Augeries, for Flute, Clarinet, Percussion and Tape: Aesthetic Discussion and Theoretical Analysis Page: 48
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Fl.
Cl.
Vib.
Mrb.(01357) (01256)
m. 254 (01256)
r t "rr rIrI-- I I III " *Ir-iI.
> >>
Fragment RT5(01357)
iii I - -
_ _ __I I _I I _ n I I I 1 /,Fragment R(01357)V -
Figure 13. Excerpt from score showing transformative process of set 5-24 to set 5-6.
The flute transitions directly from set (01357) to set (01256) in measure 256, without
passing through the intermediate steps of retrograde and transposition. The retrograde
form of set (01357) is presented in the marimba in measure 255, as a fragment, then
moves to set (01256) in measure 256. The transposition form of set (01357) is presented
in measure 255, as a fragment, in the clarinet and vibraphone.
The next transformation, in measure 260, is a simple addition to set (01256)
extending the set to (012456). The penultimate transformation of this section, in measure
266, is a further elaboration of that set to (01234679), through substitution and addition.
The final transformation, and the culmination of section three, in measure 274, is the
addition of the compliment of set (01234679), set (0136). The following chart is an
overview of the pitch material in this section and how they are related.48
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Gedosh, David. Augeries, for Flute, Clarinet, Percussion and Tape: Aesthetic Discussion and Theoretical Analysis, dissertation, May 2009; Denton, Texas. (https://digital.library.unt.edu/ark:/67531/metadc9851/m1/55/: accessed April 19, 2024), University of North Texas Libraries, UNT Digital Library, https://digital.library.unt.edu; .