Example 12. Verses 4–6. The I 6 chord in m. 20 is eliminated in the second phrase, perhaps to accommodate the new melody; cr = cross-related F♯/F; the zigzag dotted line shows the splice by which the third musical phrase is different from the second, where D replaces the expected F. More

Appendix Example 3-1. Dor in no. 6 (“Dorinda”) mm. 1–4; the three-chord schema is repeated immediately a third higher. More

Figure 8. Mid-range chord space and voice interval patterns for “Zima”: (a) transformations f 2 and f 4 across twelve-tone chords in the middle register; (b) voice patterns embody the voice-leading relations of adjacent chords; (c) voice leading projects D–D♯–E♭–E in chords 1–4; (d More

Figure 9. A closed network for “Wiatr,” Iłłakowicz Songs : (a) six twelve-tone chords formed by contiguous tetrachords ([0235], [0123], and [0257]) related by T 4 and T 8 ; (b) intervallic arrangements of twelve-tone chords suggest affinity cycles, where each inscribes two tetrachordal More

Figure 11. Contrasting twelve-tone chords in “Dzwony cerkiewne.” More

Figure 3. Opening and closing chords in “Morze”: (a) pentatonic and diatonic segments in separate hands; (b) combined hands in opening and closing chords; (c) affinity space representation, A7: 3–3–1-cycle and the mapping of opening and closing chords. More

Figure 1.4. The “So What” and “Farben” chords as open-position pentachords. Above, the voicing's intervals are measured in chromatic semitones (CHR), scale steps (diatonic and melodic minor; DIA), and intrinsic steps (INTR). More

Figure 1. Gradual flexible approach to “fixed register” of twelve-tone chords in “Rycerze,” from Iłłakowicz Songs : (a) octave displacement of single notes, chord 1; (b) displacement of intrachordal segments, chord 2; (c) interchordal replication of segments. More

Figure 6. (a) Progression of five twelve-tone chords stacking fully diminished seventh chords; (b) lattice structuring both horizontal and vertical relations of chords; (c) progressive transpositional network with degree of variation Δ 9 (mod 12). More

Figure 7. Harmonic space for “Zima”: (a) seven twelve-tone chords as stacks of augmented triads; (b) chord 1: local segmentation of augmented and major/minor triads; (c) harmonic space, A 11 = 4–4–3-cycle, suggested by the intervallic disposition of twelve-tone chords; (d) location of all More

Figure 10. The two twelve-tone chords that combine [0369] partitions in the song (climatic passage and final chord) and other “whole-tone” dyad tetrachords. More

Example 3. The Abbot, chorus, and organ at reh. 29 of Britten's Curlew River ; chords in the dashed boxes are related by T 8 I; interval classes derive from the “Curlew” motive. More

Figure 1.3. Cyclic voicings for chords of size 3–7, with generating intervals. C , T , and Q stand for the clustered, tertian, and quartal voicings. More

Figure 4. Harmonic space for “Rycerze” (chords 1 and 2, mm. 160–71): (a) complementary rh/lh hexachords for chords 1 and 2; (b) chordal relations via space representation A 7 : 4–3-cycle. More

Figure 5. Harmonic space for “Rycerze,” Iłłakowicz Songs (chords 3–6, mm. 174–79): (a) superimposition of right- and left-hand hexachords; (b) chordal segments related by p ; (c) notes in different chords related by f . More