This piece is based on pitch set classes 01346, 0124, and 014 as well as their respective inversions and transformations. The piece is set in an ABA’-like form and explores the versatility of the clarinet.
In the beginning, the piano introduces the theme of 01346 and following measure presents a chord of 0124 with the melody harking back to tonality by using an unprepared suspension. These set classes form the A part of the piece. Measures 3 and 4 presents 02356 in the treble while its inversion, 01346, plays in the bass. Consolidating it as one idea, the first four measures ends with descending tritones. Interlocking eight notes featuring 01346 and 0124 alternate between the treble and bass in the ascending material in measures 5 to 7 and ends on 0124 with D-sharp in the treble. Out of this D-sharp, …show more content…
The peak reaches when the clarinet begins the flutter-tongue and concludes in the next measure with diminuendo while introducing 014 and its inversion, 034. Both pitch classes will be the basis of the next section (B section).
Using the idea of pitch-class inversion in the B section, the clarinet plays 014 and its inversion 034. The groupings and pitches relate to each other by revolving around a certain axis. For example, the clarinet in measure 10 features an axis on C. This can also be viewed as I0 by taking the first and last pitches of the measure, thereby finding them map onto one another. Measures 11 to 16 follow this idea and revolve around the pitch class clock (I1 to I6). Similarly, the piano starts at I0 where the D-sharp of the piano maps onto the A of the clarinet and in contrast to the clarinet part, the pitches in the piano revolve around the clock counter-clockwise (I11 to I6). Both in measure 10 and 16 (I0 and I6), the pitches are also
In the beginning, the piano introduces the theme of 01346 and following measure presents a chord of 0124 with the melody harking back to tonality by using an unprepared suspension. These set classes form the A part of the piece. Measures 3 and 4 presents 02356 in the treble while its inversion, 01346, plays in the bass. Consolidating it as one idea, the first four measures ends with descending tritones. Interlocking eight notes featuring 01346 and 0124 alternate between the treble and bass in the ascending material in measures 5 to 7 and ends on 0124 with D-sharp in the treble. Out of this D-sharp, …show more content…
The peak reaches when the clarinet begins the flutter-tongue and concludes in the next measure with diminuendo while introducing 014 and its inversion, 034. Both pitch classes will be the basis of the next section (B section).
Using the idea of pitch-class inversion in the B section, the clarinet plays 014 and its inversion 034. The groupings and pitches relate to each other by revolving around a certain axis. For example, the clarinet in measure 10 features an axis on C. This can also be viewed as I0 by taking the first and last pitches of the measure, thereby finding them map onto one another. Measures 11 to 16 follow this idea and revolve around the pitch class clock (I1 to I6). Similarly, the piano starts at I0 where the D-sharp of the piano maps onto the A of the clarinet and in contrast to the clarinet part, the pitches in the piano revolve around the clock counter-clockwise (I11 to I6). Both in measure 10 and 16 (I0 and I6), the pitches are also