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This is to certify that the
dissertation entitled

An Analytical Approach to Leslie Bassett‘s
Music For Saxophone and Piano

 

presented by

Griffin Merrill Campbell

has been accepted towards fulﬁllment
of the requirements for

PhD degreein Music Performance, Theory,
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MSU to An Afﬁrmative Action/Emmi Opportunity Intuition
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AN ANALYTICAL APPROACH TO LESLIE BASSETT'S MIISIQEQB
W

By
Grifﬁn Merrill Campbell

A DISSERTATION

Submitted to
Michigan State University
in partial fulﬁllment of the requirements
for the degree of

DOCTOR OF PHILOSOPHY

School of Music

1995

ABSTRACT

AN ANALYTICAL APPROACH TO LESLIE BASSETT'S
MUSIC FOR SAXOPHONE AND PIANO

By
Grifﬁn Merrill Campbell

Analysis of tonal structure in paratonal music (i.e., music which
is not tonal in a traditional sense) is often problematic. It can be difﬁcult
to determine the structural signiﬁcance of tones in the analysis of such
music. Leslie Bassett's Music for Saxophone and Piano (hereafter
referred to as Music) is a composition which presents such analytical
problems.

Although Bassett has stated that tonal designs exist in his music,
it is not immediately apparent how an analyst should attempt to uncover
those designs. In this study the author establishes simple guidelines
whereby analytical signiﬁcance can be attached to speciﬁc pitches in
Music and attempts to show how these signiﬁcant pitches are
interconnected.

The author ﬁnds that the pitches emphasized in Music are
connected in tonal fashions. Emphasized pitches form half steps (which
can be construed as leading tones), neighboring tones, and ﬁfth
relations. These ﬁnally form long-term step progressions and ﬁfth
relations. The author speculates that other composers of tonally oriented
music may be using similar procedures to establish structural tones in
their compositions. The author also cautions against using this

approach in the analysis of strictly atonal music.

ACKNOWLEDGMENTS

Thanks are due to James and Annette West of G&M Publishing,
Baton Rouge, Louisiana, for their help and patience. Thanks also to my
committee, Doctors Bonge, Johnson, Bartlett, LeBlanc, and most
especially Dr. Charles Ruggiero. Thanks and admiration go to my
teacher Professor James Forger, an inspiration to saxophonists and
performers everywhere.

Excerpts from Leslie Bassett's W are
reprinted with the kind permission of the copyright holder, C. F. Peters

Corporation.

Music for Saxophone and Piano

Leslie Bassett

Edition Peters 66268

Copyright © 1969 by C. F. Peters Corporation

373 Park Avenue South, New York, N. Y. 10016
International Copyright Secured. All Rights Reserved.

TABLE OF CONTENTS

LIST OF FIGURES
INTRODUCTION
mm 1

MIISIQ 2

MUSIC 3

MUSIC 4
CONCLUSIONS
BIBLIOGRAPHY

iv

8983912382“"‘<

LIST OF FIGURES

Figure 1: Measures 1-5, showing repetition and reemphasis of pitches.
Copyright © 1969 by C. F. Peters Corporation.

Figure 2: Measures 6-7. Copyright © 1969 by C. F. Peters Corporation.
Figure 3: Graph of piece to measure 8.

Figure-4: Measures 8-10. Copyright © 1969 by C. F. Peters Corporation.
Figure 5: Graph of A section.

Figure 6: Bass reduction through measure 12.

Figure 7: Measures 16-22. Copyright © 1969 by C. F. Peters Corporation.
Figure 8: Reduction of B", measures 12-22.

Figure 9: Measures 23-26. Copyright © 1969 by C. F. Peters
Corporation.

Figure 10: Measures 26-27 . Copyright © 1969 by C. F. Peters
Corporation.

Figure 11: Measures 28-31. Copyright © 1969 by C. F. Peters
Corporation.

Figure 12: Measures 32-33. Copyright © 1969 by C. F. Peters
Corporation.

Figure 13: Measures 34-36. Copyright © 1969 by C. F. Peters
Corporation.

Figure 14: Events from measures 37-39.
Figure 15: Piano trichord sounding in measures 41-46.

Figure 16: Measure 47. Copyright © 1969 by C. F. Peters Corporation.

Figure 17: Reduction showing emphasis on anchor tones in Music 1.
Figure 18: Measures 1-4. Copyright © 1969 by C. F. Peters Corporation.

Figure 19: Measures 5-8 saxophone, tones of C major shown in
reduction below. Copyright © 1969 by C. F. Peters Corporation.

Figure 20: Pitches of piano hexachords and pentachord in measures 6-7.

Figure 21: Measure 7, beat 4-measure 8, beat 2. Copyright © 1969 by C. F.
Peters Corporation.

Figure .22: Measures 8-10 (downbeat). Copyright © 1969 by C. F. Peters
Corporation.

Figure 23: Measure 10, saxophone only. Emphasized pitches are
graphed in lower stave.

Figure 24: First half measure 11, piano only

Figure 25: Last half measure 11-beat 1 measure 13. Copyright © 1969 by
C. F. Peters Corporation.

Figure 26: Measure 13-17, saxophone with reduction showing motion to

Figure 27: Reduction of measures 13-15, piano.

Figure 28: Measures 16- 18 piano. Copyright © 1969 by C. F. Peters
Corporation. '

Figure 29: Measures 18-19. Top stave shows sax0phone ossia. Copyright
© 1969 by C. F. Peters Corporation.

Figure 30: Measures 20-21. Upper saxophone pitches are ossia.
Copyright © 1969 by C. F. Peters Corporation.

Figure 31: Measures 21-24. Upper saxophone pitches are ossia.
Copyright © 1969 by C. F. Peters Corporation.

Figure 32: Bass reduction, Music 2.

Figure 33: A: Measures 24-27, saxophone only. Upper pitch is ossia. B:
Measures 2-4, saxophone only. Lower pitch is ossia.

Figure 34: Measures 28-31, piano only. Copyright © 1969 by C. F. Peters
Corporation.

vi

Figure 35: Measure 32-36. Copyright © 1969 by C. F. Peters Corporation.
Figure 36: 1-7 seconds. Copyright © 1969 by C. F. Peters Corporation.
Figure 37: 10-19 seconds. Copyright © 1969 by C. F. Peters Corporation.
Figure 38: 21 seconds. Copyright © 1969 by C. F. Peters Corporation
Figure 39: 24-28 seconds. Copyright © 1969 by C. F. Peters Corporation.

Figure 40: Pitches and order of presentation of piano materials, 29-35
seconds.

Figure '41: 38-43 seconds. Copyright © 1969 by C. F. Peters Corporation.

Figure 42: Comparison of initial chord (A) with 44th second (B).
C shows pitch content of both hexachords.

