Callender Ligeti Jazz Harmonies

Interactions of the Lamento Motif and Jazz Harmonies
in Gyorgy Ligeti's Arc-en-ciel
Clifton Callender
Introduction
Example 1 reproduces the first five measures of Arc~en-ciely the

fifth of Ligeti's Etudes for Piano, which feature two notable
characteristics of the composer's late style. The first is the lamento
motif, a descending chromatic line that is the primary thematic
material for numerous works.1 In the opening of Arc-en-del this
motif forms the basis for the melodic line in the uppermost voice.
Typical of Iigeti is the interruption of the descending line (Bs-Âs,
C6~*B5, D6-*A5 [second beat of m. 3], etc.) to return to a pitch at
least as high as the beginning of the previous descending segment,
the series of laments culminating in an extended descent from the
highest point of a given musical passage. What is unique about this
piece is that the lamento motif is used less consistently and
thematically than in other works and does not appear to pervade
the other voices of the texture. As we will see, a closer look reveals
that the lamento motif is indeed quite pervasive in this etude.2
1 For more on Iigeti's use of the lamento motif see Taylor 1994 and 2004.
Among the many other of Ligeti's works to feature the lamento motif in a more
overt manner are the Horn Trio (IV), Piano Etudes (VI), Piano Concerto (II and
III), Violin Concerto (V), and Viola Sonata (V and VI).
The use of descending chromatic figures in a musical lament expressing grief or
mourning has a long and familiar tradition in Western music. Taylor (1994) uses
the term lamento motif to refer to Ligeti's mobvic use of descending chromatic
fragments in the final movement of the Horn Trio and the second and third
movements of the Piano Concerto. In each of these movements, and most of the
other works in which this motif figures prominently, the context for these
chromatic fragments is indeed a musical lament. (The final movement of the
Hom Trio, the first work in which this motif occurs in Ligeti's music, is titled
"Lamento.") While Arc-en-del is most definitely not a lament, I have opted to use
the term "lamento motif to make contact with Taylor's work and to connect Arc-
en-del with the many other of Ligeti's works in which this motif plays an important
role.
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42 Integral
Example 1. Ar
Ligeti ETUDES FOR PIAN

Used by permission of Eu
Schott Music.
Example 2. "Lead sheet" of mm. U5.
Iigeti's Arc-en-ciel 43
The second is the influence of j

composer openly acknowledges thi
Thelonius Monk and Bill Evans, an
language, which often draws upon
well as frequent performance ind
'Svith swing." Arc-en-ciel is also uni
influences are particularly overt. In
work as "almost a jazz piece."3 Th
first five measures (see Example 2 f
of mm. 1-5) is almost entirely
seventh chords (indicated by 7+ a
minor ninth chords (9-), and a sin
(Bl>7±). (The harmony labeled F7-
We will see below exactly how thi
comes about as a necessary alte
seventh chord.) While the chordal
starting point, it does not tell us
progressions. In particular, w
progressions and what makes them
seventh chords in the opening fiv
dissonant remainder of the pie
interaction of the lamento motif an
determines these particular successi
Arc-en-ciel 'poses more general pro
apparently free construction, whi
exploration of specific musical tec
Etudes. In part this explains why r
about the fifth Etude, especially in
a phase-shifting isorhythmic tour-de
fugue.5 While Arc-en-ciel is certainly
3 See Iigeti 1996.

4 Bouliane 1989 labels the chords of the fir
not pursue the questions of harmonic prog
5 For analyses of the first and sixth Etu

respectively.
44 Integral
of the Etudes, thi

Ligeti's composit
Basic Transformations
We begin by looking at the initial harmonic progression, C+7

- * C-7 -» Et+7. Viewing major and minor seventh chords as a
combination of two perfect fifths separated by a major or minor
third, the motion from C+7 to C-7 is achieved by sliding the upper
fifth down by semitone, {E,B} -* {EI>,BI>}. These semitonal
descents are clearly heard on the surface as B5, B4, E5, and E4
progress to Bts, BIm, Ets, and EIm, respectively. We can think of the
subsequent motion from C-7 to Et+7 as arising in a number of
equivalent ways: 1) transposing the lower fifth up by a perfect fifth,
{C,G} -* {G,D}, while holding the other fifth, {B,Bt}, in place;
2) rotating the lower fifth one step around the ascending circle-of-
fifths; or 3) holding the pitch classes of the upper three voices,
{Et,G,Bt}, in common and moving the remaining pitch class as
necessary to create a different major or minor seventh chord, C -*
D. The opening progression thus manifests two different types of
minimal alterations between chords - minimizing the size of the
alterations from C+7 to C-7 through semitonal displacements and
maximizing the number of common tones from C-7 to El>+7 -
resulting in the most efficient motions between major and minor
seventh chords.7
Iigeti does not limit his harmonic language in this Etude to

