49)
315 ofmaterials A striking oftheaboveis thedelineation feature relatively ofwhich vivid a the axial around center, cl, particularly feature equidistant in is theemployment of thePCs D, Eb, andA, Bb in thetrills. Significant F andF# as is thatbetween is theG, Gb ambivalence, the'upper'segment in the'lower'. of 2-1-2tetrachords can be seen as an overlapping Comparably, string of the m. 40. Again, discretesegments a model for the area following the and are run the voices individual model, of along segments quartet's collections. toward 'black-white' often distributions basisforopposed ofPCs, of thesegment on In thepresent opposition examplethereis considerable a kindof 'pitch-class (here, counterpoint' C# withthaton A, effecting in much of the work. whichis prevalent certainduplications) involving A to G is symbolized to with that from B ofthesetfrom This opposition C# in the insistence on the G#, A dyad with which the passage is much 40-44 and 52-54): moreover, thesearetheaxialPCs for (mm. preoccupied of thestring thecitedmodel.In therepresentation (Ex. 13) someportions to theextract inquestion. as irrelevant ofthe2-1-2components areomitted be notedis Bart6k's thatmight 'modulation' A striking feature precipitate in mm.47-48, thentoward themiddle lowersegments toward thestring's in in Ex. in viola and cello in 13). (quoted part segment 48-49,
.4.14 (4.P., mm.277-305)

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As a further of comparable material is (Ex. 14) reference example made tomm.277-300(cited inconnection with a different interval 2set, ata later ofsmaller oflinerelated to 1-2-1-2, point). Suggestions segments small ofthemodel aretraced inthe from segments only partially quotation m. 295. Such PC oppositions as F, F#andB, Bb, inherent in octaveof the are in the work spanning and,indeed, segments string, exploited felt.Whilethe conclusion of the quotedexample(and the palpably continuation tom. 316 oftheseconda canbe seenas embodying an parte) ofthewhole-tone tetrachord also can be as 2-2-2, emergence they regarded within the 2-1-2 for in the successions as, example, 'leaping' string, Bb-CD-E andF-G-A-B.
The 2-1-2 tetrachord with a single canbe overlapping byonedegree seenas thebasisofmm.329ff., which in contrast to a appear preceding chromatic Themotives: are (mm. 340-41) densely 334-35, passage. based on diatonic as indicated, whilePC content is discretely segments otherwise toembrace extended thesymmetrically G andE#(Ex. disposed ofnine content PCs excludes two of 15).Resultant D, C, andB7,thelatter insistent in the bars (342ff.). importance following
A 2-1-2string, with of five byone degree, overlapping component canbe seenas basis for thefirst violin at m. segments, beginning 94 ofthe codaandthesecond violin from m.99 (Ex. 16).
16) 4.17a. (B.?,Xmm. (cf. 4^11)
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The preceding barsof theviolins, and theviolaand cello partsin this of thecoda, are also relevant to thisresource-again,notmerely segment as to PC content, but as to derivation on the basis of successionswithin of the model. The first violin'sDn (see Ex. 16) poses a component parts to the viola questionwhichcan onlybe touchedin passing,also relevant and cello lines-of-chords between mm. 84 and 105 (compare m. 42 of the coda and,ultimately, thecello themewithwhichtheseconda partebegins). The resource fortheviola and cello partsin thissection can be interpreted set of ninePCs: (A#), C#,D#, E, F#, (1) as to an expanded symmetrical combined withthe G#,A, B, (D); (2) as having originin the 2-1-2string chromatic violins in the or (1-1-1) tetrachords 84ff.; (3) as by expressed to the 2-1-2 with of such inherent chromatic conformant string, exploitation ambivalences as theD#, D relation, and theA#,A pair.Throughout this resourceis, in general,seen in one of its most passage the 2-1-2-2-1-2 contexts. explicit
limited noteis takenhereof the 2-1-2tetrachord as source Onlyvery oftheimportant formulation motivic 2-3,and itsconsequent configurations 5 3 (or reverse) and 5 2 (or reverse); see Ex. 6e. But a fewexamples of of thisderivative-especially manifestations less obviousones-are given. is theset 2-2-1-2-2 and thederivative in [Also relevant 2-3-2,represented Ex. 6g anddiscussed The composition ofthe2-1-2tetrachord seenas later.] to occurrences ofthe2-3 motivic in bothdirections formulation (again,Ex. is one of the most factors thebroadimportance 6e) persuasive underscoring of thattetrachord in thequartet. The critical, in some waysevasiveand difficult, opening phrasemust to of be cited as the this construct. The again important genesis following are relevant. The initiating twoappearances of the 3-2 factor speculations to formthe 2-1-2 tetrachord, as already overlaprelatively unequivocally noted.Elementsin Ex. 17a are represented as PCs, not consistently as it should be that in discussion the pitches.Again emphasized present as in others,is of IC proximities-usually connection, adjacenciesand notofoverall simultaneities-and here thetotal chromatic content, embracing aggregate. violin'sstarting notescan also be interpreted as bringing the [The first motive out in a kindof'evolving' an 'interim' form (Ex. 17b) through (2-1-) in theconfiguration three 2t34(or reverse), to times, appearing preliminary form(5t 3p) on F/E#in definitive the immediately 'expanded', following mm.4-5. In thisregard, see also mm.20-21.]
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321
as thoseof mm.7ff., and 35ff., in Such explicit statements 27ff., inthe in tonumerous as well as other addition others sections, prima parte inthese butnotem. 33,where arenotcited four examples; transpositions ofthe3-2trichord areexplicit within theresource ofthe3-2-2-3 pentachord onA (A-C-D-E-G) ina complex ofinsistent directness (Ex. 18).
as is The chords arealsorelevant, m. 54 ofthe prima parte following their in and c mm. 19b 50-53 (Ex. 19a). Examples provide preparation inwhich further references the3-2derivative canbe seen.
A comparable inviolaandsecond lineoccurs violin toward theendof the the 4ths where of and 5ths (IC5) extends prima parte, predominance intoaccompanying ofthe3-2,2-3factor voices-a clueto theinfluence inEx. 19c.1 thetexture. Someofthese relations areindicated throughout
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323 The motivic formulation whichis thebasisforthepreceding examples of one the and many is, indeed, resources, quartet'smost omnipresent further instancesof its applications of mightbe cited: it is important, its at at m. and in the course,in thericapitulazione 32ff.) (e.g., beginning, coda (m. 34, m. 43ff. and m.118). Its presenceis felt (and is clearly not merely in fact,pitchstructures are deducible)wherever, appreciable, built in 4ths, 5ths, 2nds, (ICs 5, 2), such structures here as regarded of the 3-2 IC set and its parent2-1-2; or of the combinative expressions the 2-3-2IC set discussedin the following sectionas derived from form, and hexachord 2-2-1-2-2 Ex. (embedded duplicated in) the (see 6g); or the 'pentatonic' the 3-2-2-3 materials, (see Ex. 6h). In all of thesefundamental is a distinctive, and distinguishing, 3-2 formulation factor;the foregoing in Bartok'spitch structures that its applications examplesdemonstrate reachfarbeyond itsimportant melodicconfiguration IC5t 3 (or 2\).
