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Figure 4.2. A . Three-note set-class space, with regions corresponding to clustered (triangle), tertian (quadrilateral), quartal (pentagon), and equipollent (oval) set-classes. Small italic labels show equal-tempered chromatic sets; large bold labels show equiheptatonic set-classes. B . Single More

Figure 5.7. The single-semitone layer of chromatic tetrachordal set-class space, superimposing the one-step layer of diatonic tetrachordal set-class space. Circles represent generated collections. Shapes represent clustered (triangle), tertian (quadrilateral), quartal (pentagon), and equipollent More

Figure 7.3. Improvising by alternating a hexachord's intrinsic 024 6 sets. More

Figure A3. Categorizing small sets using the first three Fourier components. More

Figure 7.5. Improvising using hexachordal 013 6 ( top ) and 012 6 ( bottom ) sets. More

Figure 5.4. In a seven-tone scale, the M2 transform sends clusters to tertian, tertian sets to quartal, and quartal to cluster. The equipollent set-classes (open note heads = trichord, closed note heads = tetrachord) are preserved under the transform. More

Figure 7.4. The quartal hexachordal voicing chains together hexachordal 023 6 and 013 6 sets. More

, with a seventh between the lower two voices (10 or 11 semitones) and a major third or fourth between the upper two (4, 5, or 6 semitones); the fifth chord is generated from the neo-Riemannian (NR) inversion J 0 , preserving the lower-voice seventh and moving the top voice so that it forms approximate set-class More