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DEBUSSY'S USE OF THE MOTIVE IN THEMATIC CONSTRUCTION

AS FOUND IN IMAGES I FOR PIANO

THESIS

Presented to the Graduate Council of the

North Texas State University in Partial

Fulfillment of the Requirements

For the Degree of

MASTER OF MUSIC

By

John F. Sheridan, B. M.

Denton, Texas

May, 1977

Im7

Sheridan, John F., Debussy's Use of the Motive in

Thematic Construction as Found in Images I for Piano.

Master of Music (Theory), May, 1977, 173 pp., 50 tables,

242 illustrations, 4 titles.

This study seeks to discover the extent and manner of

Debussy's use of the motive in thematic material. A total

of 40 melodic examples were analyzed in order to show their

relationship to a single motive, a three-note figure having

a step-leap relationship.

Using eighty-four series of examples, the study shows

the melodies analyzed to be 85% motive-derived. The study

concludes, therefore, that Images I is a remarkably econom-

ical work, using a single three-note motive as a unifying

and developmental basis.

-/ 4

0 1977

JOHN FREDRIC SHERIDAN

ALL RIGHTS RESERVED

TABLE OF CONTENTS

Page

LIST OF TABLES .......................

LIST OF ILLUSTRATIONS .. . ...

INTRODUCTION..... .........

Chapter

I. EVIDENCE o---e 0 0-...

Melodic FragmentationConjunct Simple Linear MelodyConjunct Compound Linear MelodyConjunct Complex Linear MelodyDisjunct Simple Linear MelodyDisjunct Compound Linear MelodyDisjunct Complex Linear Melody

iv

....viii

0 1

28

II. SUMMARY.-. -...

III. CONCLUSIONS - -

APPENDIX I.......-.-.-.....-

APPENDIX II

BIBLIOGRAPHY.......-.-...-..

134

146

148

150

. 0 . . . . 173

iii

LIST OF TABLES

Table Page

I. Statistics of Variant Usage as Found inMelodic Fragmentation Form 1.......... 32

IA. Summary of Primary Variant Usage by Group . . 33

IB. Total Summary of Variant Statistics asFound in Melodic Fragmentation Form 1 . 33

II. Variants Found in Melodic FragmentationForm 2................................38

IIA. Percentages of Variant Groups as Found inMelodic Fragmentation Couplings . . . . 40

IIB. Total Summary Percentages of Variants Foundin Couplings Used as Melodic Fragmen-tation Form 2........... ......... 40

III. Couplings Used as Melodic FragmentationForm 2................. . ........ 41

IV. Variants Found in CSLMF1 and CSLMF2According to Individual Use .......... 51

IVA. Percentages of Variant Use by Type as Foundin CSLMF1 and CSLMF2..................52

IVB. Percentages of Single and Coupling Usage ofVariants as Found in CSLMF1 and CSLMF2 . 52

V. Couplings Found in CSLMF1 and CSLMF2According to Individual Use . . .... 53

VA. Total Summary of Couplings Found in CSLMF1and CSLMF2......... ................. 54

VI. Variants Found in CCLM.--.............. 63

VIA. Percentage of Variant Use by Group as Foundin CCLM............................. 63

iv

Table

VII. Couplings Found in CCLM According toIndividual Use... . . . . . . . . .

VIIA. Total Summary of Couplings Found in CCLM

VIII. Variants Found in CCxLM According toIndividual Use . . . . . . . . . . . .

VIIIA. Percentage of Variant Use by Type as Foundin CCxLM . . . . . -.-.-. -. . . . . .

VIIIB. Percentage of Single and Coupling Usage ofVariants as Found in CCxLM . . . . . .

IX. Couplings Found in CCxLM According toIndividual Use .-...... . . . . .

IXA. Total Summary of Couplings Found in CCxLM

X. Variants Found in DSLM According toIndividual Use..-.-... . . . . . . . .

XA. Percentage of Variant Use by Group as Foundin DSLM . . . . . . . . . . . . ... .

XB. Percentage of Single and Coupling Usage ofVariants as Found in DSLM . . . . . .

XI. Couplings Found in DSLM According toIndividual Use.......... .. .

XIA. Total Summary of Couplings Found in DSLM

XII. Variants Found in DCLM According toIndividual Use........... ...

XIIA. Percentage of Variant Use by Group as Foundin DCLM . . - . . -.-.-. -. . . . . ..

XIII. Couplings Found in DCLM According toIndividual Use.......... .. .

XIIIA. Total Summary of Couplings Found in DCLM

XIV. Variants Found in DCxLM According toIndividual Use......... .. ..

V

Page

. 64

. 66

79

80

80

81

83

. 98

* 99

99

. 100

102

. 107

. 107

. 108

109

126

Table

XIVA. Percentage of Variant Use by Group as Foundin DCxLM .-........-.-... .. ..

XIVB. Percentage of Single and Coupling Usage ofVariants as Found in DCxLM.. . . . . . .

XIVC. Percentage of Primary and SecondaryVariants Found in DCxLM --. . . . . .

XV. Couplings Found in DCxLM According toIndividual Use.-.... . . . . . . . .

XVA. Total Summary of Couplings Found in DCxLM

XVI. Primary Group I Variants According toIndividual Use .-........... .

XVII. Primary Group II Variants According toIndividual Use.-......-.-..... . .

XVIII. Primary Group III Variants According toIndividual Use.......-.-... .. ..

XIX. Primary Group IV Variants According toIndividual Use.-........... . .

XX. Primary Group V Variants According toIndividual Use.-........... . .

XXI. Secondary Variants According to IndividualUse . . - . - . . -. -. -. -. -. -. -. . . .

XXII. Collective Variant Usage and Percentage byGroup - . . - . - . -.-.-. -.-. -. . . .

XXIII. Variant Quantity and Usage by Group . . .

XXIIIA. Total Variant Quantity and Usage . . .-.-..

XXIV. Total Single and Coupling Usage of Variants

XXV. Couplings According to Individual Use . . . .

XXVI. Collective Coupling Usage According to Typeand Form.........-.-.-...... ....

XXVII. Collective Coupling Quantity and UsageAccording to Type and Form . . . . . . .

vi

Page

127

127

128

128

133

134

135

135

136

136

136

137

138

138

139

139

143

144

Table Page

XXVIIA. Total Coupling Quantity and Usage byGeneral Type.............. ......... 144

vii

LIST OF ILLUSTRATIONS

Figure Page

1. Reflets dans l'eau, Measures 1 and 2... . . ... 1

la. Motive as Found in Fig. 1 . . . . . . . . 1

2. Variant 2 (PGI) . . . . . . . . . . . . . . . 4

3. Variant 12 (PGII)............... 5

4. Variant 5 (PGIII)............... 5

5. Variant 11 (PGIV)........-.-.-..... 5

6. Variant 45 (PGV)........-.-.-.-.... . 6

7. Variant 1 (Secondary)....... ...... 6

8. Construction Diagram of a Four-note Coupling . 7

9. Construction Diagram of a Five-note Coupling . 8

10. CRTlFl Coupling . . . . . . . . . . . . . . . 8

11. CRTlF2 Coupling . . . . . . . . . . . . . . . 9

12. SRT2Fl Coupling . . . . . . . . . . . . . . . 9

13. SRT2F2 Coupling . . . . . . . . . . . . . . . 9

14. SRT2F3 Coupling.........-.-.-.-.-... 10

15. SRT2F4 Coupling.........-.-.-.-...-.-.-.. .0. 10

16. SRT2F5 Coupling......-.-.-..-.-....... 10

17. Remotely Related Coupling . . . . . . . . . . 11

18. Hommage a Rameau, Measure 25 . . . . . . . . . 11

18a. Melodic Extraction of Fig. 18 (MelodicFragmentation Form 1) . . . . . . . . . . 11

viii

Figure

24b

Page

18b. Variant Used as Melodic Fragmentation inFig. 18a . . . . . . . . . . . . . .

19. Reflets dans l'eau, Measure 10 -. . . .

19a. Melodic Extraction of Fig. 19 (MelodicFragmentation Form 2) - --.-. . ..

19b. Coupling and Variants Found in Fig. 19a .

20. Mouvement, Measures 162-166.-......

20a. Melodic Extraction of Fig. 20 (CSLMFl) .

20b. Coupling and Variants Found in Fig. 20a .

20c. Construction Diagram of Fig. 20a (CSLMFl)

21. Contour Graph of Melody Found in Fig. 20(CSLMFl) . . . . . . . . ... .....

22. Reflets dans l'eau, Measures 24-27 . .

22a. Melodic Extraction of Fig. 22.-... . .

22b. Couplings and Variants Found in Fig. 22a

22c. Construction Diagram of Fig. 22a (CSLMF2)

23. Mouvement, Measures 75-78.- ...-....

23a. Melodic Extraction of Fig. 23........ .

23b. Couplings and Variants Found in Fig. 23a

23c. Construction Diagram of Fig. 23a . . . .

24. Mouvement, Measures 67-73.-..... . .

24a. Melodic Extraction of Fig. 24 (CCxLM)

24b. Multivariant 1 as Found in Fig. 24a .

(i). Couplings and Variants Found inMultivariant 1...... .......

24c. Multivariant 2 as Found in Fig. 24a .

ix

11

12

12

12

13

. . 13

. . 13

. . 13

..14

..15

. . 15

..15

..16

..16

..16

..17

. . 17

18

19

19

19

20

Figure

24c(i)

24d.

25.

25a.

2 5b.

25c.

26.

26a.

2 6b.

26c.

27.

27a.

2 7b.

27b(i).

27c.

27c(i).

2 7d.

27d(i).

27e.

28.

28a.

28b.

29.

29a.

Couplings and Variants Found in Fig. 24a

Construction Diagram of Fig. 24a (CCxLM)

Reflets dans l'eau, measures 29-30 . . .

Melodic Extraction of Fig. 25 (DSLM) . .

Coupling and Variants Found in Fig. 25a

Construction Diagram of Fig. 25a (DSLM)

Reflets dans l'eau, Measure 14 *.. . .

Melodic Extraction of Fig. 26 (DCLM) . .


Construction Diagram of Fig. 26a (DCLM),

Hommage a Rameau, Measures 17-24 . . . .

Melodic Extraction of Fig. 27 (DCxLM)

Multivariant 1 as Found in Fig. 27a

Coupling and Variants Found in Fig. 27b

Multivariant 2 as Found in Fig. 27a .

Coupling and Variants Found in Fig. 27c

Multivariant 3 as Found in Fig. 27a .

Couplings and Variants Found in Fig. 27d

Construction Diagram of Fig. 27a (DCxLM)

Reflets dans l'eau, Measures 1 and 2 .

Melodic Extraction of Fig. 28

Variants Found in Fig. 28a.-.......

Hommage a Rameau, Measure 25.-.....

Melodic Extraction of Fig. 29

Page

. . 20

. . 20

21

. . 21

21

22

22

22

. . 23

. . 23

. . 24

. . 24

. .25

. .25

25

25

. . 25

26

26

28

28

29

29

29

x

Figure

29b.

30.

30a.

30b.

30c.

31.

31a.

31b.

32.

32a.

32b.

33.

33a.

3 3b.

34.

34a.

34b.

35.

35a.

35b.

36.

36a.

37.

37a.

xi

Variant Found in Fig. 29a...-...

Mouvement, Measure 63..-...-...

Melodic Extraction of Fig. 30 -

Variants Found in Fig. 30a - -

Construction Diagram of Fig. 30a

Reflets dans l'eau, Measure 9 .-. -

Melodic Extraction of Fig. 31 .-.

Coupling and Variants Found in Fig.

Reflets dans l'eau, Measure 30

Melodic Extraction of Fig. 32 .-. -


Hommage a Rameau, Measure 24 .-. -



Hommage a Rameau, Measures 53-54

Melodic Extraction of Fig. 34 .

Variants Found in Fig. 34a . -. .

Hommage i Rameau, Measure 67 .-. -



Mouvement, Measures 162-166 . . . .


Mouvement, Measures 167-170 . -. .


3 -

31a

3 -

32a

Page

30

30

30

30

31

34

34

34

35

35

35

36

36

36

36

37

37

37

37

38

41

42

42

42

3 3a

33a

3 .

35a

Figure Page

38. Mouvement, Measures 170-173.-.-.-.-.-.......42

38a. Melodic Extraction of Fig. 38........ . 43

39. The First Variant of Each of the ConjunctSimple Linear Melodies Form 1... . . 43

40. Couplings and Variants, CSLMF1 . . . . . . . 44

41. Contour Graph of CSLMF1 Found in Fig. 36a . 44

42. Contour Graph of CSLMFl Found in Fig. 37a . 45


44. Reflets dans l'eau, Measures 24-27 ..... 46


45. Reflets dans l'eau, Measures 50-53.. .... 47

45a. Melodic Extraction of Fig. 45 . . . . . . . . 47

46. Reflets dans l'eau, Measures 54-56 . .... 47

46a. Melodic Extraction of Fig. 46....... .. 48

47. First Coupling Found in Each of the CSLMF2Melodies, with Variants....... .. 48

48. Second Couplings Found in CSLMF2 Melodies,with Variants . . . . . . . . . . . . . 49




52. Reflets dans l'eau, Measure 10....... . 55

52a. Melodic Extraction of Fig. 52.-....... . 55

52b. Variant and Coupling Content of Fig. 52a 55

52c. Construction Diagram of Fig. 52a . . . . . . 56

53. Reflets dans l'eau, Measure 60....... . 56

xii

Figure

53a.

53b.

53c.

54.

54a.

5 4b.

54c.

55.

55a.

55b.

55c.

56.

56a.

5 6b.

56c.

57.

57a.

57b.

57b(i).

57c.

57c(i).

57d.

58.

Melodic Extraction of Fig. 53.-.....

Coupling and Variant Content of Fig. 53a

Construction Diagram of Fig. 53a . . . .

Hommage 3 Rameau, Measures 51-52 . . . .

Melodic Extraction of Fig. 54a


Construction Diagram of Fig. 54a ... .

Hommaqe ! Rameau, Measure 71-.- . .



Construction Diagram of Fig. 55a . .

Mouvement, measures 75-78.-.......



Construction Diagram of Fig. 56a . -

Mouvement, Measures 67-73.-..... . .


Multivariant 1, Extracted from Fig. 57a

Couplings and Variants Found inMultivariant 1 (Fig. 57b) - .-.-..

Multivariant 2, Extracted from Fig. 57a

Couplings and Variants Extracted fromMultivariant 2 (Fig. 57c) -. . . .

Construction Diagram of Fig. 57a . -.-..

Mouvement, Measures 89-96 . . . . . . . .

xiii

Page

. . 56

. . 57

. . 57

. . 58

. . 58

. . 58

. . 59

. . 59

. . 59

. . 60

. . 60

. . 61

. . 61

. . 61

. . 62

. . 67

. . 67

. . 68

. . 68

. . 69

. . 69

. . 70

* . 71

Figure Page

58a. Melodic Extraction of Fig. 58 . . . . . . . . 71

58b. Multivariant 1, Extracted from Fig. 58a . . . 72

58b(i). Couplings and Variants Found in Multivar-iant 1 (Fig. 58b) ............ 72

58c. Multivariant 2, Extracted from Fig. 58a . . . 73

58c(i). Couplings and Variants Found in Multivar-iant 2 (Fig. 58c) ........ ... 73

58d. Construction Diagram of Fig. 58a.. ..... 74

59. Mouvement, Measures 97-103......... . 75


59b. Multivariant 1 Extracted from Fig. 59a . . . 75

59b(i). Couplings and Variants Found inMultivariant 1 (Fig. 59b).. . . . . . 76

59c. Multivariant 2 Extracted from Fig. 59a . . . 76

59c(i). Coupling and Variants Extracted fromMultivariant 2 (Fig. 59c)....... . 76

59d. Construction Diagram of Fig. 59a . . . . . . 77

60. Contour Graph of Melody Found in Fig. 57a . 78



63. Reflets dans l'eau, Measures 29-30...... .. 83

63a. Melodic Extraction of Fig. 63.-....... . 84

63b. Coupling and Variants Found in Fig. 63a . . . 84

63c. Construction Diagram of Fig. 63a . . . . . 84

64. Reflets dans l'eau, Measures 59-60.. .... 85


xiv

Figure

6 4b.

