But according to Wierzbicki, only the [0,1,4,6] tetrachord
is found in the First Quartet, with the [0,1,3,7] tetrachord
--more tonal in its implications, as three of its pitch-classes make up either a major or a minor triad--making its first appearance in the Second String Quartet (1959).
In chapter 21 he explains that `if one begin the tetrachord
of the superiores [a, b, c, d] at the note G where that of the finales [D, E, F, G] ends, similarity will be wanting, since the tetrachord
of the superiores rises by two tones and a semitone [G-a-b-c], while the former by a tone, semitone and tone [D-E-F-G]'.
This can be replaced by DISJUNCT TETRACHORD
, an uncapitalized term from Webster's Third.
Tomlinson, after Foucault, draws a line between resemblance and representation as separate categories: the one betokens an affinity between the madrigalism and the word prompting it; the other, a musical idea that is autonomous, albeit indicative of a certain emotion or thought or state, as, say, a descending tetrachord
that, by a consensual decision reached by composers, was widely utilized as an emblem of lament.
Carter often seems to take the mimetic-expressive model as an uncontested given, the more easily to focus on the elaboration of rhythmic ratios or the deployment of favorite devices such as the all-trichord hexachord or all-interval tetrachord
is embedded in the octatonic scale being used, but D, the dominant of G, never appears); the orchestral writing is purely octatonic.
Schoenberg's Klaviersuite, op 25, in which the HCAB motive appears as the final tetrachord
of the prime row, is a much more likely model for "Simbolo.
They are charming, relatively straightforward, characteristically Spanish in their rumination on the Phrygian tetrachord
and use of guitar figuration--but for all their informality, they are possessed of an almost suspicious kind of finish.
Lois Rosow's essay ("The Descending Minor Tetrachord
in France: An Emblem Expanded") considers yet another style association in Charpentier's works.
Aspiring to demonstrate the continuity between the ancient and the modern Greek musical culture, these investigations used musical theoretical writings of classical antiquity as their starting point and eventually led to the identification of the tetrachord
as the basis for the melodic construction of Greek folk tunes.
She finds that the opening theme's descending lamento tetrachord
is composed out in the rest of the movement, and that the structure of the movement as a whole "refers to the discursive structure of the poetic elegy" (p.
6), and the occasional descending tetrachord
also adds to its impact.