Consonance, Tertian Structures and Tonal Coherence in Wladimir Vogel's Dodecaphonic World Page: 69
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split 3rd
Fig. 47 Large-scale harmonic plan for Tempo I (mm. 105-225)
Piki mosso (mm. 226-252) - Pesante (m. 253) - Sostenuto (mm. 254-257)
The intervening measures of Piu mosso - Pesante - Sostenuto, between the
Tempo I and the final Primo Tempo section of the movement, can be viewed as a single
phrase. Although concluding with authentic motion, the transition to the Pesante demon-
strates another cadence-type, deceptive (see Fig. 48). Since the material that begins the
Pita mosso is similar to material from a previous section, Poco piu mosso (m. 87), the
phrase is labeled b2 and represents a second B Section in the large-scale organization of
the movement.
The section begins with two linear presentation of rows P-11 and P-0, and moves
toward a partial row P-11 (mm. 251-252). The almost identical settings of the "leading-
tone" and "tonic" rows again pairs F# and G, dominant and tonic. Row identification for69
A2 Section G G Eb Bb g minor
(mm. 105-133) [P-0] I-0 R-8 RI-3
A3 Section G G Eb B G major
(mm. 133-172) P-0 I-0 R-8 RI-4
A4 Section G G Eb B G major
(mm. 173-225) [P-0] I-0 P-8 1-4
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Hale, Jacquelyn. Consonance, Tertian Structures and Tonal Coherence in Wladimir Vogel's Dodecaphonic World, dissertation, December 2002; Denton, Texas. (https://digital.library.unt.edu/ark:/67531/metadc3344/m1/83/: accessed April 19, 2024), University of North Texas Libraries, UNT Digital Library, https://digital.library.unt.edu; .