64c.

65.

65a.

65b.

65c.

66.

66a.

66b.

66c.

67.

68.

69.

70.

71.

71a.

71b.

71c.

72.

72a.

72b.

72c.

73.

73a.

64a .

6 5

65a



Reflets dans l'eau, Measures 65-66

Melodic Extraction of Fig. 65 ...



Reflets dans l'eau, Measures 57-59

Melodic Extraction of Fig. 66 .-.

Couplings and Variants Found in Fig

Construction Diagram of Fig. 66a -

Contour Graph of DSLM Found in Fig.




Hommage d Rameau, Measures 7-8

Melodic Extraction of Fig. 71 . . .

Variants Found in Fig. 71a . . . .






Hommage a Rameau, Measure 43 .


72a . .

.

..

xv

64a

63a

64a

65a .

66a .

Page

85

85

86

86

86

87

87

87

88

88

89

89

89

90

90

90

91

91

91

91

92

92

92

92

Figure

7 3b.

73c.

74.

74a.

7 4b.

74c.

75.

75a.

75b.

75c.

76.

76a.

76b.

76c.

77.

77a.

7 7b.

77c.

78.

78a.

78b.

78c.

79.

79a.

Couplings and Variants Found in Fig.


Hommage a Rameau, Measure 48 . .




Mouvement, Measures 30-31


Variant Found in Fig. 75a


Mouvement, Measures 78-80 - - - - -


Coupling and Variants Found in Fig.7

Construction Diagram of Fig. 76a .

Reflets dans l'eau, Measure 14 .-. .




Hommage a Rameau, Measures 14-17 - -

Melodic Extraction of Fig. 78 .--.


Construction Diagram of Melody FoundFig. 78a . . - . . -.-.-.-. -.

in...... 106

Hommage a'Rameau, Measures 1-5-- - .

Melodic Extraction of Fig. 79 -- - .

109

110

xvi

Page

73a . . 93

93

94

0 .94

74a . . . 94

. . . . . 95

95

95

96

96

96

96

6a . . . 97

97

. 103

. 103

77a . . . 103

. .. ..... 104

-.. .. ... 104

.. ..... 105

78a ... 105

7

Figure

79b.

79b(i).

79c.

79c(i).

79d.

79d(i).

79e.

80.

80a.

80b.

80b(i).

80c.

80c(i).

80d.

80d(i).

80e.

1.

2.

3.

83a.

8 b.

83b(i).

8 c.

79a .

79a

79c

79a

Multivariant 1, Extracted from Fig.

Couplings and Variants Found inMultivariant 1 (Fig. 79b)




Couplings and Variants Found inMultivariant 3 (Fig. 79d)





Couplings and Variants Found in Fig. 80b

Multivariant 2, Extracted from Fig. 80a .

Couplings and Variants Found in Fig. 80c


Couplings and Variants Found in Fig. 80d

Construction Diagram of Fig. 80.-.-....

Contour Graph of Melody Found in Fig. 79a

Contour Graph of Melody Found in Fig. 80a

Hommage a Rameau, Measures 17-24 . . .

Melodic Extraction of Fig. 83... .....


Coupling and Variants Found in Fig. 83b .


Page

. . 110

. . 110

111

. 111

. . 111

00 . 111

. . 112

. . 113

113

. 114

. . 114

. . 114

. . 115

115

115

.. 116

.. 117

.. 118

119

.. 119

120

120

120

xvii

8 0

80a

Figure

83c(i)

83d.

83d(i).,

8 3e.

84.

84a.

84b.

84b (i) .

84c.

84c (i) .

84d.

84d(i).,

84e.

Coupling and Variants Found in Fig. 83c .


Couplings and Variants Found in Fig. 83d,


Hommage a Rameau, Measures 30-37 . .

Melodic Extraction of Fig. 84...... ..


Couplings and Variants Found in Fig. 84b


Coupling and Variants Found in Fig. 84c .


Couplings and Variants Found in Fig. 84d.

Construction Diagram of Fig. 84a . . .

xviii

Page

. . 120

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. . 125

INTRODUCTION

Need for- the Study

The writing of this original research project was

initiated because of the virtual nonexistence of a theo-

retical bibliography concerning the music of Debussy.

There is a need for organized research into Debussy's com-

positional techniques. This study seeks to discover the

extent and manner in which Debussy uses ifotive to design

and unify his thematic material in Images I for piano,

which was completed in 1905.

The motive chosen for analysis occurs in measures 1

and 2 of Reflets dans l'eau, the first of the three pieces

in Images I.

Andantino nolto(f empo rubatll)

pp

Fig. 1--Reflets dans l'eau, measures 1 and 2

Fig. la--Motive as found in Fig. 1

1

2

E. Robert Schmitz refers to the three-note figure

shown in Figure la as "the theme. A perceptive comprehen-

sion of the right-hand patterns will reveal the mirroring

of that theme in diminution."1

Biographical Notes

Achille-Claude Debussy was born in Saint-Germain-en-

Laye, France, on August 22, 1862, and died in Paris on

March 25, 1918. In 1873, he entered the Paris Conserva-

toire and remained there for eleven years. During this

time, his studies included piano with Marmontel and theory

with Guiraud, Lavignac, Massenet and mile Durand. He was

also in Cesar Franck's class for a short time, though

Franck was displeased by his not modulating frequently

enough in improvisation.

In 1884, Debussy won the highest honor of the Conser-

vatoire, the Grand Prix de Rome, with the cantata, "L'Enfant

Prodigue". He left for Rome in 1885, but did not complete

the course of study, returning to Paris in 1887.

At this point, he settled down to a composer's career,

to which he confined himself for the remainder of his life.

In 1892, Debussy entered into maturity as a composer

by beginning work on a prelude, interlude and final para-

phrase inspired by Mallarme's eclogue, "L'Apres-midi d'un

E. Robert Schmitz, The Piano Works of Claude Debussy(New York, 1966), p. 102.

3

faune". After two years, however, only the prelude was

completed. He also began setting Maeterlinck's "Pelleas et

Melisande" to music, word for word. Completed in 1902, it

was premiered on April 30th at L'Opera-Comique and was an

overwhelming success.

Debussy died in 1918 after a long battle with cancer.

There are roughly three periods in Debussy's music:

the immature period to about 1890, then some twenty years

of mature work, followed by the decline of his final years.

Terms to be Used

All material and terminology will be presented in the

order of complexity, both in this glossary and in Chapter I.

Melodic extraction.--The removal of melodic material

from context for the purpose of analysis.

Interval.--The distance in pitch between two tones.2

Intervallic.--Pertaining to intervals.

Variant.---For the purpose of this study, a three-note

structure which is derived from the motive. Variant numbers

are assigned according to the order in which they appear in

Chapter I. Each of the following group examples is the

first of its kind to appear in Chapter I. Therefore, the

2 Willi Apel, "Interval," Harvard Dictionary of Music(Cambridge, 1969), p. 418.

4

variant numbers (2, 12, 5, 11, 45, etc.) are not in numeri-

cal order in this glossary.

Primary variant.--A three-note figure in which the

istep-leap" or "leap-step" relationship of the motive may

be seen. A step is the interval of a second. A leap is

any interval larger than a second. The leaps in the var-

iants may be altered without changing the basic character

of the motive, this being a practice of composers of all

schools.

The primary variant groups have been numbered accord-

ing to the first interval of all variants within the

particular group, beginning with the interval of a second.

Primary Group I (PGI) .--Primary variants beginning

with the interval of a second, followed by an interval

larger than a second.

Fig. 2--Variant 2 (PGI)

Primary Group II (PGII) .--Primary variants beginning

with the interval of a third, followed by a second.

5

Because the motive is composed of a third followed by a

second, PGII is the group that bears the closest resem-

blance to the motive. For the purpose of analysis, the

motive will be labeled as PGII.

Fig. 3--Variant 12 (PGII)

Primary Group 1II (PGIII).--Primary variants beginning

with the interval of a fourth, followed by the interval of

a second.

Fig. 4--Variant 5 (PGIII)

Primary Group IV (PGIV) .--Primary variants beginning

with the interval of a fifth, followed by the interval of

a second.

Fig. 5--Variant 11 (PGIV)

6

Primary Group V (PGV).--Primary variants beginning

with the interval of a sixth, followed by the interval of

a second.

Fig. 6--Variant 45 (PGV)

Secondary variant.--For the purpose of this study, a

three-note structure comprised of two leaps in opposite

directions. The "leap-step" relationship to the motive may

be seen by measuring each of the second and third notes of

the structure with the first note of the structure.

Fig. 7--Variant 1 (secondary)

Intervallic terminology.--For the purpose of this

study, the letters M, m, P, A and d will stand for the

adjectives Major, minor, Perfect, Augmented and diminished,

respectively. These letters will precede the digits 2, 3,

7

4, 5 and 6, which will stand for the intervals of a second,

third, fourth, fifth and sixth, respectively.

The adverbs "upward" and "downward" (abbreviated to

"up" and "dn") will follow the citing of an interval when

stating a variant formula; e.g. "m3up M2dn" means "the

interval of a minor third upward followed by the interval of

a Major second downward."

Construction diagram.--A figuration which illustrates

the structure of melodic material containing variants.

Coupling. -- For the purpose of this study, a four- or

five-note structure, resulting from the overlapping of two

variants.

Fig. 8--Construction diagram of a four-note coupling

The four-note coupling, shown in Figure 8, is formed

by joining the second and third notes of the first variant

with the first and second notes of the second.

8

Fig. 9--Construction diagram of a five-note coupling

The five-note coupling shown in Figure 9 is formed by

joining the third note of the first variant with the first

note of the second.

Closely related coupling Type 1 Form 1 (CRTlFl).--A

four-note coupling whose variants are primary, have identi-

cal intervallic content and each of which is the retrograde

inversion of the other.

CRTlFl Var. 10 Var. 11

Fig. 10--CRTlFl coupling

Closely related coupling Type 1 Form 2 (CRTlF2).--A

five-note coupling whose variants are primary, have identi-

cal intervallic content and each of which is either the

retrograde or the retrograde inversion of the other.

9

CRTlF2 Motive Var. 3

Fig. ll--CRTlF2 coupling

Semirelated coupling Type 2 Form 1 (SRT2Fl) .-- A four-

note coupling whose variants are primary and are "semi-"

retrograde inversions of each other due to intervallic

difference.

SRT2F1 Var. 9 Var. 12

Fig. 12--SRT2Fl coupling

Semirelated coupling Type 2 Form 2 (SRT2F2).--A four-

note coupling whose variants are primary.


Fig. 13--SRT2F2 coupling

A As

iA

10

Semirelated coupling Type 2 Form 3 (SRT2F3) . --A four-

note coupling whose variants are primary and have semi-

identical intervallic content but whose directions differ.



Semirelated cooling Type 2 Form 4 (SRT2F4) .-- A four-

note coupling whose variants are primary and of identical

intervallic content, but whose directions differ.

lin'



Semirelated coupling Type 2 Form 5 (SRT2F5) .-- A f ive-

note coupling (Figure 9) whose variants may have any of the

relationships found in the SRT2F1, SRT2F2, SRT2F3 or SRT2F4

couplings.

SRT2F5 Motive Var. 18


IWqlw

I

I

11

Remotely related coupling (RR) .-- A four-note coupling

comprised of a primary and a secondary variant.

ff M

Var. 1 Var. 7RR (Sec.

Fig. 17--Remotely related coupling

Melodic fragmentation Form l.--For the purpose of this

study, the melodic statement of a single variant.

Fig. 18--Hommage a Rameau, measure 25

Fig. 18a--Melodic extraction of Fig. 18 (melodicfragmentation Form 1)

Var. 3

Fig. 18b--Variant used as melodic fragmentation in Fig. 18a

12

Melodic fragmentation Form 2.---The melodic statement of

a single coupling.

Lb

Fig. 19--Reflets dans l'eau, measure 10

Fig. 19a--Melodic extraction of Fig. 19 (melodicfragmentation Form 2)'.

RAI 1ACRTlFl Var. 10 Var. 11

Fig. 19b--Coupling and variants found in Fig. 19a

Linear melody.--Thematic material of length greater

than a coupling.

Conjunct simple linear melody Form 1 (CSLMFl) .-- Theme

comprised of a variant in juxtaposition with a coupling.

All examples found have identical construction diagrams.

13

-- ----------------------------------------

--. ... .- .- -.- .1. ------- ....

-0- .-- -

Fig..22b-Coupling n variansfren in6 Fg.126

Fig. 20a--Ceostrurct igramof Fig. 20a (CSLMFl)

Var. 164~

S _________________________________________

Fig. 2 20--Mouver nentvamasuresn 162 Fg.166

Fig. 20--Modic trction armof Fig. 20a (CSLMF)

14

Contour graph. -- An example which illustrates the shape

of a given melody. Contour graphs will be used to show the

similarities and differences in shape where the melodies of

a given melodic type (e.g. CSLMFl) have either identical or

semi-identical variant content and construction.

g#

e

d

a#

fR

e

Fig. 21--Contour graph of melody found in Fig. 20 (CSLMFl)

Conjunct simple linear melody Form 2 (CSLMF2) .-- A theme

comprised of two couplings in juxtaposition. All examples

found have identical construction diagrams.

15

17 - Ott,,

Fi ,__________ le urme su es 2-27--

m I I

Fig. 22a--Melodic extraction of Fig. 22

RR Var. 3 Var. 22

Fig. 22b--Couplings and variants found in Fig. 22a

I1 k riM60P

jMFV' w vv


I I

I

16

Fig. 22c--Construction diagram of Fig. 22a (CSLMF2)

Conjunct compound linear melody (CCLM).--A theme com-

prised entirely of overlapped variants, which form couplings

within the theme. Each example will be accompanied by its

own construction diagram.

Fig. 23--Mouvement, measures 75-78


17

CRT1F1 Var. 20 Var. 28

CRT1Fl Var. 28 Var. 20



Var. 20 Var. 20 yar.16

Var. 28 Var. 28

ICRTlF1 CRT1F1 CRTlF1 SRT2F1

CCLM

Fig. 23c--Construction diagram of Fig. 23a

*alp

IL

SRT2Fl Var, 28 Var. 16

- A

18

Multivariant.--A group of notes found in a large melod-

ic form which may consist of single and/or overlapped

variants in juxtaposition with nonmotivic notes.

Conjunct complex linear melody (CCxLM) .-- A theme which

combines the juxtaposing procedure of CSLM and the overlap-

ping procedure of CCLM.

Toutes les i ots mrquies d signed Snores, ssn. dine ur!e reste tre-v /ger mnas sans sechereyse.

Vr '

VlP

------

Fig. 2 4--Mouvement, measures 67-73

r1 Id~. A*

I I - I

IL,

t'v '4F F '______ 1 T

Fig. 24a--Melodic extraction of Fig. 24 (CCxLM)

* I)ow

Fig. 24b--Multivariant 1 as found in Fig. 24a

CRTlF1 Var_20)Var 28

CRTlF1 Var. 28 Var

CRTlF1 Var. 20_Var. 28


SRT2F4 Var. 29 Motive

Fig. 2 4b(i)--Couplings and variants found in Multivariant 1

19

j

ro-ol1 It As it jo

I I

I I I

I

I L,.oiI I

20

Fig. 2 4 c--Multivariant 2 as found in Fig. 24a


SRT2F 4 Motivd Var. 18

Fig. 2 4 c (i) -- Couplings and variants found in Fig. 24a

Multivariant 1

Var. 28 Var. 28 MotiveVar. 20 Var. 20 Var. 29

Lii Li i Li

Multivariant 2

H] iMotive

Var. 29 Var. 18

LiiJJ

CRTlF1 CRTlF1 CRTlF1 SRT2F4 SRT2F4 SRT2F4 SRT2F5

IILJFig. 24d--Construction diagram of Fig. 24a (CCxLM)

'Ask

-4-- v - --- p- --- a &or

I-- I I

21

Disjunct simple linear melody (DSLM) .-- A theme in which

variants and/or couplings are found to be in juxtaposition

with one or more non-motivic notes.

