Cohn - Maximally Smooth Cycles, Hexatonic Systems, and The Analysis of Late-Romantic TriadicProgressions
Cohn - Maximally Smooth Cycles, Hexatonic Systems, and The Analysis of Late-Romantic TriadicProgressions
Cohn - Maximally Smooth Cycles, Hexatonic Systems, and The Analysis of Late-Romantic TriadicProgressions
Progressions
Author(s): Richard Cohn
Source: Music Analysis, Vol. 15, No. 1 (Mar., 1996), pp. 9-40
Published by: Wiley
Stable URL: http://www.jstor.org/stable/854168
Accessed: 07-11-2017 12:17 UTC
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RICHARD COHN
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10 RICHARD COHN
a)
E: I VI ,IV I
b)
E: I VI III# I
d)VI I I
E: I V III I
e)
E: VII# #V III# I
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MAXIMALLY SMOOTH CYCLES, HEXATONIC SYSTEMS 11
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12 RICHARD COHN
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MAXIMALLY SMOOTH CYCLES, HEXATONIC SYSTEMS 13
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14 RICHARD COHN
SrI
fp
0- -
.. m p I I .II..
--
0 LLJ
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MAXIMALLY SMOOTH CYCLES, HEXATONIC SYSTEMS 15
A + G#- E+ E- C+ C- A G+ G- E7
* All transitions between adjacent chords are maximally smooth: only one
voice moves, and that motion is by semitone. Stated differently: the
symmetrical difference between the adjacent chords is always a member of
dyad class [0, 1].
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16 RICHARD COHN
1-1 [0
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MAXIMALLY SMOOTH CYCLES, HEXATONIC SYSTEMS 17
C+
E- iC-
Northern
E+ Ab+
F$+
E?+ Db+
G- Eb- F- C-
Western Eastern
G+ \ B+ F+ A+
B- A-
F S- D-
Southern
FO+ Bb+
B&
To summarise, what is unique about set-class 3-11, together with its nine-
note complement, is the capacity of its member sets to form an ordered set of
maximally smooth successions that is long enough to be perceived as a cycle
(i.e., longer than two distinct members, so that one can enter and depart
through different portals), yet short enough that it does not exhaust all the
members of its set-class. The following sections of this article demonstrate
why this last property is of compositional and analytical significance: it
ensures that, in the universe of triadic relations, the forces of unity (six triads)
and diversity (four cycles) are appropriately balanced. Part III takes unity as
its topic, by charting motions within the cycles. Part IV explores diversity, by
investigating the treatment of cycles as harmonic regions, and the capacity of
motions between the cycles to form coherent modulatory patterns.
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18 RICHARD COHN
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MAXIMALLY SMOOTH CYCLES, HEXATONIC SYSTEMS 19
opC
/--------------E
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20 RICHARD COHN
E+ A6+
C-
E- G#--
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MAXIMALLY SMOOTH CYCLES, HEXATONIC SYSTEMS 21
C+ AE+ C-
A6+ E-
6TL To
I "v-%(#,I
" lo
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22 RICHARD COHN
Ex. 4 (a) Mahler, Symphony No. 2 ('Resurrection'), first movement, bars 43-9
--3 -I "-" - d- do do
.# p
W) II [A I,
6-j,.Fjq j ~
S T3
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MAXIMALLY SMOOTH CYCLES, HEXATONIC SYSTEMS 23
Ex. 5 Wagner, Parsifal, Act III, bars 1098-1102 ('sanfte Erleuchtung des Grales'
T TI T3
Eb B- G+ E- Db-
T,
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24 RICHARD COHN
C+
E- C-
Ho
(triad)
E+ A6+
At,+
E?+ C +
Ho
(p c)
G- EGEtF-
G, C#-
B C, E, A
H3 H3 Hi oHi
(triad) (pc) (pc) (triad)
G+' B+ D3 F B B CB, F, A F+ A+
H2
B- (pc) A-
F#- D-
H2
(triad)
F#+ B6+
Bt
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MAXIMALLY SMOOTH CYCLES, HEXATONIC SYSTEMS 25
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26 RICHARD COHN
Ex. 6 Franck, Quintet for Piano and Strings, first movement, bars 90-106
hexatonic 1 octatonic
Ai I L
A I~
2, , ,. K? . ,
AK. ix L K -u- m
octatonic
tenero ma on passion
hexatonic
^ Ihexatonic 0 p[J _ . 0 piu ocatni
....,_.
