AN ANALYSIS OF TEXTURE IN SELECTED PIANO ETUDES OF CHOPIN AND SCRIABIN A Thesis Presented in Partial Fulfillment o f the Requirements f o r the Degree Master o f Arts by Daniel Dewitt Mickey 111, B.M. The Ohio S t a t e University 1980 Approved by School of Music CONTENTS .......................... .............................. LIST OF EXAMPLES PREFACE The The The The ................... ................ ............... ................ Purpose of the Study Significance o f the Study Etudes Selected f o r Analysis Organizatlon o f the Study Chapter I. 11. 111. IV. ....... PROBLEMS IN THE ANALYSIS OF KUSICAL TEXTURE Problems i n Defining Texture . Problenis i n Determining Linear Independence Specialized Problems i n Analyzing Texture in Piano Music ............. ...... ............... BASIC TYPES OF MELODIC AND ACCOMPANIMENTAL PRESENTATION ..................... The Single Line . . . . . . . . . . . . . . . . . . . . The Doubled Line . . . . . . . . . . . . . . . . . . . Chordal Figuration . . . . . . . . . . . . . . . . . . Arpeggiated Figuration . . . . . . . . . . . . . . . . Alternating Figuration . . . . . . . . . . . . . . . . Convol u ted Fi gura tion . . . . . . . . . . . . . . . . . Summary . . . . . . . . . . . . . . . . . . . . . . . . DENSITY . . . . . . . . . . . . . . . . . . . . . . . . . Densi ty-number . . . . . . . . . . . . . . . . . . . . Vertical Span . . . . . . . . . . . . . . . . . . . . . Density-compression . . . . . . . . . . . . . . . . . . . Spacing-distributisii . . . . . . . . . . . . . . . . . Density i n the Etudes . . . . . . . . . . . . . . . . . RANGE . . . . . . . . . . . . . . . . . . . . . . . . . . ..................... Range-averages o f the Etudes . . . . . . . . . . . . . Range-average ii Page iv vi vi vi i vi i ix 1 1 5 8 10 11 14 17 20 21 22 23 27 28 30 32 33 34 39 40 43 Chapter Page ........................ APPENDIX: Determi n a t i o n o f Range-average . . . . . . . . . . . . . . SELECT BIBLIOGRAPHY . . . . . . . . . . . . . . . . . . . . . . . . . V . CONCLUSIONS iii 53 58 69 LIST OF EXAMPLES Exampl e . 1 . 3. 2 . 5. 6. 4 . 8. 9. 7 10 . . 11 12 . 13 . 14 . 15 . 16 . 17 . . 19 . 18 . 2 1. 22 . 20 23 . 24 . Page .. S c r i a b i n E t u d e Op . 8 No . 8. mm . 1-3. . . . . . . . . . . . . . Chopin E t u d e Op . 10 No . 4. mm . 1-2 . . . . . . . . . . . . . . S c r i a b i n E t u d e Op . 8 No . 2. mm . 1-2 . . . . . . . . . . . . . S c r i a b i n Op . 8 No . 2. mm . 1-2. w i t h t h e melody n o t a t e d . . . . Chopin E t u d e Op . 25 No . 6. mm . 27-28 . . . . . . . . . . . . . S c r i a b i n E t u d e Op . 8 No . 10. mm . 58-60 . . . . . . . . . . . . Chopin E t u d e Op . 25 No. 8. mm . 1-4 . . . . . . . . . . . . . . S c r i a b i n E t u d e Op . 8 No . 7. mm . 1-2 . . . . . . . . . . . . . S c r i a b i n E t u d e Op . 8 No. 8. mm . 1- 3 . . . . . . . . . . . . . Chopin E t u d e Op . 25 No . 4. mm . 9-12 . . . . . . . . . . . . . S c r i a b i n E t u d e Op . 8 No. 5. mm . 1-3 . . . . . . . . . . . . . S c r i a b i n E t u d e Op . 8 No . 5. mm. 1-3. r e n o t a t e d . . . . . . . . Berry's terms for t h e d e s c r i p t i o n o f l i n e a r i n d e p e n d e n c e I 7 12 12 12 13 14 14 15 16 17 18 18 19 . . . . . . . . . . . . . . 20 Chopin E t u d e Op . 10 No. 12. mm . 10-13 . . . . . . . . . . . . 20 S c r i a b i n E t u d e Op . 8 No. 3. mm . 1- 4 . . . . . . . . . . . . . 2 1 R e d u c t i o n of Example 16 . . . . . . . . . . . . . . . . . . . 2 1 S c r i a b i n E t u d e Op . 8 No . 7. mm . 1- 2 . . . . . . . . . . . . . 22 Chopin E t u d e Op . 10 No . 9. mm . 1-3 . . . . . . . . . . . . . . 23 Chopin E t u d e Op . 25 No . 9. mm . 1-4 . . . . . . . . . . . . . . 25 Chopin E t u d e Op . 25 No . i 2 ; . 1-2 . . . . . . . . . . . . . 25 Chopin E t u d e Op . 10 No . 2. f i n a l m e a s u r e . . . . . . . . . . . 28 S c r i a b s n E t u d e Op . 8 No . 12. mm . 1- 2 . . . . . . . . . . . . . 29 F i g u r a t i o n r e d u c t i o n o f the l e f t - h a q d p a r t o f Example 23 . . . 29 Chopin E t u d e Op . 25 No. 1. mm . 1-2 min iv Exampl e 25. Page Synopsis o f i n f l a t i o n and c o n t r a c t i o n o f t h e texture- space as expressed i n c o n t r a - d i r e c t i o n a l r e l a t i o n o f o u t e r components .......................... V 30 PREFACE The Purpose o f the Study This study examine; three basic characteristics of texture i n piano music: 1) types o f melodic and accompanimental presentation, 2 ) density, and 3 ) range. I n selected compositions from the Chopin Etudes Opp. 10 and 25 and the Scriabin Etudes Op. 8 measurements o f density and range are compared. These measurements quantify the textural differences among the types of melodic and accompanirnental presentation and also distinguish between the textural styles of the two composers, This study asserts t h a t the texture of nineteenth century p i a n o music, as exemplified by the etudes o f Chopin and Scriabin, i s lhrgely dependent upon the types of f i g u r a t i o n used, and further, t h a t a l l o f the figurations found i n these collections are derived from six basic types. In t h i s context, the term "figuration" i s defined as "the consistent use of a particular melodic or harmonic figure."' The basic types t h a t func- tion melodically are labeled single l i n e and doubled line; those t h a t function accompanimental l y are labeled chordal, arpeggiated, a1 t w n a t i n g , and convol uted. As the study will demonstrate, etudes u s i n g the same type of figuration share common textural traits t h a t can be measured according t o viirious characteristics o f density and range, and these common t r a i t s are -+ 1. J , A. Westrup and F. L 1 . Harrison, "Figuration," The New Colle e Encyclopedia clf Music, (New York: W . W . Norton, 1960 more strongly linked t o the type of figuration used t h a n t o the s t y l e of the particular composer. The Significance of the Study Previous research dealing w i t h texture i s very limited, b o t h in quantity and in scope. Typically, studies t h a t do analyze texture are concerned with orchestral or chamber music, placing t h e i r emphasis on changes in instrumentation. As a r e s u l t , the methodology and terminology used in these multi-instrument analyses do not transfer well t o the investi g a t i o n of piano music texture. Considering the importance of texture t o musical s t y l e , i t i s hard t o understand the neglect t h a t texture, especially t h a t of the piano, re- ceives i n theoretical writings. Most writers limit t h e i r discussions t o broad generalities and a few well-worn terms. This study provides a s t a r t - i n g p o i n t for f i l l i n g the v o i d by presenting clear definitions o f familiar terms, introducing new terms, and presenting a systematic methodology f o r deal i ng w i t h texture i n pi ano musi c. The Etudes Selected f o r Analysis Concert etudes were selected for this study t o insure t h a t : 1) the textures t o be analyzed are s t y l i s t i c a l l y indigenous t o the piano, and 2) each composition exhibits one dominant textural type. The h i g h level of performance technique demanded by concert etudes provides complex textures t h a t are seldom found i n any other mediums. Yet, the technical demands of these works are n o t regarded as compromising t h e i r a r t i s t i c q u a l i t y or musical value, even t h o u g h t h e i r i n s p i r a t i o n stenis from pedagogy. Etudes have the further advantage of emphasizing one principal texture w i t h i n each vii piece individually, w1,ile providing a great variety of textures within the coll ections. Composers who wrote concert etudes include Chopin, Scriabi n , Rachmaninoff, Liszt, Mendelssohn, Schumann, and Debussy. Opp. 10 and 25 of Chopin and Op. 8 of Scriabin were chosen for t h i s investigation because t h e i r great similarity i n s t y l e and form afford a good basis f o r comparison. The l a t e r etudes of Scriabin, Opp. 42 and 65, as well as the etudes by Rachmaninoff and Debussy, contain elements t h a t are post-Romantic, or even modern A1 though the "Transcendental in style, and are therefore less comparable. Etudes" of Liszt are comparable i n s t y l e t o the works selected here, the forms arid type o f content are quite different. Liszt's forms are larger and often based on variation technique while the Chopin and Scriabin etudes are shorter, generally ternary structures. I n terms of technique, Liszt incorporates several. different pianistic devices in each piece, whereas Chopin and Scriabin, normally develop a single principal device. Schumann's "Symphonic Etudes" are actually a theme and variations and are a l l binary in form except for the l a s t variation which functions as a grand finale. Mendelssohn's "Three Etudes" Op. io4 i s t o o small a collection to allow a f a i r comparison. There are many similarities between the works of Chopin and the early works of Scriabin despite the s i x t y years t h a t separate t h e i r composition. The similarities are apparently the result of intentional modeling. Scriabin's o u t p u t i s usually divided i n t o three phases o f development, the f i r s t of which has even been characterized as being "Chopinesque."* The Etudes Op. 8 (1894) f a l l i n t h i s period (1885-1900). Scriabin was fond of 2. M. Montagu-Nathan, Handbook t o the Piano Works of A. Scriabin (London: J & W Chester, 19161, 2. viii Chopin'smusic and from the evident s i m i l a r i t i e s in the music (e.g., see page 14 ) i t i s quite probable t h a t the Etudes Op. 8 were modeled on the Chopin etudes. The individual etudes examined in this study are l i s t e d i n the following outline accarding t o s i x basic types of melodic and accompanimental presentation. chapter two. Each o f these basic types i s described i n detail i n All of the Scriabin Etudes Op. 8 are examined. The Chopin etudes are selected from Opp. 10 and 25 on the basis of t h e i r similarity of figuration t o the Scriabin etudes. I. Scri abi n Etudes Op./No. Chopi n Etudes Op ./No. Melodic presentation A. Single l i n e 818 8/11 10/2 10/4 10/6 2512 2517 B. Doubled l i n e 816 8/9 8/ 10 2516 2518 25110 11. Accompanimental presentation A. Chordal figuration 8/ 5 10/11 2514 B. Arpeggiated figuration 812 8/4 1018 10112 2511 C. A1 ternating figuration 811 8/3 10/ 10 D. Convoluted figuration 817 8/12 1019 l o l l 0 The Oraanization of the Study As stated above, t h i s study is concerned w i t h three basic char- a c t e r i s t i c s of texture i n piano music: types of melodic and accompanimen- t a l presentation, density, and range. The logic f o r selecting these three characteristics i s s e t forth i n chapter one. The chapter begins w i t h a general overview of texture by examining some o f the definitions of the ix term t h a t can be found in current l i t e r a t u r e . I t continues with the estab- lishment of the definition of texture t h a t i s used throughout the study and concludes with detailing of the special problems in analyzing the texture of piano music. Chapter two explains the basic types of melodic and xconipanimental presentation found in the etudes of Chopin and Scriabin and c l a s s i f i e s the etudes accordingly. Examples of each type and a discussion of the various figurations found within them are included. Chapter three examines the different parameters of textural density g i v i n g precise definitions f o r each one. The basic types of accompanimental figuration discussed in chapter two are then compared according t o measurements o f textural density. Chapter four discusses the problems concerning the measurement of range and proposes a modified definition of range t h a t permits more useful methods for i t s measurement. This method i s explained in detail and then is used t o contrast and compare the types of figuration and the styles o f the composers. Chapter five summarizes the methodology of the study and i t s results and s e t s forth suggestions for further investigation. I wish t o acknowledge Dr. Burdette Green of The Ohio State Univer- s i t y f o r his generous assistance and helpful advice d u r i n g both the study's planning and i t s writing. X Chapter I a PROBLEMS IN THE ANALYSIS OF MUSICAL TEXTURE One o f the most d i f f i c u l t problems i n analyzing texture i s defining the term. The word can be defined i n a variety of ways. Three different views of texture are examined below in order t o develop a workable definition. The most problematic aspect of the definition involves considerations of linear independence which, for the reasons explained in the l a s t two sections of t h i s chapter, i s n o t examined in t h i s study. Problems i n Definina Texture According t o Wallace Berry, "Changes i n texture. . .are often among the most readily perceptible and appreciable i n the experience o f music. II 3 If these changes are so apparent, then one would assume t h a t texture would be an obvious area for extensive musical investigation. Yet there are only a few writers who have dealt with the area of texture i n d e t a i l . . Most references t o 'texture, even i n comprehensive analyses , are r e s t r i c t e d t o very general observations that use descriptive words such as l i g h t , heavy, homophonic, and polyphonic. Perhaps one reason f o r the small amount o f significant work i n t h i s important area i s the lack of a clear understanding o f the concept Iltexture." I t i s obvious t h a t analyses Snvolving a vague, nebulous concept will f a i l t o produce meaningful results w i t h any precision or significance. 