Fig. 25--Reflets dans l'eau, measures 29-30

Fig. 25a--Melodic extraction of Fig. 25 (DSLM)

SRT2F3 Var. 31 Var,.19


22

Var. 31

Var. 19

Db

DSLM

Fig. 2 5c--Construction diagram of Fig. 25a (DSLM)

Disjunct compound linear melody (DCLM) .-- A theme con-

sisting of a scalewise passage from which variants and/or

couplings may be extracted.


Fig. 26a--Melodic extraction of Fig. 26 (DCLM)

23

CRTlFl Var. 3 Mot ve

CRTlFlVar. 3 otive


Var. 3 Var. 3

Motive LMotive

LTCRT1F1 CRTlFl

DC

Fig. 26c--Construction diagram of Fig. 26a (DCLM)

Dis junct complex linear 'Melody (DCxLM) . -- A theme in

which variants, couplings and/or multivariants are found

in juxtaposition with non-motivic material.

I~1,I

I P

_ _ - -

p074

IF - f - . --1- 1

Fig. 2 7 -- Homm'age 'a Rameau, measures 17-24

Fig. 27a--Melodic extraction of Fig' 27 (DCxLM)

24

rim gg 4191A-M Fw

oil

I I I I I- -

25

i 4 - - 1,a i 1% p Ion - I-1

_________I

Fig. 27b--Multivariant 1 as found in Fig. 27a

SRT2 2 Var. 44 Var. 4 5

Var. 44

Fig. 27b(i)--Coupling and variants found in Fig. 27b

Fig. 27c--Multivariant 2 as found in Fig. 27a

k

S RT 2F5

I A I

Var. 18

-.- 4 "-*

Var. 46

Fig. 27c(i)--Coupling and variants found in Fig. 27c

Fig. 27d--Multivariant 3 as found in Fig. 27a

r. -U., ., - .9 as - ---- :o - I .. -,

;FF

.11- -4ZL-- -A -W -W-AL-- -AW MF

A& _0 --- - IWF .

I

26

Ni I I

CRTlF1 Var. 2 Var 28

CRTlFl Var. 28'-Vr. 20

~CRT-1V~r. M 0 i tive

TCTTVF2 Mtv 1Vr20,

.. * A

TCRTlF1 Var 2 Var. 28

Fig. 27d(i)--Couplings and variants found in Fig. 27d

For the sake of space, the labeling of couplings in

Figure 27e has been abbreviated as follows: Cl for CRTlFl;

C2 for CRTlF2; S2 for SRT2F2; and S5 for SRT2F5. The motive

is designated by M, and variants are indicated by numbers

only.

44 44 18 20M'O20m20IT045 W466 2 8L MW28

G E G# F# G# A G# G#

G S2 E S5 G# F# G# A G# ClCl 92 C2 Cl G#

DCxLM

Fig. 27e--Construction diagram of Fig. 27a (DCxLM)

dp

l

27

Enharmonic.--"Tones that are actually one and the same

degree of the chromatic scale but are named and written

differently.',3

Statement.--For the purpose of this study, the term

"statement" will refer to the use of a variant or coupling.

There may be more than one statement found in a melodic

example.

3Apel, "Enharmonic. (2)," Harvard Dictionary, p. 293.

CHAPTER I

EVIDENCE

Melodic Fragmentation

Seven examples of melodic fragmentation Form 1 were

discovered. Figures 28, 28a and 28b represent the first

illustration of melodic fragmentation Form 1.

Andantino molto(Tempo rubato -- ~

Fig. 2 8--Reflets dans 1'eau, measures 1 and 2


28

29

Var~l 4otiveVar.

Fig. 2 8 b--Variants found in Fig. 28a

Figure 28 represents the concurrent melodic frag-

mentation of two isolated variants which are stated

simultaneously with the motive. Variant 1, which is

secondary, appears in fragmentation a total of thirty-

one times: twelve times in measures 1-8, twelve times

in measures 36-43 and seven times in measures 71-78.

Variant 2, which is Primary Group I, is stated only

four times: twice in measures 1-8 and twice in measures

36-43. The motive is stated a total of six times in all

three passages.

Fig. 29 --Hommage a Rameau, measure 25

_T

Fig. 2 9 a--Melodic extraction of Fig. 29

30

Var. 3

Fig. 29b--Variant found in Fig. 29a

Figure 29 represents an example of an isolated variant

used as melodic fragmentation. The variant, known as Var-

iant 3, is shown in Figure 29b and is Primary Group I.

Fig. 30--Mouvement, measure 63

;I

Fig. 30a---Melodic extraction of Fig. 30

Var. 5 - u iFar. 4

Fig. 30b--Variants found in Fi . 30a

31


Figure 30 is a further illustration of melodic frag-

mentation, involving the simultaneous statements of two

single variants which end on the same note. The var-

iants, shown in Figure 30b, are Variant 4, which is

Primary Group IV, and Variant 5, which is Primary

Group III. A diagram of construction is shown in

Figure 30c. These variants reappear in Measure 73.

Further examples of melodic fragmentation uti-

lizing single variants were found in the following

passages:

Reflets dans l'eau

(1) Meas. 12 (Variant 6 and Variant 7, onestatement each)

(2) Meas. 18-19 (Variant 8, two statements)

(3) Meas. 32-34 (Variant 9, three statements)

(4) Meas. 81-82, 85-86 (Motive, two statements)

The statistics of variant usage, as found in melodic

fragmentation Form 1, are represented in Table I.

32

TABLE I

STATISTICS OF VARIANT USAGE AS FOUNDIN MELODIC FRAGMENTATION FORM 1

Formula

m3dn M2dn*

P5up P4dn

M2dn M3dn.

M2dn m3dn-

d5up A2up

P4dn m2dn

P5dn M2up

P4dn M2dn

P4up m3dn

m2up m3dn

Type

PrimaryGroup II

Secondary

Primary

Group I

Primary

Group I

PrimaryGroup IV

Primary

Group III

Primary

Group IV

PrimaryGroup III

Secondary

Primary

Group I

Number of-Statements'

8

31

4

1

2

2

1

1

2

3

Percentageof Use

14.4

55.8

7.2

1.8

3.6

3.6

1.8

1.8

3.6

5.4

Table I shows the number of statements and percentage

of use of each of the isolated variants found as melodic

fragmentation. The variants are listed and numbered in

order of appearance and discussion. Further statistics

on the primary variants are shown in Table IA.

Variant

Motive

1

2

3

4

5

6

7

8

9

33

TABLE IA

SUMMARY OF PRIMARY VARIANT USAGE BY GROUP

Number of Percentage ofVariant Group Statements Statements

Primary Group I 8 36Primary Group II 8 36Primary Group III 3 13.5Primary Group IV 3 13.5

Table IA represents the summary statistics of primary

variants by group, as found in melodic fragmentation Form 1.

In arriving at these statistics, the primary variants were

considered within themselves. Statistics as compared with

secondary variants follow in Table IB.

TABLE IB

TOTAL SUMMARY OF VARIANT STATISTICS AS FOUNDIN MELODIC FRAGMENTATION FORM 1

Type Percentage

Primary . .-...-.-......-..-.. . . . . . . 39.6Secondary.............. ..... . . 59.4

Table IB shows the total summary statistics of primary

and secondary variants as found in melodic fragmentation

Form 1.

Five examples of melodic fragmentation Form 2 were

found. One CRTlFl coupling was found to be used as melodic

fragmentation Form 2 and is illustrated in Figures 31, 31a

and 31b.

34



CRTlFl _ Var. 10 Var


As the variants shown in Figure 31b are retrograde

inversions of each other, the coupling in Figure 31b is

CRTlFl.

One SRT2Fl coupling was found to bp used as melodic

fragmentation Form 2 and is shown in Figures 32, 32a and

32b.

35



SRT2Fl Var. 9 Var. 12

Fig. 3 2b--Coupling and variants found in Fig. 32a

The variants of the above coupling are semi-identical.

While both Variant 9 and Variant 12 contain the interval of

a minor third, the major second of Variant 12 varies from

the minor second found in Variant 9. Each is a semi-

retrograde inversion of the other, forming an SRT2Fl

coupling. The coupling shown in Figure 32b is repeated

in Measure 31 of Reflets dans l'eau.

One SRT2F2 coupling was found to be used as melodic


33b.

36

Fig. 3 3--Hommage a Rameau, measure 24


SRT2F2 Var-ar


The variants shown in Figure 33b are primary, forming

an SRT2W2 coupling.

One SRT2F3 coupling was found to be used as melodic


34b.

Fig. 3 4 --Hommage a Rameau, measures 53-54

37


A

Var. Var ,T

Fig. 34b--Variants found in Fig. 34a

As Variants 14 and 15 are semi-identical and differ

directionally, they form an SRT2F3 coupling.

One remotely related coupling was found to be used as

melodic fragmentation Form 1 and is illustrated in Figures

35, 35a and 35b.

Fig. 3 5 --Hommage a Rameau, measure 67

Fig. 35a-,-Melodic extraction of Fig. 35

38


Figure 35b shows Variants 1 and 7 to be secondary and

primary respectively, forming a remotely related coupling.

Each of the variants discussed in the above examples

is shown in Table II.

TABLE II

VARIANTS FOUND IN MELODIC FRAGMENTATION FORM 2

-

Group m3 d T2F2-ariaH

0 M4J-H>-r

4~ )

7 ~ ~ ~ ~ ~ ~ ~ 0 Prmr 4d eoeyRMot

-PGrr 4-3Ird3dTFIvriz a) 4J-- 0H

Q)r~ (H H41Q)04 Ell :>1 0 (a0 )O 0 0DO4-

>0 Z-UP_____UzU zu

Secondary P5 up 7 Remotely Remote1P4 dn Related

3 Primary M2 dn 13 Semirelated Primary1Group I m3 dn T2F2 Variant

7 Primary P4 dn 1 Remotely Remote1Group III M2 dn Related

9 Primary m2 up 12 Semirelated Semi Retro 2Group I m3 dn T2Fl Inversion

39

TABLE II--Continued

4-)

4~ 44-)Cd 4 -)0 0 4 ('0

4-))U) 1::44-!W4J0 00 0O 0) (0

_______ 4-)>C) Hro (d r-q 4 -

PrimaryGroup I

PrimaryGroup IV

PrimaryGroup II

PrimaryGroup III

PrimaryGroup III

M2 dnP5 up

P5 upM2 dn

m3 dnM2 up

P4 upM2 dn

P4 dnm2 up

11

10

9

3

15

CRTlFi

CRTlFl

SemirelatedT2Fl

SemirelatedT2F2

SemirelatedT2F3

15 Primary m2 up 14 SemirelatedGroup I A4 up T2F3

RetroInversion

RetroInversion

Semi RetroInversion

PrimaryVariant

Semi-intervallic

Semi-intervallic

1

1

2

1

1

1

In Table II, each of the variants is listed in the

order of its discovery with its formula, the number of

its companion variants, the type of coupling they form,

the relationship to the companion variant and the number

of statements (both as couplings and as variants). Per-

centages of the variants used are listed in Table IIA.

10

11

12

13

14

40

TABLE IIA

PERCENTAGES OF VARIANT GROUPS AS FOUNDIN MELODIC FRAGMENTATION COUPLINGS

Type Quantity

Primary 4Group I

Primary 1Group II

Primary 3Group III

Primary 1Group IV

Secondary 1

% of Total'Quantity

40

10

30

10

10

Number ofNumber ofStatements

5

2

3

% of TotalStatements

41.5

16.7

25.0

8.3

Table IIA gives the variant percentages by group.

Each group is listed in numerical order. The number of

variants and variant statements within each group are

followed by their respective percentages. Total summary

percentages of the variants found in the couplings used

in melodic fragmentation Form 2 are shown in Table IIB.

TABLE IIB

TOTAL SUMMARY PERCENTAGES OF VARIANTS FOUND IN COUPLINGSUSED AS MELODIC FRAGMENTATION FORM 2

Type Percentage

Primary.............................................91.5Secondary .................. '.....-.-.-...-.......9.58.3

Table IIB gives the total summary of variants by

group. Coupling percentages are given in Table III.

41

TABLE III

COUPLINGS USED AS MELODIC FRAGMENTATION FORM 2

CouplingType

CRTlFI

SRT2Fl

SRT2F2

SRT2F3

Remotely Related

Number Timesof Type Used

1 2

Percentageof Number

20

20

20

20

20

Percentageof Use

16.6

33.3

16.6

16.6

16.6

Table III shows the couplings used as melodic fragmen-

tation. The couplings are listed by type. The number of

each type of coupling and times it is used are given, fol-

lowed by the couplings' respective percentages.

Conjunct Simple Linear Melody

Three examples of conjunct simple linear melody

Form 1 were discovered, and are shown in Figures 36a,

37a and 38a respectively.

6--------------------------------------

Fi . 6-M.vme tme s re 1 2-6

42


P-

- - -------------------------------

t A

Fig. 37 --Mouvement, measures 167-170

L~~L


-----


43

Fig. 3 8a--Melodic extraction of Fig. 38

The first three notes of each of the above three

melodies were found to be identical motivic variants

by reason of enharmonics, as shown in Figure 39.

V aTr-r.16 Var.Mouvement Mouvement MouvenentMs. 162 Ms. 167-8 Ms. 17

Fig. 39--The first variant of each of the conjunctsimple linear melodies Form 1.

As shown in Figure 39, each of the CSLMFl linear

melodies was found to begin with Variant 16.

Each of the variants in Figure 39 is in juxtaposition

with an SRT2F4 coupling. All three couplings are shown in

Figure 40 with their variant breakdowns.

44

SRT Var.-17 Var. 18Mouvement

- 4_

SRT2F4 Var, 17 Var. 18

MouvementMs. 171- 72

Fig. 40--Couplings and variants, CSLMF1

As shown in Figure 40, each of the couplings was found

to be identical to the other two in content. The contour of

all three melodies is shown on the graphs in Figures 41, 42

and 43.

G#

E

D

FF#

E

Fig. 41--Contour graph of CSLMF1 found in Fig. 36a

45

G

F

E

D

Bb

F#

E


D

Bb

Ab

E

C

B


46

The graphs in Figures 41, 42 and 43 show all three

conjunct simple linear melodies Form 1 to be identical

in contour as well as intervallic content.

Three examples of conjunct simple linear melody Form 2

were discovered, and are shown in Figures 44a, 45a and 46a

respectively.

Fi.-4--n - a a



47

1 -1

Fig. 45--Reflets dans 1eau measures 50-53


Of Ioto

1 -s -

Fig. 46--Reflets dans 1'eau, measures 54-56

48


All of the above melodies were found to be of identical

coupling content, as is shown in Figure 47.

I -T RT2F4 Var. 16 Var. 19Reflets dansl'eau ms. 24-25

SRT2F4 Var. 16 Var19Reflets dansl'eau is. 50-51

SRT2F4Var. 20 VrReflets dansl-'eau ms-.54-55

Fig. 47--First coupling found in each of the CSLMF2melodies, with variants.