simple major and minor seventh chords, but draws upon a range of
extended tertian harmonies as well as alterations of these chords.
This is also typical of jazz practice, where composers freely move
between various types of seventh, ninth, eleventh, and thirteenth
chords. It is thus necessary to generalize the motions discussed
6 I would like to thank two anonymous readers and the staff at Integral for their
helpful comments, as well as Michael Buchler for reading an earlier draft in my
absence at the 2004 Joint Conference of the Society for Music Theory and
American Musicological Society in Seattle.
7 On the psychological relevance of displacement size and number of moving

voices for judgments of chordal distance see Krumhansl 1998 and Callender and
Rogers 2006.
Example 3. Combinations of stacke
above to a wider range of harmoni

Example 3 shows the combination
again separated by a major or m
distinguished by open and clos
combining a pair of fifths in thi
seventh chord. On the right, combin
fifths yields an alternating sequen
theoretically extending adinfinitum*
7 notes in this sequence, the results
seventh, ninth, eleventh, and thi
bottom staff. (Note that C+ or C-
chords generated in this manner. T
the family we will use, e.g., C+9 or C
on the left are drawn from a dia
implying a Lydian quality that is
These tall chords arise from the transpo

infinite) sequence of stacked fifths and a
transpositional combination, see Cohn 199
In this piece the Lydian quality stems from
in jazz whenever the major third is also pre
dissonant minor ninth between this third a
♦4 arises through the use of synthetic sc
Violin Concerto) and harmonic structures
first movement of the Viola Sonata whe
46 Integra/
whereas the minor

two flats (Dorian
between major an
C+13 implies the sa
Example 4 gene
chords discussed p
the upper stack of
down a semitone,
Slide for obvious
minor chord mov
in the motion from C- to G+.11 The second transformation
rotates the lower stack of fifths one step around the circle-of-fifths,
as in A- to C+ and C+ to E-. We will refer to this transformation
as a Rotation, or Rj for short.
Example 5a is a Tonnet^ of chords connected by Slides and
Rotations. Motion down and to the right is equivalent to a Slide,
while motion up and to the right is equivalent to a Rotation. These
two transformations combine in the normal ways so that the
motion from C+ to El>+ can be achieved by either a Slide followed
according to the 11* partial of the overtone series and lies roughly halfway
between U and 14).
Depending on how the chord is voiced, increasing the size of the chord will also
tend to blur the identity of the root. See the discussion of mm. 6-8 below. While
seventh and ninth (and minor eleventh) chords generated in the manner of
Example 3 may belong to multiple diatonic collections, they still imply only a
single diatonic collection in Arc-en-deL For instance, while {C,E,G,B} belongs to
both C and F Lydian collections (containing an Fl or ft, respectively), C+7 in this
Etudes implies only C Lydian. This is because the addition of Fl would be heard
as a typical upper extension (fl 1) over the same root, while ft $[ 1) is a much less
common extension, especially in conjunction with the major third. On the other
hand, sufficiently large chords will not imply any diatonic collection. For example,
C+15 contains both a O and a Cl.
The SI transformation described here is similar to but not the same as Lewin's
(1987, 178) Slide (S) operation on consonant triads. Lewin defines his S as the
operation "that preserves the third of a triad while changing its mode," which
amounts to inverting a triad about its third. For example, applying S to C major
yields Cl minor, while applying S to Cl minor yields C major. Thus, S is an
involution, whereas SJ is not.
Example 4. Slide and Rotation tran
Example 5. (a) Tonnet% of stacked-fi

Rotation, (b) Collapsed Tonnet% with c
collection identified by the number o
implies a diatonic collection ofO sharps
sharp, and so forth).
W
Ab+ B+ D+ F+ Ab+
Ab- B- D- F- v
EH- G+ Bb+ CB+ E+ ^
E- G- Bb- C|t-
C-f Eb+ Gb+ A+ C+ yr