3. In the Wallace Berry, Structural Functions i n Music (Englewood C1 i f f s , New Jersey: Prentice-Hall, 1976), 189. 1 2 minds of some authors, f o r example Ivor Keys and George Dyson, texture cons i s t s of a l l '!" characteristics of music combined it1 a vague, holistic manner.4 With t h i s kind of broad definition, there i s a temptation for analyzers t o center t h e i r discussions on the area in which they are most secure, i .e. , harmony-discussions having only occasional references t o the other characteristics of music. Such a definition i s inadNquate. While there are useful definitions o f a more specialiied nature, there i s , unfortunately, wide divergence of thought concerning the specifics of what tex ture should e n t a i l . I n order t o provide some perspective on the problem, a few o f the more useful definitions must be examined. The Ervard Dictionary o f Music provides the following definition of texture. Much l i k e woven fabric, music consists of horizontal ( "woof'l) and vertical ("warp") elements. The former are the successive sounds forming melodies, the l a t t e r the simul taneous sounds formi ng harmonies I t i s these el ements that maKe u p the texture.5 . This i s too vague t o be a serviceable definition, b u t Apel does elucidate his concept of texture by l i s t i n g the different characteristics he would include for consideration: homorhythmic, and 1 ight-heavy. polyphonic-homophonic, polyrhythmic- I n t h i s context, 1 ight-heavy ref'ers t o both the number of instruments, and the ,tone color or timbre of the instruments invol ved. 4. Ivor Keys, The Texture of Music; From Purcell t o Brahms (London: Dobson Books, 1961)rge Dyson, "The Texture of Modern Music," Music and Letters IV (1923), No.2, 3, and 4. 5. Will i Apel , "Texture," Harvard Dictionarv of Music 2nd ed. , rev. and en1 (Cambridge, Massachusetts: Bel knap Press , 1969) , 842. 6. I b i d . . 3 Berry's Structural Functions i n Music contains one of the few i n - depth discussions of texture t o be found. t h a t are n o t defined precisely. Berry carefully avoids terms This practice results i n the use of specialized terms t h a t , even t h o u g h they are very precise, make his writi n g s t y l e rather cryptic, as one can see in the followirig definition. The texture of music consists of i t s sounding components; i t i s conditioned i n part by the number of those components sounding in simultaneity or concurrence, i t s qualities determined by the interactions, interrelations, and r e l a t i v e projections and subst nces of component lines or other component sounding factors .7 The most notable feature o f Berry's statement i s his division of texture i n t o quantitative and qual i t a t i v e characteristics. t i v e characteristics include l'. . .the The quanti t a - number o f concurrent events [commonly called thickness] as well as the degree o f 'compression' o f the events within a given i n t e r v a l l i c space.Il8 He refers t o both thickness and compression as having measurable densities, b u t also s t a t e s t h a t these measurements do not r e f l e c t the subjective impressions o f dissonance and coloration t h a t he asserts are v i t a l l y related t o density. Berry's "qualitative" characteristics include the relative independence and interdependence of the horizantal components within the musical fabric as determined by direct i o n a l , intervallic, and rhythmic relationships. In his G u i del ines for Sty1 e Analysis -, Jan LaRue places "texture" under the general heading of "sound." Since he also includes "timbre" and "dynamics" as separate subheadings under the same category "sound," i t can be inferred that LaRue does not conceive o f timbre and dynamics a s specific 7. Berry, op. c i t . , 184. 8. Ibid. characteristics of texture. ' 4 He defines texture as a "momentary combination" and uses the term "fabric" for the whole continuous web of texture and dynamics. To compl icate matters further, he mentions "range" acd "tessi tura" under the subheadings of both "texture" and "timbre, I' 1eavi ng the issue undecided as t o whether or not they are t o be viewed principally as characteri s t i c s of' texture. 9 For an analysis of texture t o be meaningful , one must clearly understand which of the many possibilities mentioned i n these definitions are t o be considered characteristics of texture. Because the validity of the analytical r e s u l t s i s directly connected t o the precision of the definition, a single c r i t e r i o n was adopted f o r deci ding which characteristics of texture are appropriate f o r the study of these etudes. I believe t h a t texture i n the s t r i c t e s t sense should deal only w i t h characteristics t h a t are principally associated w i t h either vertical o r horizontal relationships. This criterion enables us t o define the concept of texture according t o three basic characteristics: 1) 1 inear independence, 2 ) density, and 3) range. Each of these characteristics involves either horizontal o r vertical factors of the texture. "Linear independence" refers t o the relation- ships between horizontal components. The degree o f 1 inear independence varies on a continuum from purely homophonic textures o r minimum independence , t o pure1y polyphonic textures o r maximum independence , w i t h any degree possible between these two extremes. However, the degree of inde- pendence does n o t easily lend i t s e l f t o objective measurement. For this and other important reasons explained i n the next two sections of this chapter, 1inear independence was deemed inappropriate as a characteristic 9. Jan LaRue, Guidelines for Style Analysis (New York: 1970) 3 23-34. W.W. Norton and Co., 5 of texture i n this study. In i t s place was substituted a classification system based on types of melodic and accompanimental presentation. The second characteristic, "density," refers t o the number of components present a t any g i v e n moment and t h e i r arrangcment w i t h i n a specific vertical span. This concept involves the thickness, compression, and spacing o f vertical components. The t h f r d characteristic, "range," Each refers t o the changes of pitch as the music progresses through time. of these characteristics of texture i s explained i n further detail l a t e r in the study. The previously discussed criterion t h a t limits the definition of texture enables us t o exclude the following factors since they are n o t normally associated with either vertical or horizontal attributes: instrumentatioii, dynamics, and articulation. timbre, Indeed, these additional fac- tors do influence texture t o some degree, b u t , according t o the limited definition presented above, they need n o t be considered i n a textural analysis. Dissonance or, f o r t h a t matter, harmonic constructs, are primarily vertical i n nature, b u t are commonly considered independent areas of investigation and have established systems f o r analysis. need t o be subsumed under texture. They therzfore do not Siniilarly, rhythm i s primarily a hori- zontal component, b u t one t h a t i s commonly considered an independent area of investigation. One cannot deny that components influence each other e i t h e r directly o r indirectly. However, for the sake of l i m i t i n g the num- ber o f variables involved and sharpening the focus o f the investigation, i t i s desirable t o examine components independently and selectively. Problems i n Determining Linear Independence Generally speaking, the horizontal components of texture r e s u l t from the characteristics o f the individual lines and from the relationships t h a t 6 are formed between the lines, I f each l i n e has i t s own melodic and rhyth- mic identity and i s not subservient t o another line, then the lines are said t o be independent, and according t o tradition the music i s classified as "polyphonic." Conversely, i f the principal melodic and rhythmic i n t e r e s t centers i n one line, and the remaining parts are merely accompanimental and function as one unit, then the components are not independent and the music i s classified as "homophonic." I t would be d i f f i c u l t t o place a l l music i n t o one o r the other of these categories because there are many textures t h a t have a limited independence and do not wholly belong t o the class of homophony or polyphony. For analytical purposes i t i s more useful t o hypcthesize t h a t works f a l l a t points on the continuum described e a r l i e r withrn the range from extreme independence of 1 i nes t o extreme interdependence of 1 i nes . Unfortunately, 1 inear independence does n o t easily lend i t s e l f t o objective measurement, and t h i s i s probably the reason why Berry designates 1 inear indepecdence as a "qualitative" characteristic of texture." The number o f variables and the complexity o f the relationships w i t h i n a texture make placement on the continuum a subjective judymerrt. Berry presents the following terms in an apparent attempt t o supply a systematic method . for descri b i rig 1 i near independence 11 10. Berry, op.cit., 11. I b i d , 193-95. 185. Ex. 1 Berry's terms for the description of linear independence JJA-+&d - __ 1 homorhythmi c . I 4 *- 1 . I 1 1 1 1 1 1 7 I I 1 1 - - contradirectional F 1 I = hetero- rhythmic 1j=& contra- This l i s t provides terminology for three relationships of three different factors. A t f i r s t glance, his array of terms seem t o provide a systematic means for determi n i ng the degree of 1i near independence for any work. That i s the case, however, only for note-by-note comparisons between two lines. Any attempt t o label, for example, an eight-measure passage i n four-part w r i t i n g would require a prohibitive number o f statements, or recourse t o descriptive general i t i e s t h a t destroy objectivity. 8 Speci a1 i zed Probl ems in Anal yzi ng Texture i n Piano Music Special analytical problems a r i s e when one deals with texture i n piano music. These problems can be attributed t o several factors inherent in the medium i t s e l f . F i r s t , the piano i s one of the few instrumental mediums i n which a l l the voices o r parts are realized with the same timbre ( i .e., the same i f we disregard the subtle differences o f tone-color caused by changes in register o r dynamics). This general lack of tone quality differentiation makes i t d i f f i c u l t for a l i s t e n e r t o i s o l a t e individual ? a r t s and, as a r e s u l t , allows the composer more freedom t o vary the number c f parts without d i s r u p t i n g the texture than woul d be possi bl e i n heterogenous ensemb-ies where entrances and cutoffs art: more noticeable. Second, the performer i s limited by the technical capabilities of his hands. Consequently coinposers write types of figuration t h a t are known t o be practical and effective i n performance. T h i s tradition i s always be- i n g modified and extended, b u t regardless o f s t y l e changes there has existed a standard core of performance s k i l l s that, can be expected of the pianist. T h i r d , the piano, due t o i t s mechanism, has no capacity t o sustain a tone a t a constant volume. This deficiency i s often compensated f o r through use of repeated figures having constint and regular rhythmic impulses that can e i t h e r simulate o r create the illusion o f a sustained sound. The inclusion of this type of textural f i l l i g r e e also f a c i l i t a t e s smoother, more graduai changes i n dynamics since there are, a s a r e s u l t , many more intermediate 1evel s avai 1ab1 e between any two dynamic 1 evel s. 9 Fourth, and t h i s p o i n t i s important, most nineteenth- century piano music, i n c l u d i n g t h e etudes under c o n s i d e r a t i o n