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(F-B-E-A-D), the fourth contains the tertian sonority (B-D-F-A-C-E), and the fifth
presents again the quartal sonority (C-F-B-E-A-D). Each of the third and fifth quartal
chords contains one tritone (F-B) as shown in Examples 17-1 and 17-2.
Example 17-1) The Key, First movement, m. 66
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sonority sonority sonority sonority sonority
Example 17-2) The Key, First movement, Quartal and tertian sonorities, m. 66
1 2 3 4 5
Section E begins with piano alone at measure 74. The trumpet plays a
combination of figures from motives "a"~ and "c, containing two repeated sixteenth notes
(B-B) which are from ''a,'' and one fifth interval figure (B-F) derived from "'c" in measure
79. The combination is repeated three times in measures 79-80. In the left hand of
measure 80, the ostinato, an ascending and descending arpeggiated figure, is in a
retrograde gesture (C-Eb-Ab-D-F#-A#-B-A#-F#-D-Ab-Eb-C) and continues throughout
.. .. . 1,1
quarthis section. In addition, the right hand of the piano pal tert plays the parallel quartal
sonority chords over the ostinato figuration (Examples 18-1 and 18-2).ority
Example 17-2) The Key, First movement, Quartal and tertian sonorities, m. 66
1 2 3 4 5
Section E begins with piano alone at measure 74. The trumpet plays a
combination of figures from motives "4a" and "4c7," containing two repeated sixteenth notes
(B-B) which are from "4a,"; and one fifth interval figure (B-F) derived from "4c" in measure
79. The combination is repeated three times in measures 79-80. In the left hand of
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