A number of the examples which follow show the symmetrical hexachord (2-2-1-2-2) and/or pentachord(3-2-2-3) in 'combinatorial' in whathas beencharacterized often hereas deliberate 'blackassociation, white'opposition;subsequently, the derivative 2-3-2,a basis forfurther motivicformulations of the kind discussedin the preceding section,is illustrated. theextremely close relations Example20 notes,in passing, by whichanyof thesematerials can be construed to generate theothers.
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325 the most ofthe andtextural-rhythmic Byfar example opposition striking the oftwocombinatorially associated 'black', separation pentachords-one other'white'-occurs in the the early following relatively prima parte, first chromatic to andin severe contrast dense, score, pageoftheprinted the first 26 measures. 21 is a representation ofthe Example following passage m.26,inwhich ofsharply isevident the'counterpoint' PC content opposed atonce, as is theexplicit motivic content: 5t31, 7$51,etc.
is a passage inwhich, while theupper voices unfold directly Following a fully set (theoctachord chromatic F#,G, G#,A, A#,B, C, C#),the lower(viola,cello)express in Ex. 21 (see Ex. 22a). therelation shown Thesetwo voices alsoproject intheforegoing themotive discussed section in oneofitsmost iterative contexts: IC as 51 3N-3+ naked, 24-2f5t, purely illustrated inEx. 22b.
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notwithout The interior deviance. principle againintofocus, although ofthat section more chromatic (mm. 93-102) other, segment closing brings into materials settobediscussed the1-2-1 later); operation (including yet, iscontinued there ofessentially combinatorial sets, opposition pentachordal tothe even inwhich toG. final C#andG#areopposed sonority persisting
The closingsectionof theprimaparte(see mm. 87-109) brings this
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329 to the same principle The quartet'sconclusionis also relevant (Ex. in the shown are sets of'black-white' 24). Interpretations following opposed in thecoda's finalbars.In the'black'pentachord of PC content summation on D#, thePC F#is omitted (as wasthecase in theprima parte's comparable is for that its omission it is to mm. at 87-109); easy speculate passage of G# reasonsof tonalclarity. Thus, the strong (together representation of C# as fortifies the ultimate withthe absenceof F#) greatly emergence 'tonic'. unequivocal
in in thatcontext set 2-3-2, discussed to an interval Example6g refers as a combinative It can also be regarded to the 'major'hexachord. relation derivative of themotivic 2-3 (or 32-3, 3-2 (Ex. 25a) or as, liketherelated a segment of the'pentatonic' scale (Ex. 25b). 2) trichord,
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331 chromatic of the set 2-3-2,in a highly The moststriking application In this of the is at mm. 47-53 passage, 2-3-2 is primaparte. complex, manifest set, takinghowevera consistent verymuch as an interval-class in a series of'diagonal' relations at 2J,thenat 1l form: 7; 2f91.It is imitated at t levelswhichbringaboutcombinatorial and 3J, withits occurrences twototal chromatic of'black-white' associations (often effecting opposition) thePC levelsofreiteration as pointed out in Ex. 26. Moreover, aggregates, discussed ofthechords which follow, (unfold, layout)thePC content prepare withEx. 23. The viola'sBb, C, Eb (mm. 49-50) are earlierin connection F (sustained thefirst violin's bestviewedas 'continuing' f2)in an extension of the 2-3-2resource, as indicated.
to the 2-3-2 reference Otherexampleswill not be citedwithspecific but can be seen in relationto the associatedsets (which formulation, earlier. to the 2-3-2)discussed related includeor can be seen as otherwise mm. 408-14 of or m. 87ff. the for m. 54 (cello) See, primaparte, example, ofthesecondaparte, or thequartet's bars;or see Ex. 19b or Ex. concluding 23, above.
2-1-2-1hexachord at thispointto theimportant We turn symmetrical to thisresource, 2 [or, (2)-2-1-2-1-2-(2)]; Exx. 3, 4, 6j and 7 are relevant Exx. 6b and 7 show in thesecondaparte.Moreover, manifest particularly of the set six degrees formed as the internal the hexachord bythe 'major' with2 as theinterval 1-2-2superposed of 2-2-1and itsinversion tetrachord it as the 2-1-2tetrachord with overlapped juncture. Example6j represents in whichsomeof a seriesof examples itself bytwodegrees.There follows ofextracts from thequartet. itsvariousapplications are citedin analysis
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from the 2-1-2-1-2 of theseconda set occursin thefugato explicitly parte,
incertain demonstrable Although exposed configurations (e.g.,inthe mirrored of theviolin lineandthesame 2-3 at thesummit immediately line'scadential see Ex. 27) it seems the2-1-2-1-2 doubtful that trichord; resource has significant in thequartet's manifestation andprobcrucial, The most of definitive materials lematic, phrase. opening exposition deriving
as noted inExx.3 and4. Comment ismade below manifestations concerning of thesetin approaches to thefugato, where insistent (andemergence) of the critical A E are at the PCs and same time 'pedal' applications tonally inevidence, much inpitch both ofE-rooted iteration andiniteration chords andA-rooted 'scales' ofanalogous structure. the (In thefugato exposition, most of the 2-1-2-1-2 derivative set an A-rooted explicit subject appears: answered byanE-rooted subject.)