here, f a l l s on t h e homophonic s i d e o f t h e l i n e a r independence continuum. The reason f o r t h e homophonic b i a s i n music o f t h e Romantic p e r i o d may be l i n k e d t o t h e s p e c i a l a t t r i b u t e s o f t h e piano i t s e l f . I n homophonic music, i t i s d i f f i c u l t enough t o determine what t h e h o r i z o n t a l components are, l e t alone t o have t o attempt t o q u a n t i f y t h e i r degree o f independence. Because homophonic music i s n o t as l i n e a r by d e f i n i t i o n , estimates o f l i n e a r independence seem l e s s i n f o r m a t i v e and a p p r o p r i a t e here than i n polyphonic works. Because o f these f a c t s : 1) measurements o f 1i n e a r independence a r e i n a p p r o p r i a t e f o r homophonic music, 2) l i n e a r components a r e d i f f i c u l t t o i s o l a t e i n Romantic e r a piano music, and 3) methods f o r measuring l i n e a r independence a r e n o t p r e c i s e , even f o r polyphonic music, the f a c t o r o f l i n e a r independence i s n o t examined i n t h i s study. T h i s f a c- t o r should s t i l l be considered a l e g i t i m a t e p a r t o f t h e d e f i n i t i o n o f t e x t u r e , i n general, b u t f o r t h e purposes o f t h i s study and t h e p a r t i c u l a r body o f music i t examines, i t i s n o t a p p r o p r i a t e . I n i t s place, we s u b s t i t u t e a c l a s s i f i c a t i o n system based on t h e types o f f i g u r a t i o n t h a t a r e used t o p r es e n t melodic and accompanimental components i n homophonic piano music. classification at all. This o f components i s n o t intended t o measure 1i n e a r independence I t s o n l y purpose i s t o p r o v i d e a systematic s e t of d e s c r i p t i v e terms w i t h which t o c a t e g o r i z e t h e broad v a r i e t y o f t e x t u r e s i n homophonic piano music. ation. Chapter two e x p l a i n s t h i s system f o r c l a s s i f y i n g piano f i g u r - Chapter I I BASIC TYPES OF MELODIC AND ACCOMPANI MENTAL PRESENTATION Etudes are written specifically t o develop performers' competencies by stressing particular performance s k i l l s . As a r e s u l t , a principal text- ural configuration t h a t involves one o f these s k i l l s i s used throughout each of the Chopin and Scriabin etudes. Consequently, classifying the etudes according t o the s k i l l s involved also serves t o classify these textural configurations. This method o f classification i s advantageous because a l l the textural configurations i n the etudes can be related t o a small number of basic patterns. This chapter examines six basic types, presenting examples of each, and explains how the Chopin and Scriabin etudes have been classified according t o this system. The most basic classification of typical piano texture distinguishes between the two elementary functions i n homophonic music: melody and accompaniment. Usually these functions are easily distinguished because they are delineated by separate components o f the figuration, most commonly, the right hand playing the melody and the l e f t hand i n accompaniment. Pri- rrrarily, melody supplies horizontal content while accompaniment supplies vertical content. However, there i s some overlap possible because melodies often bear some degree of harmonic implication and accompaniments often bear some degree of voice leading. Occasionally, a single component f u l f i l l s b o t h the melodic and accompanimental functions. A t other times the accom- paniment will include a f a i r l y independent l i n e t h a t supplies an additional, t h i r d component. B u t , i n general, melodic presentation and accompanimental 10 11 presentation can be considered independently, w i t h each note of a particular texture performing principally one function or the other. After separating melodic from accompanimental functions , the figurations of these two components can be classified into types according t o the way they are presented. In the works being considered, the melodic presenta- tion can be divided into two types: the single l i n e doubled i n parallel intervals Similarly, accompanimental presentation can be divided into four types: 1) 2) 3) 4) chordal arpeggiated convoluted a1 ternating These six different types o f presentation are defined and explained w i t h examples i n the following sections of this chapter. The examples point out the problems of determining how an etude i s t o be classified and show the great variety t h a t exists w i t h i n the types. In some cases these types a r e divided into subcategories i n order t o provide f i n e r distinctions. The subcategories are explained below as they are encountered in the musical examples, and then summarized i n an outline of the types presented on page24. The Single Line The simplest type o f melodic presentation i s the single l i n e melody. Examples o f this type can be grouped into two subcategories according t o the performance d i f f i c u l t i e s of the pieces. One group uses slow tempos and requires a very lc-yato s t y l e , often w i t h the accompanimental chords o r lines written f o r the same hand, compounding the difficulty of obtaining smooth legato connections. Etudes of this type, which are called "legato studies," have confi g u r a t i ons simi 1a r t o Example 2. 12 EXAMPLE 2 Scriabin Etude Op. 8 No. 8, mm. 1-3 Lcnto (Tempr) rubatoj Nr.8 Etudes belonging t o a second group, having a d i s t i n c t single line melody in quicker tempo are commonly called "velocity studies." Very rapid tempos and an emphasis on scalar passages characterize these pieces. The Chopin etude i n Example 3 has a figuration typical o f many of these p eces. I; A l t h o u g h velocity studies are one of the most common types i n the etude genre, Scriabin d i d n o t include any o f these i n his etudes. Perhaps Scriabin was leary of this type because o f the numerous pieces written for sheer technical d i s p l a y since C h o p i n . One characteristic o f melodic presentation t h a t might be overlooked w i t h o u t careful analysis i s the use of polyphonic melody as i n the case of Example 4. 13 In polyphonic melody, one "voice"--at l e a s t i t i s notated as one voice--presents two or more related melodic ideas. Thus, what appears t o be a single l i n e can actually be regarded as two or more voices a t another structural level that are combined by an unfolding operation 3r by a motion t o and from inner voices." Notating the right hand on two separate staves makes t h i s relationship apparent. Notice the simp1 i c i t y of the step-pro- gression t h a t under1 ies t h i s complex sounding melody, EXAMPLE 5 Scriabin Op. 8 No. 2, mm. 1-2 with the melody renotated. Although this melody may be derived from two lines a t some given level of structure, i t must s t i l l be considered a single- line type of melodic presentation since i t i s perceived as one l i n e a t the most immediate, surface level. This i s also a practical consideration because o f the large degree of textural variation that can exist between structural levels--each level can have a different "texture." To be rigorous, "texture" should only refer t o the actual surface o f the music. After a l l , 12. Felix Salzer and Carl Schachter, Counterpoint i n Composition; The Study of Voice Leading (New York: McGraw-Hill , 1 9 6 9 ) , 153-160. 14 we use t h e phrase "rought t e x t u r e ' ' t o d e s c r i b e an o b j e c t whose surfaces a r e rough w i t h o u t making any i n f e r e n c e s as t o i t s i n t e r n a l composition. An ex- ample l a t e r i n t h e chapter a l s o i l l u s t r a t e s t h e n e c e s s i t y f o r t h i s r e s t r i c t i o n (see pp. 21-22). The Doubled L i n e The second b a s i c t y p e o f melodic p r e s e n t a t i o n c o n s i s t s o f l i n e s doubled i n s u i t a b l e p a r a l l e l i n t e r v a l s . Chopin and S c r i a b i n each wrote an etude w i t h t h e r i g h t - h a n d p a r t doubled i n thirds- - Op. 26 No. 6 and Op. 8 No. 10 r e s p e c t i v e l y . t o a l a r g e extent. I n b o t h o f these t h e melodic l i n e s move c h r o m a t i c a l l y There i s a l s o a marked s i m i l a r i t y between t h e motives used i n t h e m i d d l e s e c t i o n s o f these t e r r a r y forms, as seen i n Examples 6 and 7. The resemblance o f these motives s t r o n g l y suggests t h a t S c r i a b i n m i g h t have consciously imStated t h e Chopin Etudes, a t l e a s t i n t h i s case. EXAMPLE 6 Chopin Etude Op. 25 No. 6, m i . 27-28. EXAMPLE 7 S c r i a b i n Etude Op. 8 No. 10, mm. 53-60. 15 Each composer a l s o wrote etudes w i t h t h e r i g h t - h a n d p a r t doubled *in s i x t h s . EXAMPLE 8 Example 8 shows t h e opening o f t h e one by Chopin. Chopin Etude Op. 25 No. 8, mm. 1-4. , Not o n l y does t h e r i g h t hand present t h e melody i n s i x t h s i n t h i s example, b u t t h e l e f t hand a l s o c o n s i s t s o f s i x t h s q u i t e o f t e n . t i o n o f t h e l e f t - h a n d s i x t h s i s most o f t e n accompanimental, i.e., provides a harmocic scheme. The funcit But a t times t h e l e f t hand p a r t becomes melodic, as i n t h e second h a l f o f measure f o u r i n Example 8. Melodies doubled a t t h e octave abound i n piano l i t e r a t u r e , making t h i s d i f f i c u l t f i g u r a t i o n an obvious s u b j e c t f o r etudes. Chopin Op. 25 No. 10 and S c r i a b i n Op. 8 No. 9 each g i v e t h e p i a n i s t p r a c t i c e w i t h octaves i n b o t h hands. A v a r i a t i o n o f t h i s scheme occurs when one o r more notes a r e f i l l e d between t h e octaves. i s a case i n p o i n t . The r i g h t hand o f S c r i a b i n ’ s Op. 8 No. 7 16 EXAMPLE 9 Scriabin Etude Op. 8 No. 7, mm. 1-2. The question i s whether or not the added middle p a r t ' s role i s t o reinforce the melodic function o r the accompanimental function. J u s t be- cause these notes are played in the same r e g i s t e r as the melody does not necessarily mean t h a t t h e i r function i s likewise melodic. Tt,e middle note o f the right hand i s not linked t o the melody a t any certain interval, nor does i t always move i n the same direction as the melody. I t s pitch i s determined by the harmony and the d o u b l i n g s of the accompaniment. B u t , the rhythm and r e g i s t e r of t h i s l i n e obviously 'reinforce the melody. Here i s an instance where Berry Is termi no1 ogy f o r 1 i near independence is useful . He would classify this l i n e as "homorhythmic-heterodirectional-contrain'erv a l l i c , " which provides a concise description, b u t does not c l a r i f y the original problem of determining function. Since the types of figuration are determined by the technical demands of the music, i t i s logical then t h a t this question should also be seen from the performer's point of view. performance, belongs w i t h the melody. The added p a r t , in terms of This decision rests on the similar- i t y w i t h the melody o f the p a r t i n question, and on the basis of factors such as articulation, rhythm, and register. I f a decision must be made, then this added part can be said t o serve primarily i n a melodic role; i t s accompanimental characteristics, however, should not be forgotten. In summary, there are two basic types of melodic presentation: the single l i n e and the doubled line. The former i s divided into legato 17 s t u d i e s and v e l o c i t y s t u d i e s . The l a t t e r i s d i v i d e d i n t o t h r e e types: doubled t h i r d s , doubled s i x t h s , and doubled octaves. One shoJld bear i n mind t h a t these l i m i t e d c a t e g o r i e s a r e a p p r o p r i a t e o n l y f o r t h i s body o f music. Doubled l i n e s a t o t h e r i n t e r v a l s a r e n o t found i n these etudes be- cause o f t h e s t y l i s t i c c o n s t r a i n t s o f t h e period. may be found i n works i n d i f f e r e n t s t y l e s . However, o t h e r doublings 13 Chordal F i g u r a t i o n The most elementary accompaniment s t y l e i s t h e simple chordal f i g u r a t i o n , such as t h e one found i r . S c r i a b i n ' s Op. 8 Nos. 8 and 11. I n each of these etudes t h e chords a r e p r e s e n t i n both t h e r i s k t - and l e f t - h a n d p a r t s , an arrangement t h a t r e q u i r e s t h e r i g h t hand t o p l a y t h e melody and a p a r t o f t h e accompanifient a t t h e same time. i ' h i s procedure can r e s u l t i n pieces t h a t sound d e c e p t i v e l y easy s i n c e t h e l i s t et n e r hears o n l y a melody supported by chords, w i t h o u t r e a l i z i n g t h e c o n t r o l r e q u i r e d t o p l a y simultaneously c o n t r a s t i n g dynamics, a r t i c u l a t i o n s , and/or rhythms w i t h one hand. One should n o t e t h a t t h e accompaniment i n Op. 8 No. 8 can be d i v i d e d i n t o two p a r t s due t o t h e bass l i n e , which, i n a d d i t i o n t o i t s separate r e g i s t e r , has some melodic c h a r a c t e r i s t i c s o f i t s own. T h i s melodic inde- pendence r e s u l t s i n a t e x t u r e made up o f t h r e e separate s t r a t a as shown i n Example 10 EXAMPLE 10 S c r i a b i n Etude Op. 8 No. 8 mm. 1-3. Lento (Tempo rubato) Nr. 8 13. For example, see t h e l a s t s e t o f etudes by S c r i a b i n , Op. 65 Nos. 1,2, and 3. 