Example 14. The eight leading-tone classes. More

Example 21. Accidental inflections and leading-tone (LT) implications. More

Example 22. Perfect consonances and leading-tone implications. More

Example 23. Contrapuntal context determines leading-tone interpretation. More

Example 38. Idioms where the first note is a non-leading-tone member of an imperfect consonance. More

Example 42. Common chromatically deflected leading-tone idioms. 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 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 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 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

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

Example 19. Competing leading tones. More