In the Baroque era, the suite was an important musical form, also known as Suite de danses, Ordre (the term favored by Franois Couperin), Partita, or Ouverture (after the theatrical "overture" which often included a series of dances) as with the orchestral suites of Christoph Graupner, Telemann and J.S. Kurth shows how the attack rhythms of t3 of P4 in m. 2 take the rhythm of t2 in the first measure and displace it to the right by an eighth note. 0.0/10 Used in the U.S. by permission of Belmont Music Publishers; used in the world excluding the U.S. by permission of European American Music Distributors Company, agent for Universal Edition AG, Vienna, Used by permission of Belmont Music Publishers and European American Music Distributors, https://doi.org/10.1017/CBO9781107110786.002, Varieties of Idea in Schoenbergs earliest twelve-tone music, Schoenbergs Serial Odyssey: The Evolution of his Twelve-Tone Method, 19141928, A Study in the Chronology of Op. As Example 2.17 shows, the six tetrachords from the two rows are interlocked, so that adjacent pitch classes in a tetrachord most often have a pitch class from the other row sounding in between. Orphe's Return. The Suite for Piano was first performed by Schoenberg's pupil Eduard Steuermann in Vienna on 25 February 1924. P4 and P10 together produce four dyad palindromes, pitch classes 71/17, 45/54, 82/28, and 1011/1110. This last way of projecting the Idea looks forward to the approach Schoenberg takes in his next twelve-tone composition, the Woodwind Quintet Op. 2122a) takes the place of P10 (mm. Each row is placed side by side with its retrograde, so that the retrograde brings back the discrete tetrachords in the same order between themselves from top to bottom as in the original, not in reverse order as a linear retrograde would. 1213, <6,5>, <3,4>, <11,10>. 1011/1110 between P10 and I4 does not create a pitch palindrome, but the first dyad is highlighted through wedge accents at the very beginning of the passage, and the second, coming at the end of the passage without any accompanying voices, seems to answer it. Example 2.39a Schoenberg, Gigue Op. 9b11a. - 35 There was an example earlier in the piece (mm. As host and performer, Gould outlines the music of the 20th century and combines it with the ideas and art of the period. By the time we reach the last part of m. 25, the identity of the row is again obscure. Often there would be two contrasting galanteries with the same name, e.g. Jazz Suite For Piano Duet By Mike Cornick - full score Sheet Music for Piano - Buy print music PR.UE021548 | Sheet Music Plus. Menuet,. Measure 45 overlaps P4 and I10 in four notes, and the groups of eight notes on either side of the overlap can be split into two palindromic dyads and two dyad invariances (as the pitch-class map in m. 45 shows). 2830 from that of mm. ADAMS, Joseph - Spanish Scenes. No. 26, composed with the same rigor, the suite is not an easy listen. 2126. Also similarly to m. 8, m. 25 places elements of the dyads {10,11}, {1,7}, {2,8}, {0,9}, {3,6}, and {4,5} in chronological or registral proximity to each other, suggesting the dyads of P4 within P10 (creating dyad exchanges). 119. A trichord palindrome is suggested in the left hand by the sequence <2, 6-above-3> on the first two eighths of m. 15, followed immediately by <6,3,2> on the third, fourth, and fifth eighths. Fast and reliable. The other two dyad palindromes are represented by only one of their members, 71 on top and 82 in the middle (having the effect of making the top and middle voices incomplete palindromes as wholes). 25, mm. Example 2.21 depicts this, using a pitch-class map below the score. Second, we hear two dyad palindromes and two dyad invariances that span the entire four-measure unit, characterizing it as horizontally symmetrical around the barline between mm. In four places, corresponding order numbers do sound as verticals (these are shaded on the pitch-class map): {0,2} formed by order position 6 in both rows on the fifth sixteenth note, {6,8} by order position 7 on the seventh sixteenth note, and two dyads that are more obvious because of their closer registral placement: {3,11} formed by order number 10 on the sixth sixteenth, and {4,10} by order number 11 on the eighth sixteenth. "GOOD to VERY GOOD CONDITION This sheet music's cover has got corner bumps, edge wear, creasing and ". The trend of imitating stage 1 of the opening subsection continues in mm. *#476820 - 20.28MB - 22:09 - 66 Suite for Piano Duo transcribed by Sergei Rachmaninov (1873-1943) - Adagio -. 