It is wellto notein passing thederivative ofthefewbars structure theinitiating statement: of these consist immediately preceding subject ofthepitch iterations a andanE-rooted butatmm. chord; quasi-dominant adumbration ofthe 233-35 lines, aborted, moving quickly give approaching in that include the A tremolando sustained subject configurations pedal (a1, in theviola)in addition tocoursing within the sulponticello up anddown model inEx. 28. illustrated
Thefugato itself second the critical (m.242ff., violin) subject expresses features of the 2-1-2-1-2 set: its two tritones and two distinguishing in the initial, diminished triads mirrored and its symmetry, segments; inthenoted andalsointhebroad on the expressed mirroring convergence on central interval and the axial That critical (2) C#. C# implied tonally intheanswer's oftheset, G ) is important inthe focal (later, transposition tonal actions oftheaccompanying countersubject's implied counterpoint, inEx.4. Significantly, as treated three offour two PCsofthe tritones ofthe answer from are absent the initial collection. PC (m. 246ff., cello) transposed Someof the important of the 2-1-2-1-2 set,and of its initial qualities
2.29 mirrored irifonie anddiminished in Vhe friadj inherent jet

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he 10 of the set and iti IPCd at IC7 exclude the transposition - the a%ial and # C% tonally PCgin thequartt central ao a whole
for the whole-tone That the 2-1-2-1-2set can be regardedas progenitor m. 80 is in certainof the lines of the passages following successionsprominent in the form(2)-2-1-2-1-2-(2), for2-2-2-2succession-as evidentin itspotential, in the PC succession Eb-F-G-A-Bif the set is on A, as in the fugatosubject. is at timesto ones, reference discussion,as in preceding Since, in the following to noteagain thatin such instances PC scope, it is important setsofconsiderable the quartet'smaterialsare seen as derivedsuccessions of specificintervalsactual segments of scales and scalar derivativesseen as (often extended) models-not merelyas to IC contentdispersedand unordered.Still, smaller sets, like the derivative1-2-1-e.g., B-C-D-Eb-will be discussed as the basis interval-class materials ofconsistent ofderivative forsuch dispersals formulations, as was the 2-3-2 set, forexample,in connectionwithEx. 26.
12
335 in subject in Ex. 29. The aresummarized statement, application graphically readerwill see, on even cursory of the development which examination followsthe fugatoexposition formulations, (m. 256ff.),manyderivative some fragmentary. Certainof these have specific analysisin connection withlaterexamples.
The area of thesecondapartefollowing m. 80 is (within thepresent one of most the and a developpurview) quartet's intriguing problematic: on mental of the work's 'all' scalar resources and fundamental derivatives, play chromatic (1-1-1. ..) as well as whole-tone (2-2includingthe directly 1-2-1(whichlies at thecenterof the 2-1-2-1-2 2... ), and the tetrachord in a number oflargeareas)andwhichis decisively formulation, prevalent of all of whichmorelater.The 2-1-2tetrachord its and strings, discussed theviolinsat mm. 131-38. are relevant heretoo: see, forexample, earlier, It maywell be thatthe 2-1-2-1-2 in explicit whichemerges resource, in the is here, with, joinedto, predominance fugato, incipient alternating in or a of to derivative constant fluctuation materials, opposed contrasting to intervallicand motivicformulations reference having more stable in other, of thework.12 less fluctuant exposition motivically segments
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337 in theviolin forexample, set can be seen as emergent, The 2-1-2-1-2 to whole-tone m. references 95, (derivative?) by compromised following andsemitonal successions. The lineoftheviolins in formulations continues of the 2-1-2-1-2 on G#; thenonconformant D# at itsregistral suggestive summit is a link,perhaps, withthe 2-1-2string centered on (2-1-2-2-1-2, viola andcello,or as evidence of theinterposition, at C# ) of theconjoined of 1-1 times direct semitonal limited to at the succession-here, prevalent, to thehighest thisareaoffluctuant, approach pitch. Throughout variegated scalarand motivic the formulations 2-1-2-1references, (e.g., C#-D#-Eofthatsame F#-Gin theviolaat mm. 112-14) and 1-2-1(e.g.,D#-E-F#-G are of the 2-1-2-1-2. succession) vividly representative 'parent' The 2-1-2-1-2 set is in further evidenceat m. 127ff.(cello,viola,on as theB#/CPC of m. (cello,viola,on C#). Such deviants G#) and 130ff. the 1-2-1motivic-cellular derivative whichtakeson a tentative, 133 express in thissection, existence in discrete function quasi-independent assuming otherareasto be seen. (Note too thesuccession
-A E#-F#-G# G#-A-B-C
1-2-1
1-2-1
ofcello and viola at 135-38.) Othergroupings
to thefamiliar 2-1-2string, are traceable at m. 131ff., in the very explicit first on E. violin, in mm. 149-60, where Example30 tracescomparable developments 2-1-2-1-2 manifestations are bracketed: 'pure' theyoccur on A and F#. 'deviant' areencircled. Of course,thesequenceA-BChromatic, groupings C-D is attributable to either transposition. Chromatic can be viewed(a) as symmetrically components disposed of 2-1-2-1-2 in extensions sets on A and F#-an interpretation fortified withtheseton A, and F, E. and thatAb, G, and F#appearin association with on that as to an overall 10-PC resourceof (Ex. 30b); (b) D# F# in 1-2-2-1 two the 2-1-2-1-2 and superposed pentachords pairscontaining in it centered factors betweenthe two (Ex. 30c); or (c) as 'interchanged' in the'linear sets: 2 PCs ofeach occurring environments' oftheother[two embrace10 PCs, excluding sets,on A andF#, themselves (2)-2-1-2-1-2-(2) view,see Ex. 30d. onlyBb and C#]. As to thelatter The 2-1-2-1-2 on set, B, G, E, andA, can be seen as thebasisofmm. seconda ofgeneral ofthe2-1187-93 (again, parte)in a context prevalence 2 string in Ex. of linesnot represented (on Bb and Eb). Further segments inexpression ofthesubset insubsequent treated atlength 31 arerelated 1-2-1, examples.