C- Eb- Gb- A- // /Rt
Ab-f B+ D+ F+ Ab+
(b)
9 6 3 0 9
5 2 11 8 5
1 10 7 4 1
9 6 3 0 9
48 Integral
by a Rotation (SIR
Slide {RtSl), C+
achieved by two R
opposite direction
SlA and R/1, resp
Tonnet% are not
generated in the
Tonnet% may be e
torus if octave equ
consider the colla
implying the sam
located at the sam
sharps in the coll
as sharp keys; e.g.
flats, is the same a
sharps.)12
As with the neo-Riemannian operations, Slides and Rotations can
yield musically intriguing cycles.13 Example 6 shows the four
possible cycles arising from the alternation of SI and R/and the two
cycles resulting from iteration of either SI or Rf. In each case, the
cycle given is the one beginning with C+. Cycles beginning with a
minor quality chord are the same as those given but with the order
of transformations reversed. For example, the RtSl cycle
containing C- is the same as the SIR/ cycle containing C+, and the
SllRj cycle containing E- is the same as the RtSl x containing C+.
For an historical overview of various Tonnetz and their contemporary use in

neo-Riemannian theory see Cohn 1998. Weber (1821-1824) constructs a Tonnetz
of major and minor chords/key regions (anticipated by Vial 1767) generated by
the circle of fifths on one axis and a cycle of alternating parallel and relative keys
on the other (e.g., C c B d> ...). Lerdahl (2001) arrives at Weber's space via a
cognitive model of tonal pitch space. In terms of Slides and Rotations, Weber's
space could be generated by Rfi on one axis and an alternation of SI and Rt along
the other. (These two motions are particularly important in Arc-en-del, as we will
see below.) The collapsed space of Example 5b is equivalent to Weitzmann 1853,
discussed in Cohn 2000, and Balzano 1980.
See Cohn 1997 for a thorough investigation of cycles based on combinations of

the neo-Riemannian operations P, L, and R and their analogues in various equal-
tempered tuning systems.
Example 6. Cycles of alternating
50 Integral
Changing the sign

the cycle in reve
proceeds C+, A-, A
C+ proceeds C+,
bottom three not
counterpart arisin
(P), Relative (R),
the last operation,
Let (X,Y) be the
quality chord, (S
(R/,J7-i) = (L>P)
reader is encourage
SIRt cycle is the on
now turn.15
Analysis I oiArc
mm. 1-5
Example 7 reproduces the "lead sheet"' of the first five

measures. Motion between chords is analyzed in terms of Slides
and Rotations. Alternate paths are given for progressions involving
the two minor ninth chords, which may be analyzed in terms of
14 In addition to the "standard" neo Riemannian operations of P, L, and R, the

slide (S) is discussed in both Lewin 1987 and Cohn 1998. See footnote 11 for the
definition of S.
15 The foregoing obviously draws on much recent and not-so-recent work in

smooth voice-leading, especially in the context of neo-Riemannian theory. (See
the 1998 special issue on neo-Riemannian theory of the Journal of Music Theory
42.2.) In particular, Strunk (2003) develops transformations on major and minor
seventh and ninth chords that are analogous to the neo-Riemannian P, R, and L
operations on consonant triads. (For example, C+7'9 goes to C-7/9 under P, to A-
7/9 under R, and to E-7'9 under L.) The Slide and Rotation transformations
discussed here are similar to but not the same as Strunk's operations, which are
involutions; e.g., C-7'9 goes back to C+7'9 under P. Lewin (1982) considers
sequences (arranged horizontally) that are identical to those arranged vertically in
Example 3 and defines a Shift operation that is equivalent to the Rotation. (In turn,
Lewin's sequence of alternating major and minor thirds is taken from Hauptmann
1853.) The relation between the JV described here and Lewin's (1987) Slide has
already been discussed. (See footnote 1 1 .)
Iigeti's An-en-ciel 51
I
1
I
52 Integral
Example 8. Arc-e
I example 9. Connecti
their embedded seventh chords.1

Example that these motions are pe
the first five measures. In Example
measures 1-2 and 3-4 are plotted on
two ninth chords, D-9 and Bl>
combinations of their embedde
particulars are somewhat different,
The variously shaded horizontal b
unique Slide-Rotation cycles. Portion
single band correspond to motion
also that there is an orderly progre
or cycles - the paths always move to
or ascend to the next "highest"
come to mind: "Why are these moti
and "Why are these paths so simil
specific questions amounts to
questions posed in the introduction.
The answers lie in the interaction of the lamento motif and
major and minor seventh chords (particularly major seventh
chords, since these are much more common in the Etude).
Turning to Example 9, if we slide the upper fifth of AH-7 from
{C,G} to {B,Fl}, there are two major seventh chords that contain
the latter fifth - B+7 and G+7. Alternatively, if we slide the lower
fifth from {At,Et} to {G,D}, the latter is contained in EH-7 and
G+7. Since Iigeti never slides an entire chord down by half step,
this leaves only two motions: T3, a Slide-Rotation, or T7, a double-
Rotation}1 Note that a Slide-Rotation moves the upper fifth down by
In moving from BU-9 to E+7, one can imagine two equivalent paths:
1) BM-*E+9 via RjSIRt, at which point the ninth is omitted to yield E+7, or 2)
apply a SIRt to the upper four notes of Bt-9, Dt7-*E+7, while simultaneously
dropping Bk In a sense, since Bt-9 is the combination of BM and its rotation,
Dt-7, the initial Rotation in the RtS/Rf from Bk-9 to E+7 is already contained within
the first sonority.
17 This staggered semitonal descent is an example of ligeti's more general