Figure 43: 72-79 seconds. Copyright © 1969 by C. F. Peters
Corporation.

Figure 44: 50-57 seconds. Copyright © 1969 by C. F. Peters Corporation.

Figure 45: 63-72 seconds. Upper saxophone pitches are ossia. Copyright
© 1969 by C. F. Peters Corporation.

Figure 46: 87-99 seconds. Upper saxophone pitches are ossia. Copyright
© 1969 by C. F. Peters Corporation.

Figure 47: Voice leading, piano right hand and saxophone, 99-103.

Figure 48: 104-115 seconds, piano. Copyright © 1969 by C. F. Peters
Corporation.

Figure 49: 117-124 seconds, piano. Copyright © 1969 by C. F. Peters
Corporation.

Figure 50: Pitches from saxophone, remainder of Music 3 106-141
seconds.

Figure 51: A: Piano events culminating in ﬁnal hexachord of Music 3.
B: Pitches sounding at end of Music 3.

Figure 52: Measures 1-2. Copyright © 1969 by C. F. Peters Corporation.
Figure 53: Chords of measures 610.

Figure 54: Measure 10, sax0phone ossia and prima. Upper pitches are
ossm.

vii

Figure 55: Measures 11-15. Upper saxophone pitches are ossia.
Copyright © 1969 by C. F. Peters Corporation.

Figure 56: Measures 16-22. Upper saxophone pitch is ossia. Copyright
© 1969 by C. F. Peters Corporation.

Figure 57: Measures 23-27. Copyright © 1969 by C. F. Peters
Corporation.

Figure 58: Measures 28-31, piano upper stave only.

Figure 59: Measures 32-40. Copyright © 1969 by C. F. Peters
Corporation.

Figure 60: Measures 46-51, saxophone line.
Figure 61: Reduction of measures 32-43, saxophone.

Figure 62: Measures 41-48, piano. Copyright © 1969 by C. F. Peters
Corporation.

Figure 63: Measures 54-59. Copyright © 1969 by C. F. Peters
Corporation.

Figure 64: Measures 60-66, beat 2. Upper saxOphone pitches are ossia.
Copyright © 1969 by C. F. Peters Corporation.

Figure 65: Chords from measures 67, 70, and 73.

Figure 66: Measures 75-85. Copyright © 1969 by C. F. Peters
Corporation.

Figure 67: Measures 86-93. Copyright © 1969 by C. F. Peters
Corporation.

Figure 68: Events of measures 96 (A), 98-99 (B), and 99-100 (C).
Figure 69: Measure 4.

Figure 70: Reduction graph, measures 1-105, showing emphasis on
anchor tones and upper-voice motion from A to G. Compare to Figure 3.

Figure 71: Measures 101-105, piano. Copyright © 1969 by C. F. Peters
Corporation. Compare to Figure 65.

Figure 72: Reduction of cadenza through "violent." Lower line shows
lower pitch of each ascending gesture.

viii

Figure 73: Reduction, second section of cadenza. Upper and lower lines
show extremes of gestures.

Figure 74: Cadenza, "violent" to double bar. Copyright © 1969 by C. F.
Peters Corporation.

Figure 75: Measures 107-113. Copyright © 1969 by C. F. Peters
Corporation.

Figure 76: Measures 114-115. Copyright © 1969 by C. F. Peters
Corporation. Compare to Figure 1.

Figure_77: Measures 116-118, piano. Copyright © 1969 by C. F. Peters
Corporation.

Figure 78: Measures 124-125 saxophone.

Figure 79: Measure 130-132. Copyright © 1969 by C. F. Peters
Corporation.

Figure 80: K relations for hexachords found in Music with 3-2, 3-3, and
4-3.

ix

INTRODUCTION

Leslie Bassett was born on January 22, 1923, in Hanford,
California. He played both piano and trombone, performing on the latter
in jazz bands and throughout his military service. Bassett received a
Bachelor of Arts degree from Fresno State College in 1947 and master’s
(1949) and doctoral (1956) degrees in music from the University of
Michigan. There he studied composition with Ross Lee Finney; other of
his composition teachers included Arthur Honegger and Nadia
Boulanger. Bassett became a member of the faculty at the University of
Michigan in 1952 and was appointed to a professorship in 1965. His
awards include the American Prix de Rome (1961-1963), the National
Institute of Arts and Letters Award (1964), the Pulitzer Prize (1966), and
Guggenheim Fellowships (1973-1974 and 1980-1981).1

Leslie Bassett's W2 is at the core of
the saxophone repertoire. This work (hereafter referred to as Music) is
the earlier of Bassett's two saxophone and piano pieces and has been
recorded no fewer than ﬁve times.3 Despite the importance of Mnsig to

performers, no analysis of the work has been published.

 

1 All biographical information taken from Wigs]
W, 7th edition, 8. v. “Bassett, Leslie.”

2 Leslie Bassett, MusicfQLSaxnnlmnuniEim (New York: C.F. Peters
Corporation, 1969).

3 Recorded by saxophonists Philip DeLibero W Dorn Records,

D136), Trent Kynaston (Eanfaxsssndﬂelshnangns, WMU School of

Music Records, SMR1983-1), Donald Sinta W
New World Records NW209), Dale Underwood Wins

1

2

The analysis of music written since 1945 is often problematic,
making the performance of this music doubly difﬁcult. When a piece is
tonal in orientation, yet does not conform to traditional tonal schemes, it
is difﬁcult to determine which tones are structural important and which
have subsidiary functions. Leslie Bassett's Music is such a piece.
Bassett has stated that "there is always either a pitch or a chord which is
meant as an anchor for the piece. This anchor recurs throughout the
composition.“ In addition, Bassett has said of his Variations for
Orchestra (completed in 1965, at about the same time as Music) that
"there is an unobtrusive tonal organization, non-functional in the usual
sense, yet meant to increase the signiﬁcance of two or three pitches."5
Occasionally, this "signiﬁcance" of pitches increases in Bassett's Music
and approaches functional tonality. Eric Salzman has written that "the
work ends with the distinct effect of C major."6

Although Music has a tonal design of some sort, it is not
immediately apparent how that design may be determined. Certain
guidelines for analysis must be established so that structurally

important tones, the "anchors" of the piece, can be discerned. The

 

II, Golden Crest RE7067), and Joseph Whytco Musician
Saxcuhcnc, Brewster Records, BR1295).

4 Leslie B. Kelly, "The Choral Music of Leslie Bassett," Ihcﬂhcml
Journal (December 1978): 16-17.

5 John Briggs, quoting Leslie Bassett, “Notes on the Program,”
EmanuneLEhiladelnhiaﬂmhem (season 1965-1966 October 22 23):
18.