Figure 47 shows all three of the first couplings in

each of the CSLMFl examples to be SRT2F4 couplings. Each

of the first two couplings consists of Variants 16 and 19

respectively. The only difference between the third coup-

ling and the previous two is intervallic: the major third

of Variants 16 and 19 being replaced by the minor third in

49

Variants 20 and 21. The second couplings found in conjunct

simple linear melody Form 2 are shown collectively in Figure

48.

RR Var. 3 Var. 22Reflets dansi'eau ms. 25-27

RR Var. 23 Var. 24Reflets dansl'eauMsTST-52

RR Var. 3 Var. 22Reflets dansl'eau ms, 55-56

Fig. 48--Second couplings found in CSLMF2 melodies,with variants.

Figure 48 shows each of the second couplings as found

in CSLMF2 to be remotely related. The first and third coup-

lings were found to be identical (the final intervals of

major third and diminished fourth being enharmonic),. In

Variants 22 and 24, the intervallic relationship between

the first and third notes is an augmented prime (ebb to eb

and f to f# respectively), which is enharmonic with the in-

terval of a minor second. The second coupling of the three

differs from the other two in the following aspects: the

diminished fourth of Variant 23 opposed to the minor third

50

of Variant 3, and the diminished fourth and perfect fourthof Variant 24 opposed to the minor third and major third

(diminished fourth) of Variant 22. Contour graphs of the

CSLMF2 examples are shown in Figures 49, 50 and 51.

Ab

Gb

Fb

Ebl

Cb

Fig. 4 9 -- Contour graph of CSLMF2 found in Fig. 44a

B

A

GFF

C#~Fig. 50--Contour graph of CSLMF2 found in Fig. 45a

B

A

G#GF#

D#4


51

Figures 49, 50 and 51 show all three of the CSLMF2

examples to be of identical contour, although they .are only

similar intervallicly.

Each of the variants found in CSLMF1 and CSLMF2 is

shown in Table IV.

TABLE IV

VARIANTS FOUND IN CSLMFl AND CSLMF2ACCORDING TO INDIVIDUAL USE

Variant Type Number of Statements

3 Primary Group I 2

16 Primary Group I 5




20 Primary Group I1

21 Primary Group II'1

22 Secondary 2

23 Primary Group 11

24 Secondary

Table IV lists each of the variants, as found in CSLM,

in numerical order with its categorization by group and

frequency of use. Percentages of use by group are shown in

Table IVA.

52

TABLE IVA

PERCENTAGES OF VARIANT USE BY TYPEAS FOUND IN CSLMF1 AND CSLMF2

Percentage Number of Percentage ofType Quantity of Quantity Statements Statements

Primary 5 50 12 57.12Group I

Primary 3 30 6 28.56Group II

Secondary 2 20 3 14.28

Table IVA shows each of the variant types, followed by

the quantity of different variants within that type, the

number of times each type is stated and respective percen-

tages. Further statistics are found in Table IVB.

TABLE IVB

PERCENTAGES OF SINGLE AND COUPLING USAGE OFVARIANTS AS FOUND IN CSLMFl AND CSLMF2

Usage Percentage

In couplings...................... 85.68Singly....................-.-... .. 14.28

Table IVB, which shows the collective percentages of

single and coupling usages, is based on the collective num-

ber of statements in Table IVA. Statistics concerning

couplings are found in Table V.

53

TABLE V

COUPLINGS FOUND IN CSLMF1 AND CSLMF2ACCORDING TO INDIVIDUAL USE

-I 'i-~1 1 4 i '-4

'H

0U

1

ca)4-)

4-)

a)Ici44:

MouvementMs. 163-64169-70, 171-72

4-)

Cd

U)ai)H4

>I,'Hq

4-)

0

En

4

rd 4-)

>zf- ___

17

18

PrimaryGroup II

PrimaryGroup I

M3 upM2 up

M2 upM3 dn

Inter-vallic

ai)

04

SRT2F4

IU)

U)

0

c)

3

0

crd

4-)

33.3

2 Reflets dans 1'eau 16 Primary M2 up Inter- SR 2 22.2Ms. 24-25, 50-51 Group I M3 up vallic T2F4

19 Primary M3 upGroup II M2 dn

3

4

5

Reflets dans l'eauMs. 54-55

Reflets dans l'eauMs. 25-27, 55-56

Reflets dans l'eauMs . 51-52

20

21

3

PrimaryGroup I

PrimaryGroup II

PrimaryGroup I

22 Secondary

23

24

PrimaryGroup I

Secondary

M2 up Inter- SRm3 up vallic T2F4

m3 upM2 dn

M2 dnm3 dn

m3 dnM3 up

M2 dnd4 dn

d4 dnP4 up

11 11.1

RemotefRR 121 22.2

Remote RR 1111.1

I

54

In Table V, each of the couplings is listed in the

order in which it was discussed. The places it occurs,

the numbers, types and formulas of the variants it con-

tains and the relationship between those variants are

given. In the final three columns, the coupling's type,

number of times it is used and percentage of times it is

used are given respectively. A summary of these statis-

tics is given in Table VA.

TABLE VA

TOTAL SUMMARY OF COUPLINGS FOUND IN CSLMFI AND CSLMF2

Coupling Percentage Number of Percentage ofType Quantity of Quantity Statements Statements

SRT2F4 3 60 6 66.6

RR 2 40 3 33.3

Table VA is a summary of coupling usage as found in

CSLMF1 and CSLMF2. With each type of coupling, its quan-

tity and collective number of statements are given with

respective percentages.

Conjunct Compound Linear Melody

Five examples of conjunct compound linear melody were

discovered. As all of the melodies were found to be of

varying construction, each will be followed by its own

diagram.

55

lp-

Fig. 52--Reflets dans 1'eau, measure 10


-0-]

CRF Var. 10 Var 11

SRT2F2 Var. 11 Var, 25

1wW-WFAwIC TI "Fi Var. 25 TTVar,19

Fig. 52b--Variant and coupling content of Fig. 52a

56

Var. 10 V 1j Var. 25 ( 9

CRTlFl SRT2CRTlF1

Fig. 5 2 c--Construction diagram of Fig. 52a

As shown in Fig. 52c, each of the four variants

(top) combine to form three couplings (center) which in

turn combine to form a six-note melody (bottom).



57


CRTlFl Var. 18Vr.2

Fig. 53b--Coupling and variant content of Fig. 53a

Figure 53b shows the melody in Figure 53a to be com-

posed of two CRTlFl couplings. This same melody was found

in Reflets dans l'eau in the following passages: measure

62, measure 63, measure 79 and measure 80. A diagram of

construction is shown in Figure 53c.

Var. 26 Var. 18 Var. 26

CRTlFl CRTlFl

Fn


58

ita TeoI01aa

Fig. 54--Hommage '%Rameau, measures 51-52

Fig. 54a--Melodic extraction of Fig. 54a

S RT2F Var. 14 Vr.15

S'T2F3 _Tar. 15 Var._27


Figure 54b shows the melody in Figure 54a to be com-

posed of two couplings, both of which are SRT2F3 couplings.

A diagram of construction is shown in Figure 54c.

59

Var. 14 Var. 15 Var. 27

SRT2F3 SRT2F3


As shown in Figure 54c, each of the three variants

(top) combine to form two couplings (center) which in

turn combine to form a five-note melody (bottom).

F a u s

Fig. 55--Hommage a Rameau, measure 71


60


CRTlF1 <Var. 3 oti e

Fig. 5 5 b--Couplings and variants found in Fig. 55a

The melody shown in Figure 55a consists of two coup-

lings containing two variants each. The first coupling is

an SRT2F2 coupling and the second a CRTlF1 coupling. A

construction diagram is shown in Figure 55c.

Var. 13 Motive

SRT2F2 CRTlFl

'LIT1 qL

Fig. 5 5c--Construction diagram of Fig. 55a

As shown in Figure 55c, the three variants (top) com-

bine to form two couplings (center) which in turn form a

five-note melody.

61



CRTlFl Var. 28Vr2

CRTVF1 Var. 20

SRT2Fl Var. 28 Var. 16


62

The melody shown in Figure 56a consists of four coup-

lings made from five variants. The first three couplings

are CRTlF1 couplings, and the last is an SRT2Fl coupling.

A construction diagram is shown in Figure 56c.

VaF7 r Var. 21Var. 16Var. 28 Var. 28

LIP ILTLCRTlFl CRTlFl CRTlF1 SRT2F1


As shown in Figure 56c, the five variants (top) combine

to form four couplings (center) which in turn form a seven-

note melody.

Each of the variants found in CCLM is shown in Table

VI.

63

TABLE VI

VARIANTS FOUND IN CCLM

Primary

Primary

Primary

Primary

Primary

Primary

Primary

Primary

Primary

Primary

Primary

Primary

Primary

Primary

Primary

ype Number of Statements

Group II1

Group I1

Group I1

Group IV 1

Group III1

Group III1

Group I1

Group I1

Group I 5

Group II1

Group I 2

Group I1

Group II 10

Group III1

Group II 2

Table VI lists each of the variants in CCLM in numeri-

cal order with its categorization by group and frequency of

use. Percentages of use by group are given in Table VIA.

TABLE VIA

PERCENTAGE OF VARIANT USE BY GROUP AS FOUND IN CCLM

TypePrimary Group I

Primary Group II

Primary Group III

Primary Group IV

Number7

4

3

1

Percentageof Number

46. 2

26.4

19.8

6.6

Number of Percentage ofStatements Statements

12 40.0

14 46.7

3 10.0

1 3.3

Varian

Motive

3

10

11

13

14

15

16

18

19

20

25

26

27

28

t T5I

--- r- I

I.I

64

Table VIA shows each of the variant types, followed by

its quantity, number of statements and respective percen-

tages. In addition, all the variants are primary. Further

statistics concerning couplings are shown in Table VII.

TABLE VII

COUPLINGS FOUND IN CCLM ACCORDING TO INDIVIDUAL USE

0) ()U) 40)'aGru Igd F0a) 04 >4Js >1P rIna)rord E-1 4-4C) b) 0)4-j U) 0) 00) (d U)_) P -ird 4j 0 ) 4~

0'Hd-H '0 da) 0 q ) 00)

>1 Primry P5 pPs4on8 _ _ _ _ _p IV 2 _ _8n _

1 Reflets dans 10 Primary m2 dn ~Retro- CR~ 4.~76l'eau, Group I P5 up grade TlF2Ms. 10 Inver-

11 Primary P2 up sionsGroup IV M2 dn

2 Reflets dans 11 Primary P5 up Pri- SR 1 4.76l'eau, Group IV M2 dn mary T2F2Ms. 10 Var-

25 Primary M2 dn iants

Group I M3 up3 Reflets dans 25 Primary M2 dn Retro- CR 1 4.76l'eau, Group I M3 up grade TlFlMs. 10 Inver-

19 Primary M3 up sionsGroup II M2 dn4 Reflets dans 26 Primary M3 dn Retro- CR 5 23.80

l'Ieau, Group II M2 up grade TlFlins. 60 Inve r-

18 Primary M2 up sionsSGroup I M3 dn -

iseaums. 60

10

26

PrimaryGroup I

PrimaryGroup II

M2 upM3 dn

M3 dnM2 up

Retro-gradeInver-sions

CRTlFl

5 23.80-.j I

65

TABLE VII--Continued

=1 F - -__-__

0

6

7

ai)

ci)

a)

Hommage ARameaums. 51-52

HomageRameaums. 51-52

HommageRameaums. 71

H ommageRameaums. 71

Mouvementms. 75-77

Mouvementms. 75-76

Mouvementms. 76-77

I

z

14

15

15

27

13

3

3

Motive

20

28

28

20

28

16

U)

Primary

Group ITTPrimaryGroup I

Primary

Primary,Group III

PrimaryGroup III

PrimaryGroupI_PrimaryGroup I

PrimaryGroup IIPrimaryGroup II

PrimaryGroup IIPrimaryGroup II

PrimaryGroup I

Primary

-Group I

0

P4 dnm2 up

m2 upA4 upm2 upA4 up

A4 upM2 dnP4 upP4 up

M2 dnm3 dnM2 dnm3 dn

m3 dnM2 dnM2 upm3 up

m3 upM2 upm3 upM2 up

M2 upm3 upm3 upM2 up

M2 upM3 up

o-40wto

S '

El)~

0

a) r

04-)

4.76

r.'H

Seml-

inter-

vallic

semi-~~

inter-

vallic

Pri-

ma ryVar-

iants

Retro-

grade

Inver-

s ions

Retro-

grade

Inver-

s ions

Retro-

grade

Inve r-

sions

Semi'-retro-

gradeInver-sions

E00i)

04>H

H

04

SR

T2F3

SRT2F3

SRT2F2

CRTlFl

CRTlFl

CRTlFS

SRT2F1

4.76

.

11 4.76

12.S 4-7(;.A-

1 14.76

IiF

1 1 4.76

2 9.52

66

In Table VII, each of the couplings is listed in the

order in which it was discussed. With each coupling, the

places it occurs, variant numbers, types, formulas and

relationships are given. In the final three columns, the

couplings' types, numbers and percentages of times used

are given respectively. A summary of these statistics is

given in Table VIIA.

TABLE VIIA

TOTAL SUMMARY OF COUPLINGS FOUND IN CCLM


CRTlFl 7 58.31 16 76.16

SRT2Fl 1 8.33 1 4.76

SRT2F2 2 16.66 2 9.52

SRT2F3 2 16.66 2 9.52

Table VIIA is a summary of coupling usage as found in

CCLM. With each type of coupling, its quantity and collec-

tive number of statements are given with respective

percentages.

Conjunct Complex Linear Melody

Three examples of conjunct complex linear melody were

discovered. As the examples differed in construction, each

will be followed by its own diagram.

67

ppp---

u tes les notes marquee d signe...sonor, sany dre,le reste tris tger mains son& secheresse.

Fig.57--___ent measrs_7-7



As shown in Figure 57, this theme is doubled in the

bass clef at the interval of a minor tenth.

I I I

68

II

Fig. 57b--Multivariant 1, extracted from Fig. 57a

CRTlIF1 Var. 20 Var. 28

CRTlFl Var. 28 Vat. 20

iw




Fig. 57b(i)--Couplings and variants found in multivar-iant 1 (Fig. 57b).

Figure 57b(i) shows Multivariant 1 (Figure 57b) con-

sists of five couplings made from six variants. The first

three couplings are CRTlFl couplings, and the last two are

SRT2F4 couplings.

69

A A

Fig. 57c--Multivariant 2, extracted from Fig. 57a

SRT2F4 Var. motive

SRT2F5 Motivd Var. 18

Fig. 57c(i)--Couplings and variants extracted fromMultivariant 2 (Fig. 57c).

As shown in Figure 57c(i), Multivariant 2 (Figure 57c)

consists of two couplings. The first is an SRT2F4 coupling

and the second an SRT2F5 coupling. A construction diagram

of Figure 57a is shown in Figure 57d.

70

Multivariant 1 Multivariant 2

Var. 28 Var. 28 Motive MotiveVar. 20 Var. 20 Var. 29 Var. 29 Var. 18

~LULU LULiw

CRTlF1 CRT1F1 CRTlFl SRT2F4 SRT2F4 SRT2F4 SRT2F5

Fig. 57d--Construction diagram of Fig. 57a

As shown in Figure 57d, Multivariant 1 consists of six

variants (top left). These six variants overlap to form

three CRTlFl couplings and two SRT2F4 couplings (center

left), which in turn overlap. Multivariant 2 consists of

three variants which overlap to form an SRT2F4 coupling and

an SRT2F5 coupling, which in turn overlap. Both multivar-

iants are juxtaposed, forming CCxLM Example 1 (bottom).

71

s a 7 s A e

f 7-- f---;(u

_p ;.4t n e07 N6r

m u en

-06 -o,

~IT_K ____



i ON-AV

72


arl

S RT2F4Var. 29 Motive

Fig. 58b(i)--Couplings and variants found in Multivar-iant 1 (Fig. 58b).