preference for gradual change in his mature works. A good example is the
harmonic progression of six-note chords from the first of his 1976 Three Pieces
for Two Pianos (Monument) in which a single pitch class at a time is lowered by a
semitone: {F,GtAB,C,DI>} - {E,G!>AB,CW -* {E,G^3t,C,Dt} -*
54 Integral
half step to becom

the lower fifth do
an alternation of Sl
of parallel perfect
On the left side o
of SIRJ and R/2 an
(Slurs in this an
chromatic lines.)
descends by who
Rotations have th
Example 10. Each
initiates a new on
embedded within t
upper fifth, Fl to
upper fifth, F to E
Example 10. Lame
Example 11 gather
three circular pat
respectively. Reca
Similarly, A+ impl
and B>+ or Dl+ im
by these four chor
which is why thi
collections in the
{E,GKA,»,a,E*} - {EMÂÂE*} - {B.C^ÂE*} and so on. For

more on the melodic and harmonic techniques in Ligeti's music of the 1960s and
70s see Bernard 1994, Clendinning 1993, Morrison 1985, and Roig-Francoli 1995.
Iigeti's Arc-en-del 55
the bottom cycle contain 2 mod

motion is always descending (th
within each cycle always travels i
are laid out on the page. Motion
clockwise direction, is achieved by
specific order on inter-cycle mot
1 to cycle 2 and continuing. On
intra- and inter-cycle orderings a
to the right within a given ba
moving from one band to the nex
Example 1 1. SIRt cycles linked
18 The spatial arrangement of chords (

Example 11 is essentially identical
chordal/regional space. See also Cohn's
an analogous arrangement of the 24 cons
56 Integral
1
1 I
i
I
I
I
I
Ligeti's Arc-en-ciel 57
Example 12 demonstrates the t

throughout the piece. The path
Rotation followed by a double-Rotat
its component transformations yie
is the opening progression. Combin
double-Rotation yields the path on
beginning in m. 3. These three slig
of the subtle differences in the pa
Example 13 highlights the inte
lamento motif. The top line is th
five measures with slurs groupi
transposed down one octave for
do not correspond to phrase slu
bass, the given pitches are th
harmonies, with open and closed
minor qualities, respectively. (A
indicated as combinations of their
BM is indicated by a closed note
on Dk) Stemmed notes and sl
brackets above the bass line ind
correlation between longer lamen
in the bottom staff is evident as is
by extended Slide-Rotation cy
correlation not hold. The next t
seventh chord, containing element
seventh chords (and thus indicat
heads on Bt). Both of these ch
Rotation cycle, but the inclusion
expected, allows the Lamento
descent. This subtle alteratio
substantial alterations and resultin
A similar alteration occurs with
have been labeling (F-7). Example
of this chord. In (a) F07 has been
most of the original chord. How
that the soprano does not descen
extended chromatic descent from
line switching from the soprano t
sub.p). In (b) the substituted C+7
58 Integral
Example 14. Alterna
continue, but is un
by C+7 would yi
collection for a f
than the general h
is melodically stati
solution takes th
harmonic motion o
altering C to B.
I
!
I
•s
60 Integral
In addition to th
connection with E
motion within a si
to the seventh of the chord. The combination of all of these
descents makes the lamento motif much more pervasive than just
the top melodic line. Example 15 draws out these laments that are
embedded within the musical texture. Portions of these descents
are highlighted on the surface, while others are slightly obscured

through octave displacements. (For convenience, descents
obscured by octave displacement are placed in the same octave in
the Example.) Nonetheless, all of these lines are clearly audible
and are driving the harmonic progression. The implicit
simultaneous presentation of multiple lamento lines in the fifth
Etude foreshadows the explicit use of the lamento motif in
multiple voices in the polytempo fugue of the sixth Etude, Automne
a VarsovieP
There is a strong similarity between the technique used in the