3 Eric Salzman, liner notes for NM New World
Records NW209: 3.

3

following statement from Leonard Meyer's W519 puts this
quite succinctly:

What is needed is a set of rules, however informal, for
distinguishing structural from ornamental tones in an objective
and consistent way. Every critic who wants to illuminate the
larger structure of a composition--the relationship and interaction

among foreground, middleground, and background--must face
this problem.7

With this in mind, and with the ultimate goal of revealing the
anchoring structural tones of Music, a set of guidelines for analysis is
given below. Using these guidelines, the analyst may assign
signiﬁcance to one pitch or group of pitches over the others. The analyst
may also determine possible functions for tones assigned less
importance.

Emphasis placed on tones through Bassett's use of fundamental
compositional procedures will be used to determine the stuctural
signiﬁcance of pitches in Music. One such device which Bassett uses is
repetition of pitches. This often involves pitches articulated at the same
time in different voices. Doubling of this sort may occur at the unison or
at any octave level. Repetition of pitch classes within a single line in
different registers also occurs with some regularity in Music. The
lengthy sustention of pitches and their rearticulation are other
techniques which the composer employs in this composition.

In addition to emphasis on certain pitches through doubling,
repetition, length, and rearticulation, registral placement brings certain

pitches to the fore in Music. These pitches are either extremely high or

 

7 Leonard B. Meyer, W (Chicago: The University of
Chicago Press, Phoenix edition, 1978): 63-64.

4

quite low in relation to the pitches immediately surrounding them and
the range of the instrument involved.

In Music's melodic passages, pitches are sometimes made
important through the application of changes in articulation patterns.
The emphasized pitch might be one which is tongued in the midst of an
otherwise legato passage in the saxophone. Changes of direction in
melodic lines also cause pitches to be emphasized in Music. Finally,
imitation in certain passages of Music leads to an emphasis on the
initial pitches of ﬁgures.

The return of speciﬁc chords or even aurally similar vertical
structures is another way Bassett reinforces tones in Music.8
Frequently, the outer pitches of Bassett's chords are emphasized because
the listener's attention is naturally drawn to them, much in the way that
in ﬁgured bass compositions one's ear is drawn to the activity of outer
voices.

A detailed analysis using theories of set relations would surely
reveal a meaningful structural picture of the piece. Though sets and
their relationships are discussed in this dissertation, these relationships
remain secondary to the primary goal of discovering aspects of voice

leading throughout the piece.

 

3 The reader will encounter in this study some use of set-theory
terminology in the description of vertical and horizontal structures in
Music. A working knowledge of this theory is assumed. The reader is
referred to IheStmctumﬁAtmaLMusic by Allen Forte for descriptions
of the theory itself and the sets presented in the body of this dissertation.
It should be immediately apparent that the pc sets used by Bassett in
Music are highly interrelated through subset connections.

5

With a knowledge of these fundamental compositional procedures
the analyst can select primary pitches and begin to produce a structural
picture of Music. In Bassett's Music, relationships among tones are
essentially long-term linear ones, typically step progressions. These
relationships among tones are shown in the analysis which follows
using graphs which are similar in appearance to graphs used in
Schenckerian analysis of tonal music. These graphs should not be
construed as showing speciﬁc tonal relationships; rather, these show the
distribution of emphasized tones in Music. In these graphs, pitches
which have been designated as “anchor tones” are presented with open
note heads. Connecting tones are shown with the note head ﬁlled.
Beams are used to show direct linear connections or ﬁfth relations.
Pitches not connected through the use of beams are generally neighbors
to other tones which are emphasized around them. Slurs are used to
emphasize the connection of two pitches. Dotted lines are used
occasionally in place of beams and slurs. Likewise, arrowheads are
used from time to time on the ends of beams rather than constructing
beams in their entirety. Both of these devices are used soley for the sake
of visual clarity and should not be read as denoting lesser or greater
importance for the pitches to which they are attached.

A subsidiary goal of this study is to determine a rationale for
Bassett's choice of pitches for saxophone ossia in Music. These ossia are
substitute pitches given for altissimo (extreme upper register) notes and
for other passages which are difﬁcult for the saxophonist to produce.
Unlike many other composers, who typically choose to give an octave
transposition in ossia, Bassett frequently presents other melodies

entirely in his Music ossia. The present study shows that Bassett's ossia

6

retain important aspects of voice leading and melodic shape of the prima
passages rather than simply duplicate them at the octave.

The perspective taken in this paper is that of the
performer/theorist. Discovering linear constructs in non-tonal music is
central to determining many aspects of the performance of that music.
A major reason for taking the approach of linear connection in non-tonal
music is the performance and teaching of James Forger, professor of
saxophone at Michigan State University. In his approach to non-tonal
music, Forger seeks to present melodic lines across long time periods,
assigning certain pitches primary importance while relegating others to
subservient roles. This process seems to be in large part intuitive, but
composers of non-tonal music who hear his performances are consistent
in their praise for his interpretation. This study is an attempt to select
primary tones in a logical and consistent manner and to use this
selection process in determining musical structure. This should lead to
more cogent performances Bassett’s Music and suggests the possibility
that this approach could be helpful in the performance and analysis of

works by other composers of nontonal music.

m1

MusicfoLSamnhonundﬂano is a brief work in four movements

each of which is titled with a tempo indication. The score is written with
the saxophone part untransposed. The ﬁrst movement, "Fast [quarter
note] = at least 112," employs a ternary form diagrammed as follows: A:
1-12, B: 13-27, transition: 27-30, A1: 30-38, coda: 39-47. The A section is
broken into three subsections (A': 1-5, A": 6-7, and A'": 8- 12) through the
use of rests. The ﬁrst subsection establishes A and C through the
registration of both pitches and the reinforcement of A at the double
octave (see Figure 1). A and C, along with G which is established soon
after, serve as "anchors" throughout the movement. Other emphasized
pitches relate to these.

The anchors A, C, and G are emphasized in various ways in this
opening section. The stopped-string major second on B3 and C#4 which
opens the movement forms a double appoggiatura to C2. D, which is a
ﬁfth above the anchor G, is the only pitch shared by the ascending thirty-
second notes of the saxophone and piano. The ﬁnal pitch of the piano
ascent is E5, a ﬁfth relation with A. This begins a series of ﬁfth relations
around the anchor tones of the movement. It is possible to hear these as
dominant/tonic relationships.

In the saxophone line of measures 3-5, changes of direction and
rests articulate G5, Ab5, C5, G4, B3, G3, and the ﬁnal pitch of the line, D3
(see Figure 1). Two of the anchor tones for this movement, C and G, are
emphasized in measures 3-4 through repetition. In measure 5, D3 in the
saxophone serves as a dominant to G2 in measure 6 (see Figure 2).

F#2/Gb3 in the piano help reinforce this function for D3.

Fast J: at least 112

 

(actual

 

Figure 1: Measures 1-5, showing repetition and reemphasis of pitches.
Copyright © 1969 by C. F. Peters Corporation.