Figure 58b(i) shows that Multivariant 1 (Figure 58b)

consists of a single variant in juxtaposition with two over-

lapped couplings which are made from three variants. Both

couplings are SRT2F4 couplings.

73


1i~~


SRT2F5 Motive Var. 18

Cflr.Fl Var.18

Fig. 5 8c(i)--Couplings and variants found in Multivar-iant 2 (Fig. 58c).

Figure 58c(i) shows that Multivariant 2 (Figure 58c)

contains three couplings, consisting of four variants. The

couplings are an SRT2F4 coupling, and SRT2F5 coupling and

a CRTlFl coupling, respectively. A construction diagram

is shown in Figure 58d.

74

Multivariant 1 Multivariant 2Var. 16 Var. 29 F1Var. 29 V Var. 18KV]

Var. 28 LMotive Motive .IJVar. 26

Var. 16 SRT2F4 SRT2F4 SRT2F4 SRT2F5 CRTlFl


As shown in Figure 58d, Multivariant 1 is composed of

four variants (top left), which form the configuration of

one variant in juxtaposition with two overlapped SRT2F4

couplings (center left) . Multivariant 2 consists of four

variants (top right), which overlap to form three couplings,

which in turn overlap (center right). Both multivariants

are juxtaposed to form the second example of CCxLM

(bottom).

75

I1 A


HL41


Fig. 5 9b--Multivariant 1 extracted from Fig. 59a

Uzir

TV

71

II'

SRT2F4 Var. 17

SRT2F4 Var. 18 ar. 30

Fig. 5 9b(i)--Couplings and variants foundiant 1 (Fig. 59b).

in Multivar-

As shown in Figure 59b(i) , Multivariant 1 (Figure 59b)

consists of a single variant in juxtaposition with two over-

lapped couplings which aremade from three variants. Both

couplings are SRT2F4 couplings.

Fig. 59c--Multivariant 2 extracted from Fig. 59a


Fig. 5 9 c (i)--Coupling and variants extracted fromMultivariant 2 (Fig. 59c).

76

Var. 1R

9E PF

MP IfI,.

Var. 2 0

+

77

As shown in Figure 59c(i), Multivariant 2 (Figure 59c)

consists of an SRT2F5 coupling.

A construction diagram of Figure 59a is shown in

Figure 59d.

MultivariLant _tt-ariant 2Var. 17 Var. 30 Motive

Var. 20 Var. 18 Var. 9

SRT2F4 SRT2F4 SRT2F5

Var. 18


As shown in Figure 59d, Multivariant 1 is composed of

four variants (top left) which form the configuration of one

variant in juxtaposition with two overlapped SRT2F4 coup-

lings (center left). Multivariant 2 consists of two

variants (top right) which overlap to form one SRT2F5

coupling (center right). Both multivariants are juxtaposed

to form the third and final example of CCxLM (bottom).

78

Although the above melodies differ slightly from each

other in variant makeup and construction, they are similar

in contour, as shown in the contour graphs found in

Figures 60, 61 and 62.

9

e

d

b

i

Fig. 60--Contour graph of melody found in Fig. 57a

e

d

b

a


79

e


As shown in Figures 60, 61 and 62, all three of the

CCxLM examples are of similar contour, although they differ

slightly in intervallic content.

Each of the variants found in CCxLM is shown in

Table VIII.

TABLE VIII

VARIANTS FOUND IN CCxLM ACCORDING TO INDIVIDUAL USE


Motive Primary Group II 5

9 Primary Group I 1

16 Primary Group 1 1

17 Primary Group II1


20 Primary Group I 326 Primary Group III

28 Primary Group II 329 Primary Group I 430 Primary Group II1

4i

80

Table VIII lists each of the variants found in CCxLM,

in numerical order with its categorization by group and

frequency of use. Percentages of use by group are shown

in Table VIIIA.

TABLE VIIIA

PERCENTAGE OF VARIANT USE BY TYPE AS FOUND IN CCxLM



Primary 5 50 11 4.785Group II

Table VIIIA shows each of the variant types, followed

by the quantity of different variants within that type, the

number of times each type is stated and respective percen-

tages. Further statistics are found in Table VIIIB.

TABLE VIIIB

PERCENTAGE OF SINGLE AND COUPLING USAGEOF VARIANTS AS FOUND IN CCxLM

Usage Percentage

Singly. ...........-.-...-.-.-........ 8.7In couplings. .................-.-. ..... 91.3

81

Table VIIIB, which shows the collective percentages of

single and coupling usages, is based on the collective num-

ber of statements in Table VIIIA. Statistics concerning

couplings are found in Table IX.

COUPLINGS FOUND

TABLE IX

IN CCxLM ACCORDING TO INDIVIDUAL USE

U))

4u metriar M0 -

4-) 4-) (U4 ) 0ci

68-7:i0 I nvHr-

ci)rd( 054- _ U

0Ur)(00 ( 0 ) Orq

2 Movement 20 Primary M3 up Retro- CR 2 13.3ms. 67-69 Group ICm up grade TlFl

68-70Inver-28 Primary m2 up sions

Group II M3 up

o0 Primryd2 0 sins ~ Hci-

3 Mouvement 28 Primary m3 up Inter- SR 2 13.33ms. 68-69 Group II M2 up vallic T2F490-91

29 Primary M2 upGroup I m3 dn

_--I-Ins 869Gop I 2 p al i T2F

Movementms. 60-7071-7291-92

29

Motive

PrimaryGroup I

PrimaryGroup II

M2m3

m3M2

updn

dndn

Inter- SRvallic T2F4

4 26.664

82

TABLE IX--Continued

UU)

04 0

Q) H

_P >11 oe

Cl)0 0r_4U)4-3 r-1) OU)Q

> > P4

5 kMouvement Moti ve Primary m3 dn Semi- SR 2 13. 33ps. 71-73 Group II M2 d inter- T2FU

93-95 vallic

18 Primary M2 up

Group I M3 dn

6 Mouvem 18 Primary M2 up Retro- CR 1 6 66ms. 94-6 Group I M3 dn grade 0TlF

Inver-

26 Primary M3 dn sions

Group III M2 up

7 Movement 17 Primary M3 up Inter- SR 2 6.66ms. 98-99 Group II M2 up vallic T2F4

18 Primary M2 upGroup I M3 dn

8 Movement 18 Primary M2 up Inter- SR 1 6.66Ms. 99- Group I M3 dn vallic T2F4100

30 Primary M3 dnGroup II M2 dn

9 Movement 9 Primary m2 dn Semi- SR 1 6.66Ms. 101- Group I m3 dn inter- T2F5103 vallic

Motive Primary m3 dnGroup II M2 dn

8 Mouvemen 18 rmr 2u ne- SR 1 .6

In Table IX, each of the couplings is listed in the



83



are given respectively. A statements of these statistics is

given in Table IXA.

TABLE IXA

TOTAL SUMMARY OF COUPLINGS FOUND IN CCxLM


CRTlFl 3 33.3 4 26.66SRT2F4 4 44.4 8 53.33

SRT2F5 2 22.2 3 20.00

Table IXA is a summary of coupling usage as found in

CCxLM. With each type of coupling, its quantity and col-

lective number of statements are given with respective

percentages.

Disjunct Simple Linear Melody

Ten examples of disjunct simple linear melody were

discovered.

FE-


84

L~J


- RT2F3

Fig. 63b--Coupling and

Var. 31 Var. 19

variants found in Fig. 63a

Figure 63a is an illustration of disjunct simple linear

melody. The SRT2F3 coupling is shown in Figure 63b with its

variants. It appears in juxtaposition with the nonmotivic

Db. A construction diagram is shown in Figure 63c.

Var. 31Var. 19


As shown in Figure 63c, the two variants (top) overlap

to form an SRT2F3 coupling and juxtapose with the nonmotivic

Db (bottom).

--- It L I

L Av DJUZ --IRV r. --

I I i

I

i F3

85



SRT2F4 Vr 20 Var, 21


The melody in Figure 64 is composed of an SRT2F4 coup-

ling in juxtaposition with two nonmotivic notes. The theme

is repeated in Reflets dans l'eau, measures 61-62. A

construction diagram is shown in Figure 64c.

Var. 20

Var. 21C Cb

SRT2F4CCb


I

86

As shown in Figure 64c, the variants (top) overlap to

form an SRT2F4 coupling and juxtapose with the nonmotivic

c and c-flat (bottom).

Fig. 65--Reflets dans 1'eau, measures 65-66




The melody found in Figure 65a is identical in con-

struction to the theme found in Figure 64a. A construction

diagram is shown in Figure 65c.

87

Var. 32

Var. 33D# C#

SRT2F4 D# C#


As shown in Figure 65c, Variants 32 and 33 overlap to

form an SRT2F4 coupling which is juxtaposed with the non-

motivic D3 and C-sharp.

Fig. 66--Reflets dans l eau, measures 57-59

31 F3 '7


RA B

88


SRT2F2 Var. 6


Figure 66a consists of couplings and a multivariant

which are joined by a nonmotivic note (c'). A construc-

tion diagram is shown in Figure 66.

Var. 20 Var 3 4 1ar.3Var. 21 Var. 6

C

SRT2F4 C CRTlF1 SRT2F2

LIT'J, LLFig. 6 6 c--Construction diagram of Fig. 66a

89

As shown in Figure 66a, the first two variants (top

left) overlap to form an SRT2F4 coupling (center left).

The multivariant (top right) forms two couplings, a CRTlFl

coupling and an SRT2F2 coupling, respectively (center

right). The melody is formed by juxtaposing the SRT2F4

coupling with the nonmotivic c' which is, in turn, juxta-

posed with the multivariant (bottom).

The contours of the themes shown in Figures 63 through

66 are shown in Figures 67 through 70.

C

Fig. 67--Contour graph of DSLM found in Fig. 63a

Eb

DbCCbBb



90

Eb

IDI

C

G

F

Bb


As shown in Figures 67 through 70, the melodies found

in Figures 63a through 66a are of similar contour. Figure

70 shows the first half of the melody found in Figure 66a

to be of a contour similar to those of the three preceding

examples.

Fig. 7 1--Hommage a Rameau, measures 7-8


91

Var. 34 Var. 34 Va

Fig. 71b--Variants found in Fig. 71a

The melody shown in Figure 71a contains three variants,

the first two of which are juxtaposed. The second variant

is juxtaposed with three nonmotivic notes (b, c-sharp,

d-sharp), which in turn are juxtaposed with the third var-

iant. The third variant is juxtaposed with one nonmotivic

note (d-sharp2). A construction diagram is shown in Figure

71c.

Var. 34 Var. 34 Var. 36

D# G# B C# D# D# D#


Fig. 7 2--Hommage a Rameau, measures 38-39

Fig. 72a--Melodic extraction of! Fig. 72

92

RR Var. 1 --- r---


Figure 72a illustrates a theme in which a nonmotivic

note is juxtaposed with a remotely related coupling. This

theme reappears in Hommage a-Rameau in measures 40-41, 41,

41-42, 47, 66-67, 69, 70, 72 and 74. A construction dia-

gram is shown in Figure 72c.

Var. 1

Var. 7

F#

RR


Fig. 73--Hommage a Rameau,. measure 43


93

RR Var. 1 Var. 7

CRTl'l Va_ 7 Var. 37



note is juxtaposed with a remotely related coupling which is

overlapped with a CRTlFl coupling. This theme appears again

in measures 44, 45 and 46 of Hommage a Rameau. A construc-

tion diagram is shown in Figure 73c.

Var. 1 Var. 37

Var. 7

A

A RR CRTlFl


94

~;AE~ir

Fig. 74 --Hommage .Rameau, measure 48


Ivar 38 Var. 39

Var. 39 Var. 40



note is juxtaposed with a remotely related coupling which

is overlapped with a CRTlFl coupling. The variants in the

0 K-- -_ _ _ _ _I.RR

-- I

95

CRTlFl coupling are retrograde inversions of one another by

reason of enharmonics. Both the augmented fourth in Variant

44 and the diminished fifth in Variant 45 are tritones.

This theme appears again in Hommage a Rameau, measures

49 and 50. A construction diagram is shown in Figure 74c.

Var. 38 Var. 40

Var. 39 W iB

Ll FB RR CRTlFl




96

Var. 37

Fig. 75b--Variant found in Fig. 75a

Figure 75 contains an example of a disjunct simple

theme in which a nonmotivic scale passage appears in jux-

taposition with a Primary Group I variant. This theme

recurs in Mouvement, measures 32-33, 38-39, 40-41, 140-

141, 142-143, 148-149 and 150-151. A construction diagram

is shown in Figure 75c.

ar. 37

G F E


KpFig. 76--Mouvement, measures 78-80


97

CRTlFl a.2

Fig. 7 6 b--Coupling and variants found in Fig. 76a

Figure 76a illustrates a nonmotivic scalewise passage

in juxtaposition with a CRTlFl coupling. - A construction

diagram is shown in Figure 76c.

Var. 20

J J, J Var. 28G# F# E D#


As shown in Figure 76c, the two primary variants (top

right) overlap to form a CRTlFl coupling which is juxta-

posed with the nonmotivic scalewise passage (bottom).

Statistics on the use of variants in disjunct simple

lineal melody are shown in Table X4

98

TABLE X

VARIANTS FOUND IN DSLM ACCORDING TO INDIVIDUAL USE


1 Secondary 14

6 Primary Group IV 1

7 Primary Group III 14

19 Primary Group II 1



28 Primary Group II1

31 Primary Group 1 1

32 Primary Group I1






38 Secondary 3

39 Primary Group III 3


Table X lists each of the variants in DSLM in numer-

ical order with its categorization by group and frequency

of use. Percentages of use by group are given in Table XA.

99

TABLE XA

PERCENTAGE OF VARIANT USE BY GROUP AS FOUND IN DSLM

Percentage Number of Percentage ofType Number of Number Statements Statements

Primary 8 47.04 26 38.74Group I

Primary 4 23.52 6 8.94Group II

Primary 2 11.76 17 25.33Group III

Primary 1 5.88 1 1.49Group IV

Secondary 2 11.76 17 25.33

Table XA shows each of the variant types, followed by

its quantity, number of statements and respective percen-

tages. Further statistics concerning couplings are shown

in Table XB.

TABLE XB

PERCENTAGE OF SINGLE AND COUPLING USAGEOF VARIANTS AS FOUND IN DSLM

Usage Percentage

In couplings...... . . . . . . . . . . . . . . . 16.39Singly.. ...-.-.. . . . . . . . . . . . . . . . . 83.44

Table XB, which shows the collective percentage of

single and coupling usage, is based on the collective

number of statements in Table XA.

Further coupling statistics are shown in Table XI.