:-am
A I Piu
piu
piu
A i tlt t
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MAXIMALLY SMOOTH CYCLES, HEXATONIC SYSTEMS 27
Ex. 6 (cont.)
ifr
k<.'69 1 FIX- 4.-_ octatonic
hexatonic 1/ octatonic
-- ,pasi. .?
I IT,| I Y LL Y lop,'.IF i 9I k&.39 I- I..I kh ' I I [
A u, I----
q:,., 6L 1
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28 RICHARD COHN
* The paired tetrachords, like the paired triads, share no common tones.
* In both progressions the voices that connect the paired harmonies all
move semitonally.
* Each pairing forms a symmetrical mode: the two triads form a complete
hexatonic collection, abstractly combining semitonally adjacent T4-cycles,
while the two tetrachords form a complete octatonic collection, abstractly
combining semitonally adjacent T3-cycles.39
The strength of the analogy between the two progressions suggests that, even
though tetrachord-classes are incapable of forming MS-cycles, they may
nonetheless participate in progressions that are in some significant sense
analogous to those triadic progressions that arise in hexatonic contexts.40
The second transition, from E major to G major, transposes the first
transition at T3. Because of the T3-invariance of octatonic collections, the pc
content of the two transitions is identical. The general acceleration of events at
the end of the sequence confines each of the final two transitions to a single
beat at the end of bars 99 and 101. These transitions are simplified accordingly
to include only five pcs, which in both cases are subsets of the same octatonic
collection heard in the transitions at bars 93 and 97. The significant presence
of this octatonic collection is confirmed by its prolongation via dominant
seventh chords built on Bb and Et, at bars 104-6, and suggests why the hyper-
hexatonic cycle ends on an A major triad rather than achieving a more standard
tonal closure at C#: A major is the only major triad to stand at the intersection
of the orienting hexatonic collection with the invariant octatonic collection.41
The passage from the Liszt Polonaise given as Ex. 7 shares with Ex. 6 not
only the local pairing of hexatonic poles but also a similar middleground
profile: a series of rising transpositions which, after two complete iterations,
are intensified through durational compression. Whereas Franck is at pains to
smooth the transitions between successive iterations of the hexatonic systems,
Liszt's transitions are unmediated. The sense of disjunction is exacerbated by
the pitch-class complementarity of the alternated hexatonic systems, Ho and
H2.
Complementation is an important thematic aspect of Ex. 7, occurring in
three different ways. The complementary relationship between the two
hexachords, with respect to the pitch-class aggregate, nests a complementary
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MAXIMALLY SMOOTH CYCLES, HEXATONIC SYSTEMS 29
Ex. 7 Liszt, Polonaise I from Die Legende der heiligen Stanislaus, bars 98-
Adagio .= 48
hexatonic 0
pp dolciss.
E+ C-
hexatonic 2
hexatonic 0
Aa E-
hexatonic 2 hexatonic 0 tonal cadence
C+ G6
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30 RICHARD COHN
Ex. 8 Wagner, Parsifal, Act II, bars 1049-54 ('Es starrt der Blick dumpf auf das
Heilgefaiss: Das Heil'ge Blut erghiht: ...')
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MAXIMALLY SMOOTH CYCLES, HEXATONIC SYSTEMS 31
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32 RICHARD COHN
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MAXIMALLY SMOOTH CYCLES, HEXATONIC SYSTEMS 33
( Ho Hi H2 H3 Ho ) ?