18 In i t s simplest conformation, homophonic music consists o f two strata--one melodic and the other accompanimental . Yet, as l a t e r examples will show, the number of s t r a t a can vary greatly, from just one t o four o r more. The Chopin etude in Example 11 i s arranged i n three s t r a t a as was Example 10, b u t with one major difference: the chordal stratum i n the middl e requires two hands t o perform. Example 11 Chopin Etude Op. 25 No. 4 , mn. 9-12. As before, the r i g h t hand has both melody and chords, and now the l e f t hand has the bass l i n e and chords also. The l e f t hand must skip a sizable distance i n order t o play both parts. The major technical d i f f i c u l t y of t h i s piece i s the accurate extecution o f these large leaps. occur i n b o t h hands o f the following example. EXAMPLE 12 Scriabin Etude Op. 8 No. 5, mm 1-3. Large leaps 19 Here i t i s possible t o consider the texture i n four different components : a me1 ody i t s chordal accompaniment, a counter-me1 ody or "echo 'I and i t s accompaniment. Example 13 shows the different s t r a t a notated on separate staves. EXAMPLE 13 Scriabin Etude Op. 8 No. 5, mm. 1-3 renotated. In a chordal figuration, large 1 eaps can suggest additional s t r a t a . The constant leaping from one register t o another causes the l i s t e n e r t o separate the events into discrete groups. The e f f e c t i s similar t o the polyphoriic melody discussed e a r l i e r a l t h o u g h i n this case the effect i s so easily perceived t h a t i t i s apparent on the surface level while the PO 'Y- phoni c me1 ody requires some abstraction on the p a r t of the l i s t e n e r . Because the large change i n register can i n e f f e c t add another stratum t o the texture, types o f chordal figuration must be further divided i n t o two subcategories--one simp1 e and one w i t h large leaps. 20 Arpegyiated Figurations The second type of accompaniment i s the arpeggiated figuration, which i s a chordal unit presented in a simple linear fashion, either ascendi n g o r descending. This type o f presentation can be divided i n t o two sub- categories, distinguishing those t h a t require more t h a n one hand-position from those t h a t can be played i n a single position, L e . , when a l l the notes can be reached without lifting the hand or turning t h e thumb under the fingers. The left-hand part o f Chopin's Op. 25 No. 1, the "harp" etude, i s an example of the single hand-position arpeggio. In this figuration there are usually only four pitches in each arpeggio allowing the hand t o remain in one position even t h o u g h the figure covers a large span. EXAMPLE 14 Chopin Etude Op. 25 No. 1, mrn, 1-2. The second subcategory of arpeggiated figuration i s shown in the following example from the "revolutionary" etude. 21 In this example the five o r more pitches i n each figure make i t necessary for the thumb t o turn under i n every arpeggjo. The passing motion, c - d - eb -d- c , smooths o u t the figure and rounds off i t s linear contour. A1 ternating Figuration The t h i r d type of accompaniniental figuration i s similar t o a tremolo effect. I t consists of an alternation between two notes or groups of notes. The t h i r d etude o f Scriabin's Op. 8 uses t h i s figuration in both hands. EXAMPLE 16 Scriabin Etude Op. 8 No. 3, mm. 1-4. I f Example 16 contains accompanimental figures in both hands, then where i s the melody? By l i n k i n g every other note of the figuration into 1ines and el i m i n a t i n g octave doubl ings , the texture changes radically, reveal i n g the familiar texture o f a four-voice choral e. EXAMPLE 17 Reduction o f Example 16 22 Consi dered from the viewpoint o f "layer analysis," Example 17 presents the 1 eve1 directly beneath the actual foreground. A t t h i s level the melody and the linear nature of the remaining voices become clear. It appears t h a t the melody actually exists on a more remote level t h a n the accompanimental figuration. S t r i c t l y speaking, there i s no melody a t the surface level due t o the alternation. B u t since the actual texture, < . e . , the texture a t the most foreground level, i s generated by linear motion, one can easily extract the linear motion of the underlying level. This example can, a t l e a s t a t the foreground level, consist of only accompanimental f i gura t i on. Convoluted Figuration The fourth type of accompanimental presentation i s designated here as the "convoluted" figuration. This type consists of any regularly repeat- ing pattern o f chord tones which has a linear contour t h a t changes direction often. The convoluted figuration can be considered a broken chord whose tones are sounded i n an irregular order, i . e . , i t produces a contour t h a t cannot be described as ascending o r descending, b u t has a specific organization t h a t controls the contour. The Alberti bass of the Classical era provides a simple example of this type. Scriabin uses the convoluted f i g u r - ation i n his etude i n Bb minor, shown in Example 18. EXAMPLE 18 Scriabin Etude Op. 8. No. 7, mm. 1-2. Presto tenebroso, agitato Nr. 7 23 The f i g u r e i n t h e l e f t - h a n d p a r t repeats every s i x t h eighth- note, i n a p a t t e r n t h a t can be g e n e r a l l y described as l e a p i n g down-up-down-downup-down w i t h t h e upward leaps l a n d i n g on t h e beat. This p a r t i c u l a r pattern has an ambiguous harmonic rhythm which S c r i a b i n emphasizes through t h e beami n g o f t h e eighth- notes and t h e phrasing marks o f t h e l e f t hand. The har- monies change every two beats, w i t h each new harmony beginning two e i g h t h notes b e f o r e t h e f i r s t and t h i r d beat of t h e measure, r e s u l t i n g i n a harmonic rhythm t h a t i s o u t o f phase, o r d i s p l a c e d i n r e s p e c t t o t h e rhythmic i m p l i c a t i o n s o f t h e meter. Example 19 i l l u s t r a t e s an i n t e r e s t i n g v a r i a t i o n o f t h e convoluted f i g u r a t i o n used by Chopin. EXAMPLE 19 Chopin Etude Op. 10 No. 9, mm. 1-3. Allcgro, :nolto agitato :to.) Contained w i t h i n t h e upper p a r t of t h e accompanimental f i g u r e i s a countermelody. accompaniment. Once again, t h e r e i s a melodic l i n e nested w i t h i n t h e This results i n a texture consisting o f three strata l i k e those i n e a r l i e r examples, except t h a t i n t h i s case, t h e harmonic support i s below t h e t w o melodic l i n e s i n s t e a d o f between them. Summary An o u t l i n e i s presented here t o summarize t h e types o f f i g u r a t i o n discussed i n t h i s chapter. F o l l o w i n g each t y p e a r e l i s t e d t h e etudes t h a t make use o f t h a t t e x t u r e as a p r i n c i p a l component o f t h e piece. 24 Scriabi n Etudes 1. Op./No. Chopin Etudes Op ./No. Melodic p r e s e n t a t i o n A. S i n g l e l i n e B. 11. 1. Legato study 8/8 8/11 10/6 25/7 2. V e l o c i t y study --- 10/2 10/4 25/2 Doubled l i n e 1. Doubled i n octaves 8/9 25/10 2. Doubled i n t h i r d s 8/ 10 25/6 3. Doubled i n s i x t h s 816 2518 Accompanirnental p r e s e n t a t i o n A. B. C. Chordal f i g u r a t i o n 1. Simple --- 10/11 2. Large l e q p s 815 25/4 Arpeggiated f i g u r a t i o n 1. One hand- position --- 25/ 1 2. More than one hand-posi t I on 8/2 8/4 10/8 10/12 8/1 813 10/10 8/7 8/12 10/9 l o l l 0 A1 t e r n a t i n g f i g u r a t i o n D. Convoluted f i g u r a t i o n 25 Nine of the twenty-four Chopin etudes are not included here i n any o f the above categories. This i s done for two reasons: F i r s t , these etudes contain textures which are combinations o r special variations of the above types. For instance, Op. 25 No. 9 has Ile alternating e f f i x t combined with a melody doubled i n octaves for the right-hand p a r t , representing a mixture o f types. EXAMPLE 20 Chopin Etude Op. 25 No. 9 , mm. 1-4. Assai allegro (J=iiz.) Op. 25 No. 1 2 uses a variation o f the arpeggiated type. The unique aspect i s the use of repeated notes each time the figure moves an octave. This allows the constant exchange o f the f i r s t and f i f t h fingers, which means the hands can transverse the keyboard w i t h o u t ever t u r n i n g the thumb underneath the other fingers, as i s usual for an arpeggiated figure. the p i a n i s t , this i s a completely different technical s k i l l . Example 21 t o Example 15. EXAMPLE 21 Chopin Etude Op. 25 No. 12, mm. 1-2. Compare For f 26 These combinations o r special v a r i a t i o n s o f t h e f i g u r a t i o n types i n t h e n i n e remaining etudes could be i n c l u d e d i n t h e category system by c r e a t i n g new designations. But t h i s i s n o t d e s i r a b l e because o f t h e second reason f o r excluding these etudes: p a r t s i n t h e etudes o f S c r i a b i n . they have no d i r e c t l y comparable counterThe puwose o f t h i s chapter i s t o p r o v i d e l a b e l s f o r the t e x t u r e s common t o the two composers i n order t o make meani n g f u l comparisons. Although one could s p e c i f y more and more types, t h i s procedure would n o t b e n e f i t t h e present study since i t would d i m i n i s h t h e bases f o r t h e comparison o f t e x t u r e . Chapter I I I DENSITY As i t i s presented i n chapter one, the investigation of texture i n piano music texture involves three major categories: melodic and accompanimental presentation, density, and range. The second o f these, density, concerns the number o f components sounding a t one time and the rel?,tive spacing of these components. This chapter examines the Chopin and Scriabin etudes with respect t o t h e i r textural density. I t begins w i t h a detailed explanation o f the fundamental concepts and terms dealing w i t h density. Then i t describes the general precedure adopted here for examining the etudes and follows w i t h a comparison of the types o f accompanimental presentation and t h e i r use by each composer. Discussions of textural density often contain descriptions such as lightlheavy or thin/thick w i t h o u t p i n p o i n t i n g exactly what is meant o r how these characteristics are t o be measured. I n addition, these terms are ambiguous because they can r e f e r t o many different aspects o f texture, including the number of melodic lines, the tonal color, the instrumentation, the dynamic levels, and the relative proximity o f the lines. Since these terms can connote so many different t h i n g s , the adoption o f a more precise vocabulary is essential. I n his Structural Functions in Musics Berry pro- vides some terms t h a t are more precise in t h e i r description of textural components. Those re1 evant t o density incl ude "densi ty-number ,'I "texturespace," and "density-compression . 14. Berry op. c i t . , 209, 249. 