100

TABLE XI

COUPLINGS FOUND IN DSLM ACCORDING TO INDIVIDUAL USE

Cl)(2) 4-4lo L0a) Q4>-

'ea4 GrorIi-rICdE-' LP a~C) t;)-3 U atlli0 rdUE

4-s.4)59-6-)0,

Cl) P -PCd -0,q I-JH Cl)Cd(d d4J H (DU)ca)U

-H4-H -H(d Q Q a) C 1

61-6 21Pri4ry 3 u

1 Reflets dans 31 Primary m2 up Semi- SR 1 3.1251'eau, Group I M3 up inter- T2F3ms. 29-30 va66ic


2 Reflets dans 20 Primary M2 up Inter- SR 3 9.375l'eau, Group I m3 up vallic T2F4ms. 59-60,61-62 21 Primary m3 up

Group II M2 dn

3 Reflets dans 32 Primary m2 up Inter- SR 1 3.1251'eau, Group I m3 up vallic T2F4ins. 65-66

33 Primary m3 upGroup II m2 dn

4 Reflets dans 34 Primary M2 up Retro- CR 1 3.1251'eau, Group I P5 dn grade TiFiins. 58 Inver-

6 Primary P5 dn sionsGroup IV

Reflets dans1'eau,ms. 58-59

6

35

PrimaryGroup IV

PrimaryGroup I

P5 dnM2 up

M2 upM6 dn

Pri-

maryVar-iants

SRT2F2

1 3.1255

101

TABLE XI--Continued

CiU)Q)) En) O)4-1

a) 040(1) 10H

4amauE-s38r-Pa)4rdd - 41E-,44-2-,a) 4a)

7 ma 7 Priar d Otr0 C )d 412n39 H 41-H0 -Hvr

H8l,44)(39)PrimryHA4a)

o~ Md C 0 Mda 0 ::j H a) -H

6 Hommage 1 Secondary P5 up Remote RR 14 43.750Rameau, ms.38-9 P4 dn40-1,41,41-2,4344,45,46,47,66- 7 Primary P4 dn67,69,70,72r74 Group II M2 dn

7 Hommagen 27 Primary P4 dn Retro- CR 4 12.500Rameau, is. 38- Group III M2 dn grade TlFi39,40-41,41, Inver-41-42,47,66- 37 Primary M2 dn sions67,69,70,72,74 Group I P4 dn

8 Hommage a 38 Secondary A5 up Remote RR 3 9.375Rameau, ins. A4 dn48, 49, 50

39 Primary A4 dnGroup III m2 dn

9 Hornmage a 39 Primary jA4 dn Retro- CR, 3 9.375Rameau, ins. Group ITT m2 dn grade TiFi48, 49, 50

40 Primary m2 dnGroup I P5 dn

10 Mouvement, 20 Primary M2 up Retro- CR 1 3.125ins. 79-80 Group I m3 up grade TiFi

Inver-28 Primary m3 up sions

Group II M2 up

102

In Table XI, each of the couplings is listed in the



relationships are given. In the final'three columns, the



given in Table XIA.

TABLE XIA

TOTAL SUMMARY OF COUPLINGS FOUND IN DSLM


CRTlFl 4 40.0 9 28.125

SRT2F2 1 10.0 1 3.125

SRT2F3 1 10.0 1 3.125

SRT2F4 2 20.0 4 12.500

RR 2 20.0 17 53.125

Table XIA is a summary of coupling usage as found in

DSLM. With each type of coupling, its quantity and collec-


percentages.

103

Disjunct Compound Linear Melody

Two examples of disjunct coupound linear melody were

found.



CRTlF1 Var. 3 Mot v

CRTl Fl Var. -3-- motive


Two CRTlFl couplings, shown in Figure 77b, were found

in the melody shown in Figure 77a. A construction diagram

is shown in Figure 77c.

104

Var. 3 Var. 3

Motive Motive

CRTlFl CRTlF1


As shown in Figure 77c, the variants (top) overlap,

forming two CRTlFl couplings (center). The couplings are

superimposed (bottom), forming the scalewise melody in

Figure 77a.

Fig. 78--Hommage a Rameau, measures 14-17

S 133

I4gI U

S


e ~g w F Tf alr.1 -

SRT2F5 Motive Var, 8

CRTlF2 Var. 18 Var. 19

CRTlFl Va r. 3 Motive

SRT2F5 Motive Var,8

I-s F im-se i 1. IF . U l .mi m. a mf W, W mi ligmo-U"ei. .m -in i


F ig. 78b--Couplings and variants found in Fig. 78a

105

, 9 - - 1, - -

471

I I,- .1.

I I I

j

-

ri4-)

Co

E t

Erd

co rd>

gr-'): 10

106

CN

Cl)

LI)

p

00

r4

"H

0c

0

0

Ei

0)(H

J

0

0Cl

00

Figure 78c illustrates the nine variants (top) which

form the couplings (middle) contained in the second example

of DCLM (bottom). The nonmotivic notes are interspersed.

Statistics on variants found in DCLM are shown in

Table XII.

107

TABLE XII

VARIANTS FOUND IN DCLM ACCORDING TO INDIVIDUAL USE


Motive Primary Group II 5

3 Primary Group I 4



Table XII illustrates the individual use of variants in

DCLM. Further variant statistics are shown in Table XIIA.

TABLE XIIA

PERCENTAGE OF VARIANT USE BY GROUP AS FOUND IN DCLM

Percentage Number of Percentage ofType Number of Number Statements Statements


Primary 2 50 7 53.83Group

II

All variants used in DCLM are primary variants used in

couplings.

Statistics on couplings found in DCLM are shown in

Table XIII.

108

TABLE XIII

COUPLINGS FOUND IN DCLM ACCORDING TO INDIVIDUAL USE

H PmPae aancerfd z ) ) oa

ms. 1-7 G0uWIIM2 d

Ramau GruZI 2d vali T2F5 Oic

Wms.-14-017Dr-4 Z44 ) rd)U) ) 0

-H4-H-H rd 0-1 .Qca) Oc0)ci) $ 4 A4-4 -o Cd C(d 0 Mdca) 0 V- i

1 Reflects dans 3 Primary M2 dn Retro- CR 4 50l'eau, ins. 14 Group I m3 dn grade TIFiHommage a Inver-Rameau, Motive Primary m3 dn sionsins. 14-17 Group II M2 dn

2 Hommage a Motive Primary m3 dn Inter- SR 2 25Rameau, Group II M2 dn vallic T2F5ms. 14-17

18 Primary M2 upGroup I M3 dn

3 Hommage a 18 Primary M2 up Retro- CR 2 25Rameau, Group I M3 dn grade T1F2ins. 14-17


In Table XIII, each of the couplings is listed in the






given in Table XIIIA.

109

TABLE XIIIA

TOTAL SUMMARY OF COUPLINGS FOUND IN DCLM


CRTlF1 1 33.3 4 50

SRT2F5 1 33.3 2 25

CRTlF2 1 33. 3 2 25

Table XIIIA is a summary of coupling usage as found in

DCLM. With each type of coupling, its quantity and collec-


percentages.

Disjunct Complex Linear Melody

Four examples of disjunct complex linear melody were

found.

Lent et graVe(dan ie stye., d'ul Sarabnande rmais sans rigueur. -

pp 'x j~.i detdoucment soutenu

Fig. 79--Hommage aRameau, measures 1-5

110

3

3

I I t 3




CRTIF1 Var. 3 Motive

CRTlF2 Motive Var. 20


CRTlFi Var. 28 Var. 20


CR lFl Var. 33 Va r. 41

Fig. 79b(i)--Couplings and variants found in Multivar-iant 1 (Fig. 79b).

I . ii

Imele mslte l As ltsspsiesr- - - --

11 11 III -liggil i-II Mmmm.I 1 mga IIJ II III 1 II | 111 .L ---.- -1 -Jr ----- - - -11 i - I 1-' UI I -I I tini.g lim pgpi pg|,

3

-000

111

TI T #JE4

Fig. 79c--Multivariant 2, extracted from Fig. 7 9a

SRT2Fl Var.I 9 Var.2

SRT2Fl Var. 12 Var "8

Fig. 7 9 c(i)--Couplings and variants found in Fig. 79c

Fig. 79d--Multivariant 3, extracted from Fig. 79a

CRT1F1 Var. 42 Var. 9 SRT2Pl Var. 9 Vr 12

SRT2Fl Var. 12 Var. 18SRT2F5 Var. 18 Motive

CRTF_1 Motive _ Va r. 3 _ C RT I F I Var. otiv

Fig. 7 9d(i)--Couplings and variants found in Multivar-iant 3 (Fig. 79d).

1 di I 1 1 - - - - -til illMit il li 11 1 1

112

The above melody (repeated in Hommage a Rameau, mea-

sures 26-30 and 57-61) contains fifteen couplings made up

of eighteen primary variants. A construction diagram is

shown in Figure 79e.

10 0

EC

E3r-c3

-4

Eg ro

~E

E CEr.-

113

For the sake of space, the labeling of variants and

couplings in Figure 790 is abbreviated. The motive is la-

beled M, and each variant by its number only. A closely

related Type 1 coupling is indicated by C followed by a

number which indicates its form. A semirelated Type 1

coupling is indicated by S followed by a number which in-

dicates its form.

Fig. -- ~~~s s -1

Fig. 80--Hommage & Rameau, measures 10-13

3 -K

3 3 3


+--7711 016 1 IT IW

114


SRT2F2 Var. 33 Va 3

CRTlpl lar. 3 Notive

T Motive Var 20

CRTIFI Var. 20 Var. 28


4F


SRT2F!. Var.'21 Var. 25

SRT2 F5 Var 25 Var. 33

CR Var. 33 Var41

Fig. 80b(i)--Couplings and variants found in Fig. 80b


115

SRT2FT2 Var. 9 Var. 12

SRT2F T Var 12 Mar va

Fig. 80c(i)--Couplings and variants found in Fig. 80c

Fig. 80d--Multivariant 3., extracted from Fig. ra

CRTIFh Var. 42 Va. 9

S RT2FI Var. 9 Var. 12

SRT2Fl Var. 12 Var. I


M2tive V 43

Fig. 80d (i) -- Couplings and variants found in Fig. 80d

The above melody consists of sixteen couplings made up

of nineteen primary variants. A construction diagram is

shown in Figure 80e.

116

13rM ,M 28Mi~ n1 L3~W- U O 4 2J3M5 DTlM

A# D# F#A#

42 r1 2 M M m9L L1 8 U 4 3

S2 Cl C2 Cl ClS4 Sl S5 ClA#Sl Sl8D# F# A#

Cl Sl Sl S5 S4

Fig. 80e--Construction diagram of Fig. 80

Because of the largeness of the above diagram, Figure

80e has been divided into three principal sections. The

first and second multivariants are shown on the top line,

divided into single variants; and the third multivariant is

similarly shown on the second line. The coupling divisions

are shown in the same manner on the third and fourth lines.

The bottom line of the diagram shows the complete construc-

tion of the theme.

The melodies shown in Figures 79a and 80a are similar

in contour, coupling/variant content and construction. The

second multivariants of both themes are identical, and the

coupling/variant content and construction of the first and

117

third multivariants of both themes vary only slightly. (See

Figures 79e and 79e.) Similarities and differences in con-

tour of the melodies are shown in Figures 81 and 82.

C#w

BAW

G#

ED#

-a --s re4 $/B

F#

B

G#

F#

ED#

C #


118

C

A

Gf

,F* -

B

F#

D #

Ct

B

A#

F#


Each of the above graphs is divided into three phrases.

Each phrase contains a multivariant and the nonmotivic note

which follows it, where applicable.

119

iJ s

1 1o

F. 8--omag Rpeumesues172

- . .. - ...