  

 

Figure 2: Measures 6-7. Copyright © 1969 by C. F. Peters Corporation.

 

 

lEE

was; 43.12:

 

Figure 3: Graph of piece to measure 8.

10

Measures 6-7 form the short second subsection (see Figure 2). G2
and B1 are sounded at the opening of measure 6. G and B are
emphasized through repetition in both measures 6 and 7. The dominant
nature of the G/B third becomes apparent in measure 7 on beat three
with a resolution to C in the upper piano stave, a resolution which is
obscured by the insertion of F#4. F#4, however, serves as a leading tone
to G7 in measure 8 (see Figure 3). G5 is also emphasized as the last pitch
of the saxophone line in measure 7, recalling the saxophone's ascent to
G5 in measure 3.

The third subunit of the A section begins with a piano tetrachord
consisting of two dyads set in the extreme registers of the piano (see
Figure 4). The upper dyad of the chord consists of the same two pitch
classes which end measure 7, Eb and G, transposed up two octaves. The
registration of the G7 is such that it can be heard as involving stepwise
motion from the measure-2 occurrence of A7. This step progression
from A to G is important throughout the piece. The lower dyad
continues a descending stepwise motion begun in measure 2, C2-B1-Bb0
(see Figure 3). This is the beginning of a bass progression which extends
throughout the work.

The F#3-A3 tremolo in the saxophone in measure 8 leads to a
doubled A5 in measure 10 (see Figure 4). G in measure 8, therefore,
serves as a neighbor to A. This is accomplished by chromatic passing
motion from G through Git/Ab in several registers. Bb4 and G#3, the
outer pitches of the repeated piano hexachord of measure 9, lead to A as
well (see Figure 4). C2 is struck in measure 10 and returns the bass

progression to C2 (see Figure 5, graph of A section).

11

 

 

Figure 4: Measures 8-10. Copyright © 1969 by C. F. Peters Corporation.

12

 

 

”F f
4.53, @ZF

 

 

ﬁ'ﬂl
t;

Figure 5: Graph of A section.

 

Figure 6: Bass reduction through measure 12.

13

The B section of the movement opens in measure 12. A0, the
lowest available note on the piano, is the arrival tone for the descending
chromatic motion of the bass progression (see Figure 6). Direct
reinforcement of pitch is less a factor in the B section of Music 1 than in
the A section. Pitches are instead emphasized through duration,
repetition, and registration. Bassett continues the subdivision of sections
with rests. The B section is subdivided as follows: B' 13-16, B" 16-22, B'"
22-27. The section is characterized by relatively long note values and
melodies utilizing wide leaps, in contrast with the conjunct style of the A
section. The ﬁrst of these melodies, found in the saxophone, consists of
three pitches (C4-Bb4-Db5) and extends over nearly three measures.

Measure 16 begins B" (see Figure 7), the goal of which is the
anchor G, achieved in measure 19 and again in measure 22. Reduction
shows that the motion to G is accomplished through step progression up
from E (see Figure 8). This reflects the sixteenth-note motion to G5 found
in measure 7 (see Figure 2). Fifth and half-step relations to the anchors
A, C, and G are prevalent.

The piano's eighth notes in measures 16-17 begin with an
ascending fourth from C#7-F#7. F0 is repeated over the course of the
descending eighth notes in measure 17 and is picked up by the
saxophone in measure 18 to serve as the leading tone to G5. The ﬁnal
pitch of the piano's line of eighth notes (measure 18) is G#5, immediately
reinforced at the octave by Ab6. G415 resolves upward to A5, the lowest
pitch of the piano‘s right-hand trichord of measure 18. G#5 also is a ﬁfth
relation with 0114 (beat two, measure 18) which serves as a leading tone
to D3 in measures 19-22. D3 in turn stands in a ﬁfth relation with the
goal pitch G5. F#3 returns in measure 19 as well, placed a third above

14

 

 

 

/

 

\_4

14A-——_-__-- ___..__-__- ----_ "“1""""

 

Figure 7: Measures 16-22. Copyright © 1969 by C. F. Peters Corporation.

 

 

 

 

 

 

Figure 8: Reduction of B", measures 12-22.

and emphasizing the dominant function of D3. F#6 reappears in
measure 21, transferring the tone up three octaves to the same register
as that at the end of measure 17 and leading toward the return of G5 in
measure 22.

The sax0phone in measure 21 presents a melodic statement which
ends on G5, the same peak as achieved in measure 19. F#4 and G#3
appear in the saxophone melody and can be considered neighbors to G.
F# and G# are an octave lower here than their occurrences in measures
18 and 19.

A septuplet run in the saxophone reminiscent of the opening
motives of the movement begins the B'" area and culminates 011 D5 (see
Figure 7). This pitch is related by ﬁfth to G5. D5 is extended through the
next measures, as the piano performs a series of tremolos having
various lengths. These tremolos (see Figure 9), taken with the pedal Dbl
and the saxophone D5, form a twelve-tone aggregate without repetition

(2,1,0,4,10,6,7,3,5,11,9,8). The pedal Dbl serves as a neighbor to the D's

16

around it. C7 and B6, the ﬁrst and last pitches of the tremolos of

measures 23-24, foreshadow the saxophone descent D5-C5-B4 in

measures 25-26 (see Figure 9).

    

giv V—U—V

Figure 9: Measures 23-26. Copyright © 1969 by C. F. Peters
Corporation.

In measures 25-26 the saxophone line descends to B4, a pitch
emphasized in measures 19-21. The saxophone line continues into
measure 27 by leading to F#4, a fourth below B4. The piano tremolos of
measures 26 and 27 form two distinct sonorities, producing a sense of
resolution with C#6 rising to D#6 and Bb6 falling to G#6 (see Figure 10).

Although the recapitulation of A begins in measure 28, the ﬁrst
sign of the breakdown of the B section comes with the piano sixteenths in
measure 27 (see Figure 10). These are the ﬁrst events presented in quick
succession in either instrument since the close of the A section.
Furthermore, the second of these piano sounds is a chromatic tone

cluster, the most compact sound available on the keyboard. This is the

17

 

Figure 10: Measures 26-27. Copyright © 1969 by C. F. Peters
Corporation.

ﬁrst such sonority of the piece.

In measure 28, recapitulatory materials are heard in the
saxophone (see Figure 11). C#, extended through measures 28-31, serves
as a lower neighbor to D. D appears in measures 28 and 30 as D5 and as
D4 in measure 31. D6 is sustained above C# in the piano septachord in
measure 29 and appears in the piano trichord in measure 30.