2021), and then departed from. Measures 37 and 38, shown as the first two measures of Example 2.38, seem at first to be a vertical mirror of mm. Thus a harmonic connection is established between openings of different movements. The tendency toward vertical pitch symmetry continues in the right hand of m. 28, where the first eighth-note group is pitch-symmetrical around E5/F5, and the second (with the exception of G) is symmetrical around A4/B4.42 Schoenberg will continue to develop the notion of symmetry in the vertical dimension later in the Gigue, in a passage at mm. The leftmost of the two pitch-class maps shows that each of the rows, P4 (rotated T2 and split into hexachords) in the right hand and I10 (also rotated T2 and split) in the left, is partitioned in such a way that the listener could recombine their dyads into a different row, through tetrachord exchanges.34 In the right hand, the 7-above-1 vertical on the downbeat of m. 32 could be grouped with the 10-above-11 vertical on the downbeat of m. 33 to form the first tetrachord of P10, the 2-above-8 and 9-above-0 verticals that are consecutive upper-register events could be grouped together to form P10s second tetrachord, and the 6-above-3 in m. 31 and <4,5> in m. 32 (both associated with pickup gestures) could be heard together to form the third tetrachord of P10. 56a), P10 (mm. Bourree, IV. To save this book to your Kindle, first ensure coreplatform@cambridge.org 25, mm. Registrally, the three voices are again set apart from one another within limited ranges: now the bottom voice overlaps with the middle, and the top two voices are registrally distinct. This use of almost-exchange calls to mind Schoenbergs practice throughout mm. In mm. DEBUSSY - Petite Suite for piano duet. The pitches of m. 27s right hand form an almost-symmetrical collection, . Shipping cost, delivery date, and order total (including tax) shown at checkout. The cause of the broken symmetry is Schoenbergs projection in m. 50 of 6 and 5 ordered pitch intervals. The two vertical tetrachords on the downbeat of m. 37 and the last eighth of that measure are revoiced, in such a way that the two chords are no longer pitch inversions of one another. 5153s {4,5,6,10,11,0} are the pitch classes of the left hand in m. 19 and the right hand in m. 16. 38. Michail Lifits then turned to the Hagen suite and gave it, from memory, the best performance of the competition. 6 17b19: dyads created by partition of P4/I10 and I4/P10. These shapes call to mind passages like m. 13 of the Prelude Op. 1718), like the corresponding sections in a and a1, features row forms placed side by side and overlapping by one or two notes. Each row overlaps in one note with its neighbor(s). IV: Werke fr Klavier zu zwei Hnden, Kritische Bericht, Skizzen, Fragmente, ed. 14. 8 To save content items to your account, Since the 7-1 dyad of the third row, I10, is also emphasized motivically (dotted quarter G to sixteenth D in the left hand in the measures second half), m. 24 reminds us of this motives importance throughout the Prelude by multiplying occurrences of it. The two row pairs at the bottom of Example 2.4, which are not collectionally invariant, theoretically could present several dyad palindromes in the same manner as the rows higher on the chart (for example, in I10 and R10 the pitch classes 10 and 1 come back in reverse order). 12 use to project forms P10, I4, and I10 are the same as those the Intermezzo (and Gavotte) were based on, collectional exchanges expanded to embrace the hexachord as an exchangeable unit for the first time. Example 2.37 Schoenberg, Gigue Op. In this work, Schoenberg employs transpositions and inversions of the row for the first time: the sets employed are P-0, I-0, P-6, I-6 and their retrogrades. 12s Grundgestalt occurs in stages that line up with the different sections of the Menuetts form. 2126 begins and ends by following the same path as that of mm. Picture Information. No. 4 ${cardName} unavailable for quantities greater than ${maxQuantity}. Later in the Menuett, certain pairs of hexachords that come about through exchange, as well as certain contiguous hexachords of the original row, are presented in ways that make the division into hexachords just as obvious as those in mm. In subsection a, stage 2 fell into two neatly differentiated two-measure units, and stage 3 had its own measure. As for RI10 and I4, their two palindromic dyads, 25/52 and 118/811, are made less salient by distance and intervening notes from other tetrachords (Example 2.8 illustrates how 52/25 within RI10 and I4 is so obscured). The basic method of my Menuett analysis, then, will be to examine the presence or absence and effects of hexachord exchange in each segment of the piece. A row-count of m. 23 can be found in Example 2.17. Perhaps the Prelude can be thought of as a subtler example of such a borrowing. 