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The moving lines(as opposedto 'harmonic' in mm.217successions) in immediate ofthefugato, can be seen 29 oftheseconda parte, anticipation as largely basedon 2-1-2-1-2 setson A and C, or on thederivative in string whichthetwosetsare overlapped four Pitches of the (Ex. 32a). by degrees violinsat 219-21 (excluding of theC-rooted Gb, a component set) express on G, which,withthe E set prominent the 2-1-2-1-2 in preceding bars and in the bars with the (186ff.) arising Bb set following (233ff.), together in stated the viola of 233ff., relations within an inclusive briefly suggests model of the sort given as Ex. 32b-an extensionof the stringwith offour with 'roots' (Such a string, overlapping degrees. component dividing theoctaveequally, itself a after further The discussed repeats step. excerpt hereemploys twoof threesuch strings.) there is no real consideration in thesediscussions of source [While materials as they at levels of of structure-i.e., analogous might apply 'higher' small units and comprising pitchrelations interconnecting larger,more essentialsuccessions of parallelcontent, it might be notedin passingthat thedescent of thesecondviolinin mm.222-29, accompanied bythequasidominant chordal iterations which the is and by fugato directly approached, fortified and doublings withthefirst more violin, bydiagonalinteractions tracesthe 2-1-2-1-2 formulation on A. (See Ex. 32c.)] broadly underlying There is further at a later in this discussion analysis stage concerning theextensive on the at m. oftheseconda 255ff. development subject fugato stretto since (at ) at 265-69 can be notedin passing, parte;buttheintense it affords to the 2-1-2-1-2as well as the continuing explicitreference initiated at the upbeatto 270 (violin 1), a punta d'arco,at subjectmirror the same timeinterval of stretto imitation. This latter 'spinsoff'its final
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341 motive ofthework's in (another 5f21configuration) application underlying a seriesof fluctuant 2-1-2-1-2 allusionsalternating withothermaterials in mm. 275-94 (see especially the second violin at 289-95). This motive, of transpositional at a number levelsand in imitation at in the occurring citedpassage,is indicated in Ex. 33. thecoda is as such thesubjectof laterreference, of certain Although its evidences of the 2-1-2-1-2 set can be notedbriefly. The cello line from m. 31 (from d#') is a simplecase in point(Ex. 34). So is thelowestcello voice fromm. 43, viewed beyondthe immediate as to its foreground 'structural' Forfurther, relevant Ex. 35 illustration, pitches: F#-G#-A-B-c. theviolaat mm.53-54. The interval succession or -12-1-2-1-, quotesfrom of this resource. 2-1-2,is invariably suggestive Also pertinent to the 2-1-2-1-2 is the mobile(yet,in a broader sense, ofthecoda. 3 Here,in alternation with static) passageat m. 55ff. 'pure'1-21 statements not represented in the following example,and occurring on accumulative intervallic formulations areinterpretable as 2-1B, largely as constituted of a modelof the 2-1-2-1-2 2-1-2-based, overlapped byone at IC8 (Ex. 36). This model can also be degree with its transposition froman extended2-1-2 stringon A, and other expressedas extracted could be adduced.Example36 includesparenthetically the interpretations in whichD andE, lacking in the 10-PCcitedresource chords, punctuating fortheactivepassages,are introduced.
A number of references have already been made to pitchstructures traceable to theset 1-2-1, related to (sourceof?derivative of?)the2-1-2-1its relation to 2-1-2-1-2 withthestatement thatit is a 2; maybe described subsetlying within a 'radius'oftwodegrees oftheaxis. (See Exx. 6j, k,and 7.) The IC-set1-2-1is significant in allfour s major divisions. ofthequartet It is, in a sense, 'opposite'to the important like it 2-1-2, yieldsa 2-1-2; motivic in manifest both directions: 2-1-2 --> or -> 2-3, 3-2; 1-2-1 entity or is relevant as 1-3, 3-1 (see Ex. 37). The derivative 1-3(or itsinversion) an interval-class set yieldingstructures-horizontal, vertical-of great of interval and registral size,direction, flexibility placement.
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343 oftheBart6k mostvividly to thisresource relevant Amongthesections are: primaparte,mm. 43-46, 72-87 (and preceding), and 93-96; seconda 65-end; and parte, 242-69 (and beyond),and 342-400; ricapitulazione, coda, 55-77; these are notedas perhapsthe mostexplicitand extensive there aremany others oflesssingular andexplicit, manifestations, although or passing, some of them discussed. implications, already It is extremely to speculateconcerning the 1-2-1set in interesting in earliest Its genesismaywellbe viewed emergence thequartet's phrases. as occurring in mm. 3-4. To see thatcritical openingphrasein a further it can be noted that a fundamental motivic and light, shape-evolves (perhaps in progressively widerintervallic a trend units, thatcan be seen as continuing most of theprimaparte). If we through number thefirst twelve theinitial ofa#',but pitches, omitting duplication of other than that immediate one,we can including repetitions pitch single makethefollowing, relevant observations: 1 - 2 - 3 (2t 3); 3 4 - 5 (2\3t); 4 5 - 6 (31 2); 5 - 6- 7 (2j3f). [The subsequent 8- 9- 10- 11 - 12 have been cited as to the succession 2 t motivic 5 t31,etc.).] 33 3 2(the already And within thefirst sevenattacks, the initial againexcluding duplication, the 1-2-1set is in emergence: noteespecially thesuccession 4 - 5 - 6 - 7 as theset 1-2-1(i.e., reordered G, G#,A#,B). Example38 is a representation of thesefactors.
-
'covert' manifestations of the 1-2-1set (at timesbetter seen Relatively as 3-1, 1-3) in the sectionimmediately the introductory following phrase are represented as specimens in Ex. 39, in Bart6k's rhythmic alignments.
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Meastres 43-46 oftheprima unequivocal expression partearethefirst ofthe 1-2-1set.Whilechromatic andoctachords (1-1-1)tetrachords pertain in the mirrored, m. vertical relations 43: A, Bb, B, C, D, F, directly (e.g., or m. which'opens 45: situation F#,G,' G#,A, A#, B, C, Db, D, Eb)-a out' in the 2-3-2 collections whichfollow(see Ex. 26), the 1-2-1set of is clearly in horizontal anddiagonalreadings relations evident ofthedoubly imitative lines(imitative at contracting timeintervals of J , J, J).Following mostexplicit of the 1-2-1,thatset continues the initial, to be exposition in 'interactions' of thelines,in a relative manifest (Ex. 40). 'dispersion'
In thecello at mm.64 and 71, the 1-2-1assumesa particular 'motivic' IC form;thiscan be seen in the PC successionA# - A - F#, a specific which to in of in a number areas the complex quartet. emerges predominate drawn Example41a quotestheviolaandcelloat mm.68-71, withattention to thecello of m. 69 as an important motivic f 11 . No configuration--3 exhaustive ofthismaterial, is attempted anymorethanofothers, recounting are againto be readas specimens. here,and citedexamples
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in Bart6k's treatment The 1-2-1and itsderivative 1-3, 3-1 undergoes in important ways parallel to that of the 2-1-2 (or the developments resources the and derivative 1-3,3-1 2-3, 3-2: themotivic set) 'pentatonic' of the formeras an and2-3,3-2-thelatter perhaps interpretable 'expansion' ofthequartet, in all parts each ofthemassuming areofprimary significance distinctive characteristic, configurations. in m. 72ff. form The 3 t11 motivic notedaboveprevails (and againat m. 84ff.-not quotedhere).In thenextexample(41b) onlya fewbarsare theconsiderable related an interesting, point: supplementary, givenas basisfor levels of the motivicunit form extentto whichorderedtranspositional of which are further manifestations sets parallel contiguous, higher-level, the 1-2-1and itsderivative 1-3,3-1.