A F- DD B- E+ A
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34 RICHARD COHN
The work presented in this article emphasises the role of the triad as the seam
or pivot that mediates hexatonic and diatonic space. What allows the triad to
fulfil this role is its dual capacity to serve simultaneously as (i) an acoustically
optimal structure in the ways that the music-theoretic tradition has led us to
conceive it, and (ii) a group-theoretically optimal structure from the point of
view of its unique capacity to participate in maximally smooth cycles that,
because they do not exhaust the set-class, allow a balance to be struck between
the intra-hexatonic unity and inter-hexatonic variety that are mapped by the
hyper-hexatonic system. By keeping in mind the distinction between its two
natures, at the same time as we acknowledge the capacity for interaction
between them, our recognition of the triad's duality will help us approach the
clear definition that Carl Dahlhaus, in the passage given at the head of this
article, suggested as a standard for descriptions of Romantic harmony.
NOTES
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MAXIMALLY SMOOTH CYCLES, HEXATONIC SYSTEMS 35
ihre Krise in Wagners 'Tristan', (Bern: Paul Haupt, 1920), p. 248; Donald Francis
Tovey, 'Tonality in Schubert', in Tovey, The Mainstream of Music and Other
Essays (London: Oxford University Press, 1949), pp. 154-5 (originally published
as 'Tonality', Music & Letters, 9 (1928), pp. 341-63); Adele Katz, Challenge to
Musical Tradition (New York: Alfred A. Knopf, 1945), p. 213.
3. David Lewin, 'Amfortas's Prayer to Titurel and the Role of D in Parsifal: The
Tonal Spaces of the Drama and the Enharmonic Cl/B', 19th-Century Music, 7/iii
(1984), pp. 345-9 and passim. Lewin affiliates these paradoxes with the magical
qualities of the opera, and by implication with the entire nineteenth-century
tradition of associating equal divisions with magic, a tradition that goes back to
Schubert's Die Zauberharfe and Weber's Der Freischiitz, and forward to
Stravinsky's Scherzo Fantastique and beyond. For more on this tradition, see
Richard Taruskin, 'Chernomor to Kashchei: Harmonic Sorcery; or, Stravinsky's
"Angle"', Journal of the American Musicological Society, 38 (1985), pp. 72-142. For
evidence suggesting that the affiliation of enharmonicism with altered states of
consciousness may have deeper historical roots, see Edward Lowinsky, 'Adrian
Willaert's Chromatic "Duo" Re-examined', Tijdschrift voor Muziekwetenschap, 17
(1956), pp. 1-36, reprinted in Lowinsky, Music in the Culture of the Renaissance
and Other Essays, ed. Bonnie J. Blackburn (Chicago: University of Chicago Press,
1989), pp. 681-98.
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36 RICHARD COHN
12. This conception of triadic structure resembles the early twentieth-century move
towards a decentred view of the diatonic collection, captured under the rubric of
'pandiatonicism'.
13. Some readers may be struck, as I have been, by the kinship this caveat bears with
similar formulations by scholars of 'pre-tonal' music. See, for example, Don
Randel, 'Emerging Triadic Tonality in the Fifteenth Century', Musical Quarterly,
57 (1971), pp. 73-86.
14. The four-member minimum excludes sequences of the form <A, B, A>, which fit
the technical requirements for a cycle but violate an intuition associated with
circularity: that the path home ought to traverse different territory than the path of
departure.
15. There is much more to explore about the structure of this list. For example, why
does it contain one representative of each odd cardinality, but no representatives
of even cardinality? I have investigated abstract questions of this type with a team
of researchers at the State University of New York at Buffalo, including David
Clampitt, John Clough, Jack Douthett and David Lewin. The findings of the
Buffalo group are as yet unpublished.
16. This re-frames an observation of Gerald Balzano, 'The Group Theoretic
Description of 12-Fold and Microtonal Pitch Systems', Computer Music Journal,
4/iv (Winter 1980), pp. 66-84.
17. The Buffalo group has found generally that, for any chromatic universe of size c,
cycles that exhaust the set-class are induced only by set-classes with cardinality
co-prime to c; co-cycles are induced only by set-classes whose cardinalities share a
divisor with c.
