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Contents
Figure 7.1 | Example 7.1 | Example 7.2a; Example 7.2b; Example 7.2c; Example 7.2d | Example 7.3a; Example 7.3b; Example 7.3c; Example 7.3d; Example 7.3e | Example 7.4 | Example 7.5a; Example 7.5b | Example 7.6 | Example 7.7a; Example 7.7b | Example 7.8a; Example 7.8b | Example 7.9a; Example 7.9b | Example 7.10a; Example 7.10b; Example 7.10c; Example 7.10d | Example 7.11 | Example 7.12 | Example 7.13
Figure 7.1
The overall form of the Csárdás macabre
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Example 7.1
Set-classes in Sunt lacrymae rerum, mm. 109–12:
(a) different permutations of 3-3 (repetitions omitted and texture simplified);
(b) vertical set-classes
Example 7.2
Long accented notes typical in “storm” (fast) marches:
(a) different permutations of 3-3 (repetitions omitted and texture simplified);
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(b) Ungarischer Sturmmarsch (1876 version), mm. 17–20;
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(c) Revive Szegedin!, mm. 1–8;
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(d) short-long-short rhythm and bokázó figure in RH17, mm. 1–4
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Example 7.3
Ornamental and melodic types:
(a) Mephisto Waltz No. 3, mm. 27–8;
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(b) Bagatelle ohne Tonart, mm. 1–16;
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(c) Mephisto Waltz No. 2, mm. 1–7;
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(d) RH19, mm. 1–4;
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(e) Mephisto Waltz No. 3, mm. 1–10
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Example 7.4
Equal-voice parallel sixths in Csárdás obstinée, mm. 283–314
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Example 7.5
(a) Mephisto Polka, mm. 17–47 (repeated in idiomatic variation, mm. 48–80); repeat signs replace Liszt’s written-out repeats;
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(b) structural reduction of (a)
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Example 7.6
Csárdás obstinée, mm. 17–24
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Example 7.7
Pendular and progressional inflected repetitions in
(a) Csárdás obstinée, mm. 17–76;
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(b) structural reduction of (a)
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Example 7.8
Pendular (static) inflected repetition in
(a) RH16, mm. 87–96;
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(b) La lugubre gondola II, mm. 69–76
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Example 7.9
Pendular inflected repetition in
(a) Bagatelle ohne Tonart, mm. 37–60;
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(b) structural reduction of the above
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Example 7.10
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(b) Reduction of Unstern!, mm. 21–72;
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(c) Bartók: Mikrokosmos No. 109 (1940), mm. 1–4. © Boosey & Hawkes Music Publishers Ltd.: reproduced with permission;
(d) pitch symmetry in example 7.10c
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Example 7.11
Nuages gris, mm. 1–12. Mm. 1–8 are abbreviated All chords and dissonant clashes are derived from inner melodic movements of diatonic tones.
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Example 7.12
Széchenyi István, main theme. Mm. 43–54. X’s mark the “non-functional” chord on VI.
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Example 7.13
Magyar gyors induló, mm. 1–46
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