CROSSING THE CUSP
But first we need to investigate the other pervasive motif in Erwartung, which first appears as the three notes (C♯–A♯–D) that initiate the lyrical oboe line in mm. 1–2, and reappears in transposition as the last three notes of the same phrase (E–C♯–B♯). The two notes that come in between, G and D♯, replicate the same motif when combined with the E that follows them, thus producing a pair of overlapping (or “imbricated”) statements (Ex. 6-19a). This motif consists of a semitone and a minor third enclosed within a major third. Its “best normal order” is /0 1 4/, with the semitone beneath the minor third. But like the atonal triad, it can appear in the score with either interval on top (or to put it more formally, it has an inversional equivalent). And it can be varied (or distorted) in other ways as well.
- Citation (MLA):
- Richard Taruskin. "Chapter 6 Inner Occurrences (Transcendentalism, III)." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 20 May. 2019. <https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-006014.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 6 Inner Occurrences (Transcendentalism, III). In Oxford University Press, Music in the Early Twentieth Century. New York, USA. Retrieved 20 May. 2019, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-006014.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 6 Inner Occurrences (Transcendentalism, III)." In Music in the Early Twentieth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 20 May. 2019, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-006014.xml