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MAXIMALLY SMOOTH CYCLES, HEXATONIC SYSTEMS 37
18. The name was suggested to me by Easley Blackwood. Set-class 6-20 has borne
many other rubrics in the music theoretic literature, including 'Wunderreihe'
(sometimes translated as 'Miracle hexachord'), 'Ode to Napoleon' (due to its
prominence in Schoenberg's piece of that name), 'source-set E', 'augmented
scale' and 'Liszt mode'. See Donald J. Martino, 'The Source Set and its
Aggregate Formations', Journal of Music Theory, 5 (1961), pp. 224-73; Lew
'Intervallic Content of a Collection of Notes and its Complement: an Applic
to Schoenberg's Hexachordal Pieces', Journal of Music Theory, 4 (1960),
pp. 98-101; Jeff Pressing, 'Pitch Class Set Structures in Contemporary Jazz',
Jazzforschung, 14 (1982), pp. 133-72; Henri Pousseur, 'Stravinsky by Way of
Webern: The Consistency of a Syntax', Perspectives of New Music, 10/ii (1972),
p. 33.
19. Although such representations are associated with Ernst Krenek's name, they
originate in nineteenth-century writings. See Wason, 'Progressive Harmonic
Theory'.
20. Ern6 Lendvai, Bila Bart6k: An Analysis of his Music (London: Kahn & Averill,
1971), pp. 51-4, and The Workshop of Bart6k and Koddly (Budapest: Editio
Musica, 1983), pp. 370-81. For further discussion of the properties of 6-20, see
Wason, 'Tonality and Atonality in Frederic Rzewski's Variations on "The People
United Will Never be Defeated"', Perspectives of New Music, 26 (1988),
pp. 108-43; John Schuster-Craig, 'An Eighth Mode of Limited Transposition',
The Music Review, 51 (1990), pp. 296-306; Richard Cohn, 'Bart6k's Octatonic
Strategies: A Motivic Approach', Journal of the American Musicological Society, 44
(1991), pp. 262-300.
21. Lewin, Generalized Musical Intervals, p. 26 and passim.
22. Lewin discusses this sense of intervals between triads (ibid., pp. 179-80), although
his GIS is different from the one proposed here.
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38 RICHARD COHN
25. This is the sense, for example, in which transposition by seven semitones
generates the chromatic universe via the 'cycle of fifths'. For an introduction to
generators in music theory, see Balzano, 'The Group Theoretic Description of 12-
Fold and Microtonal Pitch Systems'.
26. Salzer and Schachter observe (Counterpoint in Composition, p. 215) that the major
cycle is more common than the minor. The explanation for this remains an open
question.
27. Lendvai, Workshop, pp. 199, 235-8 and 377-81. Lendvai's term for this triadic
pairing is 'complementary', i.e. with respect to the '1:3 model'. Lendvai uses
illustrations from music by Beethoven, Wagner, Verdi, Bart6k and Kodaily.
28. See Lewin, 'Music Theory, Phenomenology, and Modes of Perception', Music
Perception, 3 (1986), pp. 327-92.
29. The passage is discussed in somewhat similar terms in Longyear & Covington,
'Liszt, Mahler', p. 466, and in Leonard Ratner, Romantic Music: Sound and
Syntax (New York: Schirmer, 1992), p. 289.
30. Carolyn Abbate, Unsung Voices (Princeton: Princeton University Press, 1991),
p. 152.
37. The material in this paragraph was stimulated and clarified by volumino
unpublished work by Jack Douthett, whose formalisation of such matters is fa
more powerful than I have been able to indicate here.
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MAXIMALLY SMOOTH CYCLES, HEXATONIC SYSTEMS 39
40. It is intriguing to speculate that 4-27, the most prominent tetrachordal type in
both Classical and Romantic repertoires, may share fundamental properties with
3-11 beyond their obvious inclusion relation, properties that permit 4-27 to
partake in smooth (if not maximally smooth) voice-leading. I intend to develop
this speculation elsewhere; for now, I merely note that both 4-27 and 3-11 (along
with 6-34, the 'Mystic chord') are minimal perturbations of a symmetrical
division of the octave.