opening of Arc-en-ciel and the common chromatic technique in
Chopin that features implicit pitch-class laments in exact
sequences.20 Example 16 demonstrates the basis of this technique
with a diminished seventh chord transposed by descending
semitone and ascending major second, perfect fourth, and minor
sixth. While all four transpositions are distinct in pitch space, they
are the same pattern of parallel laments in pitch-class space.21
These sequences are typically embellished by staggering the
laments, yielding dominant, half-diminished, and minor seventh
chords and French augmented sixths. Example 17 shows two
examples (given as harmonic reductions) of these embellishments
in sequence. In (a), the laments are clearly presented on the surface
through a sequence by descending semitone.22 In (b), while the
19 See Taylor 1994 and 1997.
ligeti acknowledged Chopin's influence on his own piano writing both in liner
notes for the Etudes (1993) and the title of the second of his Three Pieces for
Two Pianos: Self-portrait with Reich and Riley (and Chopin is then, too).
21 This is due to the symmetrical structure of the diminished seventh chord in

pitch-class space, where all transpositions are congruent (mod 3) to To, Tu or T.\.
For a transformational approach to the voice leading in this excerpt see Childs
1998.
Iigetfs Arc-en-ciel 6 1
Example 16. Pitch space transpositions of th

rise to semi tonal descents in pitch-cla
Example 17. Pitch-class laments in Chopi

cadenza, and (b) Etude in Elf minor
62 Integral
legs are sequenced

clearly audible. Fo
alto voice in the s
in m. 30, and is d
31. Similarly, EIm
descends to D4, aft
Q>5 and C5 in t
descents with a ro
to initiate chromat
to what we observe
mm. 16-17 and 19-20
Even in passages
be present, mot
harmonic progres
Example 18. The
seventh chords, w
gradually comes i
The left-hand pro
Example 19. (Since
same diatonic co
collapsed Tonnefy
and E*+, respecti
/Dt-f .) The prog
staircase-fashion
corresponds to a
diatonic collection
an addition of one
a pair of Tio cycles
descending perfec
While those desce
they are nonethele
A similar passage
where the left han
chords, this tim
compand). The t
harmonic progress
bottom of the exa
Unlike the previ
Iigetfs Arc-en~ciel 63
Example 18. Ugeti, Arc-en-ciel
Ligeti ETUDES FOR PIANO, BOOK 1 © 1986 Schott

Used by permission of European American Music Distr
Schott Music.
Example 19. Tw cycles and implicit laments in mm. 16-17
64 Integral
Example 20. Lige
Ligeti ETUDES FOR PIANO

Used by permission of Euro
Schott Music.
Example 21. T3 cycles and implicit laments in mm. 19-20.
Iigeti's Are-en-ciel 65
through octave displacements, th

primary melodic line.
The portion of the graph around
the a tempo in measure 20 with a m
and continuing through Gt+ mid
actual harmony is not quite a ma
both a split third (major and mino
simultaneously) and a split seven
major seventh, and minor seventh (
Kurzdorfer as a characteristic cluster in the music of Thelonius
Monk.23 We will refer to such sonorities as "Monk sevenths."
These sonorities maintain the function of major seventh chords
despite the additional "spice" provided by the minor seventh.
Analysis II oiArc-en-ciel
The first analysis section focused on those passages in which

the harmonies consist primarily of major and minor seventh
chords. As mentioned earlier, the etude also draws upon a range of
extended tertian harmonies as well as alterations of these chords.
In this second analysis section, we turn our attention to two
passages marked by these more complex harmonies.
mm. 6-8
Continuing from the opening five bars discussed above,

Example 22 reproduces mm. 6-8. The harmonic language is more
complicated in this passage in part due to the frequent use of
ninths, elevenths, and thirteenths. These chordal extensions raise a
number of issues. First, the distinction between major and minor
quality chords begins to blur. For example, while the beginning of
m. 6 is clearly At-7, the addition of F and Bt suggest AM3, which
contains the same pitch-classes as B+13. Should we hear At-
persisting through the first dotted-quarter of the measure, or is
there a change to B+ with the fifth and sixth sixteenth notes?
Because this latter chord is not voiced in a way that emphasizes
one or the other possible "roots," the question is, in some sense,
23 See Kuzdorfer 1996.
66 baâi
Ligeti ETUDES FOR PIAN