27 The following discussion examines 28 these and two new terms, " v e r t i c a l span" and " s p a c i n g- d i s t r i b u t i o n . ' ' V e r t i c a l span i s s u b s t i t u t e d f o r t h e concept o f texture- space due t o t h e l a t t e r ' s i n a p p r o p r i a t e n e s s f o r t h i s study. Density-number Density-number r e f e r s t o t h e number o f p i t c h e s i n a v e r t i c a l u n i t . For example, t h e density-number i s f i v e i n t h e f o l l o w i n g chord. Chopin Etude Op. 10 No. 2, f i n a l meas. EXAMPLE 22 m Obviously, t h e density-number i n pclyphonic music i s e q u i v a l e n t t o t h e number o f v o i c e s i n t h e t e x t u r e ( p r o v i d e d t h e r e a r e no systematic doublings) . However, i n Example 22 which i s homophonic, most o f t h e h o r i z o n t a l p a r t s a r e l e s s c l e a r l y d e f i n e d and t e n d t o merge i n t o v e r t i c a l formations. The l a c k of h o r i z o n t a l d e f i n i t i o n causes t h e v e r t i c a l u n i t s , i.e., the chorda: s t r u c t u r e s t o t a k e on mors prominence -ni t h e musical s t r u c t u r e . When density- number no longer r e f e r s t o t h e number o f voices, i t must r e f e r t o t h e number o f p i t c h e s i n each chordal s t r u c t u r e . As a r e s u l t , t h e d e n s i t y - number i n homophonic music does n o t always correspond e x a c t l y t o t h e number o f " parts. I' A c c w d i n g t o Berry, densi ty-number r e f e r s t o t h e number o f p i t c h e s w i t h i n a v e r t i c a l u n i t which, i n r e s p e c t t o homophonic music: o f t h e n i n e t e e n t h century, can be d e f i n e d as a p a r t i c u l a r chordal u n i t . With t h i s i n 29 mind, one can see t h a t the notated duration of pitches m i g h t not overlap a t any point, and y e t they can function harmonically as part of the same chordal u n i t . Consider the left-hand part of the Scriabin etude i n Example 23. EXAMPLE 23 Scriabin Etude Op. 8 No. 12, mm. 1-2. All of the pitches i n the left- hand part express tonic harmony. When the horizontal motion o f the accompanimental figuration i n t h i s passage i s reduced t o long notes, a s shown i n Example 24, the chordal u n i t can be seen t o have a density-number of seven. EXAMPLE 24 Figuration reduction G f the left-hand p a r t of Example 23. a 71 Notating the pitches of an accompaniment a s a block chord makes i t e a s i e r not only t o observe the density-number, b u t a l s o the other measurements of density as well. Because the melody functions predominantly i n the horizontal dimension and only secondarily implies an underlying harmonic foundation, no attempt will be made t o reduce the r i g h t hand of Example 23 t o a vertical structure. 30 Vertical Span "Vertical span" i s a measurement of density which i s proposed t o replace Berry's term "texture-space" as an a1 ternative more appropriate t o t h i s study. Both refer t o the same characteristic o f texture. To under- stand the reasoning for t h i s substitution requires examining both ideas. Berry defines texture-space as . . .the f i e l d enclosed by "lines" tracing the ?itch successions of outer components in addition t o the two vertical, or diagonal , "1 ines" 1 inking components a t " l e f t - r i h t " extremeties a t some 1wel of given structure. 18 In other words, texture-space i s the f i e l d delineated by the outermost parts. I t i s a two-dimensional shape t h a t points o u t how gradually o r suddenly the relative changes i n register and range occur. Example 25 shows an analysis of texture-space by Berry of the Handel Prelude from Suite No. 3 in D minor for Harpsichord. 16 EXAMPLE 25 Synopsis of inflation and contraction o f the texture-space as expressed i n contradirectional relation o f outer components. 15. Berry op. c i t . , 249. 16. Berry op. c i t . , 254. 31 The concept of texture-space i s most useful i n dealing w i t h "textural progressions'' within a piece and with how these progressions affect the development o r , i n La Rue's terms, the "growth" of the music. The emphasis of' t h i s study, however, i s n o t placed on the progression of texture, !)ut rather on measuring textural density on an absolute scale, in order t o faci 1 i t a t e comparisons between pieces . I 7 An absol Ute scale permits measurements independent o f any arbitrary reference p o i n t . For example, "thick" chords require a reference chord t h a t i s thinner (or "nornial 'I) for the term "thick" t o have meaning. The same chord m i g h t seem t o be "thin" when ccmpared t o a different reference chord. Nevertheless, a chord with a dersity- number of seven retains t h a t density-number no matter what the coinparison might be. Because i n Berry's scheme, texture-space has a referential nature that i s qualitative rather t h a n quantitative, and i t s emphasis i s direzted toward textural progression, this concept will not be useful, as such, i n this study. Instead the quantitative correlate o f texture-space, i .e., vert*ical s p a n s h ij i be used. The term vertical span i s proposed as a description of the expanse of each vertical u n i t measured individually. In other words, i t is the span measured i n terms of the number of semitones from the lowest to 'he highest pitch i n any particular vertical u n i t . This breaks the texture-space i n t o discrete units that can be measured quantitatively, similar t o the way analog information i s convarted t o d i g i t a l information. 17. For an analysis o f textural progression, see Calvin E. Holden, The Organization of Texture i n Selected Piano Compositions o f C1 a u d r Debussy. Dissertation, University of Pittsburgh, 1973. 32 Dens i ty -Compression Density-compression i s Berry's term f o r the number of pitches w i t h In Example 24 above, there are seven pitches in a particular vertical span. w i t h i n the span o f two octaves and a f i f t h . I f the same number of pitches were spread out over a vertical span o f five octaves, then the density-cornpression would be much lower. I f the vertical-span were reduced t o one Stated precisely, density-compression octave, then i t would be much higher. i s the r a t i o o f density-number t o vertical span. In order to make a l l measurements o f density-compression easy t o compare, a l l the r a t i o s in t h i s study are converted t o a number o f pitches Numerical l y , the densi ty-compression equal s the density per one octave span. number divided by the vertical span measured in semitones multiplied by twel ve semi tones per octave: Density-compression = Density-number Vertical span x 12 For instance, in Example 24 there are seven pitches w i t h i n a vertical span o f 31 semitones. Density-compression = 31 x 12 = 2.71 When measuring density-compression one should realize t h a t the r a t i o of pitches per octave span does n o t necessarily represent the subjective impression o f density. This impression i s affected by the degree o f disson- ance involved i n the vertical structure, as well as by the register i n which i t i s heard. For instance, four tones which involve many semitone relationships might sound more "dense" than four notes involving mostly t e r t i a n relationships, even though the l a t t e r i s compressed into a smaller vertical span. B u t dissonance i s more properly an aspect o f the harmonic 33 domain t h a n i t i s o f texture. I n addition, the subjective impression of dissonance i s d i f f i c u l t t o quantify. Therefore, .. . i t i s a convenience t o regard the evaluation of dissonance as a d i s t i n c t parameter. ., considering density [density-coinpression] as the simple r a t i o of number t o space.18 . The same reasoning j u s t i f i e s excluding evaluations of register from the determination o f density-compression. I f an arrangement o f notes i s transposed down i n t o a lower register, i t will sound more dense t h a n i t originally did. This effect i s probably due t o the overtones being shifted i n t o a range t o which our ears are more sensitive. Again however, t h i s effect can not be quantified i n t o the measurement o f densi ty-compression. Spacing-di stribution Berry does not provide a term t o designate the vertical arrangement of the spacing, This component of texture i s , nonetheless, an important factor in the analysis of textural density. For instance, the figuration shown e a r l i e r in Example 23 spans two octaves and a f i f t h , has a density- number o f 7 , and a density-compression o f 2.71 pitches per octave. But this information does n o t show how the notes are distributed w i t h i n the vertical space. The pitches could be evenly spaced, o r several pitches could be concentrated a t one extreme. The term spacing-distribution i s proposed for t h i s component of textural density. I t may be defined as a description of the pattern o f pitch distribution w i t h i n a particular vertical unit. Spacing-distribution is a component of density that may be more usefully characterized i n general than as an absolute quantification. To specify the distribution of p-itches within a vertical span precisely would 18. Berry, op. c i t . , 209-10. require a complete l i s t i n g of the intervals present. 34 The results of such a procedure would be more cumbersome t o cope with than the original n o t a t i o n of the niusic t h a t was t o be described. benefit t o any analysis. Obviously t h i s would have l i t t l e The more sensible option i s t o generalize the character of the arrangement by pointing out certain distinctive featdres. For example, the spacing-distribution o f Example 24 seen e a r l i e r could be characterized as a symmetrical arrangement with open spacing a t the extremes and concentrated i n the center. To summarize, a particular vertical arrangement, a t some given level has three quantitative parameters: , 1) densi ty-number--the number of pl tches present i n a vertical structure, 2 ) vertical span--the expanse or space the vertical structure occupies, and 3) density-compression-- the number of p i t ches per octave span. I n a d d i t i o n , there i s one "descriptive" parameter, spacing- distribution, which concerns the pitch distribution pattern within the vertical span. Density i n the Etudes Because the vertical structures i n the etudes are typically presented i n the accompaniment and not i n the melody, though harmonies m i g h t be implied by linear motion, the r e s t o f t h i s chapter examines those etudes i n which the principal textural components have accompanimental functions. A representative section o f each of those etudes i s reduced o r abstracted t o i t s vertical structures. This reduction o f the figuration makes a l l the char- a c t e r i s t i c s o f density readily apparent. The measurements bken from these reductions are compiled in Table I for the comparison o f various accompanimental figuration types and o f the averages for each composer. Tab1 e I . DENSITY IN ACCOMPANIMENTAL FIGURATION Vertical Span DensityCompression 8/ 7 8/12 4 5 5 7 19 19 24 36 2.53 3.16 2.50 2.34 closed closed closed closed Average 5.25 24.50 2.63 -- DensityNumber Etude Op/No. Spacing Distribution Convoluted Figurations 10/9 10/ 10 at at in -in top top Riddle middle .- Arpeggi ated Figurations 10/8 10/ 12 8/ 2 8/4 12 5 5 3 44 24 28 21 3.27 2.50 2.14 1.71 closed open a t bottom closed in middle open evenly Average 4.34. 24.34 2.12 --- Figurations w i ' t h Large Leaps 25/4 8/ 5 5 5 31 31 1.94 1.94 closed a t t o p open in middle Average 5 .OO 3 1 .O 1.94 --- A1 ternating Figurations 8/ 1 8/ 3 4 4 24 19 2 .oo 2.53 open a t bottom open evenly Average 4 .OO 21.50 2.27 --- 23.25 26.14 2.53 2.16 closed a t t o p open a t t o p Averages f o r Each Composer Chopi n ScriaOin * 4.75 4.71 Etude 10/8 i s n o t averaged ( see below, pages 36-37) 36 With respect t o the measurements i n Table I , one should note that the density-compression averages can be determined by two a1 ternative methods which give slightly different results. In the f i r s t method, which i s the one used i n this study, the result i s obtained by averaging the various measurements of density-compression of the individual etudes withi n the appropriate type. The second method involves the computation of the average densi ty-compression from the average densi ty-number and the average vertical span. The f i r s t method 5s used here because i t i s calculated directly from the original measurements and does not; involve any figures from previous averaging processes , as does the more indirect , second method. Comparing the averages for the various types of accompanimental presentation reveals t h a t the etudes with convoluted figurations have the highest densi ty-numbers and the highest densi ty-compressions. This type has the second largest vertical spans, b u t i t should be noted t h a t there i s only a difference of three semitones between three of the four types. The etudes w i t h arpeggiated figurations include one, Chopin's Op. 10 No. 8, whose vertical structures are radically different from any of the others. This etude has a density-number o f 12 and vertical span of 44, which are a b o u t twice the magnitude of the other arpeggiated etudes. I t s density-compression i s also higher than that of the other etudes. The reason for this wide discrepancy i s t h a t the arpeggios of the etude occur i n the r i g h t - h a n d p a r t and the melody i s i n the left-hand part. This reversal of roles places the arpeggios i n a drastically different register of the piano. The different tonal qualities and f a s t e r decay times o f this register make the validity of any comparison of density questionable. Another important factor i s the prominence of the arpeggios and the relative insignificance of the melody i n the l e f t