The piano chords of these measures are dissonant groupings,
occasionally blocked clusters of pitches (see Figure 10, measure 27 and
Figure 11, measure 30). For purposes of this study, these clusters will be
considered coloristic devices. The highest and lowest pitches of the
notated chords, however, are of some import. B4, the lowest pitch of the
simultaneous tetrachord in measure 27, extends the pitch left by the
saxophone at the beginning of measure 27 (see Figure 10). This
anticipates the return of B4 in the saxophone in measures 28-29 (see

Figure 11). G5, the highest pitch of the tetrachord, serves as a

18

 

Figure 11: Measures 28-31. Copyright © 1969 by C. F. Peters
Corporation.

19

continuation of the sax0phone G5 in measure 22. G117 and F#5 in
measure 28 are upper and lower neighbors to the upcoming G5.
Similarly, D7 in measure 28 and D6 in measures 29 and 30 stand in ﬁfth
relations to G5 (see Figure 11).

In measure 30, the piano anticipates the return of the opening
motive of the piece (see Figure 11). F#4, which is trilled to G4, is now the
terminus of the gesture. F# serves as a lower neighbor to G which has
been expanded from measures 19-31 (see Figure 17 for a reduction
graph).

The recapitulation is completed in measures 31-38. The initial
saxophone motive of the movement, rather than being presented in the
original imitative style, is now doubled in the piano at a consistently
lower pitch than that of the saxophone (see Figure 11). The motive is
presented in augmentation as well with the time values of both the
arpeggio and the sustained saxophone note doubled. As in the original
account, the arrival pitch of the event (G5 rather than the original A5) is
doubled in the piano, this time at the unison rather than the double
octave. The saxophone introduces a trill on this arrival pitch, as does the
piano in its return of the motive back in measure 30 (see Figure 11).

The saxophone trill and the sustained major third in the piano are
underscored by several different chordal structures (see Figure 12). The
ﬁrst structure encountered here (3-4) is taken, along with the major
third in the right hand, by the sostenuto pedal. This allows the sonority
formed by these ﬁve pitches (5-28) to ring through the following three
measures while other sonorities are struck.

The lowest pitch of 5-28 [1,4,7 ,9,10] is Al, continuing the expansion
of A begun in measure 12 (see reduction graph, Figure 17). The

20

    

 

 

3:55;: j

Figure 12: Measures 32-33. Copyright © 1969 by C. F. Peters
Corporation.

lower-stave trichord (3-3) in measure 32 also includes Db2 as its highest
pitch, transferring up an octave Dbl from measures 23-26 (see Figure
12). The trichords and tetrachords which follow all have speciﬁc
relationships to 5-28 and 3-3. The ﬁrst of these trichords (3-2 [6,8,9] is a
subset of 5-28 and reiterates A from 3-3. The second, 3-3 [0,1,4] ([9,10,1]
t=3), reinforces Db5. The third structure, 4- 10 [2,4,5,7] (a superset of 3-2),
involves the sounding G. The fourth simultaneity is yet another
presentation of 3-3 [8,11,0] ([9,10,1]It=11). This structure is the only one of
the four not to repeat a pitch class from the sounding chord. It does,
however, repeat C5 from the second event, 3-3 [0,1,4]. This anticipates
the return and extension of C in measures 39-47.

The last three chords encountered here are presented as a legato
quarter-note triplet (see Figure 12). These three structures (4-19
[10,11,2,6], 4-18 [9,10,1,4], and 3-3 [1,2,5]) are related to the ﬁrst three by
melodic shape, through reinforcement of pitch classes from the
underlying trichord, and through interval structure. The ﬁrst, 4-19
[10,11,2,6], reiterates Bb and is a superset of 3-3. The second, 4-18

21

[9,10,1,4], contains 3-3 [9,10,l] as an invariant subset. The last of these
structures is another iteration of 3-3 ([9,10,1] t=1) and enharmonically
reinforces Db.

Measures 34-36 return measures 3-5 (see Figure 13). The
saxophone melody, a descending scalar ﬁgure broken by turns, is
remarkably similar to earlier materials (see Figure 2). The highest pitch
of the saxophone passage in measures 34-36 is the same as that found in
measures 3-5, Ab5. The ﬁnal pitches are likewise the same, D3. The
initial descending group in measure 35 uses the same pitches as the
opening group of measure 3 (G-F#-E-D#). The descending fragment
from F to Bb in measure 3, beats 3 and 4, is replicated twice in measures
35 and 36. Similarly, the sustained piano elements in measures 34-36
are reminiscent of the sustained tritone underlying the earlier area.
Pitches for the piano tremolo reﬂect the approach to, and trill on, G5 in
the saxophone.

The ﬁnal pitch of the saxophone run, D3, is picked up at the
unison in the piano and sounds alone for four beats in measures 36 and
37. The initial A (measure 2) of Music 1 stands in a ﬁfth relation with
the present D. This relationship is underscored by three events which
sound in succession above D3 (see Figure 14). These events recall the
opening of the movement and lead to the coda.

The ﬁrst event (measure 37) is the stopped-string second BBIC#4
from the opening measure of the piece. The next (measure 38) is again 3-
3 [6,9,10] sharing pc’s 9 and 10 with the occurrence of this set in measure
32. The highest pitch of the measure 38 appearance of the set is A6,

returning A over the stopped second in a rhythmic placement similar to

22

 

w/—-\ / \.

    

 

1-...-------------.---------..----------.>

 

6w. e. - o — scmrrc

 

 

Figure 13: Measures 34-36. Copyright © 1969 by C. F. Peters
Corporation.

23

 

I

Figure 14: Events from measures 37-39.

that of A7 in measure 2. Bb5 and F#6, the other members 3-3 in measure
38, are taken from the saxophone ascent to A in measure 1 (see Figure 1).

C5 is the last sound introduced above D3 (measure 39), beginning
the coda a ﬁfth below the G5 emphasized in measures 31-35. This
transfers CZ in measure 2 up three octaves (see Figure 1). C5 is
rearticulated and sustained through the last measure of the movement.
The piano enters in measure 41 with another presentation of 3-3, new at
the pitch level [3,4,7] (see Figure 15). The highest pitch of the trichord is
G7, returning that pitch from measure 8. The lowest pitch is Ebl, a ﬁfth
below the lowest pitch of 3-3 in measure 38 (see Figure 14). Ebl serves as
an upper neighbor to the D's which surround it in measures 36-40 and
measure 47.

At the conclusion of the movement the saxophone moves up to Eb5,
reemphasizing the previous Ebl of the bass (see Figure 16). The piano,
on the other hand, makes its move downward by tritone to A0, recalling
A1 from measure 32. A bass progression can be heard from this A1
through F2 in measure 34 and D3 in 36 to Ebl in measure 41 and ﬁnally

24

 

8A

Figure '15: Piano trichord sounding in measures 41-46.

    

/\_/

Figure 16: Measure 47. Copyright © 1969 by C. F. Peters Corporation.

 

 

 

 

 

Figure 17: Reduction showing emphasis on anchor tones in Music 1.