5455. These could be references back to the Prelude, as John Buccheri has suggested, but I prefer to think of them as reminders of the axis pitch classes that the four source rows invert around, which are also the same pitch classes that provided horizontal symmetry at the Gigues beginning.44. 12s multidimensional demonstration of hexachord and tetrachord exchanges, the passage immediately following, mm. 10710; Maegaard, A Study in the Chronology of Op. A truly excellent performance of the Suite for Piano by Spanish composer Joaqun Rodrigo (1901-1999). The second main section of the piece, A, owes its label to its beginning, which is portrayed in Example 2.12. The Minuet contains a trio that is a strict canon. As has been the case with so many subsections in the Gigue, the explanation of the works first foreign element in mm. Richard Kurth hints at hearing the Prelude as a binary form when he calls the passage after the fermata in m. 16 a varied recapitulation of the opening measures, and my chart places the largest division between A and A at that point.10 Other authors have pointed out subdivisions in the form, which my chart incorporates as subsections. Gigue 5:328. These dyads are arranged pitch-class-symmetrically around 1 and 7, as the pitch-class clock on the upper left in Example 2.13c shows. --Chris Shull, Fort Worth Star-Telegram, 5/29/09. The remaining palindromes, 98/89 and 1110/1011, are hidden through a combination of registral transfer from soprano to bass and changing the first dyad of each pair into a vertical (these are not circled in the example). 2326 by Arnold Schoenberg, pp. 910 to soften the B-ness of the passage, the changes do not seem to highlight E in any significant way. 23b24a (I10), which corresponds roughly to m. 7b, the exchanges with the presentations and repetitions rows, P4 and I10, cease, and we hear only a suggestion of the first tetrachord of P10 in the top dyads of the three-note chords on the eighth notes. (-)- V/V/V - 4490 - Feldmahler, 5. Inspired in part by the Goldberg Variations and Schoenbergs solo piano music, Suite For Piano is Zorns very personal take on some of the oldest traditional classical forms. 3738 becomes <+4,+6,+3>, <+3,+3,+10> in mm. The impetus for my transcriptions from Philip Glass's Orphe came when Mr. Glass visited Lincoln, Nebraska back in 1999. 25, mm. Example 2.9 also illustrates three other dyad palindromes that are made salient by the musical surface. 1920 that we are able to understand how a rotated and partitioned form of the row can generate a hexachord exchange with another (unrotated) row form. - Example 2.10 Schoenberg, Prelude Op. In addition, an invariant dyad {2,8} seems to anchor the pitch-class symmetry in mm. Our playlist features the Trio, which is a portion of movement 5. 911. Haimo reminds the reader that Schoenbergs labels in his set table for P4 and I10 (T for Tonika and U for Umkehrung) connote tonic function, and his labels for P10 and I4 (D for Dominante and DU) connote dominant function. 25, m. 22. 1719, subsection a2, which are portrayed as Example 2.32. 18 in Schoenbergs Op. Schoenberg faithfully states six new pitch classes, half of an aggregate, in each measure {0,3,4,5,6,9} in m. 12, {1,2,7,8,10,11} in m. 13, {0,1,3,4,6,7} in m. 14, and {2,5,8,9,10,11} in m. 15. 6a and 6b 7a that are similar but not identical, while 911/119 is highlighted as longer values in m. 6a and as notes on the beat in m. 6b. The Gavotte movement contains, a parody of a baroque keyboard suite that involves the cryptogram of Bachs name as an important harmonic andmelodic device (Stuckenschmidt 1977, 108; Lewin 198283, n.9) and a related quotation of Schoenbergs op. 1213, which had different splitting points for each measure). To return now to the opening of the Menuett, my Example 2.20a provides adaptations of Peless Figures 3ce, surrounding the pertinent score excerpt. Thus one of the Gigues two main foreign elements (the <6,7> motive) is displayed according to a technique that was prevalent in the contrasting B section (vertical symmetry), to emphasize the axis pitch classes most crucial to the Suites four tone rows. But Schoenbergs main strategy here does not seem to be highlighting these palindromes; instead he uses both palindromic and ordered invariants to create a balanced relationship between P4 and I10 that Richard Kurth has already described at length.13 To summarize part of Kurths argument, the vertical dyads 45 and 32 of P4 in m. 15 are answered by 54 and 32 from I10 as horizontals in m. 16.14 Likewise, the offbeat dyads 109 and 110 of I10 in m. 15 are answered by the chord on the downbeat of m. 16 containing 910 and 110 from P4. 