hand. Normally melody i s a 37 foreground event w i t h accompaniment b e i n g background. l9 The accompani- mental f i g u r a t i o n s u p p l i e s more c o n t e n t t o t h e composition than does t h e melody and t h e r e f o r e i s n o t l i m i t e d t o t h e s u b s e r v i a n t r o l e o f background. Because of these s u b s t a n t i a l d i f f e r e n c e s Etude Op. 10 No. 8 i s n o t computed i n t h e averages f o r i t s t y p e o r f o r Chopin's o v e r a l l averages o f d e n s i t y . The etude cannot be e n t i r e l y d e l e t e d from t h e study, however, on, t h e b a s i s o f t h e above reasons. I t i s s t i l l a l e g i t i m a t e example o f a r p e g g i a t e d accompaniments w i t h r e s p e c t t o b a s i c types o f p r e s e n t a t i o n arld w i t h r e s p e c t t o range. The remaining t h r e e etudes w i t h arpeggiated f i g u r a t i o n s have an average density- number o f 4.34. The v e r t i c a l span, as mentioned above, i s v e r y s i m i l a r t o t h e convoluted type. The density-comprescion l i s t e d f o r t h e a r p e g g i a t e d t y p e r e v e a l s t h a t Chopin p r e f e r s arpeggios w i t h r e 1 z t i v e l y c l o s e spacing w h i l e S c r i a b i n p r e f e r s a more open spacilig. The accompaniments w i t h l a r g e leaps a r e t h e onl,: t y p e o f f i q u r a t i o n s t h a t have a s u b s t a n t i a l l y d i f f e r e n t average measure of v e r t i c a l span. This r a d i c a l l y h i g h e r average must be expected s i n c e t h e c o n s t a n t l e a p i n g o f t h e hands w i l l n e c e s s a r i l y i n c r e a s e t h e span o f t h e p i t c h d i s t r i b u t i o n . The l a r g e r v e r t i c a l spans o f t h i s t y p e produce lower density- compression because t h e same number of p i t c h e s a r e b e i n g spread over a l a r g e r space. It i s i n t e r e s t i n g t h a t a1 though t h e f i g u r a t i o n w i t h l a r g e l e a p s generates t e x t u r e s w i t h more s t r a t a , i t has, a t t h e same time, lower density- numbers and dens i ty- compressions. Perhaps t h e c o m p l e x i t y o f numerous t e x t u r a l s t r a t a com- pensates for reduced d e n s i t i e s . 19. Foreground and background h e r e do n o t r e f e r t o l e v e l s o f s t r u c t u r e , b u t t o t h e r e l a t i v e degrees o f i n t e r e s t and content- - perhaps t h e y should be c a l l e d l e v e l s r f perceptual immediacy. 38 The t y p e o f f i g u r a t i o n found l e a s t o f t e n i n these etudes i s t h e a1 t e r n a t i n g type. The averages of t h e densi ty-numbers and t h e v e r t i c a l spans suggest a reason f o r i t s i n f r e q u e n t use. The a l t e r n a t i n g f i g u r a t i o n i s t h e most r e s t r i c t i v e type, having both t h e lowest density-number and t h e smalle s t v e r t i c a l span. I t appears t h a t t h e c o n s t r a i n t s o f t h e f i g u r a t i o n do n o t p e r m i t as much t e x t u r a l complexity as do t h e o t h e r types. D i f f e r e n c e s between t h e two composers' use o f t e x t u r a l d e n s i t y o v e r a l l a r e very minimal. One c h a r a c t e l - i s t i c d i f f e r e n c e i s t h e i r p r e f e r - ences of s p a c i n g - d i s t r i b u t i o n . I n the top portion o f the figurations, Chopin's spacing i s r e l a t i v e l y c l c m w h i l e S c r i a b i n ' s i s more open. With r e g a r d t o t h e d i f f e r e n c e s between the composers, the o v e r a l l averages f o r o t h e r f a c t o r s a r e s l i g h t when compared t o t h e amount o f v a r i a t i o n observed between t h e types of f i g u r a t i o n . T h i s f i n d i n g suggest; t h a t t h e two com- posers d e a l t w i t h t h e t e x t u r a l p o s s i b i l i t i e s o f each type i n approximately t h e same manner, o r perhaps, were guided by t h e same c c m s t r a i n t s . composers s t r i v e for t e x t u r a l complexity i n o r d e r tcj I n etudes, challenge t h e performer. I t i s p o s s i b l e t h a t each type o f f i g u r a t i o n has l i m i t s o f t e x t u r a l d e n s i t y t h a t cannot be exceeded w i t h o u t compromising t h e musical q u a l i t y o f t h e works. These l i m i t s , whether t e c h n i c a l o r s t y l i s t i c , c o u l d account f o r t h e marked s i m i l a r i t i e s . Chapter I V RANGE Range, l i k e o t h e r a t t r i b u t e s o f t e x t u r e , s u f f e r s from a l a c k o f Moreover, no p r e c i s e o r o b j e c t i v e data have been p v s e n t e d , investigation. n o r has an adequate terminology been developed t o deal w i t h range. These l i m i t a t i o n s a r e probably due t o t h e apparent s i m p l i c i t y o f t h e concept. Range is commonly d e f i n e d as t h e extreme expanse encompassed from the lowe s t t o t h e h i g h e s t p i t c h w i t h i n a composition. determined by t h e two extreme p i t c h e s . I n o t h e r words, range i s Such a d e f i n i t i o n i s inadequate because t h e amount o f i n f o r m a t i o n i t provides i s very l i m i t e d . Consider t h e f a c t t h a t a piano p i e c e o f o n l y f i f t y measures may c o n t a i n over a thousand notes. A sample o f two o f these notes cannot be expected t o r e - veal much about t h e p i e c e as a whole. An a l t e r n a t i v e approach would be t o conceive o f range i n a manner s i m i l a r t o t h e concept o f t e s s i t u r a . i n g t o t h e Harvard D i c t i o n a r y o f Music, t e s s i a t u r a ". . . d i f f e r s Accord- from range i n t h a t i t does n o t take i n t o account a few i s o l a t e d notes of e x t r a o r d i n a r i l y h i g h or low p i t c h . " 2 0 Thus one could say t h a t t e s s i t u r a concerns t h e p i t c h range used most o f t e n , i n c o n t r a s t t o t h e extreme range. Unfortun- a t e l y t h e r e i s no c l e a r c u t way t o determine which p i t c h e s should be e l i m i nated because they a r e " e x t r a o r d i n a r i l y h i g h or low." For instance, how many times should a p i t c h appear i n a p i e c e t o be considered " w i t h i n t h e ~~~ 20. Apel, op. c i t . , ~~~~~~ 839. 39 ~ ~ 40 tessitura?" Should t e s s i t u r a be based o n l y on the number o f times each p i t c h appears, o r should d u r a t i o n values a l s o be considered? No m a t t e r what t h e answer, t h i s type o f concept r e q u i r e s examining every n o t e o f t h e music and a p p l y i n g s t a t i s t i c ? l procedures t o o b t a i n a meaningful r e s u l t . Such an approach would be too i n v o l v e d t o be j u s t i f i e d , even i f an accepta b l e d e f i n i t i o n o f " e x t r a o r d i n a r y" c o u l d be found. Range-average A procedure t h a t would seem t o o f f e r a reasonable compromise between examining o n l y two notes and examining every note, i n v o l v e s t h e use o f a sampling process. By d i v i d i n g a composition i n t o a c o n v e n i e n t l y l a r g e num- ber o f segments, t h e extreme h i g h and low p i t c h e s i n each segment can serve as r e p r e s e n t a t i v e samples o f t h e whole. t o p r o d w e a "range-average." These samples can then be averaged T h i s averaging process m i t i g a t e s t h e e f f e c t of e x t r a o r d i n a r y p i t c h e s w i t h o u t having t o d e f i n e c r i t e r i a w i t h which t o i d e n t i f y them. The r e s u l t i n g "range-average" i s a c t u a l l y a compromise be- tween t h e ideas o f "extreme range" and " t e s s i t u r a . " l t has t h e advantage o f being more r e p r e s e n t a t i v e than t h e extreme range w h i l e n o t r e q u i r i n g an * o v e r l y in v o l ved process f o r i t s determi n a t i o n . The f o l l o w i n g procedure was used t o determine t h e range-averages. Each etude was d i v i d e d i n t o from t e n t o t h i r t e e n segments o f approximately equal l e n g t h . The h i g h e s t and lowest p i t c h e s o f b o t h t h e l e f t - and r i g h t - hand p a r t s were recorded separately f o r each segment. The p i t c h e s were then converted t o numerical values u s i n g t h e standard key-numbers found on pianos (subcontra A i s key number 1, f i v e - l i n e C i s key number 88). f a c i l i t a t e s t h e computation o f averages. This operation Although t h e piano has no i n t e r - v a l s s m a l l e r t h a n a semitone, t h e averages were i n d i c a t e d w i t h i n a t e n t h o f a semitone, due t o t h e p r e c i s i o n o f t h e computation. With t e n o r more 41 samples, t e n t h s o f a semitone i n t h e average have been regarded as s i g n i f i cant figures. T h i s convention a l s o reminds t h e reader t h a t t h e range- averages a r e based on several p i t c h e s and do n o t r e p r e s e n t an a c t u a l n o t e of t h e composition. The s i z e o f t h e i n t e r v a l between t h e low and h i g h averages measured i n semitones was a l s o computed. This interval i s re- f e r r e d t o as t h e "range-span. I' For a simple example o f t h e procedure, imagine a p i e c e o f music d i v i d e d i n t o two s e c t i o n s o f equal l e n g t h . s e c t i o n a r e C and e 2 g #2 . . The extreme p i t c h e s o f t h e f i r s t The extreme p i t c h e s a f t h e second s e c t i o n a r e D and To f i n d t h e range- average y these p i t c h e s a r e f i r s t converted t o num- bers u s i n g t h e key-numbers l i s t e d i n f i g u r e I : 9'' = 60. C = 16, e2 = 56, D = 18, The l o w p i t c h e s a r e added t o g e t h e r arid t h e sum i s d i v i d e d by t h e nurnber of samples. The same i s done f o r t h e h i g h pitch-.s. The averages can t h e n be converted back i n t o conventional n o t a t i o n : 2 17 = C#, 58 = f# . The span i s determined by t h e i n t e r v a l between t h e lows and t h e highs. F i r s t s e c t i o n : C t o e2 = 56 - 16 = 40 semitones Second s e c t i o n : D t o g#2 = 60 - 18 = 42 semitones 40 42 = 41 semitones 2 Average: ' I n d e r i v i n g t h e average-span, a s h o r t c u t method, which gives t h e same r e s u l t s i s t o s i m p l y f i n d t h e d i f f e r e n c e between t h e low and h i g h numb e r s o f t h e range- average. 58 - 17 = 4 1 semitones 42 FIGURE I Key-numbers o f t h e Piano Keyboard 43 Range-averages of the Etudes The measure numbers and sample pitches for the individual segments of each etude are l i s t e d i n the tables of the Appendix. The range-averages and span-averages given i n the tables o f the Appendix are summarized here i n Tables 11, 111, and IV. These tables are accompanied by Figures 2 , 3, and 4, which represent the pitches of the respective tables i n conventional notation. The reader i s cautioned a t t h i s p o i n t t o remember t h a t the columns labeled "low" and " high" contain numbers representing pitch or keynumber, whi 1e the col umns 1abel ed "span" represent interval s measured i n semi tones. By comparing tables I1 and 111, one can observe t h a t the leh-hand low note averages of the Chopin etudes vary from GG t o E , and average together t o give C, while Scriabin's left-hand notes vary from EE t o D and average owt t o AA. Thus one can see t h a t Scriabin's low notes tend t o be Comparing right-hand h i g h notes reveals t h a t the Chopin etudes vary from c2 t o c4 a n d average out t o eb 3 , a b o u t a minor t h i r d lower, t h a n Chopin's. while the Scriabin etudes vary from .;.* t o g'3 and average out t o c3. Thus one can see t h a t Scriabin's h i s h notes tend t o be about a minor t h i r d lower t h a n Chopin's. Also observe that the low averages for both composers are much more consistent than the h i g h averages, which vary over larger spans. The left-hand h i g h s and the r i g h t - h a n d lows vary over a span of slightly more than an octave, and average together a t approximately the same pitches for b o t h composers, i .e. w i t h i n two semitones of each other. There i s an overlap o f the r i g h t - and left-hand ranges o f a perfect f i f t h for Chopin and a minor seventh for Scriabin. I t i s interesting t h a t b o t h composers' overlaps center on the pitch eb 1 and t h a t the true center of the piano keyboard f a l l s between e 1 and f 1 . T a b l e I1 CHOPIN ETUDE RANGE-AVERAGES Etude Left hand 1ow - Left hand high left hand 25/ 10 16.8 45.4 2516 15.5 2518 R i gh t hand 7 ow Right hand high Right hand span Hands combined span 28.7 37.7 67.4 29.7 50.6 50.2 34.7 41.4 74.4 33 .O 58.9 16.7 47.2 30.5 42.3 68.9 26.6 52.2 10/9 19.7 44.6 24.9 41.5 69.6 28.1 49.9 lo/ 10 20.2 49.5 29.3 44.0 74.8 30.8 54.6 2517 15.3 43.5 28.2 38.2 57.1 18.9 41.8 10/6 19.0 36.2 17.2 35.7 52.2 16.5 33.2 10/12 11.o 48.3 37.3 37.9 67.6 29.7 56.6 101.8 12.3 52.7 40.4 32.0 76.4 44.4 64.1 2514 20.1 44.8 24.7 42.6 63.6 21 .o 43.5 Average 16.7 46.2 29.6 39.4 67.2 27.8 50.5 OP/ No span _ I _ .b P 45 FIGURE 2 Range-averages o f the Chopin Etudes =I U I I y7sJ I II i -8-J Table I 1 1 SCRIABI rJ ETUDE RANGE-AVERAGES Etude Op/No Average Left hand Left hand h!llh s p a n 32.6 71.6 39 .O 63.7 43.5 40.4 69.5 29.1 57.4 51.2 36.4 40.8 69.2 28.4 54.4 8.5 50.0 41.5 37.7 69.2 31.5 613.7 12.1 41.3 29.2 33.3 57.1 23.8 45 17.6 44.8 27.2 39.1 59.5 20.4 41.9 16.7 46.2 29.5 36.5 56.9 20.9 40.2 11.4 46.6 35.2 38.0 57.3 19.3 45.9 18.3 46.5 28.2 38.8 60.8 22.0 42.5 13.8 53.7 39.9 34.8 68. I 33.3 54.3 16.6 49.7 33.1 36.8 63 .O 26.2 46.4 11.4 47.4 36.0 31.6 C2.7 31.1 51.3 13.5 48.9 35.5 36.7 63.8 27.1 50.3 2E!.!! 53.7 45.8 12.1 55.6 14.8 1ow .7.9 Right hand Hands comb incd Right hd nd spJn. Riqht hand 1ow ___ Left had high .