It is interesting to notethatEx. 40 (p. p., m. 43) represents the 1-2-1 setin imitation whenthesetappears in at thesamet levelsas are to pertain in thefugato the 2-1-2-1-2 of the its-perhaps-contextof 'origin'within secondaparte. There, the 'countersubjects' (viola, m. 242ff.or violin 1, and violin have been discussed 246ff.; 2, 247ff.) (Ex 4 and accompanying in whichtwo as to (1) tonally conditioned comment) implied voice-leading PCs external to theunderlying setareofdecisive function: C#,G#;and(2) its thematic as a slowermoving,reducedformof the subject, function in a sense'imitating' the it at changing similarly expressing set'ssymmetry, Within too relations. the it should be considered concern, diagonal present as to itsexpressions of the'isolated'(and in someof itsforms persuasively as a natural ofitsmimicry ofthe2-1exposed)1-2-1:thefirst consequence 2-1-2subject, morecovert, thesecondintroducing manifestayetinsistent, tions(Ex. 42a).
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The anomalousconcluding areasof theseconda m. 329) parte(from areat times 1-2-1 of the with chromatic set,alternating exceedingly suggestive materials (i.e., 1-1-1 . .) and at timescombinedinto denselychromatic collections of as manyas 10 PCs (see Ex. 43) nonetheless appliedin ways virtue of both associations linear and strike the that, vertical, by proximate ear withrecurrent times reminders (at constant, multidirectional) explicit of the 1-2-1(and 1-3,3-1)underlying resource. The concluding sectionof the secondaparte can be characterized as one of progressive tendency toward chromatic content ('chromatic' seen,again,as a matter increasingly of degreerelating to thefrequency and consistency of occurrence within a setof thesuccession1-1... ). In the area following m. 361, the 1-2-1 is increasingly dominant, with chromatic materials readily increasingly yetalternating perceptible, E G of mm. or E# F$ 363-64, (e.g., D#comparable glissando Of significant, in thisconnection and potent, are theff, 'motives'). import down-bow on C, C#,a recurrent attacks 1-2-1utterance ruvido, becoming basedin an 'evolutionary' in in mm. 1-2-1 which the 374-77, development is finally extended to embraceincreasingly chromatic successions.(Even then,as at mm. 378-83, 1-2-1setson B, C, C#,and D are kepttexturally discrete.) thescore(s. p., mm.383-95) to showcertain Example43 quotesfrom of these explicitmanifestations of the 1-2-1 resourceand its 3-1, 1-3 derivatives.
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could be made in the 1-2-1 Passages in the coda to whichreference and at its are mm. 55-57 (wherethe 1-2-1 set is constant, connection and mm.72familiar PC levelon B); mm.57-72 (whereitis intermittent); Two less overt in addition to areasof 2-1-2-1-2 77 (constant), application. can be foundin mm. 24-33 and 43-55 of thecoda. In the manifestations 'bitonal'area, mm. 24-35, the cello is tonally opposedto uppervoices,as on in the'black-white' wellas in somedegree sense,andin itsconcentration the 2-1-2string (on G#, C#,F#) intowhichthe set 1-2-1is interposed, to the otherwise of the PCs B# and G, external markedby occurrence 2-1-2string. predominant ofthecoda as, in significant a viewof a segment Example36 presents in of the 1-2-1tetrachord 2-1-2-1-2 on a modeled string which, course, part, in thatcontext. In is prominent, appreciable application havingrecurrent, that connectiontwo additional pointscan be made: Bartok'sextremely 2-1-2and 1thetetrachords between activelinescan be seen as alternating for at 2-1 (at timesexclusively, as in thefirst violin, example, mm.66-68; and itsinversion: withthemajortetrachord at timesin combination 2-2-1, thistetrachordal anda second, related content; 1-2-2).Example44 indicates at another, of the 1-2-1 tetrachord point suggestspossibleapplicability in if the That of level structure is, 45). (Ex. highpoints pitchare higher found to the 1-2-1, or are this active traced configure passage,they through lines riseand fall,with of 1-1-1 . (Bartok's combination an overlapped 1-2-1 related thanand conjunctly each ascentto a pitchhigher to,thepreceding, e3 and d3its semitonal to the d#3 neighbors prolongation-with up of the measures to the 38 quartet). concluding applicable
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353 in the mostcursory Measures 71-84 are, as is apparent view,a vital on these materials. Measures 71-76 manifest area of concentration an 1-2-1 with the at the levels two exclusive set PC F# (the B, preoccupation in theseconda levelsassociated withits'definitive' occurrence fugato parte), theuppervoicesfirst, and Co. As to mm. 77-84, it is wellto consider and thelowervoicessignificantly in relation to theuppervoices.A summary of in the in violins' active a number of a reveals, pitches parts lights, development on thesets 1-2-1and 2-1-2,as wellas an explicit oftheinclusive application 2-1-2-1-2 as the 'synthesis' of these.The secondviolinduplicates thefirst, at tl 1, in a canon at 1, ; the structure of thiscanonicvoice,givenin Ex. of symmetrical subsets 46a, showsa symmetrical composite compounded to whichwe have referred.
ofthecanonas to a number of internal content Example46 'interprets' itscomponent subsets.(It can be seen,forexample, as a waysof regarding 'octatonic' succession,as in Ex. 46a, or (Ex. 46b) as the self-duplicating of 2-1-2-1-2 (bytwoor four overlapped degrees)string sets.) Itcanbeviewed as theset2-1-2 orsuperposed overlapped bytwodegrees, withits transposition at IC6, withIC1 as the interval of juncture(Ex. or superposed at t6 46c). It is also theset 1-2-1overlapped bytwodegrees, withIC2 as theinterval ofjuncture ofthe (Ex. 46d). Or, itis thealternation 1-2-1 and 2-1-2 (Ex. 46e). These tetrachords fundamentally important relations as functional in component maybe suggestive oftheset2-1-2-1-2 thegenesisof its components 1-2-1and 2-1-2, independently treated by Bart6kas generators forderivative in variousareasof the pitchstructures or conversely of 2-1-2-1-2 as thecomposite quartet, suggestive amalgamof tetrachords. In these two,symmetrical, event, germinative any important, functional interrelations are persuasively in the exposed,and summarized, coda. It is possiblethatthe unequivocal, consistent emphasison the 1-2-1 in theimmediately tetrachord mm.72-76conditions thecognition preceding of thesubsequent linesas to thecentrality of thatresource. The set 1-2-1, in the sectionas a whole(c., mm. 72-84) appears, at all PC interestingly, levelsexcept critical basis A, C, andDo. These threePCs are (1) a partial, forthe viola and cello parts,as discussedbelow; and (2) the PCs given as cadential prominent exposure byvirtue of their functions highpointsin and reascending, violinlines of mm. 77-84. We pitch in the ascending, have alreadynoted that the last of these,d#3, undergoesprolongation to theend of the work.We have also noted(Ex. 45) thatthese extending manifestation ofthe 1-2-1 highpointsare themselves partof a higher-level formulation.
