Example 5. Franco-Italian “four-cycle” counts. Tchaikovsky, Sleeping Beauty , prologue, no. 3 pas de six , variation 4, Canari qui chante , mm. 1–12. More

Figure 2. Properties of an affinity space, A 7 = 3–3–1-cycle: (a) operation p (trans p ose); (b) operation f (trans f orm). More

Figure 12. (a) affinity space A 1 ( 13 ): 2–11-cycle (or 11–2); (b) rotations of affinity cycle display a clustering of tetrachordal and trichordal partitions; (c) transpositional network. More

Figure 13. A 24-pc construct for “Prologue,” structured as A 5 : 6–11-cycle): (a) interlocked and complementary “lines of fourths” in each twelve-tone row; (b) prime and inversion rows explore the entire space (clockwise and counterclockwise, resp.). More

Figure 15. Pitch reduction of “Metamorphoses” (second movement of Musique funèbre ): (a) in sections (Métamorphoses) 1 and 6, P-rows are integrated within Locrian segments; (b) integration of P-row space within an affinity cycle A 5 : 2–2–1-cycle, which embeds Locrian segments. 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 A4. Quinn's primary and secondary generic prototypes for dyads through hexachords. All are interval cycles or near-interval cycles. The numbers in the leftmost column represent chord-size. For unshaded cells the characteristic voicing is close position. For lightly shaded cells it is (2 More