Used by permission of Eur
Schott Music
ill-formed. Without a clearly proj

are simply the diatonic collection
Lydian). Similarly, while the harm
sixteenths is clearly B-9, does the
sixteenths constitute a change of
voicing, or an extension of B-
thirteenth? I tend to hear the form
consistent with the more general po
within a single diatonic collection,
the paper, if there is ambiguity bet
a chord, I will either indicate both
major quality only, or the integer
Tonnet^ of Example 5 (the number o
collection).
A second issue to arise with the inclusion of upper chord tones
is that the possibilities for semitonal motion increase dramatically.
For example, while there are no possibilities for semitonal descents
in the motion from C+7 to Dt+7, there are five such descents
available when moving from C+13 to Dt+13: D -* Dt, E - * Et,
Fit -* F, A -♦ At, and B - * Bk Thus, the constraints on harmonic
progression arising from the combination of the lament motif and
major and minor seventh chords no longer apply. Nevertheless,
Ligeti continues to employ the same limited number of harmonic
motions, which can be seen by plotting the harmonic progression
of mm. 6-7 on the collapsed Tonnets^ shown in Example 23. As
before, motions within a given band correspond to portions of a
SIRt cycle and chains of T\o cycles are connected by slurs.
Example 23. Measures 6-8 on the collapsed Tonne tz.
68 Integral
There are a few

surface to the har
the chord labeled
symbol for this a
between the clima
of the phrase, C+
the soprano, dy
extensions and, in
an especially disso
in D+11 (and repre
3, for D+, and 4,
D+n and C+7 is v
an alternative of t
and sounds quite
A7*9 in the actual
harmonic tension
tension is simply
harmonic tension
seventh chords
simplified version.
into an altered do
class, Dt, resolves
dissonant than D
C+7 - and linear
sevenths: {D5,Ci6
The harmonic pr
eighth-note tripl
predictable relativ
moments to consid
by parentheses. T
passing chord bet
part of D+). Similar
of m. 8 support
functions as a pas
the arrival of the
part of the Dt do
arrival on Dt+, w
Dt+. This arrival o
chromatic line in t
Iigeti's Arc-en-del 69
Example 24. Simplified version of
note of m. 8 and ends on E^ (as pa

m.9.
mm. 12-14
A more complex passage occurs in mm. 12-14, given in

Example 25, where chords that do not correspond to the harmonic
structures of Example 3 are labeled according to standard jazz
notation. We can readily observe some familiar motions from
elsewhere in the Etude: cycles of ascending fifths, or double-
Rotations, G+ -* D+ -* A+, several ascending minor-third
progressions, and a chain of Tio-cycles in m. 14,
(E+-*G+) - *ifl-*(D+-»F+). However, there are deeper
connections with the simpler harmonic progressions we have
already discussed that are obscured by these standard chord
symbols. For example, the first chord of m. 13 can also be viewed
as a poly-chord with C*4 in the right hand over Et7 in the left. The
close spacing in the right hand combined with the registral
separation of the two hands encourages this hearing, as does the
fact that the Fl contained within a close-spaced C major triad is
much easier to hear as 14 of C than 19 of Ek Compare the actual
registral distribution of pitches in the music with the more evenly
spaced arrangement in Example 26a, where the pitches are more
70 Integral
Ijgeti ETUDES FOR PIANO,

Used by permission of Europ
Schott Music.
Iigeti's Arc-en-del 7 1
Example 26. a) EP < h *9 » *») as a fused

as a compression of a minor-third
Example 27. Version ofm. 13 with
72 Integral
likely to fuse into

E|,7(l»9 19 13) as ^
a compression of
It is fairly natura
the progression A
of m. 12); the Et
a+.
Taking a more holistic view of this chord and its p

within the larger progression, Example 27 gives a simplifie
of m. 13, one in which all of the chords are combinat
stacked fifths at the major or minor third. While Ex
certainly lacks the interest of the original, it is sufficiently
be considered a plausible underlying harmonic basi
chromatic alterations. Example 28 shows how this basis fit
the scheme of Slides and Rotations acting on extended
harmonies. For each chord, the two stacks of fifths are
the left and right slightly for visual clarity. An upward s
lowest pitch by a third from one chord to the next corres
a Rotation, while a semitonal shift of one stack of fifths co
to a Slide. Pitches in the Example not present in the m
given in gray as are Slides into these omitted pitches. T
progression from A+ to Et+ can be viewed as a Aoublt
(A+ -* E+) combined with a semitonal slide of both
fifths, a double- Slide or simply T.\ (E+ -> B+). (Since
are commutative, this can be rewritten as (iVR//, whi
shows the compression of two Slide-Rotations dis
connection with Example 26b.) While Iigeti avoids mot
as E+7 -* Et7, where an entire seventh chord descends by s
(see the discussion accompanying Example 9), the situation
which the first major seventh is embedded in the upper ex
of A+, is fundamentally different, since the root motion b
serves to disguise the uniform semitonal descent. A
analogous situation occurs in the motion from Bt+ to
end of m. 13.
With the beginning of m. 13 the number of active exte
increased to include the 15th and 17th, with the 15th (Eh) in
creating a high degree of harmonic tension. This t
gradually relaxed by progressively raising the root by third
a couple of Rotations without also raising the upper tones,
Iigeti's An-en-dtl 73
Example 28. Slides and Rotations
A+ (SIRt)2 ' JlRt M
G:
^^~ *Et|
C:^- -Q C; Q Q
Â: -- *A, Ab
F"
B^ ^Bb Bb Bb Bb
^G=
E^-^
Ctt
AH
producing a reduction in the number of extensions. In effect, the