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14In this
355 oftheviolaandcello 'select' figures Duringthispassage,theglissando related PCs of the violinlines.(To a and doublecertain crucial,tritonally It seemsthatthisis one as as well extent double marked PCs.) they pitches on keytritones ofandemphasis ofthelowervoices-the extraction function 2-1-2and oftheviolins' theintervals oftransposition component reflecting in theviolins 1-2-1sets.These tritones (and (Ex. 46f)haveagogicemphasis as a further of can be seenbeyond theimmediate exposition the foreground doubledin thelower ... set,as seen in Ex. 46f); thetwotritones 1-2-1-2-1 basis. of whole-tone a further voicesconstitute symmetry suggestive of the lowervoices shouldbe notedparA secondcriticalfunction toward successtion thatof tonal-harmonic C# (Ex. 46g).14 enthetically:
in the work collections Otherkindsof intervallic havingsignificance Most in varying of these have been should be considered briefly. degrees in The noted passing. 'whole-tone' collection as (2-2-2... ) can be defined explicitto the extentthe succession2-2...pertains, althoughit is likely that true whole-tone character requiresthatsuccessionto the extentof into three(intothefourth IC6). That succession (2-2-2.. ) can be degree, relevant IC set, by anyof a number of about,givena particular brought 'rules' of overlap,superposition form),expansionor (with a transposed etc. But we have notedthatit is incipient contraction, deletion, extension, in the2-1-2-1-2 to theoctave,as applied in theseconda setextended parteof the quartet:(2)-2-1-2-1-2-(2), as the set repeatsitself in a secondoctave. in thework(see Exx. 52, 53) are suggestive Some whole-tone occurrences of thatsource. ofconsistent A setmay totheextent be defined as chromatic succession 1-1... and a set maybe characterized as totally chromatic whenno other or relatively chromatic IC successionpertai;ns, to the (or nonchromatic) of contiguous extentof the number of IC pairs 1-1. (Again, anynumber 'rules'couldbe adducedas to thegenesisof chromatic setsfrom or others, in' oftheimportant others from sets:e.g., the'filling 1-2-1with chromatic itsaxis produces thesuccession1-1-1-1.) In the 2-1-2 string, to whichconsiderable attention has been given withrespect to its underlying in thequartet, othertetrachordal functions
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357 can be seen and larger successions can of coursebe noted-e.g., thestring set 1-2or ofthepentachordal 2-2-1, (Ex. 47) as one of'major'tetrachords, 2-1 overlapped It that bothof seems two interval 1). likely by degrees(by thesehave subsidiary in thequartet. function
The string ofthree2-1-2components has theimportant characteristic of incorporating a singlechromatic relation: i.e., the relation B-Bb ifthe on as in Within illustrated Ex. 47. that A, string begins scope (of three there the occur two for Bart6k: B-F, components) tritones--of significance of'effect' as 2-1-2,2-1-2,2-1-2as opposedto 2-2-1, E-Bb. Such distinctions func2-2-1,2-2-1dependon compositional (wherethestring, applications a as linear whether the tioning 'model', produces segments): applied segment is initiated 2-1or 2-2in melodic ofsuchcharacteristics extracts; prevalence as thetritone the set 1-2-2-1) and such factors (e.g., delimiting pertaining to thestructures ofdiscrete of the in model segments occurring composed lines. More simply, the successionbased on the component 2-1-2 has a 'minor'sound,thatbased on the 2-2-1a 'major'sound,and thatexposing the1-2-2-1 a 'tritonal' where suchdistinctions areinfact sound, appreciable. There follow certain and references to these which observations examples are relevant. The 'simplest' in the sense thateach of them collections-simplest containsbut a single IC-are considered first:1-1-1..., 2-2-2..., the 'chromatic' and 'whole-tone' sets.We havealready 1seenthata tetrachord 1-1is exposedin thepedalvoicesoftheintroductory mm. 1-6.The phrase, is 'fully' tetrachord chromatic (no IC successionotherthan 1), and it is in the strict sense,by the movingline of the first violin, complemented, whichunfolds thefully chromatic octachord A# -B# -A - G - G# -B -E# to effect within theseopening sixbarsan exposition F#,in thatorder, ofthe totalchromatic aggregate. theintroductory is an interesting there Following phrase 'counterpoint' between individuallines of relatively nonchromatic characteragainst chromatic content thetexture a collection to be, the throughout [assuming itscomponent, in at leastone important sense intervals, larger contiguous more 'distant'fromthe chromaticstate withinthe diatonic-chromatic There is totalchromatic from content the upbeatof m. 7 to spectrum].I5 theD of m. 9, from thatpointto B of m. 14, or from thebeginning of m. 21 to the G and G# of m. 22-suggesting an accelerating of 'rhythm' chromatic 'accrual'.
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At mm. 43-46, whileeach voice has a linearexpression of the 1-2-1 is evident in thefact motivic set (see Ex. 40), a densely chromatic texture 1-1-1 it in 'sliced discrete that, sets-finally, another vertically', reveals recessive theforthcoming actiontoward a 2-12-3-2dominance, projecting 2 relation in Ex. 50. Obviously, in arerepresented (in m. 46). These factors the workseen generally, is more chromatic the texture than individual is doubling of PC content; butonlyrarely is lines,exceptonlywherethere
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361 manifestwith this consistency chromaticism of semitonalsuccession combined with chromatic intratextural relation. rapidly accruing consistently twobars. The totalaggregate accrueswithin
We have discussed in certainconnections(for example, as to its manifestations of 1-2-1)theanomalousmm. 93ff.of theprima important in increasingly of stability factors in a parte-an interruption prevalent of closure is which otherwise the characterized 'black-white' process by of relatively area therewould opposition simplesets.In this'interrupting' seemto be somewhat in an 11-PCcollection chromatic succession, systematic in m. C#,untilthat'tonic'PC is, withG#,restored significantly avoiding 102 (violin 2, viola) and m. 104 (in the continuing of action the pedal of this consistent chromatic is represented succession in cello). Something Ex. 51. In this synoptic PCs are at timesgiven (without representation in Bartok'sapplications) in orderto make regardto registral placement clearer theunderlying of semitonal relation and theemergence consistency ofnearly total chromatic content within thefluctuant, deviating interruption set againstrelative tonalinertia conditioned C# pedal. bythesurrounding
Other chromatic occur.One ofthese (1-1-1.. ) manifestations features, overa G pedal,semitonal descent overtheentire chromatic with spectrum, deviations in configuration in thelight ofultimate intervallic contraction of thematic 'curve' established as thebasisforthisandother modesofvariation at theoutset oftheseconda parte.Thus, at mm.316-29 ofthesecondaparte
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363 the cello and viola have semitonal descentfromg#' to g (viola) and e the basis of the sectionimmediately PC and, (cello)-preparing following; the violins from the same ascend againstthis, chromatically pitch, g# , to to the C#3 (violin 2) and d#3 (violin 1). (Example 30 is also relevant consideration of 1-1... formulations.)