@ P m 47 FIGURE 3 . Range-averages o f the S c r i a b i n Etudes 48 The most s i g n f f i c a n t d i f f e r e n c e between t h e two composers can be seen i n t h e average l e f t - h a n d spans. S c r i a b i n ' s l e f t - h a n d p a r t s tend t o 90 b o t h h i g h e r and lower than Chopin's, and a c t u a l l y span a range an augmented f o u r t h l a r g e r than Chopin's. The most s t r i k i n g s i m i l a r i t y can be found i n t h e combined span- - there i s o n l y two- tenths o f a semitone d i f f e r ence between t h e two composers i n t h i s r e s p e c t , Recause t h e number o f keys on the piano had n o t y e t been standardi z e d when Chopin was w r i t i n g , one might ask whether a d i f f e r e n c e i n t h e s i z e o f t h e keyboard c o u l d account f o r some o f t h e d i f f e r e n c e s i n rangeaverages. To answer t h i s question, one needs o n l y t o examine the "extreme ranges" o f the etudes. Chopin must have expected t h a t h i s music would be performed on an Instrument ranging a t l e a s t from CCC t o f 4 (key numbers 4 t o 81) s i n c e he wrote these p i t c h e s r e p e a t e d l y even i n t h e e a r l i e s t 4 etudes. S c r i a b i n wrote o n l y p i t c h e s from AAA t o e ( 1 t o 80) i n Op. 8 even though the 88-note keyboard was a l r e a d y standard. S c r i a b i n ' s use o f the lowest t h r e e keys i s too i n f r e q u e n t t o account f o r h i s range-averages being lower than Chopin's. I n t h e twelve etudes o f Op. 8, S c r i a b i n uses key 1 once, key 2 once, and key 3 l e s s than 10 times. Because range- aver- ages a r e based on several p i t c h samples from each etude, they a r e n o t s i g n i f i c a n t l y a1 t e r e d by such i n f r e q u e n t occurrences. The problem of t h e additional because: upper range a v a i l a b l e t o S c r i a b i n , b u t n o t t o Chopin, i s i m m a t e r i a l 1) S c r i a b i n never uses t h i s range i n ttiese etudes, and 2) t h e h i g h e r range-averages a r e found i n t h e Chopin etudes. Table I V and F i g u r e 4 compare and c o n t r a s t t h e etudes according t o t h e types o f p r e s e n t a t i o n developed i n chapter two. The most obvious r e - s u l t of t h i s comparison i n v o l v e s t h e l e g a t o type o f s i n g l e l i n e f i g u r a t i o n . I t s use of h i g h notes i n t h e r i g h t - h a n d p a r t i s much more r e s t r i c t e d t h a n Table I V RANGE-AVERAGES FOR TIIE FIGURA’TION TYPES Right hand span. comb1ned y an 56.4 19.1 39.3 39,2 70.2 31 .O 56.2 35.5 36.7 65.5 28,9 52,3 46.4 31.2 39b1 67.7 28.6 52.6 48.9 32.8 37.5 C6.8 29.4 50.8 49.3 32.3 38.7 65.9 27.2 48.9 47.7 32.8 37 69 65.3 27.4 50.4 Ll!f t hand N I !]h 1; - hhh span 17.2 42.7 25.5 37 14 .O 50.6 36.6 48.5 Convoluted Flguratlons 15.1 A1 terna t l ng F i gura t ions 16.1 of Etude L 1 1 Legs t o Studies Doubl ed L I nes Arpeggi ated F1 gura t i ons 13.3 Figurations w i t h Large Leaps 17,O Average o f All Etudes 15.0 Hands Rlqht hand LQft ha ntl Left hand 1ow Type hand 1ow a 0 4 50 FIGURE 4, Range-averages f o r t h e F i g u r a t i o n Types Legato studies Doubled 1inc Arpeggiated figurations *El Convol u t e d F i gura t ion A1 t e r n a t ing Figuret i o n b e - 1 I Average of All Etudes h Figuration with Large Leaps a. -1 51 those o f t h e o t h e r types, The average h i g h p i t c h o f t h e l e g a t o s i n g l e l i n e etudes i s almost an octave lower than t h e o t h e r s . This r e s t r i c t i o n r e s u l t s i n a much s m a l l e r r i g h t - h a n d span also, sirice t h e r i g h t- h a n d l o w average i s approximately t h e same. The l e f t - h a n d highs a r e a l s o more re- s t r i c t e d i n t h i s type, being approximately an augmented f o u r t h lower than most o f t h e types. accordingly. Likewise, t h e span o f t h e l e f t hand i s r e s t r i c t e d The lower boundary of t h e range-averages f o r t h e l e g a t o s i n g l e l i n e etudes a r e t y p i c a l o f t h e o t h e r types a s w e l l . I n fact, the low ranges of a l l t h e types do n o t v a r y more than two o r t h r e e semitones, suggesting t h a t t h e lower range o f each hand i s r e l a t i v e l y s e t w h i l e t h e upper range f l u c t u a t e s . The etudes w i t h the melody doubled i n p a r a l l e l i n t e r v a l s have i n b o t h hands t h e wides spans o f t h e v a r i o u s types. This characteristic concerns t h e average highs s i n c e t h e lows t e n d n o t t o vary. The combined span i s d l s o w i d e r than the o t h e r types, exceeding them by about a p e r f e c t fourth. J u s t because t h e spans o f t h e i n d i v i d u a l hands may b o t h be w i d e r than those o f another type, i t does n o t n e c e s s a r i l y f o l l o w t h a t t h e span of t h e two hands combined w i l l a l s o be wider. Even though S c r i a b i n uses l a r g e r l e f t - h a n d spans and almost t h e same r i g h t - h a n d spans o f Chopin, i t i s s t i l l t h e case t h a t t h e two composers use combined spans t h a t a r e almost identical. The l e f t - h a n d span o f t h e convollited t y p e o f f i g u r a t i o n i s s l i g h t l y s m a l l e r t h a n t h e doubled- line t y p e o r t h e arpeggiated type. T h i s i s e3pec- i a l l y t r u e i f we d i s a l l o w S c r i a b i n ' s Op 8 No. 12, which appears t o have an e x c e p t i o n a l l y l a r g e span compared t o t h e o t h e r etudes o f i t s type. Aver- aging o n l y t h e remaining t h r e e etudes produces a span o f 27.8 semitones, which i s s m a l l e r t h a n a l l t h e types except f o r t h e l e g a t o s i n g l e l i n e etudes. 52 The range- avenges o f t h e types of f i g u r a t i o n w i t h a l t e r n a t i o n and l a r g e leaps reveal n o t h i n g s i g n i f i c a n t l y d i f f e r e n t from what appears t o be normal f o r t h e etudes i n general. T h e i r averages correspond very c l o s e l y t o t h e range-averages o f a l l t h e etudes taken together as a group. The arpeggiated f i g u r a t i o n s use the lowest ranges o f a l l t h e types i n both the r i g h t and l e f t hands. However, t h e d i f f e r e n c e between any of t h e types i n respect t o t h e average lows i s marginal. The average-spans o f t h e i n d i v i d u a l hands i n t h i s type a r e a l s o wider than most types, p a r t i c u l a r l y f o r t h e l e f t hand, which i s o n l y exceeded by one o t h e r type, L e . , t h e doubled 1ine type. Chapter V CONCLUS IONS The most problematic aspect o f any analysis of texture involves the defir,ition of the term. There *is no concensus among theoretical or analytical writers concerning which musical parameters are encompassed by "texture." This study adopts a definition 1 imited t o characteristics t h a t have definite vertical or horizontal components--basic types of melodic and accompanimental figuration, density, and range. Because, among other reasons, the study examines only homophonic p i a n o music, an analysis of 1 inear independence was inappropriate. I n i t s place was substituted a system which categorizes f i g u r a t i o n i n t o basic types according t o the function i t perfoms (melodic or accompanimental) and t o the performance technique i t requires t o be realized. The proposed definition of texture can be evaluated i n two ways-according t o i t s precision and i t s usefulness in practice. i n t h a t i t relegates characteristics such iis I t i s precise instrumentation and dynamics t o separate areas of investigation, thus reducing the number of variables t h a t can complicate the investigation. The usefulness of the definition can be supported by the many quantitative measurements t h a t are shown t o be available i n this study for the objective analysis o f s t y l e and structure i n homophonic piano music. The system proposed for classifying melodic and accompanimental presentation can be evaluated from several p o i n t s of view. new terminology for the description of piano figuration. 53 I t provides I t provides a 54 procedure f o r c l a s s i f y i n g complex f i g u r a t i o n i n terms o f extension, v a r i a t i o n , and combination o f s i x b a s i c types o f f i g u r a t i o n . - From t h e stand- p o i n t o f compositional s t y l e , chapter two p o i n t s o u t t h e c l o s e r e l a t i o n s h i p between t h e piano music o f Chopin and S c r i a b i n t h a t r e s u l t s from t h e use o f similar figurations. One f a c e t o f t h e f i g u r a t i o n c l a s s i f i c a t i o n system t h a t m i g h t n o t be apparent i s i t s f l e x i b i l i t y . The system i s open-ended- t h e c a t e g o r i e s can be d i v i d e d o r combined i n a number o f ways t o p r o v i d e t h e degree o f d i s c r i m i n a t i o n a p p r o p r i a t e f o r a p a r t i c u l a r body o f music. The examination o f t e x t u r a l d e n s i t y provides support f o r t h e d e c i s i o n t o c l a s s i f y t h e v a r i o u s f i g u r a t i o n s i n t o b a s i c types. The measurements o f d e n s i t y reveal t h a t c e r t a i n types have p a r t i c u l a r a s s o c i a t e d c h a r a c t e r i s t i c s . F o r *instance, t h e convoluted t y p e o f accompaniment has t h e h i g h e s t d e n s i t y numbers and density- compressions. l a r g e s t v e r t i c a l spans. F i g u r a t i o n s w i t h l a r g e leaps have t h e A1 t e r n a t i n g f i g u r a t i o n s have t h e sitiallest d e n s i t y - numbers and s m a l l e s t v e r t i c a l spans. The d i f f e r e n c e s between t h e s t y l e s of Chopin and S c r i a b i n w i t h regard to d e n s i t y were minimal. One d i f f e r e n c e t h a t was observed was t h e c h a r a c t e r i s t i c s p a c i n g - d i s t r i b u t i o n used by each composer. The Chopin etudes e x h i b i t closed spacing a t t h e t o p o f t h e v e r t i - c a l u n i t s w h i l e t h e S c r i a b i n etudes have open spacing a t t h e t o p and c l o s e d spacing i n t h e m i d d l e o f t h e v e r t i c a l u n i t s . D i f f e r e n c e s between Chopin's and S c r i a b i n ' s use o f range a r e a l s o minute. There a r e more s i m i l a r i t i e s than d i f f e r e n c e s . Moreover, t h e o n l y a p p a r e n t l y s i g n i f i c a n t d i f f e r e n c e s a r e Chopin's use o f s l i g h t l y h i g h e r p i t c h e s and S c r i a b i n ' s use o f wider l e f t - h a n d spans. These f i n d i n g s add more support t o t h e assumption s t a t e d i n t h e Preface t h a t t h e two composers w r o t e i n a very s i m i l a r s t y l e w i t h r e s p e c t t o t e x t u r e . More s i g n i f i c a n t f i n d i n g s were observed between types of f i g u r a t i o n t h a n between t h e composers I 55 styles. This f a c t j u s t i f i e s the attention given the distinction i n chapter two concerning basic types of figuration. In general i t can be ob- served that the low range-averages of b o t h hands tend to remain constant i n a l l the basic types while the upper range-averages vary. I t would seem logi- cal t o assume t h a t increases i n range would occur equally i n both directions, b u t the evidence suggests t h a t t h i s i s not the case. Etudes t h a t have a predominance o f parallel doublings contain higher Etudes w i t h convoluted figurations pitches and wider spans t h a n the others, tend t o limit the span of the l e f t hand--perhaps the constant motion of the part precludes larger intervals due t o technical 1 imitations, or perhaps the large s k i p s would tend t o polarize the accompaniment i n t o separate bass and middle register parts t h a t can no longer function as an entity. Legato single l i n e etudes have much more limited ranges t h a n other types and do not venture into the upper registers nearly as much. Perhaps the legato effect i s hampered by the piano's inabiiity t o sustain volume in the higher registers. Some care must be taken i n drawing conclusions based on these results. Several factors should be kept i n mind. First, the methods used for averaging ranges i s arbitrary in certain respects, since the number and the size of the units sampled varies somewhat. Second, the results, s t r i c t l y speaking, apply only t o these two collections o f etudes and do not necessarily r e f l e c t upon other genres, other composers, o r piano texture i n general. However, the etudes were, i n part, selected as being representative of the complex, i d i o matic texture of nineteenth century concert pieces. these etudes was separated by s i x t y years. Third, the composition of A l t h o u g h the piano of Chopin's time was f a i r l y advanced technically, certain developments i n the construction and design of the piano m i g h t have been responsible for some of the differences between composers. The changes t h a t occurred d u r i n g t h i s time include: 56 c a s t i n g t h e i r o n frame i n one s o l i d p i e c e i n s t e a d o f u s i n g composite frames o f t h r e e o r more separate pieces, i n c r e a s i n g t h e s t r i n g t e n s i o n (now p o s s i b l e due t o t h e s t r o n g e r frames and improved piano w i r e ) from a t o t a l o f 10.9 t o n s t o about 30 tons, o v e r s t r i n g i n g and f a n n i n g o u t t h e bass s t r i n g s , and r e l o c a t i o n o f t h e sounding board bridge.