7.... C 7

Fig* 83 Hommage a Rameau, measures 17-24

-T- A- .1--it ----

I14

0--APT-T -L--,A It -_ TI="-


- ~ ~ ~ ~ J ER 2 ~I -tH-- 4

ILL

w

120

I-F


frV

SRT2F2 Var. 44- Var.-45

Var. 44

Fig. 83b(i)--Coupling and variants found in Fig. 83b

Fig. 83c--Multivariant 2, extracted from Fig. 8 3a

SRT2F FVar.Var.46



r 10, i i - - d 0

IL - --. a

7114 w jpw w

i

121

CRTlF1 Var. Z20 -Var. 28


~~~~T~lF Var 20 Motive

Motive Var. 20

C I~lVr.2 Var. 28.

Fig. 83d(i)--Couplings and variants found in Fig. 83d

The melody in Figure 83a contains a single variant,

which is primary, and seven couplings consisting of ten

primary variants. A construction diagram is shown in

Figure 83e.

W 45W JWU 4 6 J JJJ 2 8 WUMW8G E G#F#G#AG# G#

GS2 E S5 G# F# G# A-G# Cl Cl C2 C2 C1G#

WJLLLJJLiP" JMIFig. 83e--Construction diagram of Fig. 83a

122

oamncer u pai!Id u OU 1N

4-®r- -w -

pp

Fig.o 84--Hommage a Rameau, measures 3 - 3 7

\j it/

Old



123

eSRT2F3, Var. 14 Var. 15


SRT2F2 Var. 27 Va r. 10


Fig. 84b(i)--Couplings and variants found in Fig. 84b

i


* i oA6 11 40

SlRT 2F4 Var. 20 Var. 21



A AL -4 .- --- . - - I - -I- I --= rdr- *-," IF = W a

Ar.

I

tJH

11 Cr5II>

Cd

H

4ti

*1N

CNE-4)

17

>1

H

C")

HE-

~ii

IM

q:1

co

124

ri%~'t -)

0

%BL&l,40r-- a)

>

4-30

Cd

H

H

j1 TV~

--U'*F

A'4 r.I CdI>

rd

00

'H

I

'H

04-

EH

.H

I ( .

PnA

mv-

Cdl

fii4-) H'

PrHH-

LO,

ii

-44P4

I I

I I

4-

'00

-4

I

CN

E-4

125

The melody in Figure 84a contains sixteen couplings

consisting of eighteen primary variants and one secondary

variant.

A diagram of the melody's construction is shown in

Figure 84e.

E

< r-4 C

E0

- Ii

33 L

EHE

4-)

CT:j 14= 0Ww

E0

126

Statistics on variants found in DCxLM are shown in

Table XIV.

TABLE XIV

VARIANTS FOUND IN DCxLM ACCORDING TO INDIVIDUAL USE


Motive Primary Group II 143 Primary Group I 99 Primary Group I 8

10 Primary Group I111 Primary Group IV 112 Primary Group II 813 Primary Group III 414 Primary Group III 215 Primary Group I 216 Primary Group I118 Primary Group I 920 Primary Group I 1221 Primary Group II 225 Primary Group I127 Primary Group III 228 Primary Group II 633 Primary Group II 441 Primary Group I 442 Primary Group II 443 Primary Group I144 Primary Group III 245 Primary Group I146 Primary Group II147 Secondary 148 Primary Group I149 Primary Group V 150 Primary Group I1

Table XIV lists each of the variants in DCxLM in numer-

ical order with its categorization by group and frequency of

use. Percentages of use by group are given in Table XIVA.

127

TABLE XIVA

PERCENTAGE OF VARIANT USE BY GROUP AS FOUND IN DCxLM


Primary 13 48.1 51 49.47Group I



Primary 1 3.7 1 .97Group IV

Primary 1 3.7 1 .97Group V

Secondary 1 3.7 1 0.97

Table XIVA shows each of the variant types, followed

by its quantity, number of statements and respective per-

centages. Further statistics concerning variants are

shown in Table XIVB.

TABLE XIVB

PERCENTAGE OF SINGLE AND COUPLING USAGEOF VARIANTS AS FOUND IN DCxLM

Usage Percentage

In couplings.. ....... . . . . . . . . . . . . . 98.94Singly....................... .. 0.97

Table XIVB is based on the collective number of state-

ments in Table XIV. Table XIVC follows.

128

TABLE XIVC

PERCENTAGE OF PRIMARY AND SECONDARYVARIANTS FOUND IN DCxLM

Type Percentage

Primary. ....... ........ 98.94Secondary............. ........ ......0.97

Table XIVC is based on the collective number of state-

ments found in Table XIVA. Coupling statistics are shown

in Table XV.

TABLE XV

COUPLINGS FOUND IN DCxLM ACCORDING TO INDIVIDUAL USE

H) ri 4i 0)W9 04)04-) > E4 rc$ a) roM z t4-40) ty0) a

4-) 0toyO 0Oto Cfat(En 4-) 4J-P4J 0-I0JO D 4J )

0Hr1 0H -H r.H__ 0) Cd d :jd 4-) H )to a)tEn

, , H26,r aH-) 00)0: ) PP ::$ r. P r:o rd Cd 0 Cd0) 0 H a) H

>U r U Z H PHomma-ge 13 Primary P4 upiPri- SRA T4,444

Rameau, ins. Group III M2 dn mary T2F21, 10, 26, Var-51 3 Primary M2 dn iants

Group I m3 dn2 Hommage a 3 Primary M2 dn Retro- CR 9 9.999

Rameau, Ms. Group I m3 dn grade TlFl1,10,26,57, Inver-4-5,29-30 , Motive Primary m3 dn sions60-1,36-7,37 1_ Group II M2 dnL__ ________I_--_I

Hommage aRameau, ms1, 10, 26,51, 22-23

MotiveI

20

PrimaryGroup II

PrimaryGroup I

m3 dn Retro- CRM2 dn grades TlF2

M2 upm3 up

5 15.5553

129

TABLE XV- -Continued

Rameu, s. GoupI m3u4.rad 4TlF

5 ( H::1ge >1 Pi4ryP3 urRtraCR) 555

cr 4- z P4-4 0 U) ar-4 U) t)yc) 0 (n M U

wci)-) 4) 00 04J

I- 2,10 -1,0Ive r6-27,5a - 200riary M2 p son

57>21ru I m3 cur6 omag Z2 PrHr M2 p m- R 3. 333

U) OJ -) O4 ) (U0 rd 0

7 Homma-ge i 3H0Primary M3 up Retro- CR 4 4.444

Rame'au, ms . Group II m2 dn grade, TlFl12 -11 7, Inver -

8 7 5128 Primary m2dn sins

58, 22, 23Gro up II M3up

4 Hommage 2 Primary m2 up Retro- CR 6 6.666Rameau, ms. Group I m3 up grade T2Fl1-2, 10-11, Inver-26-27, 51- 28 Primary m3 up sions-58, 22 Group II M2 up

5 Hommage 28 Primary m3 up Seir- SR 5 5.5553Rameau, ms. Group II M2 up raer- T2Fi1-2, 12-, gae26-2, 56- 20 Primary M2 up inr

57, 22 Group I m3 up sins

86rHommage 20 Primary m2 up Semi- SR 3 3.333Rame'au, ins. Group I m3 up intr- T2F331-2, 262,gvadei56,28,33,12 Primary m3 dnup er

_________5___Group II M2 dnp ____ _______

9 Hornmage A3:3 Primary m3 up Retr- CR 4 4.444Rameau, ins. Group II M2 dnprer-TiFi2,1 1 127,Invde57 4, 9f 18 Primary M2 dnpinse

58, 59__ Group I M2 up sio ns___

Hommage aRameau, ms.4, 13, 29,60

42

9

PrimaryGroup II

PrimaryGroup I

m3 dnm2 up

m2 upm3 dn

Retro-gradeInver-sions

CRTlFl

4 4.44410

130

TABLE XV--Continued

U)

a a,0G u 3 a0

Gr>1p IIr2)dnCdz P 4-4L(1) UO0)

4aJau n.Mrop0I 20n rae w~

U)4 64j -er4-J04D

3 riar M0d s0n

HGrp Id H3)dnU)04H4 riH -H rd 0 ) 0a)

::0) 4 -i 4 -4r-4 0 _oa Cdd 0 rd a) 0 a- )-_H

11 Hommage 18 Primary M2 up Inter- SR 4 4.444Rameau, is. Group I M3 dn vallic T2F54113, 29,60 Motive Primary m3 dn

Group II M2 dn12 Hommage 2Motive Primary m3 dn Retro- CR 3 3.333

Rameau, ms. Group II M2 dn grade T2Fl41 29, 60 Inver-

3 Primary M2 dn sonsGroup I m3 dn

13 Hommage A 20 Primary M2 up Inter- SR 2 1.111Rameau, is. Group I m3 up vallic T2F410-11, 33-34 21 Primary m3 up

Group II M2 dn sins14 Hommage a 21 Primary m3 up Inter- SR 1 1.111

Rameau, is. Group II M2 dn vallic T2F110-11

25 Primary M2 dnGroup I M3 up

15Hominage a 25 Primary M2 dn Semi- SR 1 11111Rameau, ins. Group I M3 up retro- T2F511 grade

33 Primary m3 up Inver-Group II m2 dn sions

16 Hommage A Motive Primary m3 dn Inter- SR 1 111Rameau, ins, Group II M2 dn vallicIT2F413

43 Primary M2 dn____ ____ ___ ___ Group I m3 UPI_ _ _ _ _ _ _ _

Hommage ARameau, is.17-18

44

45

PrimaryGroup III

PrimaryGroup I'

P4 upM2 up

M2 upA5 dn

Pri-mnaryVaniants

SRT2F2

1 1.111171

131

TABLE XV--Continued

a a .o itr T2a)0) W 0

M E-46LOri-ary)MM a)

-P r.rty) En d E4-14- 4 0 r. ) O 0

H H gHiaryq2Ptr- CR 1H- 0)rd Cdrd4J r-1 (1HE E

HHtvrd Prmar)y 3a)o0dVd 0 a) 0_ _ _ _ _ _ _ _ _ _ _ U ZE 24

18 Hommage A 18 Primary M2 up Semi- SR 1 1.111Rameau, ms. Group I M3 dn inter- T2F519-20 vallic

46 Primary M3 upGroup II m2 up

19 Hommage a20 Primary M2 up Retro- CR 1 1.111Rameau, Ms. Group I m3 up grades T2F222

Motive Primary m3 dnGroup II M2 dn

20 Hommage 14 Primary P4 dn Semi- SR 2 2.222Rameau, ms. Group III m2 up inter- T2F331, 35 valic

15 Primary M2 upGroup I A4 up"

21 Hommage A 15 Primary m2 up Semr- SR 2 2.222Rameau, ms. Group I A4 up inter- T2F331-32, 35 vallic

27 Primary A4 upGroup III M2 dn

22Hommagea 27 Primary A4 up-Pri- SR 1Rameau, ins. Group III M2 dn mary T2F231-32 Var-

10 Primary M.2 dn iants- Group I _P5 up ___

23 Hommage a 10 Primary M2 dn Retro- CR 1111Rameau, ins. Group I P5 up grade TiFi32-33 Inver-

11 Primary P5 up sions__________ ______Group IV,- M2 dn,___ __ ___

IioLmage aRameau, ms.34-35

lb

47

PrimaryGroup I

Secondary

M2 upM3 up

M3 upP4 dn

Remote RR 13 1.1114~ "

132

TABLE XV--Continued

Co

343

4 riar 4dn0

4Gr-iII 2)up,s I En T2F2 DM OZU)

3 - V-ar-- M 4jO0 5 4-)- Hrr 24-Hdn-Hnt

27 Hommag e''a4 SecriaryM3 u2pdRet- C RR .RameaU,_Ms.Gr4Iu g

34-3514 Primary P4 dn

Group III m2 up26 Hommage 27 Primary A4 up Pri- SR 1 1.111

Rameau, ms. Group III M2 dn mary T2F235-36 Var-

48 Primary M2 dn iantsGroup I m6 up

27 Hommage a M48t Primary M2 dn Retro- CR 1 1.111Rameau, ms. Group I m6 up grade TlFl36-37 Inver-

49 Primary m6 up sionsGroup V M2 dn

28 Homage a o49 Primary m6 up Pri- SR 1 1.111Rameau, ms. Group V M2 dn mary T2F236-37 Var-

3 Primary M2 dn iantsGroup I m3 dn

29 Homage tMotive Primary m3 dn Retro- CR 1 1.111RamIneau, is. Group II M2 dn grade TlF237 Inver-

3 Primary M2 dn sions________ ___ Group I m3 dn

30 Hommage a Motiv7e Primary m3 dn Pri- SR 1 1.111Rameau, ins. Group II M2 dn mary T2F237-38 Var-

50 Primary M2 dn iantsGroup I IP5 dn _____

In Table XV, each of the couplings is listed in the


places it occurs, variant numbers,, types, formulas and

133




given in Table XVA.

TABLE XVA

TOTAL SUMMARY OF COUPLINGS FOUND IN DCxLM


CRTlFl 8 26.6 33 39.237

CRT2F2 3 10.0 7 8.323

SRT2Fl 3 10.0 17 20.213

SRT2F2 6 20.0 9 10.701

SRT2F3 3 10.0 7 8.323

SRT2F4 2 6.6 3 3.567

SRT2F5 3 10.0 6 7.134

RR 2 6.6 2 2.378

Table XVA is a summary of coupling usage as found in

DCxLM. With each type of coupling, its quantity and collec-


percentages.

CHAPTER II

SUMMARY

The motive and fifty variants which were discovered

were found to be used three hundred twenty-four times. (See

Tables XVI through XXI.)

TABLE XVI

PRIMARY GROUP I VARIANTS ACCORDING TO INDIVIDUAL USE

2 d ,d H)4H *H N H (0)0r4

3o M0dnrdd 1 21 r%44 9 W

9 tmHp mOdn 3 2 0 0 H 14

0d a) (Uo 0 W 1dO cc0 U U ) U U 0

2 M2dnp43dn 4 0 0 0 0 0 0 0 0 43 M2dnm3dn 1 1 0 2 1 0 0 4 9 189 m2up m3dn 3 2 0 0 0 1 0 0 8 14

10 M2dnP5up 0 1 0 0 1 0 0 0 1 315 m2upA4up 0 1 0 0 1 0 0 0 2 416 M2upM3up 0 0 3 2 1 1 0 0 1 818 M2up M3dn 0 0 3 0 5 3 0 2 9 2220 M2up m3up 0 0 0 1 2 3 4 0 12 2223 M2dnd4dn 0 0 0 1 1 0 0 0 0 225 M2dnM3up 0 0 0 0 0 0 0 0 1 129 M2up m3dn 0 0 0 0 0 4 0 0 0 431 m2upM3up 0 0 0 0 0 0 1 0 0 132 m2upm3up 0 0 0 0 0 0 1 0 0 134 M2upP5dn 0 0 0 0 0 0 3 0 0 335 M2upM6dn 0 0 0 0 0 0 1 0 0 136 M2upP5up 0 0 0 0 0 0 1 0 0 137 M2dnP4dn 0 0 0 0 0 0 12 0 0 1240 m2dn P5dn 0 0 0 0 0 0 3 0 0 341 m2dn m3up 0 0 0 0 0 0 0 0 4 443 M2dn m3up 0 0 0 0 0 0 0 0 1 145 M2up A5dn 0 0 0 0 0 0 0 0 1 148 M2dn m6up 0 0 0 0 0 0 0 0 1 150 M2dn P5dn 0 0 0 .0 10010 0 10 1 1

134

135

TABLE XVII

PRIMARY GROUP II VARIANTS ACCORDING TO INDIVIDUAL USE

H. H- ,qa)r .HH " Ha)> rO rO aHra 4 4

0Hb) 4 - 0 ) H i4 -1 z X,1 Z,0d a)p0 a) CdO W6 0 UW U) u U U)U0

M m3dn M2dn 8 0 0 0 1 5 0 5 14 33

12 m3dn M2up 0 2 0 0 0 0 0 0 8 1017 M3up M2up 0 0 3 0 0 1 0 0 0 419 M3up M2dn 0 0 0 2 1 0 1 2 0 621 m3up M2dn 0 0 0 1 0 0 3 0 2 626 M3dn M2up 0 0 0 0 10 1 0 0 0 11

28 m3up M2up 0 0 0 0 2 3 1 0 6 1230 M3dn M2dn 0 0 0 0 0 1 0 0 0 133 m3up m2dn 0 0 0 0 0 0 1 0 4 542 m3dn m2up 0 0 0 0 0 0 0 0 4 446 M3up m2up 0 0 0 0 0 0 0 0 1 1

TABLE XVIII

PRIMARY GROUP III VARIANTS ACCORDING TO INDIVIDUAL USE

-p4

)ZH -H Q) H -HaJN H CNICd .0o o d 0 rZ r J " , zZ H

5 P4dnn2dn 2 0 00 0 WOO 0 27 P4dn(M2dn 1 1 0 0 0 0 14 0 0 16

13 P4dnM2dn 0 1 0 0 1 0 0 0 4 614 P4dn m2up 0 1 0 0 1 0 0 0 2 427 A4up M2dn 0 0 0 0 1 0 0 0 2 339 A4dn m2dn 0 0 0 0 0 0 3 0 0 344 P4dn M2up 0 0 0 0 0 0 0 0 2 2

136

TABLE XIX

PRIMARY GROUP IV VARIANTS ACCORDING TO INDIVIDUAL USE

o o 0 o M 0 PC

H M *H r:; H t *H) V,

-1 d 4J 4 (d 4J 4 0 4 1.4 XN 4 , I 40d 0 4 ()C0 $W4 d 0 uCl) C)u u toU u 0__r1444 J44 r1'4 4J N U U U u Q 04 d5up A2up 2 0 0 0 0 0 0 0 0 26 P5dn M2up 1 0 0 0 0 0 1 0 0 2

11 P5up M2dn 0 1 0 0 1 0 0 0 1 3

TABLE XX

PRIMARY GROUP V VARIANTS ACCORDING TO INDIVIDUAL USE

H, N:j roJQ r 0 o H

-a 0 W C-0 (V4Cd0 UaC o0ou u w U.U0> P-14-PF 4 ri -P-)P14 u U U, u C-) :1C:)q

49 m6up M2dn 0 0 0 0 0 0 0 0 1 1

TABLE XXI

SECONDARY VARIANTS ACCORDING TO INDIVIDUAL USE

H (~H -H (DrN H N

-o - I-J Hro d 40 F-N - 1 2 N :2:N -0 tp -H o tn r re o i i -q (Cd 0 (d 0 ()p ) r U U C U U 0

1 P5up P4dn 31 1 010 0 0 14 0 0 468 P4up m3dn 2 0 0 0 0 0 0 0 0 2

22 m3dn M3up 0 0 0 2 0 0 0 0 0 224 d4dn P4up 0 0 0 1 0 0 0 0 0 138 A5up A4dn 0 0 0 0 0 0 3 0 0 347 M3up P4dn 0 0 0 0 0 0 0 0 1 1

137

In Tables XVI through XXI, the use of each variant is

represented according to each form of melodic fragmentation

and linear melody. In the final column, the total number

of statements of each variant is shown.

The collective number of statements is shown by group

in Table XXII.

COLLECTIVE VARIANT

TABLE XXII

USAGE AND PERCENTAGE BY GROUP

0 0 33 .04o

riay1 2.15P-) . 3008

l::rlH -qr- q aHW(NHr-4 (N ~I0 0 tyCD-

Cdrd P )ro-u C u cT u u x______ 44CU U C)P.-ZC 0

Primary 8 5 6 6 12 12 26 6 51 132 40,656Group I

Primary 8 2 3 3 14 11 6 7 39 93 28.644Group II

Primary 3 3 0 0 3 0 17 0 10 36 11.088Group III

Primary 3 1. 0 0 1 0 1 0 1 3 2.156Group IV

Primary 0 0 0 0 0 0 0 0 1 1 .308Group V

Secondary 33 1 0 13 101 0 17 0 1 55 16.940

In Table XXII,

is shown according

the collective use of each variant group

to each form of melodic fragmentation and

linear melody. The total number of statements of each group

is shown, and percentages of the total are in the final

138

column. Further statistics with regard to variants are

shown in Table XXIII.

TABLE XXIII

