Chapter 7: Idiomatic Lateness

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Contents

Figure 7.1 | Example 7.1 | Example 7.2a; Example 7.2b; Example 7.2c; Example 7.2d | Example 7.3a; Example 7.3b; Example 7.3c; Example 7.3d; Example 7.3e | Example 7.4 | Example 7.5a; Example 7.5b | Example 7.6 | Example 7.7a; Example 7.7b | Example 7.8a; Example 7.8b | Example 7.9a; Example 7.9b | Example 7.10a; Example 7.10b; Example 7.10c; Example 7.10d | Example 7.11 | Example 7.12 | Example 7.13

Figure 7.1

The overall form of the Cs?rd?s macabre

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Example 7.1

Set-classes in Sunt lacrymae rerum, mm. 109?12:

(a) different permutations of 3-3 (repetitions omitted and texture simplified);

(b) vertical set-classes

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Example 7.2

Long accented notes typical in ?storm? (fast) marches:

(a) different permutations of 3-3 (repetitions omitted and texture simplified);

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(b) Ungarischer Sturmmarsch (1876 version), mm. 17?20;

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(c) Revive Szegedin!, mm. 1?8;

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(d) short-long-short rhythm and bok?z? figure in RH17, mm. 1?4

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Example 7.3

Ornamental and melodic types:

(a) Mephisto Waltz No. 3, mm. 27?8;

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(b) Bagatelle ohne Tonart, mm. 1?16;

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(c) Mephisto Waltz No. 2, mm. 1?7;

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(d) RH19, mm. 1?4;

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(e) Mephisto Waltz No. 3, mm. 1?10

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Example 7.4

Equal-voice parallel sixths in Cs?rd?s obstin?e, mm. 283?314

 

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Example 7.5

(a) Mephisto Polka, mm. 17?47 (repeated in idiomatic variation, mm. 48?80); repeat signs replace Liszt?s written-out repeats;

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(b) structural reduction of (a)

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Example 7.6

Cs?rd?s obstin?e, mm. 17?24

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Example 7.7

Pendular and progressional inflected repetitions in

(a) Cs?rd?s obstin?e, mm. 17?76;

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(b) structural reduction of (a)

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Example 7.8

Pendular (static) inflected repetition in

(a) RH16, mm. 87?96;

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(b) La lugubre gondola II, mm. 69?76

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Example 7.9

Pendular inflected repetition in

(a) Bagatelle ohne Tonart, mm. 37?60;

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(b) structural reduction of the above

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Example 7.10

(a) Unstern!, mm. 21?30;

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(b) Reduction of Unstern!, mm. 21?72;

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(c) Bart?k: Mikrokosmos No. 109 (1940), mm. 1?4. ? Boosey & Hawkes Music Publishers Ltd.: reproduced with permission;

(d) pitch symmetry in example 7.10c

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Example 7.11

Nuages gris, mm. 1?12. Mm. 1?8 are abbreviated All chords and dissonant clashes are derived from inner melodic movements of diatonic tones.

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Example 7.12

Sz?chenyi Istv?n, main theme. Mm. 43?54. X?s mark the ?non-functional? chord on VI.

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Example 7.13

Magyar gyors indul?, mm. 1?46

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