25

A0 at the end of the movement. A melodic connection can be drawn
through this same region in the saxophone, with G5 in measure 32
moving downward through measures 35 and 36 to C5 in measure 39 then
returning up to Eb5. Figure 17 shows a reduction graph displaying
emphasized anchor tones throughout Music 1.

The instruments conclude on a widely spaced harmonic tritone
(A0lEb5) reminiscent of the semicadence at the conclusion of many
Baroque slow movements. This rather unstable conclusion, rather than
the perhaps more obvious perfect ﬁfth, leads to the saxophone entrance

on E3 in the following movement.

111151122

Both of the interior movements of Music are sectional but through-
composed. The second movement, "Slow," is sectionalized by rests and
changes of texture into four parts: A: 1-8, B: 8-19, C: 20-28, and D: 28-38.
The pitches C and G are of greatest importance as anchor tones for this
movement. C# and G# also serve as focal pitches but are eventually
subordinated to the more important C/G ﬁfth.

This movement employs ossia passages for the saxophone. Ossia
throughout Music are rarely mere octave transpositions; rather they
retain elements of shape and internal intervallic structure from the
original materials at various transposition levels. In each instance save
one (third movement, 10 seconds after letter C), the ossia are more
difﬁcult to produce than the prima. In recorded performances of the
second movement, saxophonists have elected to perform the more
difﬁcult ossia. Bassett's probable rationale behind the writing of ossia
(the diﬁiculties inherent in producing notes at the. extremes of the
saxophone range) leads one to believe that his intentions are best served
through performance of the more difficult passages. In other words, the
more difﬁcult sections are the true prima, while the simpler passages
are the ossia.

The ﬁrst of these ossia comes in measure 1 (see Figure 18).

In this ossia, the saxophone reaches the bottom of its range with D3-C#3,
and at the notated dynamic level (pp) this can be quite difﬁcult to execute.
The prime takes the saxophone up to A3-G#3, a perfect ﬁfth higher and
somewhat easier to perform. Though the pitches of the lower line are

more diﬁicult, they seem to serve C, the anchor tone, best. The lower of

26

27

 

Figure 18: Measures 1-4. Copyright © 1969 by C. F. Peters Corporation.

28

the lines leads more effectively to C4 in measure 2, descending E3-D3-
C#3. The last note in either option (C#3 or G#3) anticipates pitches of the
piano sonorities in the following measures.

The piano in measures 1-8 follows a pattern of simultaneities
followed by more melodic material. This pattern is generated three
times while the saxophone continues its melody. The ﬁrst of these
patterns is shown in Figure 18. Here, 6-Zl7 in measure 3 has G#3 as its
lowest pitch. This G# stands in a ﬁfth relationship with C#2, the lowest
pitch of the saxophone line (see.Figure 18). The piano event in measure
4, 6-Z45, is based on C#2, a ﬁfth below G#3 of the previous hexachord.
F#5, the highest pitch of 6-Z12 in measure 3, moves up to the anchor G6
in measure 4.

The saxophone centers around a major triad on C in measures 5-7
(see Figure 19). The eighth-note quintuplet in the saxophone in measure
5 accelerates the music toward C5. This ﬁgure segments through
directional changes into two statements beginning on D4 and Db4
respectively, leading downward to C4. The presentation of C5 is an

octave displacement.

 

Figure 19: Measures 5-7 saxophone, tones of C major shown in
reduction below. Copyright © 1969 by C. F. Peters Corporation.

29

A second piano chord is inserted in measure 6 (see Figure 20).
Each of the pitches involved in the chord of measure 3 has been
transposed down by some increment to form the hexachord of measure 6.
The lowest sounding pitch of each of these piano events produces an
interesting pattern: G#3, C#2, and F#3 form a tonal grouping directed to
I the F#3 of measure 6. The saxophone in measure 6 presents a short
neighboring ﬁgure emphasizing C5 and leading to E5, the third of the
outlined C major triad (see Figure 19).

The second homorhythmic piano event follows, this time separated
through registration into a dyad and a tetrachord (see Figure 20B). The
lowest pitch of the combined group is G3, to which the previous F#3
serves as leading tone. Saxophone pitches in measure 7 lead to G5, the
ﬁfth of the outlined C major triad (see Figure 19). Hence, both the
saxophone and piano arrive on G through Fit in measure 7 with the
saxophone following the piano rhythmically.

The last of the piano chord in measures 3-7 has Bb3 as its bass
component (see Figure 20C). This Bb3 along with G#4 in the saxophone
form double neighbors to A. Bb3 moves to Al, the ﬁrst pitch of the piano

fut

:8:

 

Figure 20: Pitches of piano hexachords and pentachord in measures 6-7.

30

 

Figure 21: Measure 7, beat 4-measure 8, beat 2. Copyright © 1969 by C. F.
Peters Corporation.

materials which follow (see Figure 21). The saxophone G#4 moves to A3,
the ﬁrst pitch of the thirty-second notes in measure 8 (see Figure 22). As
in the F#-G motion of measure 6-7, the saxophone follows the piano
rhythmically.

An immediate change of texture follows in the saxophone. Thirty-
second notes ascend from A3, the goal of the half-step motion described
above, to F5 (see Figure 22). The piano inserts dyads which serve to
complete a presentation of all twelve tones under the ensuing saxophone
tremolo. The ﬁrst of the dyads, DllBl, is sustained under all of the
following materials. Dl stands in a ﬁfth relation to A1 and A3 achieved
in measures 7 and 8. Notes found in the extreme bass to this point, C#2-
Al-Dl, form the beginning of a bass progression for this movement.

In measure 10, an eight-pitch simultaneity with D4 as its lowest
note is presented in the piano (see Figure 22). This transfers D up three
octaves from D1 in measures 8-9. The saxophone presents a series of
pitches over this sonority which emphasizes Ab5, G5, C5, A4, G4, C4,
and ﬁnally Ab3 through directional changes (see Figure 23). Ab and

31

 

 

Figure 22: Measures 8-10 (downbeat). Copyright © 1969 by C. F. Peters
Corporation.

32

 

 

    

if

Figure 23: Measure 10, saxophone only. Emphasized pitches are
graphed in lower stave.

 

Figure 24: First half measure 11, piano only.

 

Figure 25: Last half measure ll-beat 1 measure 13. Copyright © 1969 by
C. F. Peters Corporation.

33

F#3, which initiate the ensuing saxophone statement, serve as neighbors
to G6, struck in the piano in measures 9 and 11 (see Figure 24).