VARIANT QUANTITY AND USAGE BY GROUP

Variant Quantity Percentage Total PercentageType of Type of Type Statements of Total

Primary 23 45.08 132 40.656Group I



Primary 3 5.88 3 2.156Group IV

Primary 1 1.96 1 .308Group V

Secondary 6 11.76 55 16.940

Table XXIII shows the collective quantity and usage of

each variant group with respective percentages.

TABLE XXIIIA

TOTAL VARIANT QUANTITY AND USAGE

Variant Quantity Percentage Total PercentageType of Type of Type Statements of Total

Primary 45 88.20 269 82.852Secondary 6 11.76 55 16.940

Table XXIIIA illustrates the total quantity and usage

of variants with respective percentages.

139

TABLE XXIV

TOTAL SINGLE AND COUPLING USAGE OF VARIANTS

Usage Quantity Percentage

Singly 72 22.176

In couplings 252 77.616

In the course of research, a total of fifty-three coup-

lings which were used a total of one hundred seventy-five

times were discovered.

Individual use of each coupling is shown in Table

XV.

TABLE XXV

COUPLINGS ACCORDING TO INDIVIDUAL USE

0

4 3

4-)

o >4 rd P 0 U) U U>U) U UU OD__ I AU U U ~ __ _

10

11

912

133

1415

17

2

1

1

1

u

0

0

0

0

u

0

0

0

0

0

1

0

0

0

0

0

0

0

0

0

0

14

0

0

0

0

0

1

8

4

2

0

3

10

6

4

15

2

3

4

5

C., A

TlFl

SRT2Fl

SRT2F2

SRT2F3

RR

I

140

TABLE XXV--Continued

4-JJ

$:i Q)(N H CNHrd o HW

H) H0O 4 _qo a) W 0" (U) U U U /) UE-4H>_ _ _ _ . au I u IU U _ _ __1

1 V7 1 11% 1 1 0%U

7

8

9

10

11

12

13

14

15

16

17

18

19

20

21

SR IT2F4

SRT2F4

SRT2F4

RR

RR

SRT2F2

CRTlFi

CRTlFl

CRTlFl

SRT2F3

CRTlFl

CRTlFl

CRTlFi

SRT2F1

SRT2F4

SRT2F4

I17

18

1619

2021

322

2324

1125

2519

2618

1826

1527

3Motive

2028

2820

2816

2829

29Motive

U

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

3

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

2

1

2

1

0

0

0

0

0

0

0

0

0

0

0

U

0

0

0

0

1

1

5

5

1

1

2

1

1

0

0

1

0

0

0

0

0

0

0

I

0

0

2

1

0

2

4

0

0

3

0

0

0

0

0

0

0

0

1

0

0

0

0

0

0

0

0

0

0

0

0

0

0

4

0

0

0

0

0

0

0

2

0

0

0

0

0

0

2

9

6

5

0

0

0

4

2

6

2

1

1

1

5

6

3

14

11

7

1

2

4

141

TABLE XXV--Continued

0

-P(d

44JI~i -Hj ) CN H (N

Hrd H04 H OOi 0C

04 4 M1 X4 1 X 4-o0C >1 m a) l) U l)0 U 0

U E-q p U U U__ _

22

23

24

25

26

27

28

29

30

31

32

33

34

35

36

37

SRT2F5

SRT2F4

SRT2F5

SRT2F3

SRT2F4

CRTlFI

SRT2F2

CRTlFi

RR

CRTlFl

CRTlF2

CRTlF2

SRT2F3

CRTlFI

SRT2FI

CRTlFl

Motive18

1830

9Motive

3119

3233

346

635

737

3839

3940

1819

Motive20

2033

3341

1218

429

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

2

1

1

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

1

1

1

1

4

3

3

0

0

0

0

0

0

2

0

0

0

0

0

0

0

0

'0

2

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

5

3

4

8

4

4

1

1

1

1

1

1

4

3

3

2

5

3

4

8

4

142

TABLE XXV--Contitued

0

o Hri H CNH r14 FXH

o0 W OH.cr U U ciu,U ___ ~ I4 U U U U _ __

38

39

40

41

42

43

44

45

46

47

48

49

50

51

52

53

SRT2F5

CRTlF1

SRT2F1

SRT2F5

SRT2F4

SRT2F4

SRT2F5

CRTlF2

SRT2F2

RR

RR

SRT2F2

CRTlFI

SRT2F2

CRTlF2

SRT2F2-

18Motive

Motive3

2125

2533

Motive43

4445

1846

20Motive

2710

1647

4714

2748

4849

493

Motive3

Motive50

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

4

3

1

1

1

1

1

1

1

1

1

1

1

1

1

1

4

3

1

1

1

I

1

1

1

1

1

1

1

1

1

1

143

In Table XXV, the use of each coupling is shown accord-

ing to each form of melodic fragmentation and linear melody.

In the final column, the total use of each coupling is

given.

The collective number of coupling statements is shown

in Table XXVI according to type and form.

TABLE XXVI

COLLECTIVE COUPLING USAGE ACCORDING TO TYPE AND FORM

0

SR2F 4 2>1 -P 017 2

4.) () r_

rq -H a) CN

0RT2F 7 J 0 0:24 (d 8 -1

$T3 4 U) 0 2 U 1 U 7 0-P

CRTlFl 14 1 0. 0 16 4 9 4 33 67

CRT1F2 4 0 0 0 0 0 0 2 7 9

SRT2FI 4 2 0 0 1 0 0 0 17 20

SRT2F2 7 1 0 0 2 0 1 0 8 12

SRT2F3 4 1 0 0 2 0 1 0 7 11

SRT2F4 9 0 3 3 0 8 4 0 4 22

SRT2F5 5 0 0 0 0 3 0 2 6 11

RR 6 1 0 3 0 0 17 0 2 23

In the final column of the above table,

totals of each type of coupling are

tics are shown in Table XXVII.

the statement

given. Further statis-

144

TABLE XXVII

COLLECTIVE COUPLING QUANTITY AND USAGEACCORDING TO TYPE AND FORM

Percentage of Number of Percentage ofType Quantity Total Quantity Statements Total Statements

CRTlFl 14 26.404 67 38.19

CRTlF2 4 7.544 9 5.13

SRT2Fl 4 7.544 20 11.40

SRT2F2 7 13.202 12 6.84

SRT2F3 4 7.544 11 6.27

SRT2F4 9 16.974 22 12.54

SRT2F5 5 9.430 11 6.27

RR 6 11.316 23 13.11

Table XXVII illustrates the collective quantity and

usage of each coupling type, with respective percentages.

Further statistics are shown in Table XXVIIA.

TABLE XXVIIA

TOTAL COUPLING QUANTITY AND USAGE BY GENERAL TYPE

Percentage Percentageof Total Number of of Total

Type Quantity Quantity Statements Statements

Closely 18 34.148 76 43.32Related

Semirelated 29 54.494 76 43.32

Remotely 6 11.316 23 13.11Related

145

Table XXVIIA represents total coupling quantity and

usage by general type, with respective percentages.

A total of twelve examples of melodic fragmentation

were discovered: seven examples of melodic fragmentation

Form 1 and five examples of melodic fragmentation Form 2.

A total of thirty examples of linear melody were dis-

covered: three examples of CSLMFl, three examples of

CSLMF2, five examples of CCLM, three examples of CCxLM,

ten examples of DSLM, two examples of DCLM and four exam-

ples of DCxLM.

The following fifteen examples of linear melody were

of similar contour within their own types and were thus

graphically comparable: all three examples of CSTMFl, all

three examples of CSLMF2, all three examples of CCxLM, four

examples of DSLM and two examples of DCxLM.

CHAPTER III

CONCLUSIONS

From the foregoing evidence, the following conclusions

have been drawn.

The material analyzed in this study was found to be

85% motive-derived. In Images I for piano, Debussy has

fashioned a remarkably economical work, using a single

motive as the primary source of development throughout the

series of pieces.

Of the total number of statements of the motive, two-

thirds were found to be used in an overlapped context,

while one-third of the statements were single. The predom-

inant use of overlapped statements of the motive reinforces

the maintenance of thematic unity. (See Table XVII,

p. 135.)

Unity has also been maintained by the predominance of

variants used in an overlapped context as opposed to isolat-

ed statements, and by the predominant overlapping and/or

juxtaposition of like variants throughout Images I. (See

Tables XIV and XXVIIA.)

Unification of thematic material is also insured by

the frequent repetition of many of the variants, both in

146

147

single and overlapped context. (See Tables XVI through XXI

and Table XXV.)

A strong interrelationship of the themes results from

the predominant use of the "leap-step" and "step-leap"

variety of variants which most closely resemble the motive.

The "leap-leap" variants are restricted to single statements

and, in overlapped context, to the shorter melodies. "Leap-

leap" variants in overlapped context are frequently stated

in enharmonic values.

While the larger melodies are confined to individual

pieces, the shorter forms were found to be interspersed

through all three pieces.

Melodies of identical and similar contour are varied

in the following ways: (1) slight changes in variant con-

tent which appear in melodies of similar contour, (2) the

addition of variants to an existing melody and (3) restate-

ment of melodies of identical contour and variant content

in enharmonic notation.

It is concluded, finally, that the three pieces of

Images I were conceived and designed by Debussy to be per-

formed as one, rather than separately, and that the motive,

as first stated in Reflets dans l'eau, is the unifying

force of the three pieces and the basis of Debussy's devel-

opmental process of the thematic material of Images I.

APPENDIX I

VARIANTS FOUND IN RESEARCH

Number Type Formula

Primary Group

Secondary

Primary Group

Primary Group

Primary Group

Primary Group

Primary Group

Primary Group

Secondary

Primary Group

Primary Group

Primary Group

Primary Group

Primary Group

Primary Group

Primary Group

Primary Group

Primary Group

Primary Group

Primary Group

Primary Group

Primary Group

Secondary

Primary Group

Secondary

Primary Group

III

IV

II

IV

III

IV

III

II

II

IV

II

III

III

I

I

II

I

II

I

II

Motive

1

2

3

4

5

6

7

8

9

10

11

12

13

14

15

16

17

18

19

20

21

22

23

24

25

m3dn

P5up

M2 dn

M2dn

d5up

P4dn

P5dn

P4dn

P4ur

m2up

M2dn

P5up

m3dn

P4up

P4dn

m2up

M2up

M3up

M2up

M3up

M2up

m3up

m3dn

M2dn

d4dn

M2dn

M2dn

P4dn

M3dn

m3dn

A2up

m2dn

M2up

M2 dn

m3dn

m3dn

P5up

M2dn

M2up

M2dn

m2up

A4 up

M3up

M2up

M3dn

M2 dn

m3up

M2dn

M3 up

d4dn

P4 up

M3up

148

I

149

APPENDIX I--Continued

Number Type Formula

Primary Group

Primary Group

Primary Group

Primary Group

Primary Group

Primary Group

Primary Group

Primary Group

Primary Group

Primary Group

Primary Group

Primary Group

Secondary

Primary Group

Primary Group

Primary Group

Primary Group

Primary Group

Primary Group

Primary Group

Primary Group

Secondary

Primary Group

Primary Group

Primary Group

II

III

II

I

II

I

I

II

I

I

I

I

III

I

I

II

I

III

I

II

I

V

I

M3dn

A4up

m3up

M2up

M3dn

m2up

m2up

m3up

M2up

M2up

M2up

M2dn

A5up

A4dn

m2dn

m2dn

m3dn

M2dn

P4up

M2up

M3up

M3up

M2dn

m6up

M2 dn

M2up

M2 dn

M2 up

m3dn

M2dn

M3up

m3up

m2dn

P5dn

M6dn

P5up

P4dn

A4 dn

m2dn

P5dn

m3up

m2up

m3 up

M2up

A5dn

m2up

P4dn

m6 up

M2dn

P5dn

26

27

28

29

30

31

32

33

34

35

36

37

38

39

40

41

42

43

44

45

46

47

48

49

50v I

APPENDIX II

Reflets dans l'eau.

Andantino molto(Tempo rubato)

P14 A 0 _p___ -- ___PI.ANO

p PP

- pp-

- - - -

-~ p - ~ pp~p

Hi

r zPubished in the U.SA. by

Cop yrgi by A.DbradIi as, 1905 , , Pari,4 Pa a d a Imadaletp.

150 th 1mr--cr rompaN

150

151

2

a Tempo

p

I-c~ ~ 4 qi~iz-i

-_ -i-t-'

-- --

ppp

> M -4

--- I-q

Me -r_ -

p_

152

IFA.,rr

_j7 -r

s3

pi

- U --- -- - -

-3

-A

D. . (b15 (i1

153

4

.ET F s 3

En animal

S e pocO a poco cresc

4-

___ s-

154

s

{~

4- 0,

-:4-

1110o A,

ni

&_----

-- 7-

h * ~ JKi__

__________ 7 +j E --

155

4 -

44 3_

rr

t.-

S -+ -- - - -.7

(lsln

-e -

F. Gi5 -

156

1. 14

IF ---

-~ ---- 1

pp Pp

Lentse et 1as ta v s -wlo -t

44 A-

-~ - * ~ 22-- - A-

-- - - -- ------ - --

-t --- -- .----

.... ...

157

8

Hommage Rameau

Lent et grave(dans le style d'une Sartbmnde mals sans rigueur.)

pp express 7f ct douvement soutenu

- -

N U - - p. I i -- -

? I ?j.1

lip-i

--- - -- -- ---

~2EV V

D.- F. 615 (')

PIANO

Tm thn d 'e'euliaa rl

rjpvrizht by A.Durad% nfil.,1905.

-

158

VW-

p

I f -

T- ~~- --

f - - sns

n.0.. r (

159

Commencer an peu u d csous du mouv

pppp

TvT

au MoatOv

p _ - - ~ - ~ - p

En anmant

creso

* $_

cre - --

D- F. 6615 (2)

160

(t :t7 f 4

F-4

ppa Tempo

Ifn

Ra

- ---- T

I I d~

__ ~, 7~ ~__-___ l,__

Lit __

D. & F. 6615 (2)

161

12

p- p pp

pp p-

4tt

A A' 4 - A

r- -4fi- -

pp -- p-

Unp upius pn

-pp

_ _ u PPP

I d -

-- D. F.66115 (2)

162

13

Movement

AalM6i (avec un.e legirefti. fantasque als prte'se)

IA YO _ } _. S S

PIANO

pp li tt .n a ~u

7Fr7-"w

~- - ~- ----------

Jill ~ 4

CopyrighL by A. DurAnd & FA 1905. D,.& F. 6 6 15 (3 )

163

14

SPP0Pao 4a poo r ~r,

_ fl- q

D&F. 61S (3)

164

4---------4

tEiL _ _ _ _ _ _

- -Yc

D&bfuI 3

165

)Iolto crese ,

.7---

__ __ 1s

-m -

7A

--

D, & ~~5

dim.

166

17

47.

PP

tjt

Tluie Iis noes marquee dii sine.... sonores sons dorede/e rente ter tiger mois sns siherressr.

_ _ _ -- _ W

V------

77 _7- ___

- %3EV L

un per en dehor

D. & F. 66 1 r,(2

167

K e4 agot

pp

In gm.n..t. nt-- s i r.anspr eser

177

4Zj At

L __ R_ _ _-__4-L

f2-~

p/

) ~-&-~

74 .

=

I'1

168

- -----.

Am

6=

dim molto - -

PI m

169

r

pp ~pp

pp

44

a) -a

.pp

D.& Y. 6615 (A)

170

pp pro a poo resc.

- ..---.------..----- . -

- . . .- 4__

TptaissU.- ee

171

22

_ - ~~F~?4 e 1 -L~- :

~7# -~D.f -. 2 Wn> i 2)

-- I -d--,I P

172

at -0_ ;_ _ _A, -OR_-

IV

- ~ - * -~~

- -

-------- ----- - ----------

8(

--------------

-O. - A. A'd&Fi~ 6~ ~

Ch. A, Dorittid % o i . P68L5 (a)

BIBLIOGRAPHY

Books

Schmitz, E. Robert, The Piano Works of Claude Debussy, NewYork, Dover Publications, Inc.,J1966.

Dictionary Articles

Apel, Willi, "Enharmonic. (2) , " Harvard Dictionary of Music,Cambridge, The Belknap Press of Harvard UniversityPress, 1969.

"Interval," Harvard Dictionary of Music,Cambridge, The Belknap Press of Harvard~UniversityPress, 1969.

Musical Compositions

Debussy, Claude, Images I, Bryn Mawr, Elkan-Vogel, Inc.,1905

173

digital.library.unt.edu/67531/metadc... · sheridan, john f., debussy's use of the motive in...

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