41. A minor shares the intersection. Generally, the intersection of any octatonic with
any hexatonic collection is a member of set-class 4-17 [0, 3, 4, 7]. Hence each
such intersection is uniquely represented by a major and minor triad sharing
pitch-class root. This is related to the fact that each pc uniquely intersects a T3-
cycle with a T4-cycle, a circumstance that was known to nineteenth-century
theorists. See Wason, 'Progressive Harmonic Theory', pp. 78-9. Similarly, each
triad in a hexatonic system uniquely intersects a T2- with a T3-generated co-cycle
(see Figs. 3 and 4).
42. This passage lends itself nicely to a proto-serial interpretation: each hexachor
both begins an aggregate and ends a previous aggregate. In terms of 'classical'
serial procedures, the passage can be characterised as a sequence of hexachordally
overlapping twelve-tone rows, each in a T2 relation with its predecessor. I do not
mean by this to suggest that Liszt was thinking about pc relations in the same way
as Schoenberg was in the 1940s, but rather that Schoenberg would have had some
interest in the way that Liszt was thinking about pc relations in the 1870s. Fo
some music by a contemporary of Schoenberg that follows a plan very similar to
Ex. 7, see the refrain of Hugo Distler's 'Fiirwahr, er trug unsere Krankheit', his
Motet No. 9 for mixed four-voice chorus (1934-6).
43. Liszt's strategies for inter-relating diatonic and chromatic modes of organisation
are an important concern of Ramon Satyendra, in 'Chromatic Tonality and
Semitonal Relationships in Liszt's Late Style' (PhD diss., University of Chicago,
1992). Satyendra's discussion of the Polonaise (pp. 80-81) serves as a point of
departure for my treatment of Ex. 7.
44. The hexatonic character of the C minor version of the 'Liebesmahl' theme has
been discussed by Lendvai (Workshop, p. 377) and Lewin ('Some Notes', p. 57).
45. The need to constrain the application of super-potent descriptive systems has
been a theme of much meta-theoretic writing, including William Benjamin, 'Ideas
of Order in Motivic Music', Music Theory Spectrum, 1 (1979), pp. 23-4; Richard
Taruskin, 'Reply to van den Toorn', In Theory Only, 10/iii (1987), pp. 47-57; and
Patrick McCreless's review of Warren Darcy, Wagner's 'Das Rheingold', 19th-
Century Music, 18 (1995), pp. 289-90.
46. 'Fumeux fume' is transcribed in Peter M. Lefferts, 'Subtilitas in the Tonal
Language of "Fumeux fume"', Early Music, 16 (1988), pp. 176-83. See bars
27-9 and 32-3 (other published transcriptions agree with Lefferts for the passages
in question). For a discussion of the problems associated with analysis of
chromatic third relations in Gesualdo's music, with special attention to hexatonic
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40 RICHARD COHN
48. These passages are discussed respectively in Mario LeBlanc, 'Franz Schubert: un
pas vers l'atonalite', Canadian University Music Review, 9/ii (1989), pp. 84-115
and Paula Jean Telesco, 'Enharmonicism in Theory and Practice in the
Eighteenth Century' (PhD diss., Ohio State University, 1993), p. 157.
49. I have discussed this passage in 'As Wonderful as Star Clusters: Instruments for
Gazing at Tonality in Schubert', unpublished paper presented at a Conference on
Schubert's Piano Music, Washington DC, 1995.
51. Generic triads and sevenths are discussed in John Clough and Gerald Myerson,
'Variety and Multiplicity in Diatonic Systems', Journal of Music Theory, 29 (1985),
pp. 249-70. Insight into their maximally smooth potential may be gained from
Eytan Agmon, 'Linear Transformations Between Cyclically Generated Chords',
Musikometrica, 3 (1991), pp. 15-40.
52. Robert Cook discusses the hexatonic potential of the diatonic Grail in 'Alternative
Transformational Aspects of the "Grail" in Wagner's Parsifal', unpublished paper
presented at the annual meeting of Music Theory Midwest, 1994.
55. This theme is developed in different ways in the dissertations of Hyer ('Tonal
Intuitions') and Satyendra ('Chromatic Tonality').
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