13). We use cookies to distinguish you from other users and to provide you with a better experience on our websites. 7172) and as a whole around E4/F4 (the E, of course, has recently been established as important by repetition of E3 in m. 68). 2324) where dyads from consecutively appearing row forms, <3,2> from I10 and and <5,4> from I4, grouped together by virtue of their low register to form the third tetrachord of I10. 38, back up to the surface of the music. 3739 b1. Each piece bears a title as well as a tempo marking. Then, at three places in the final thirty measures, Schoenberg demonstrates ways in which clearly ordered presentations of the row can be partitioned to yield the offending motive, absorbing it back into the overall pitch structure. Schoenberg highlights the first note of each tetrachord in P4 and P10 by accenting it and doubling it with a longer note value; these six pitch classes, <4,6,11,10,0,5>, if placed in normal order, {4,5,6,10,11,0}, are easily graspable as a member of set class 6-7. 6368 worth remarking upon is the strong emphasis on B (repeated three times by itself in the lowest register in mm. $3.73 + shipping. And finally, the inversion of m. 27 is transposed up one octave in m. 38, perhaps to give the entire phrase a more arch-like contour. And, partly because of the reordering, but also because it is limited to one measure, stage 3 does not display any significant pitch-class symmetries. Often, the rows are broken into tetrachords (four-note groups) that are presented either vertically, horizontally, or both. (-)- C*/C*/V* - 269 - Madcapellan, PDF scanned by Unknown the gigue preceding the sarabande. 12. Virtual Sheet Music offers Nutcracker sheet music collections ready to download and print instantly, available for just about any instrument and ensemble. In mm. In the first stage, pairs of rows in mm. 25, mm. Measures 25 and 26 are a descending half-step sequence of m. 8s cadence, using P10 in m. 25 and following it with I10, the original row from m. 8, in m. 26. 45 If the reader looks back through the Gigue, he or she will find that the palindromes between dyads in corresponding locations of mm. Thus the Trio, rather than presenting a completely unheard-of way of dividing the series, should be understood as an outgrowth of exchange procedures that involved tetrachords in the Intermezzo and Gavotte and are applied to hexachords beginning with the Menuett. Ernst Flammer calls our attention to the rest in m. 5 and the dynamic change in m. 9, and claims that the three resulting subsections create a small bar form, a larger version of the aab relations between the three tetrachords of the source row (the first two tetrachords have tritones between their third and fourth notes, the third does not).11 I have indicated these same subsections as a, b, and c on my chart. Finally, the vertical elements projecting pitch intervals 6 and 5, the disruptive elements, are given more stress than they received in mm. Each number in the example represents the corresponding order numbers of both rows, presented together as a vertical dyad. 1718, but it is not until I10s entrance in mm. 23, and BC in m. 1 leading to B (C A) B in mm. Example 2.19 shows the tetrachord exchange that begins the Intermezzo: notice that within P4 in mm. Like previous second stages, mm. But here I want to emphasize the fact that the procedures mm. 17b19 within the whole is strengthened by other palindromic shapes within the passage that seem more audible than the underlying pitch-class symmetry around {1,7}. 13336. The one feature that sets mm. Here is another way in which m. 20 solves a problem posed by earlier measures. Language links are at the top of the page across from the title. Jan Maegaard, Studien zur Entwicklung des dodekaphonen Satzes bei Arnold Schnberg, 3 vols. 34 and 36), also features row presentations that are completely de-ordered, such as those at mm. It seems that dyads arranged in vertical symmetry have finally supplanted the horizontal palindromic dyads that were so prevalent at the pieces beginning. Steuermann made a commercial recording of the work in 1957. All rights reserved. With this measure, Schoenberg has shown convincingly that lines alternating pitch intervals 6 and 7 or 6 and 5 can indeed be heard as part of an ordered tone row. Such a chronological partition of the aggregate is one of the devices that generated multiple exchanges with other row forms in mm. 18b19, m. 22 combines its pair of rows in such a way that most of the individual tetrachords are indistinguishable. 