Rotation 1 (1-10) Rotation 2 (11-28) Rotation 3 (29-56) Rotation 4 (57-93) Rotation 5 (94-102)
X 1-4 11-16 29-32 57-63 94-97
B octatonic lower Starts same as r1 but Most contrasting More like r1 but w/ Much more
part strings rather than presentation of X new melody against fragmented + darker
B minor upper part woodwind - Slightly different main X idea in viola orchestration of X
A natural in lower Bar 14 parallel melodic profile Parallel dom7ths in trails over G pedal
chrom to B oct dominant 9ths - Pure triads (not 61+63 initially
Weakly establishes Bar 14 melody based dom9ths) Whole tone idea in B96 pedal moves up
B as tonal centre on overlappeing eb + - Ends b62 (echoed in b66) to B where idea fades
gmin pentatonic scales unexpectedly on out in vague rumbling
B15 falling 5th idea in Cmaj chord b31 Pedal change creates
bass dissonance
Interpolations 17-20 33-42 64-79 98
Idea based on dmin Crotchet motion B section All ideas in r5 are
pentatonic melody reminiscent of X in Melody in d# pent fragmented +
(except single e + bb) strings in sparse 2- Expanding idea from shortened suggesting
anticipates B section part counterpoint w/ middle r1 a coda function esp
Dominant g9 harmony 8ve unison in wind Includes falling 5th here
followed by eb9 Together create idea from b15 1 bar fragment of B
whole tone feel but D# drone moves to g# section from r4 over
chrom passing notes in middle cont. oscillation of B +
in ww B77 repeats D in timpani
B37 octatonic pentatonic fragment
More octatonic at (B2 from r3)
b40 to link into Y
Y 5-10 21-28 43-56 80-93 99-102
Cor anglais foghorn Dom g9 harmony CA melody now CA melody exact Skeleton version of Y
motif melody- pure continues now as accomp by g7 chords same as r3 but darker w/ just g7 sonority +
B octatonic accomp to CA melody alt w dissonant orchestration of falling tritone
G7 in 1st inversion (b from r1 chords suggesting b13 accomp g7 sonority remaining
drone bass) main Octatonic except 9th (a) B drone back Different chords from Ends on B (same
sonority itself thus g acoustic B51 CA goes back into B octatonic change centre as opening)
CA melody in 4/4 vs scale 6/4 + expands 2 note colour G7 sonority just
prevailing 6/4- B23 falling tritone idea horn idea from b50 - C#7 b82 + e7 b86 before makes ending
metric dissonance rep span of mel from f- (B2) - Both have chrom very tonally unstable
b Bass descends by step appoggiatura of
No drone from b-f (same span d# + f#
as mel) ending ambig B82 falling tritone
B88 B2 as before
X 1-4 11-16 29-32 57-63 94-97
B octatonic lower Starts same as r1 but Most contrasting More like r1 but w/ Much more
part strings rather than presentation of X new melody against fragmented + darker
B minor upper part woodwind - Slightly different main X idea in viola orchestration of X
A natural in lower Bar 14 parallel melodic profile Parallel dom7ths in trails over G pedal
chrom to B oct dominant 9ths - Pure triads (not 61+63 initially
Weakly establishes Bar 14 melody based dom9ths) Whole tone idea in B96 pedal moves up
B as tonal centre on overlappeing eb + - Ends b62 (echoed in b66) to B where idea fades
gmin pentatonic scales unexpectedly on out in vague rumbling
B15 falling 5th idea in Cmaj chord b31 Pedal change creates
bass dissonance
Interpolations 17-20 33-42 64-79 98
Idea based on dmin Crotchet motion B section All ideas in r5 are
pentatonic melody reminiscent of X in Melody in d# pent fragmented +
(except single e + bb) strings in sparse 2- Expanding idea from shortened suggesting
anticipates B section part counterpoint w/ middle r1 a coda function esp
Dominant g9 harmony 8ve unison in wind Includes falling 5th here
followed by eb9 Together create idea from b15 1 bar fragment of B
whole tone feel but D# drone moves to g# section from r4 over
chrom passing notes in middle cont. oscillation of B +
in ww B77 repeats D in timpani
B37 octatonic pentatonic fragment
More octatonic at (B2 from r3)
b40 to link into Y
Y 5-10 21-28 43-56 80-93 99-102
Cor anglais foghorn Dom g9 harmony CA melody now CA melody exact Skeleton version of Y
motif melody- pure continues now as accomp by g7 chords same as r3 but darker w/ just g7 sonority +
B octatonic accomp to CA melody alt w dissonant orchestration of falling tritone
G7 in 1st inversion (b from r1 chords suggesting b13 accomp g7 sonority remaining
drone bass) main Octatonic except 9th (a) B drone back Different chords from Ends on B (same
sonority itself thus g acoustic B51 CA goes back into B octatonic change centre as opening)
CA melody in 4/4 vs scale 6/4 + expands 2 note colour G7 sonority just
prevailing 6/4- B23 falling tritone idea horn idea from b50 - C#7 b82 + e7 b86 before makes ending
metric dissonance rep span of mel from f- (B2) - Both have chrom very tonally unstable
b Bass descends by step appoggiatura of
No drone from b-f (same span d# + f#
as mel) ending ambig B82 falling tritone
B88 B2 as before