upper extensions over Et become progressively lower extensions
over Gt and Bk Accompanying these Rotations are a single Slide,
providing access to Q>+ and Bk-, followed by a single inverse Slide
to Bl>+ that neutralizes the effect of the previous Slide. Reducing
out these contradicting Slides, we can understand the progression
B>+ -* Q>+ -* Bt- -* Bl»+ as an elaboration of the double-R0/*//0/r
from B+ to Bt+.
Example 29 plots the actual chord progression of mm. 12-13
in the same manner as the simplified version in Example 28.
Comparison of Examples 29 and 28 suggests that the chord
alterations in this passage may be viewed as arising from
anticipations and delays of Slides. For example, the altered chord
on Et results from DH moving to Dt "too early," skipping the
74 Integral
Example 29. Slide
Amaj7(||ll) <L Q
Eb7
G:"~~-
H' "
a^-q
~~~Â:~~~ -A-- ~~~Â:~
Ab / Ab Gtt
Ff F»
^^♦Db Db Db
B^ *Bb Bb Bb Bb
E>-- Eb
ctt
At]
expected Dl, while Ftl moves to Pi "too late," suspending through

the chord as HS>. The E\ in this altered chord, which can be
understood as either the 19 (or, less traditionally, W5) on Et+ or as
part of the upper component in the C+/Et poly-chord, never
resolves to the expected El>, instead suspending to become part of
the Monk seventh on G>+ and the 111 on both Bl>- and Bt+.
Finally, the At in BU- does not ascend to the expected Ah as part of
Bl>+, but is held in common forming a part of the altered dominant
chord on Bt that sets up a return to the relaxed recollection of the
opening on beat 3 of m. 13 with a simple major seventh chord. In
the motion from Btmi7 (9 '" 13) to Bt7 (*9 '»>, one might be tempted
to view Dt and C as rising in parallel motion to EM and Ct.
However, since Cls is held over as a common tone from Dts in the
previous chord, it seems more accurate to describe Dt as moving
obliquely into a true split-third, Dt/lX The remainder of the
ligeti's Arc-en-ciel 75
passage given in Example 25, fro

fairly straightforward chain of T
particular, the are two "Monk
occurring over G at the begi
occurring over F in the middle o
minor seventh over the root func
into the following harmony.
The goal in analyzing these tw
every moment of the 24-bar
transformations on a particular ty
but to demonstrate connectio
harmonic progressions and the s
opening. In so doing, we have to
aesthetic constraints that seem
compositional process. The com
with simple jazz harmonies natura
ofpossible harmonic patterns, an
some manner of consistency in
opening materials likely led t
patterns through much of the Etu
References
Balzano, Gerald. 1980. The Group-Theoretic Description of 12-Fold and

Microtonal Pitch Systems. Computer Music Journal 4: 66-84.
Bernard, Jonathan. 1994. Voice Leading as a Spatial Function in the Music of

Iigeti. Music Analysis 13: 227-253.
Bouliane, Denys. 1989. Les Six etudes pour piano de Gyorgy Iigeti ou Tart subtil
de creer en assumant les referents culturelles. Canadian university music
fw*w9:36-83.
Callender, Clifton and Nancy Rogers. 2006. Judgments of Distance between

Trichords. In Proceedings of the International Conference of Music Perception and
Cognition, M. Baroni, A. R. Addessi, R. Caterina, and M. Costa, 1686-

1691.
Clendinning, Jane. 1993. The Pattern-Meccanico Compositions of Gyorgy Iigeti.

Perspectives of New Music 31 :1 92-234.
76 Integral
Childs, Adrian. 1998

Transformational M
42.2: 181-193.
Cohn, Richard. 1991. Properties and Generability of Transpositionally Invariant

Sets. Journal of Music Theory 35: 1-32.
Cohn, Richard. 1996. Maximally Smooth Cycles, Hexatonic Systems, and the
Analysis of Late-Romantic Triadic Progressions. Music Analysis 15: 9-40.
Cohn, Richard. 1997. Neo-Riemannian Operations, Parsimonious Trichords, and
their Tonnet^ Representations, journal of Music Theory 41 : 1-66.
Cohn, Richard. 1998. Square Dances with Cubes, journal of Music Theory 42: 283-