The piano begins measure 11 with three pentachords (5-10
[2,4,5,7 ,8], 5-4 [10,11,0,1,4], and 5-29 [2,4,7,9,10]) expressed in
quarter-note triplets (see Figure 24). The ﬁrst two of these hold 3-3 as a
subset. In addition to having G6 as its highest note, 5-10 has D5 scored
as its bass, continuing the octave transfer of D up to D5. 5-4 establishes
E4 as its lowest note. These two pitches surround Eb4 (the ﬁrst piano
pitch of the second half of the measure [see Figure 25]) with half steps.
Bb4, the lowest tone of 5-29, is prolonged across measure 10 from the
same pitch at the end of measure 9 and stands in a ﬁfth relation with Eb4
on beat 3. A6, which appears as the highest note of 5-29, anticipates A5,
the top pitch of the piano gesture which follows (see Figure 24).

The sixty-fourth note run of measure 11 points toward the return of G6 in
measure 12. A5, therefore, serves as a neighbor to G6.

From measure 13 through measure 18, the tempo accelerates from
the original quarter=42 to a much faster quarter=128 through a metric
modulation involving sixteenth-note quintuplets modulating into
sixteenths. The saxophone line in this area involves leaping motion
while the piano moves generally by step presenting imitative ﬁgures.
Step progressions can be shown to exist within the saxophone line (see
Figure 26). As can be seen in Figure 26 and its accompanying reduction,
a primary line leads to G5 in a way similar to what occurs in measure 7
of Music 1 (see Figure 2).

Imitation at the upper octave begins immediately in the piano in
measure 13. This imitation breaks down although the materials of

measure 14 are still contrapuntal. In reduction, stressed materials in

 

 

 

 

 

 

 

 

 

 

 

Figure 26: Measure 13-18, saxophone with reduction showing motion to
G.

 

 

 

 

 

 

Figure 27 : Reduction of measures 13-15, piano.

35

the piano lines present both ﬁfth relations and step progressions (see
Figure 27). This reduction, unlike that shown in Figure 26, leads
downward away from G.

In measure 16, the contrapuntal events of the previous measures
give way to vertical structures (see Figure 28). Relationships among
these structures are fairly obscure, though motion by step is apparent in
all of the chords, and 3-2, 3-3, and 3-4 are prominent as subsets. G is a
major factor in this motion as the highest pitch of both 4-3 in measure 16
and 6-Z25 in measure 17. The lowest pitch of 6-Z25 (F3) transfers F down
two octaves from the lowest of 4-3 (F5).

O‘z't “ .................. . J'o‘o’ O! =“*

M. A . .. - -- --

    

v
V

Figure 28: Measures 16-18 piano. Copyright © 1969 by C. F. Peters
Corporation.

In the last half of measure 18, 5-19 is presented in the piano (see
Figure 28). F3, the ﬁrst pitch of the saxophone's ascending sixteenths, is
identical to the topmost pitch of this chord (see Figure 29). This F serves
as a neighbor to G5 in measures 18 and 20. The lowest pitch of 5-19, B1,
can be heard as leading to C1 in measure 24 (see Figures 30 and 31).

The ascending saxophone run through measure 19, beat 2, is
strictly whole-step/half-step octatonic through nearly one octave then
shifts transposition and completes the transposed octatonic scale from E4

36

 

Figure 29: Measures 18-19. Top stave shows saxophone ossia. Copyright
© 1969 by C. F. Peters Corporation.

    

'5'

{u-—----—— _------_-.---------_-_-_

I’d.

Figure 30: Measures 20-21. Upper saxophone pitches are ossia.
Copyright © 1969 by C. F. Peters Corporation.

37

 

 

I*.----‘. I

 

Figure 31: Measures 21-24. Upper saxophone pitches are ossia.
Copyright © 1969 by C. F. Peters Corporation.

38

through Eb5. Eb5 serves as a point of connection from this run back to
the saxophone triplets in measure 18 (see Figure 29). At this point
Bassett begins his use of ossia in anticipation of upcoming altissimo
passages. The ossia materials in measure 19 bear little resemblance to
the prima. The pitches in this ossia are ﬁrst higher, then lower, then
once again higher than the prima. They neither complete the preceding
octatonic scale nor do they belong to the original octatonic scale; they do,
however, duplicate the ﬁnal four pitches of the saxophone run in
measures 9- 10 of the ﬁrst movement (see Figure 4). The pitches of the
ossia lead to E6 in measure 20 (see Figure 30) by a minor-sixth leap
rather than the easy stepwise motion to G5 of the prima. E6 in measure
20 returns us to the opening pitch class of Music 2, transferred up three
octaves. This reveals Eb5 of measure 18 as a neighbor to E6. G#6, the
ﬁnal note of the saxophone ossia, anticipates G#7 in measure 20.

After a full quarter-note rest, the piano and saxophone enter
together (see Figure 30). The hexachord formed here, 6-Z4 [2,3,4,6,7 ,8], is
found as the opening hexachord of Music 3. The piano begins a
sixteenth-note ﬁgure on D1/Fl in measure 20, returning D1 from
measure 9. The saxophone pitch, whether in original or in ossia, is
contained in 4-7, the upper-stave tetrachord of the piano. G#6, the
highest pitch of this 4-7, leads to A6 in measure 21. This A6 is doubled by
the saxophone in ossia and serves as a neighbor to Ab6 (G#6
enharmonically respelled) returned to in measure 22 as part of 4-12
[5,7,8,11] (see Figure 31). The saxophone ossia pitch articulated in
measure 21, F6, reinforces the third of the underlying tremolo. The
pitches of the prima in measures 21-22 (G5-Ab5) maintain the half-step

motion of the ossia and anticipate the piano's move to Ab6 in measure 22.

39

4- 12, the piano tetrachord initiated in measure 22 has Ab6 and B5 as its
outer components. B5 leads from the piano C6 in measure 22 to the
saxophone Bb5 (or Bb4) in measure 24. In addition, B5 serves as a
neighbor to C6 in measure 22 and Cl in measure 24. While the piano
rearticulates this tetrachord, A0 and Bb0 are presented in measure 23
(see Figure 31). This returns A0 from Music 1 and continues the bass
progression begun in measure 4 with C#2 (see reduction, Figure 32).
This series is continued in measure 24 with C1 and completed in
measure 36 with C2. Example 32 shows the overall bass motion of the

movement.

 

Figure 32: Bass reduction, Music 2.

At measure 24, the saxophone drops to one of two Bb's, preserving
both the pitch of the note of arrival and the descending melodic motion.
After a rest, the piano enters with Cl and a repeated trichord presented
above. G# appears as the lowest pitch of the right-hand chord,
transferred down two octaves from the right hand of measure 22-23.
While this chord is held, a sustained melodic line reminiscent of one in

the ﬁrst section of the movement is performed in the saxophone (see

40

Figure 33). The ﬁnal pitch of this line is F4, the same as the ﬁnal pitch of
the melody which opens the movement. The melody which precedes
each F4 is similar in shape and pitch content with the exception of the

addition of C5 in measure 26.