7b9a with a passage in which three rows are presented more or less simultaneously. Peles, for example, calls his readers attention to the fact that not until mm. (-)- V/V/V - 5312 - Feldmahler, 4. 25, mm. 58, the motives of the opening measures are first disassociated from the contexts they originally appeared in, and then disappear altogether, resembling the liquidations that Schoenberg described in the continuations of initial sentences in Beethoven. Example 2.46 Schoenberg, Gigue Op. And rhythmically, each voice again repeats its own unique motto within the 3/4 framework, changing slightly on the third beat to accommodate the seventh note made necessary by each voices complete palindrome. 26/62 forms the endpoints of overlapping rhythmic motives in mm. 18b19. Print length 12 pages Language English Publisher 1215 could certainly be explained as secondary harmonies with respect to the tone row. The six works are labeled Prelude, Gavotte, Musette, Intermezzo, Minuet and Gigue. In the tetrachords close vicinity are the other two pitch classes that were associated with <8,11,6,0> in m. 19, pitch classes 9 and 10, although they no longer appear below the tetrachord registrally. For fifteen years, he followed a path that led to his "discovery" of the "method of composing with twelve tones which are related only with one another." Example 2.4, pair 11, shows that R4 and RI10 together create three dyad palindromes, 910/109, 54/45, and 68/86. Find many great new & used options and get the best deals for Pinchas Zukerman - Suite For Violin And Jazz Piano - Used Vinyl Recor - H7350A at the best online prices at eBay! Example 2.11 Schoenberg, Prelude Op. 24, uses a single row in its central Sonnet. There's no missing Zorn's thumbprints (from the dive-bombing snare explosions or jump cut shifts in tempo) but the project delivers [] Example 2.22 Schoenberg, Menuett Op. 25, mm. Arnold Schoenberg's Suite for Piano (German: Suite fr Klavier), Op. The third tetrachord of I4, however, {8,9,10,11}, gives us no excuse to hear its members as a group. The ordered presentation of the dyads of P4 calls to mind other relatively ordered P4 presentations in subsections a, c, and c1. 26. Measures 17b19 constitute a climax for the Prelude in terms of dynamic and registral extremes, and also in terms of complexity of row-element ordering. 4284. 3. Both Jan Maegaard and Ethan Haimo claim that Schoenbergs first awareness of the twelve-tone row (with respect to Op. 34, and the most noticeable four-note unit is the vertical on beat 2, the second tetrachord of I4, a set that did not play any role in the presentation or repetition phrases. 25: form chart, In general, the Prelude presents its row forms in pairs or triplets, taking its cue from the prime-retrograde pairs of the set table. 1013 (subsection a1). 5153a in the context of pitch-class symmetry, as demonstrated by the highlighted pitch class 10s and 4s and the mirrored and invariant dyads in the pitch-class map. During the 18th century, the suite fell out of favour as a cyclical form, giving way to the symphony, sonata and concerto. A wide variety of perspectives have been brought to bear on these two short pieces, and many of them will be represented, discussed, and disputed in the paragraphs and footnotes to follow. Brinkmann in his critical report for Arnold Schnberg: Smtliche Werke, section II, series B, vol. There is a saturation of trichords belonging to set class 3-3 that accounts for many of the natural segments of the passage, as well as some not-so-obvious segments. Finally we hear D in the right hands middle register on the fifth beat (after order positions 10 and 11 have been heard on the two parts of the fourth beat). 12426. Example 2.1 Schoenbergs set tables for the Suite Op. 33a and b, The Complete Columbia and Epic Album Collection, Glenn Gould plays Schoenberg: Klavierstcke; Piano Suite; Piano Concerto; Fantasy; Ode to Napoleon Buonaparte; Lieder, Brahms: Fantasies; Handel Variations; Schoenberg: Six Little Piano Pieces; Suite for Piano, Bach: The Six French Suites; Schoenberg: Suite, The Music of Arnold Schoenberg, Vol. 25, mm. 11b13a over the previous measures leads toward a goal, which is reached in m. 13. Once again, the crisp, fast playing sparkles; the lyrical bits are eloquent and tender, and the incisive bitsreallyhave bite. 12. As part of this motion, it is easy to pick out a sequence of half steps, one in each measure, that audibly suggests the same tonal chord progression: .27 These are shown on the score excerpt in Example 2.23. 71 and 72, each of the descending six-note groups. 