296.
Cohn, Richard. 2000. Weitzmann's Regions, My Cycles, and Douthett's Dancing

Cubes. Music Theory Spectrum 22: 89-103.
Hauptmann, Moritz. 1853. Die Natur der Harmonik und der Mettik. Leipzig:
Breitkopf und Hartel.
Kinzler, Hartmuth. Gyorgy Iigeti: Decision and Automatism in Desordre, 1CT
£tude, Premier Iivre. Interface 20: 89-124.
Krumhansl, Carol. 1998. Perceived Triad Distance: Evidence Supporting the
Psychological Reality of Neo-Riemannian Operations, journal of Music
Theory 42: 265-281.
Kuzdorfer, James. 1996. Outrageous Clusters: Dissonant Semitonal Cells in the

Music of Thelonius Monk. Annual Review ofja^Studies 8: 181-201.
Lerdahl, Fred. 2001. Tonal Pitch Space. Oxford: Oxford University Press.
Lewin, David. 1982. A Formal Theory of Generalized Tonal Functions, journal of
Music Theory 26: 23-60.
Lewin, David. 1987. Generalised Musical Intervals and Transformations. New Haven:
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Morrison, Charles. 1985. Stepwise Continuity as a Structural Determinant in
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Compositions. Music Theory Spectrum 17: 242-267.
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Taylor, Stephen. 1994. The Lamento Motif:

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Interactions of the Lamento Motif and Jazz Harmonies

in Gyorgy Ligeti's Arc-en-ciel

Example 1 reproduces the first five measures of Arc~en-ciely the

Ligeti ETUDES FOR PIAN

Example 2. "Lead sheet" of mm. U5.

The second is the influence of j

3 See Iigeti 1996.

5 For analyses of the first and sixth Etu

of the Etudes, thi

We begin by looking at the initial harmonic progression, C+7

Iigeti does not limit his harmonic language in this Etude to

7 On the psychological relevance of displacement size and number of moving

Example 3. Combinations of stacke

above to a wider range of harmoni

These tall chords arise from the transpo

whereas the minor

Example 4. Slide and Rotation tran

Example 5. (a) Tonnet% of stacked-fi

EH- G+ Bb+ CB+ E+ ^

C-f Eb+ Gb+ A+ C+ yr

For an historical overview of various Tonnetz and their contemporary use in

See Cohn 1997 for a thorough investigation of cycles based on combinations of

Example 6. Cycles of alternating

Changing the sign

Example 7 reproduces the "lead sheet"' of the first five

14 In addition to the "standard" neo Riemannian operations of P, L, and R, the

15 The foregoing obviously draws on much recent and not-so-recent work in

their embedded seventh chords.1

17 This staggered semitonal descent is an example of ligeti's more general

half step to becom

Example 10. Lame

{E,GKA,»,a,E*} - {EMÂÂE*} - {B.C^ÂE*} and so on. For

the bottom cycle contain 2 mod

Example 1 1. SIRt cycles linked

18 The spatial arrangement of chords (

Example 12 demonstrates the t

Example 14. Alterna

are highlighted on the surface, while others are slightly obscured

There is a strong similarity between the technique used in the

19 See Taylor 1994 and 1997.

21 This is due to the symmetrical structure of the diminished seventh chord in

Example 16. Pitch space transpositions of th

Example 17. Pitch-class laments in Chopi

legs are sequenced

mm. 16-17 and 19-20

Example 18. Ugeti, Arc-en-ciel

Ligeti ETUDES FOR PIANO, BOOK 1 © 1986 Schott

Example 19. Tw cycles and implicit laments in mm. 16-17

Example 20. Lige

Ligeti ETUDES FOR PIANO

Example 21. T3 cycles and implicit laments in mm. 19-20.

through octave displacements, th

The first analysis section focused on those passages in which

Continuing from the opening five bars discussed above,

23 See Kuzdorfer 1996.

Ligeti ETUDES FOR PIAN

ill-formed. Without a clearly proj

Example 23. Measures 6-8 on the collapsed Tonne tz.

There are a few

Example 24. Simplified version of

{E,GKA,»,a,E} - {EMÂÂE} - {B.C^ÂE*} and so on. For

Example 26. a) EP < h 9 » ») as a fused