of setsis byno meansan invariable Explicit, unambiguous application rule in the quartet;yet,a numberof apparent derivations are seen as of functional intervallic collections such relatively unequivocal 'expositions' as the fugatoof the secondaparte,or pentachordal sets simply statedin certainportions of the primaparte, and the like. In the secondaparte, m. 80 (up to m. 149 oftheviolin or m. 151 ofthecelloand following parts, there occurs a of numerousintervallic viola) provocative 'development' variants of the underlying of thematic contour stated configuration bythe cello at the beginning of thesecondaparte.(The fugatosubjectis one of fluctuant situation certain sets(statedin rather these.)In thischangeable, 'scalar' are in oftenwithout evidence, straightforward, dispositions) easily identifiable thisareais worthy ofsubstantial consistency. Certainly investigationbeyond thesummary is, forexample, commentary possiblehere;there of applications evidence of important setsalready treated in (e.g., 2-1-2-1-2 thecelloat mm. 127-30,etc.).One factor that can be noted is theemergence of 2-2-2... successionsat m. 80ff.,oftencompromised or aborted. Theline stated the lower is of such (Ex. 52), voices, following by suggestive whole-tone theviolins at thesametime, notquoted, emergence; significantly thecollection express Gb -Ab - Bb - C - D - E.
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365 areoften embedded Whole-tone successions within variant formulations of For initiated in the this area 'fluctuation'. the 'scale' throughout example, violin at m. 117 can be regardedas: 2-2-2W-2-2-2 [-1-2-1].And an isalmost whole-tone hexachord stated (2-2-2-2-2) unequivocal incongruously in the cello at m. 276 (secondaparte)-in some degreereflected in other within an otherwise-based voicesin thatsinglemeasure or,a environment; further of thecello and violaat mm. 33-35 (coda): exampleis thedescent g- f-d# -c# -b (Ex. 34). An earlier discussion to 2-1-2-1-2 Ex. 34) points relations (accompanying in a middleground, of the ascent cello at mm. 43-49 (coda; see p. passing of thismotion in contrast to theprevalent 341); the continuation exhibits, set of whole-tone 2-1-2,1-2-1,and 2-1-2-1-2resources,a symmetrical theforeground at thecello's structural predominance onlyslightly beyond shift from to the ostinato B (m. 55); see Ex. 53. C# (m. 53) forthcoming
The tritonal16 set 1-2-2-1 ofthe2-1-2string (Ex. 54) lies at thecenter one in fundamental resource (of twocomponents by overlapped degree-a theBart6k);and there is at timessomesignofits'independent' as function a generative in certain of thecoda. element, especially portions
We havenotedthatan extended 2-1-2string can also be heardas a 1-22-1string in certain circumstances -in 'tritone-sounding (overlapped bytwo) situations. At m. 149ff. ofthesecondapartethechief material (as indicated in theanalysis and represented in Ex. 30) is 2-1-2-1-2 on A accompanying and F#, withperipheral chromatic in the second interjections (expecially is also relevant, thematerial to a marked violin).But 1-2-2-1 conditioning extent.
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367 The mosttelling of tritonal (in the 1-2-2-1 predominance projections or 1-2-1-2, interval characteristic as opposed to the2-1-2-1, relation, ordering 17 in coda. For 1-2-2-1 ofthe2-1-2-1-2 occur the sets formulation) example, on C# andF# (a string oftwocomponents can be seen bytwo) overlapped lineof theviolins(and,in part, theviola) at as thebasisfortheimportant mm.24-34 ofthecoda: a goodexample as ofpitchstructures interpretable to theinclusive 2-1-2string totheviewexpressed (on B, E, etc.)butsubject in Ex. 55 withrespect in thestructural to tritonal C (c4and explicit quality c3 in violin1) against F#, and G (g3andg2 in violin1) againstC . In the is of violinpartto whichreference example, quotation onlypartofthefirst is made;andoctavedoubling in violin2 and violais notincluded. (See also m. 43ff.)
A comparable situation in thesectionfollowing, wheresuch pertains obvious(tritone-dominated) in as are Ex. 56a are symmetries represented manifest. palpably
PC content inthissection ofthecoda can-in thelight ofpredominance ofthetritones from themodelof and seen as B-F, E-Bb, A-Eb-be deriving 1-2-2-1 overlapping (bytwo degrees)shownin Ex. 56b, whichincludesa of PC content, in mm. 35-42 (partsof m. 42 tritones bracketed, summary in PC structure relate to thesection which The example includes a follows). extension of the its nontritonal subsets can be seen as model; conjectured basis forsegments of concurrent voices. The string embracesthe entire chromatic D the PC is avoided until m. In circled 42). themodel, (although and not-are those relevantto Bart6k'sspecificapsegments-tritonal plications.
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in the of symmetrical IC setsof possiblesignificance Anyaccounting a imitative like that of m. must note that area chromatic, densely quartet 44ff.(primaparte)can be seen in diverseways:the consistent chromatic in directly vertical association orders (e.g., 1-1-1;A-Bb-B-C);thedominant 1-2-1in directhorizontal relation (e.g., B-C-D-Eb); but also, in diagonal or 1-5-1(Ex. 57) in addition toextensions intolarger, relation, 1-4-1,1-3-1, of setsproceeding from these. inclusive any in thedevelopment certain areapparent Finally, symmetries interesting motivic and textural m. 54 (by expansion progressive complexity) following in Ex. 58. of theprimaparte.These are represented
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at 70-71 introducein the cello the 18Measures68-69 and theirtransposition whosechords(4th structures forthesectionfollowing, motivic element involving in retentions 'black-white' counterpoint opposition)'evolve' fromthe preceding of common pitches shown by dottedlines in the example. Dotted lines also represent pitchesheld over fromone collectionto the other.