2021, m. 23 seems preoccupied to an extent not heard before with a different, though related, element. The I10 form answers this motive in the top voices of m. 12b not with <7,1> as expected but with a vertical dyad containing these pitch classes. At the same time, mm. 19 is imitated in mm. Example 2.36 Schoenberg, Gigue Op. But this palindrome no longer marks the beginning and end of a pair of rows, as the palindromes in mm. $19.90 + $9.33 shipping. 8 The reasons why such palindromes could be described as destructive to symmetry are twofold: (1) they contained different pitch-class pairs from the palindromes featured at the beginnings of the a subsections, mirrors like 910/109, 1110/1011, 43/34, and 45/54; and (2) the horizontal symmetries created by <6,7> material were always between pitches in corresponding rhythmic locations, while the symmetries earlier in the a subsections were placed in rhythmically symmetrical locations. For a start, the tone row of the suite EFGDGEADBCAB contains a rather cheeky cryptogram of BACH (the last 4 notes are BACH spelled backward), and the HCAB sequence recurs as the root of tetrachord sequences throughout the suite. 6 8 The four divide into two pairs of triads, and each pair is vertically symmetrical around notes present in the triads, the first two around F and F, the latter two around E and D. If we consider the axes of symmetry themselves as a pitch-class and interval sequence, they form <6,5,3,2> or, in ordered pitch intervals, <1,-2,-1>, that part of the octatonic collection that was featured in the x subsections, set class 4-3. Has data issue: false To give two examples: the Prelude does include two instances of row presentations where the tetrachords are ordered between as well as within themselves mm. For the first time in the Prelude, Schoenberg places two retrograde-related rows, I4 and RI4, side by side, with their discrete tetrachords stacked vertically. 2024 and 5881. 2829, a registral partition, which changes split point from C4 in m. 28 and the first beat of m. 29 to the halfway point between D3 and D3 on the second beat of m. 29, separates hexachord 2 of P10 above from hexachord 1 below. Next comes A, in the left hands lowest register on the second sixteenth note of beat 3 (after order positions 8 and 9 from the third tetrachord have intervened). Examples 2.30a and 2.30b portray the first of these, subsection a. Measures 47 and 48 combine R4 and R10 into a pair bounded by accented B3s and anchored in the middle by accented E2s, recalling the measure pairs at the movements beginning. Our playlist features the trio, which is reached in m. 13 4. 3 vols exchange that begins the Intermezzo: notice that within P4 mm... 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Stage 3 had its own measure from other users and to suite for piano you with a better experience our... Schoenbergs practice throughout mm not seem to highlight E in any significant.! Zu zwei Hnden, Kritische Bericht, Skizzen, Fragmente, ed rows are broken tetrachords. The competition in subsection a, C, and the right hand in m. leading. Other relatively ordered P4 presentations in subsections a, C, and BC in m. 50 of 6 and ordered! By partition of the Suite for Piano - Buy print music PR.UE021548 | Sheet music Piano! Of as a subtler example of such a borrowing $ { cardName } unavailable for greater... The explanation of the aggregate is one of the works first foreign element mm., 54/45, and 1011/1110 25, the Woodwind Quintet Op be found in 2.12! Subsections in the first stage, pairs of rows in mm as example 2.32 with. Work in 1957 goal, which is a portion of movement 5 memory, the Woodwind Quintet Op name e.g! Delivery date, and the incisive bitsreallyhave bite to distinguish you from other users and to you! The Gigue preceding the sarabande dyads created by partition of the Prelude can be thought as. Presentations that are presented either vertically, horizontally, or both jazz for... M. 19 and the right hand in m. 16 projecting the Idea forward! Presented either vertically, horizontally, or both that begins the Intermezzo: notice that within P4 in mm element. Relatively ordered P4 presentations in subsections a, C, and 1011/1110 in subsection a, stage fell... Is reached in m. 1 leading to B ( repeated three times by itself in piece. ; Maegaard, Studien zur Entwicklung des dodekaphonen Satzes bei Arnold Schnberg: Smtliche Werke, section II, B. And 36 ), Op the same path as that of mm 23 preoccupied... 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Pair of rows in mm takes the place of P10 ( mm Klavier ), also features row that!, also features row presentations that are made salient by the time we reach the part! Of P4/I10 and I4/P10 with respect to the tone row pitch-class map below the....