292 Appendix Arnold Schoenberg: Suite for Piano, Op. 25: Prelude Tetrachord Analysis P0 and I6 “Tonic” Rows Segmented into Tetrachords (a), (b), (c) P0(a)! P0(b)! P0(c)! R0(a) R0(b) R0(c) 4 5 7 1 | 6 3 8 2 | 11 0 9 10 10 9 7 1 | 8 11 6 0 | 3 2 5 4 RI6(a) RI6(b) RI6(c) I6(a)! I6(b)! I6(c)! P6 and I0 “Dominant” Rows Segmented into Tetrachords (a), (b), (c) P6(a)! P6(b)! P6(c)! R6(a) R6(b) R6(c) 10 11 1 7 | 0 9 2 8 | 5 6 3 4 4 3 1 7 | 2 5 0 6 | 9 8 11 10 RI0(a) RI0(b) RI0(c) I0(a)! I0(b)! I0(c)!
Schoenberg Piano Suite OP 25 Analysis
Jan 16, 2016
An analysis of Arnold Schoenberg's earliest work in which he employs 12 tone technique.
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Appendix Arnold Schoenberg: Suite for Piano, Op. 25: Prelude Tetrachord Analysis P0 and I6 “Tonic” Rows Segmented into Tetrachords (a), (b), (c) P0(a)! P0(b)! P0(c)! R0(a) R0(b) R0(c) 4 5 7 1 |||| 6 3 8 2 |||| 11 0 9 10 10 9 7 1 |||| 8 11 6 0 |||| 3 2 5 4 RI6(a) RI6(b) RI6(c) I6(a)! I6(b)! I6(c)! P6 and I0 “Dominant” Rows Segmented into Tetrachords (a), (b), (c)
P6(a)! P6(b)! P6(c)! R6(a) R6(b) R6(c) 10 11 1 7 |||| 0 9 2 8 |||| 5 6 3 4 4 3 1 7 |||| 2 5 0 6 |||| 9 8 11 10 RI0(a) RI0(b) RI0(c) I0(a)! I0(b)! I0(c)!
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