1/12/16, 12:40 AMWebern Piano Variations Op. 27, no 2

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T351 Study Questions: Webern Piano Variations, Op. 27, 2nd mvt.

1. Supply pitch-class numbers for “P0” (= P8) of Webern’s Op. 27:

G#---A---F---G---E---F#---C---C#---D---Bb---B---D#

2. Be able to construct a matrix for this row (understand both methods).

3. Write out first six pitch-classes (or pc numbers) for the following rows: a. R7 b. I5 c. P9 d. RI10

4. Which pitch-class is order number 7 of P6? Which pitch class is order number 9 of RI8? How are order numbers of retrograde and retrograde inversion forms indicated? Why?

5. Identify the beginning hexachord of the following row forms. Is P8 combinatorial witheither of row forms (row classes) a, b, c, d? If yes, with which row form? a. G--Eb--D--F#--F--E b. C--E--F--C#--D--Eb

c. F#--G--Eb--F--D--E d. B--Bb--D--C--Eb--C#

6. If I7 follows I2 (or I3 follows I10) linearly, what obvious means of connection existsbetween the two set forms?

7. Identify the row forms that “begin” in measure 11. Provide order position numbers for eachpitch class.

8. Are these two row statements combinatorial? Does Webern’s row form (row class) havethe abstract property of combinatoriality? Explain/support your answers. Identify thecharacteristics of this row form: combinatorial, derived, all-interval, etc. (see list in T351 pak)

9. The sonorities in measure are formed by which order position numbers? Is this truethroughout the movement? What is the set type of the sonorities in measure 15? Give the setclasses for the segments of the row (trichords & tetrachords). Is there an emphasis on a specificinterval class?

10. Other dimensions of the piece such as dynamics and articulation contribute significantly toaspects of the serial (pitch-class) organization. Choose five different types of articulations

1/12/16, 12:40 AMWebern Piano Variations Op. 27, no 2

Page 2 of 2http://www.indiana.edu/~mkgmusic/t351/unit2/Webern-PianoVarOp27no2.htm

(recurring motives) in the movement and for each type of articulation mention dynamic orpitch/pitch-class aspects of the movement which are generally associated with the articulation. That is, what parameters (dynamics, register, pitch-class, etc.) are maintained for these motives?

11. Comment on the relationship of meter and rhythm (& texture) that is projected by thesuccession of musical events in the movement. Describe the rhythm of the movement. Does itsound like 2/4? Why or why not?

12. Describe the use of registral symmetry. What is the axis of symmetry? Is this symmetryreflected in other aspects of the piece?

13. Could this piece have a Da Capo? Where does it properly end and why? Your hypothesis.

14. What can you infer about Webern’s approach to variation form from the title of this work(Piano Variations) and the compositional procedures of this movement? Consider pitch/pitch-class, rhythm, texture, and the presentation of the row; is the row recognizable as a theme? whyor why not?