*' Changes o f t h i s k i n d c o u l d poss- i l b y account f o r S c r i a b i n ' s use o f lower r e g i s t e r s , s i n c e these improvements changed t h e q u a l i t y o f t h e bass notes. The q u e s t i o n s r a i s e d i n t h i s d i s c u s s i o n about t h e conclusions suggest many p o s s i b i l i t i e s f o r f u r t h e r i n v e s t i g a t i o n u s i n g t h e concepts and methodology presented i n t h i s study. For example, t h e r e l a t i o n s h i p s between types o f f i g u r a t i o n and d e n s i t y and range found here Frcbab1.y extend t o genres o t h e r than etudes. A s t u d y s i m i l a r t o t h i s one c o u l d be designed t o i n v e s t i - gate s h o r t " c h a r a c t e r pieces" 1 i k e those found i n Schumann's "Carnaval , ' I s i n c e they, l i k e t h e etudes, a r e each s t r u c t u r e d around one p r i n c i p a l t y p e o f figuration. A l a r g e r s t u d y c o u l d examine t h e homophonic piano m u s k o f several composers , t h e r e b y invol v i ng a g r e a t e r v a r i e t y of s t y 1 es , and coul d h i g h l i g h t t h e t e x t u r a l d i f f e r e n c e s of v a r i o u s composers and/or s t y l e s . Such a s t u d y m i g h t p r o v i d e useful i n f o r m a t i o n concerning s t y l e i d e n t i f i c a t i o n and t h e p a r t i c u l a r c h a r a c t e r i s t i c s o f music by i n d i v i d u a l composers. An i n t e r e s t - i n g s t u d y a l o n g a d i f f e r e n t l i n e o f thought c o u l d examine t h e i n t e r n a l , formal s t r u c t u r e o f l a r g e r works such as t h e Beethoven sonatas u s i n g these methods o f analysis. One c o u l d a l s o i n v e s t i g a t e t h e p r o g r e s s i o n o f t e x t u r e throughout a work t o determine what types o f p a t t e r n s a r e present. Although t h e d e t a i l s o f methodology presented h e r e a r e t a i l o r e d t o meet t h e p a r t i c u l a r requirements 21. A r t h u r Loesser. Men, Women and Pianos: and Schuster, 1954), 494-96, 564-65. A S o c i a l H i s t o r y (New York: Simon o f t h i s study, t h e concepts and t e r m i n o l o g y a r e conceived on a l a r g e r s c a l e . I t i s hoped t h a t o t h e r s w i l l f i n d these ideas f r u i t f u l i n a g r e a t v a r i e t y o f situations. APPEND1 X Deterrni na t Ion o f Range-averages S c r i a b i n Etude Op. 8, No. 1 Measure numbers Left- hand Low High - 1-5 6-10 11-15 16-20 21-25 26-30 31-35 36-40 4?.-45 46-52 16 17 16 9 16 22 20 16 17 17 16.6 Averages 46 46 49 48 55 46 41 52 49 65 49.7 S c r i a b i n Etude Op. 8, No. 2 R i q h t -hand High Low- 36 36 36 33 40 38 40 36 40 33 36.8 57 58 63 62 65 58 57 64 65 ai 63.0 Measure n uti1be rs Left-hand Low H i& - 1-2 3-4 5-6 7-8 9-10 11-12 13- 14 15-16 17-18 19-20 21-22 23-24 25-26 22 22 22 15 6 4 6 6 5 10 10 10 10 Averages 11.4 40 R i sht-hand High Low" 58 29 41 42 41 37 34 37 35 32 41 37 41 38 38 60 58 53 56 59 61 52 58 63 63 54 50 46.6 38.O 57.3 48 48 48 47 50 43 42 48 51 51 53 APPEND1 X DetermJnaLion o f Range-,averages S c r i a b i n Etude Op. 8, No. 3 Measure numbers Left- hand High Low - 1-11 12-22 23-33 34-44 45-55 56-66 67-77 78-88 22 48 17 3 3 89-99 100- 110 111-122 Averages S c r i a b i n Etude Op. 8, No. 4 Right- hand Hiqh --Low Measure L e f t -hand H i qh nurrihe rs Low - 61 1-2 14 50 34 34 5 3-4 20 46 46 63 35 27 25 5-6 7 -8 14 8 46 35 78 51 61 13 37 34 13 22 39 48 18 3 3 11.4 Ri ah t- hand Low" Hbk 38 62 44 39 38 60 57 15 43 34 55 9-10 24 51 11-12 26 46 48 40 43 56 58 33 34 56 61 13-14 15-16 29 17 52 48 65 46 39 60 50 63 42 38 65 17-18 46 78 19-20 22 63 21-22 47.4 31.6 62.7 23-24 51 38 39 39 31 62 32 14 21 15 10 60 75 Averages 18.3 46.5 38.8 60.8 46 44 60 APPEND1 X Determination o f Range-averages S c r i a b i n Etude Op. 8, No. 6 S c r i a b i n Etude Op. 8, No. 5 Measure numbers Low - 1-6 15 7-12 10 13-18 15 18 Left- hand Hi& 31-36 10 15 37-42 12 13-48 10 49-54 55-58 13 20 53 55 51 56 51 51 55 51 51 63 Averages 13.8 53.7 19-24 25-30 - R ig ht hand 5- High 36 68 70 63 68 65 65 70 67 65 80 34.8 68.1 36 32 36 36 36 36 34 32 34 Measure nutribers 1-5 6- 10 11-15 16-20 21-25 26-30 31-35 36-40 4 1-45 46-50 51-55 56-60 6 1-65 Averages L e f t-tiand High Low - Riqht-hand low" t i i 18 15 49 56 42 48 68 73 13 22 51 42 53 22 53 41 45 15 53 37 13 15 49 34 49 42 20 53 42 13 13 13 53 38 48 44 49 46 1 49 29 72 69 68 68 70 73 68 68 68 68 66 51.2 40.8 69.2 14.8 m 0 APPEND1 X D e t c m i n a t i o n o f Range-ave%*ages S c r i a b i n Etude Op, 8, Measure numbers Left- hand H i &r LOW c 1-7 8- 14 14 50 16 15-21 22-28 29-35 36 -4 2 43-49 50-56 57-63 64-70 71-77 11 10 9 14 16 14 2 Averages 12.1 S c r i a b l n Etude Op, 8, No, 8 No. 7 R 1 gh t- hand H i& Low _y - Right- hand High Mcasure nI in)be r s Left- hand Low ttiqh 17 41 38 58 12 41 33 35 48 62 60 53 55 48 61 38 4 I. 40 36 60 62 I1 1 62 43 38 36 57 1-6 7- 12 14 50 33 62 13-18 10 50 13 33 33 30 37 50 45 29 53 53 19-24 25-30 57 53 50 33 41.3 Low . I - 33 57 31-36 37-42 38 62 43-48 30 32 17 17 13 36 57 49-54 12 37 JJ 58 37 55-60 16 36 40 54 29 62 50 Averages 17.6 44.8 39.1 59 * 5 33.3 57.1 29 28 37 C)- 62 58 APPEND1X Determination o f Rsngc-averages S c r i a b i n Etude Op. 8, No. 9 Measure numbers 1-10 11-20 21-30 31.-40 41-50 51-60 61-70 7 1-80 81-90 91-100 101-103 Averages Left- hand High Low - S c r i a b i n Etude Op. 8, No. 10 - I1 iq h t hand High &- 5 3 56 56 36 27 72 77 8 49 22 61 12 56 41 77 7 12 51 75 59 31 31 7 52 33 72 62 8 53 36 76 7 6 56 35 77 55 30 79 12 48 31 60 7.9 53.7 32.6 71.6 Measure nurn b e r s 7 1-10 11-20 21-30 31-40 41-50 51-60 61-70 7 1-80 81-9G 91-100 101-110 111-122 Averages Left- hand Hiqh Low L _ Rictht-hand Low" High 1 . - 17 17 60 40 52 40 12 60 41 9 47 40 14 17 45 41 57 40 17 60 40 22 57 45 5 60 40 5 60 56 5 42 67 29 33 74 68 74 64 57 69 74 73 68 74 62 77 55.6 40.4 69.5 5 12.1 m N APPENDIX D e t e r m i n a t i o n o f Range-averages S c r i a b i n Etude Op. 8, No. 12 S c r i a b i n Etuqe Op. 8, No. 11 Measure Left- hand High Right- hand High Low- Measure n urnbe r s nurnbe rs- Low - 1-5 26 46 37 57 1-5- 6-10 19 46 32 6-10 11-15 46 32 16-20 12 12 57 53 47 33 63 21-25 21 50 37 57 26-30 14 50 14 46 58 55 26-30 31-35 38 32 36-40 19 48 33 36-40 4 1-45 46- 50 19 46 38 57 55 41-45 14 33 33 45 46-50 51-54 14 50 57 69 Averages 16.7 46.2 36.5 56.9 L e f t -hand High Low - Right- hand mHigh 19 7 51 38 67 55 38 70 55 39 46 41 43 39 42 34 51 38 5 1. 39 48 45 46 38 51-55 7 10 13 3 7 7 6 7 7 62 26 70 72 70 61 65 70 70 67 79 Averages 8.5 50.0 37.7 69.2 11-15 16-20 21-25 31-35 m w APPEND1 X D e t e r m i n a t i o n o f Range-averages Chopin Etude Op. 25, No. 6 Chopin Etude Op. 25, No. 4 Right- hand High Right- hand Low High - Measure numbers Left- hand Low High - 45 44 68 47 68 45 53 75 46 19 12 50 20 1-6 7-12 48 80 13-18 20 45 44 64 13-18 10 63 38 80 19-24 24 45 40 61 19-24 48. 50 75 25-30 19 45 43 60 25-30 18 21 51 45 81 31-36 19 47 43 64 31-36 19 65 41 77 37-42 20 45 44 68 37-42 19 55 51 79 43-48 20 46 44 64 45 40 68 41 35 36 80 18 17 12 51 49-54 43-48 49-54 55-60 61-65 16 25 46 38 40 61 12 41 54 12 36 33 28 79 40 55-60 61-64 40 Averages 20.1 44.8 42.6 63.6 Averages 15.5 50.2 41.4 74.4 Measure numbers Left- hand Low High - 1-6 20 7-12 Low- 72 m F APPENDIX D e t e r m i n a t i o n o f Range-averages Chopin Etude Op. 25, No. 7 Measure numbers Low 1-7 17 44 40 8- 14 15 44 15-21 25 22-28 Left- hand Chopin Etude Op. 25, No. 8 Right- hand Low High - Measure Left- hand High Right- hand High numbers - Low 56 1-3 12 48 45 67 36 56 4-6 17 50 45 67 44 39 60 7-9 21 53 74 9 52 42 62 10-12 12 46 29-35 7 43 43 60 13-15 24 36 36-42 43-49 15 43 40 61 16-18 24 36 17 44 39 56 19-21 17 57 50-56 44 36 56 22-24 57-63 10 21 48 36 56 25-27 17 12 50 55 64-69 17 29 31 48 17 53 Averages 15.3 43.5 38.2 57.1 28-30 31-33 10 36 34 36 17 46 46 40 40 44 45 45 46 41 33 38 Averages 16.7 47.2 42.3 -HiCJtl- - Low - 64 58 76 74 69 70 67 64 77 68.9 APPENDIX Determination o f Range-averages Chopin Etude Op. 25, No. 10 Measure numbers 1-10 11-20 21-30 31-40 41-50 51-60 61-70 71-80 81-90 91-100 101-110 111-118 Averages L e f t - hand High Low 9 21 8 17 22 20 22 20 22 17 14 10 16.8 Chopin Etude Op.10, No. 6 Right-hand High Low - 39 53 60 46 47 43 47 43 47 35 39 46 38 41 63 75 78 67 67 61 67 61 67 65 63 75 45.4 37.7 67.4 33 43 a4 36 37 38 38 38 38 38 Measure numbers 1-5 L e f t - hand High Low 27 24 24 14 10 6-10 11-15 16-20 21-25 26-30 31-35 36-40 41-45 46-50 51-53 27 24 19 Averages 19.o 12 15 13 41 41 38 37 29 36 35 26 41 41 Right-hand Low High _ I _ 33 43 35 35 33 34 36 36 33 43 34 31 50 51 56 58 48 55 53 43 36.2 52.2 52.2 55 50 55 APPEND1 X Determi n a t i o n o f Range-averages Chopin Etude Op. 10, No 9 Chopin Etude Op. 10, No 8 Measure numbers Left- hand High Low Right- hand High & Measure numbers Left- hand Low High 7 1-6 21 41 21 74 7-12 13-18 25 78 58 25 13 13 56 35 59 56-63 9 64-71 8 72-79 80-87 i5 1-7 8 42 28 8-15 9 45 28 74 78 16-23 24-31 8 45 28 6 45 32-39 5 40-47 48-55 Right- hand High 64 41 40 40 60 19 41 40 64 19-24 12 36 36 58 76 25-30 50 31-36 37-42 50 48 41 73 76 11 28 21 48 40 77 77 64 61 28 74 43-48 21 41 28 29 47 74 81 49-54 55-60 21 21 46 41 33 45 45 62 78 61-67 21 65 40 45 43 44 72 72 77 81 88-95 21 69 33 81 Averages 19.7 44.6 41.5 69.6 Averages 12.3 52.7 32.0 76.4 41 APPEND1 X Determi n a t i o n o f Range-averages Chopin Etude Op. 10, No. 10 Measure numbers Low 1-7 8- 14 24 19 15-21 20 22-28 Left- hand High Chopin Etude Op. 10, No. 12 Right- hand High Measure numbers 49 50 47 43 43 70 72 1-7 8-14 39 76 45 70 44 41 44 72 36-42 17 24 25 50 50 43-49 19 59 50-56 19 57-63 64-70 19 24 71-77 Averages 29-35 Low - Left- hand High Low - Right- hand High Low - 60 43 28 28 74 78 15-21 11 16 11 43 28 74 14 10 9 47 47 75 22-28 29-35 36-42 48 25 25 35 78 76 73 43 80 43-49 11 60 50 76 59 48 48 43 77 74 50-56 57-63 12 28 28 74 54 81 64-70 42 29 74 81 12 50 43 11 14 43 43 36 76 71-77 9 43 47 78 20.2 49.5 44.0 74.8 7884 4 60 33 81 48.3 32 .O 76.4 Averages 11.o 69 SELECT BIBLIOGRAPHY Apel, W i l l i . 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"The Organization o f Texture i n S e l e c t e d Piano Compositions of Claude Debussy. I' D i s s e r t a t i o n , U n i v e r s i t y of P i t t s b u r g h , 1973. Keys, I v o r . The Texture o f Music; From P u r c e l l t o Brahms. - Londun: Dobson, 1961. LaRue, Jan. Guidelines for S t y l e Analysis. New York: Dennis W . W . Norton and Co., 1970. Loesser, Arthur. Men, Women and Pianos; A Social H i s t o r y . New York: Simon and S c h u s t e r , 1954. Nordgren, Quentin R. "A Measure of Textural P a t t e r n s and Strengths," Journal of Music Theory IV/1 (April 1960), 19-31. Ratner, Leonard G. 1962. Harmony; S t r u c t u r e and S t y l e . S a l z e r , F e l i x and Carl Schachter. o f Voice Leading. New York: S k r j a b i n , Alexander. Gunter ? h i l i p p . New York: McGraw-Hill Co., Counterpoint i n Composition; The Study McGraw-Hill , 1969. Etiden, Band I o f Ausgewihlte Klavierwerke, ed. by F r a n k f o r t : C . F. Peters, 1965.
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