371 Reference mightalso be made to m. 65ff.,where,in a progressive imitations of themotivic immediate 6 5 10 establish a 10development, in initiating PC set lackingG# and A, functional the subsequent transThis transposition a parallel10-PCsetlacking effects B# and C#, position. in whichoccur theviola following (see Ex. 59).18
ifthepreceding 19Further basesare deducible (anacrustic?) D# andF# are intoaccount. taken
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as 2-1-2-centered in earlier references discussed The 'string' ('minor' be characterized as 2-2-1-centered can ('major' relatively rarely only sounding) be made to Ex. in this reference connection, 56b, portions might sounding); In an aforementioned of whichappear to be 2-2-1-oriented. variegated on numerous tetrachordal resources in generally development important is to m. 80ff. oftheseconda there thequartet occura (reference parte), offormulations number andcombinations byoverlapping, superposition, tocite a single Suchanoccurrence, andcontrapuntal only example, interplay. a number ofintervallic seenas totheviola thecelloalone, alone, orderings with Theselines the andthetwoindoubling.19 concurrent a form, violins, total but subunits of or direct succession aggregate; discrete, appreciable
is theviola-cello (in 3rds:MMm, Mm,MMm) at m. 146ff., doubling posing
direct linesandrhythmically doubled alignment-individual componentsare opposedin a texture of 'stacked' with intervallic components, varying structures and implications, in a kaleidoscope of fluctuant references. See, thecelloof mm. 146-50 (2-2-1-1-1-1-2-2), forexample, or violawith cello, mm. 146-48 (2-2-1-1-1-2-2, withthecello E), in whichopposition starting 2-2-1and itsinversion of the'major'tetrachord 1-2-2is of significance. In mm.212-17 oftheseconda (here,G-A-Bpartethe2-2-1tetrachord 2-2-2 the the 1-2-1 C) is pitted (here, and, C-D-E-F#) against momentarily, its most common in level the (B-C-D-Eb, work).These transpositional function a harmonic ofsignificantly ostinato against composed symmetrical ofwhich oneissuggestive ofthe A quasi-tonic, often structured formulations, on a C# bass-the A prefatory to the approaching and the C# of fugato in the quartet'soveralltonality. course functional The otheris a quasidominant ofA, referred toearlier. These factors arerepresented in Ex. 60.
In these analyses,limitedreferences have been made (as above) to harmonic elements-theirquasi-tonal functions and, to a lesserextent, of structure features and 'root'relations. certainsymmetrical The 'blackwhite'opposition of 'pentatonic' has beendiscussed (and other)collections in several thatoftheclosing section ofthe instances, primaparte. including The symmetrical in relations such in sets combinatorial implicit opposed association can be seen to pertain to specific structures harmonic (Exx. 60 and 61).
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375 A further area of fruitful in thisregard is in theseconda study parte's intermittent successions of punctuative, functional often chords, 'tonally' statedin broadharmonic an tonalrhythms, sharply defining underlying harmonic order setforth in palpably clearrelations oflinear functions-i.e., ofvoice-leading. Such an essential directed thework's toward order, primary in Ex. 62a. Its tonic,is given a synoptic representation logic of voiceis simply andpassing calculated elements, leading, through auxiliary neighbor and of persuasive, unmistakable effect.
The following octachord (lackingB, C, F, F#; see Ex. 62b) can be viewedas basis forthe harmonic element as faras m. 224, after whicha notedearlier, becomespredominant in ostinato, simpler, quasi-dominant for the focal central, preparation formally fugato.
The issue of symmetrical harmonicstructures, and of symmetrical relations factors andcontiguous is one thatis worthy 'roots', amongchordal of extensive in the Bartok,onlysuggested in the foregoing few inquiry examples.
A pointhas beenmadein thispapernotjustofinterval-class setsused as a basisfor in textural butofspecificcompositional applications dispersion, interval setsordered and extended in variousways,and discrete 'slices'of whichcan be seen as applicable to Bart6k's composition.
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377 In the first23 measuresof the coda an almosttotally symmetrical scalar succession'evolves' in imitative at Ij, involving all interaction, instrumental and of certain the parts, incorporating quartet'simportant, and derivative and otherunits.This tetrachordal, hexachordal, generative formulation be viewedas a kindof 'summation' forthework's can, indeed, intervallic-motivic relations. That 'evolution'is through a seriesof steprelated to theclimactic directed C (m. 24: c4,c3,c2) highpointsultimately of the sectionfollowing. The successionin questionis given(at thepitch levelof theviola and violin2) in Ex. 63a.
The sole anomaly in the'diagonal' oflinesis thecello'sDn duplication in the evolving (m. 3): but thecello sustains, along withits participation two-octave scalarspan,a tonally functional C pedal(as does theviola),and it is theonlypartwhoseactiverolein thecommonexposition of material in an initiating 2-1-2-1-2; beginson C (c). WiththatC, theD is a factor othervoices initiatea 2-1-2-1-2 on Eb (given iterative emphasisat the whichoverlaps withyetanother on B (represented in Ex. 63b). start),
The set2-2-1('major'tetrachord) occurson Db on Bbb (andultimately on G, intothefollowing see Ex. 63c. It also occursin superposition section); withitsinversion-earlier citedas a possible sourceofthe2-1-2-1-2: 2-2-1on Db andBbb. The inversion on occurs E. and 2-1-2-2, (1-2-2) C, Ab,
occurstwice:on C, and on Ab. There is whole-tone [The set 1-2-2-1 in therelation (2-2-2... ) potential F, G, A, B, as notedin Ex. 63d.]
379 is drawnin applications of The tetrachord 1-2-1,to whichattention on F and on the occurs C#, again generalsignificance throughout quartet, in theaforementioned 2-1-2-1-2 as central tetrachord (Ex. 63e).
has four 2-1-2 ('minor' tetrachord) The important (germinative?) on Eb, Gb, B, and D-a symmetrical whichis, likethe occurrences: array The 2-1-2'string' to theentire succession. central 2-1-2-1-2, (derivative?) has a single, central occurrence, (twocomponents, byone degree) overlapped as illustrated in Ex. 63f.
in Bart6k's Two significant to theanalysis ofpitchrelations approaches third That of have beenexplored here. tonalfunction is of marked quartet in thepresent evenifof secondary concern context. That ofIC importance as applied, and interval discrete scalar segments as sets,oftenfunctional wellas 'source' setsundergoing textural is dispersion, investigated extensively ifinconclusively. function: ofinterrelating Such setshaveclearmotivic that formal divisions in 'thematic' connections byexplicit intensely appreciable of thework.The circumstance of their theexperience generalsymmetries conditions harmonic harmonic andespecially thelayout structures, relations, of lines and line segments aroundaxial pitchesstatedor implied, or the interactions of such line segmentsaround such points.Moreover,the or chromatic of these content diatonic, diatonic), (i.e., 'reduced' pentatonic or overlapping sets-and of their'combinatorial' associations-is a vital in Bart6k's factor work. style-defining the quartet's has not While the ricapitulazione, third majordivision, in these analyses,it is of course a been treatedwith specificreference of like principles, as its designation oftenexplicitembodiment further, implies.

Wallace Bartok

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Symmetrical Interval Sets and Derivative Pitch Materials in Bartok's String Quartet No.

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