 

Figure 33: A: Measures 24-27, saxophone only. Upper pitch is ossia. B:
Measures 2-4, saxophone only. Lower pitch is ossia.

In measure 28 the saxophone moves down a third to D4; this
motion reflects the piano shift up a third to C1 in measure 24. Following
this change of pitch the piano presents a series of homorhythmic dyads
in increasingly larger note values (see Figure 34). This series concludes
after the ninth dyad is presented in measure 33, the perfect ﬁfth C5/G5
(see Figure 35). In measure 33 the saxophone moves down by half step to
C#4 (see Figure 35), a reﬂection of the bass progression from C# to C (see
Figure 32). C#4 also serves to return the pitch class of the lowest note of
the opening saxophone line, though now this pitch has been transferred
up an octave. This motion to C# is preceded by the piano's G#5 in
measure 32, contributing to a dominant-tonic eﬁ'ect at this point. G#5
leads to A6 in measure 34, completing the oscillations from G# to A

41

-------—--—--~—------ﬁ

rev-"i,"-

b .

 
  

      
   
  

r-a . f.‘

 

Figure 34: Measures 28-31, piano only. Copyright © 1969 by C. F. Peters
Corporation.

 

Figure 35: Measure 32-36. Copyright © 1969 by C. F. Peters Corporation.

42

which have continued since measure 20. The contracting half-step
resolution of the major sixth in measure 32 to the ﬁfth C/G in measure 33
once again reflects the overall half-step motion of the bass progression.
The ﬁnal sound of the movement, after all tones have been introduced
(see Figure 35), consists of an eight-note sonority forming 7-28
[0,1,3,5,6,7 ,9]. The only doubled pitch class is C sounding as both C2 and
C5. G and A, the other anchor tones for Music, are also

prominent in the sonority. F#7 (the highest pitch of these ﬁnal
measures) and Eb2 anticipate members of 6-Z4 which opens and anchors
the third movement. In fact, 7-28 here at the end of Music 2, and 6-Z4,
which opens Music 3, have 3-3 [3,6,7] as an invariant subset.

In this concluding area of Music 2, an exchange of emphasized
pitches between the saxophone and piano is represented. The saxophone
begins the movement with an emphasis on C/G while the piano
emphasizes C#/G#. By the end of Music 2, these emphases have been

exchanged.

MUSICS

The third movement of Music is marked Moderate. In this
movement, Bassett uses standard notation to show pitch and rhythmic
values, but, instead of standard meter and bar lines, the composer uses
vertical lines to show the passage of seconds. In discussing this
movement, therefore, rhythmic placement will be referred to by the
number of seconds elapsed.

The movement seems to be through-composed, though a return of
a repeated descending ﬁgure at 107 seconds might lend credence to an
introduction-ABA' formal scheme. The formal divisions would fall as
follows: introduction: 1-28, A: 29-71, B: 72103, A': 104-141. Pitches other
than A, C, and G are emphasized, though these three do get some
special treatment. For the most part, the primary focus of the movement
is 6-Z4 [2,3,4,6,7,8] which is introduced in the opening second. It is
returned without pitch changes throughout the movement. 6-Z4 is
remarkably similar to 6-Z12, introduced in measure 3 of Music 2 (see
Figure 18). These two hexachords contain 5-9 [2,4,6,7,8] as an invariant
subset. Another feature of 624 is the inclusion of two perfect ﬁfths a half
step apart, G/D and G#/D#, forming 4-8 [2,3,7 ,8]. These ﬁfths can be
heard as an expansion of the C/G and C#/G# ﬁfth pairs of the previous
movement.

The piano begins solo and continues alone for the ﬁrst 39 seconds
of Music 3 with the source of these gestures found in Music 1. The most
prevalent of these ideas is a sustained group of pitches over or under
which is presented several groups of pitches, typically staccato (see

Figure 36). The source for this material is measure 32 of the ﬁrst

43

44

    

Q1. ' 3.... -. ..

Figure 36: 1-7 seconds. Copyright © 1969 by C. F. Peters Corporation.

movement, where staccato materials are interjected over a sustained
chord (see Figure 12). The complementary sets 6-Z4 and 6-Z37 presented
in the opening six seconds of Music 3 yield an aggregate, but most
important here is the ﬁfth relation between the lowest pitch of the
opening trichord (3—8 [2,4,8]) (G113) and the lowest pitch of the dyad at 4
seconds (C#2) (see Figure 36). This G#/C# pairing is also important in
the opening of Music 2. F#5, the highest pitch of the second trichord (3-3
[11,0,31), stands in another ﬁfth relation with C#2. i

The lowest pitch of 3-8 [2,4,8] which follows (6 seconds) is D1,
effectively resolving the previous lowest pitch C#2 and continuing
connections with the second movement. This trichord, fully invariant
with the lower half of the opening hexachord, is extended as a pedal
through to the 20-second point of the movement. Six other trichords are
presented over this sonority (see Figure 37). These six trichords are
further divided into two groups of three by virtue of the change of
articulation style from staccato to legato. This change of presentation
further recalls the materials of measures 32-33 in the ﬁrst movement.

The six trichords (3-11 [10,1,5], 3-3 [11,0,3], 3-2 [4,6,7], 3-2 [0,2,3], 3-8

45

‘09;

 

Figure 37: 10-19 seconds. Copyright © 1969 by C. F. Peters Corporation.

[4,8,10], and 3-3 [9,0,1]) focus in part on Db by virtue of its appearance as
the lowest pitch of both 3-11 [10,1,5] and 3-3 [9,0,1]; several other pitches
are emphasized as well, however. D4 in 3-2 [0,2,3] reinforces the
underlying D1. C6 is also emphasized through repetition in 3-3 [11,0,3],
3-2 [0,2,3], and 3—3 [9,0,1]. Eb's and E's are also repeated and emphasized
through voice leading. All of this activity seems to continue a focus on D,
but the reinforcement of C and the repeated motion Eb-E point toward F.

With a change of pedal, another series of pitches is introduced and
momentarily sustained (see Figure 38). This motive is drawn freely from
the second movement, measure 11 (see Figure 25). The entire group of
nine pitches is not sustained here; rather, two pitches forming a tritone
are sustained alone. The sustained F5 is preceded by C6 (21 seconds [see
Figure 37]) and followed by a CZ/Eb2 dyad (24 seconds [see Figure 39])
surrounding F5 with ﬁfth relations. B4 (21 seconds) serves as a neighbor
to these C's.

At 26 seconds, a change of pedal introduces 5-16 [8,9,10,1,2] (see
Figure 39). Most important here are the return of Db3 in a prominent
position as the lowest pitch and the return of D5 as a sustained tone. Db3

46

 

 

111—- 4

Figure 38: 21 seconds. Copyright © 1969 by C. F. Peters Corporation.

[fvf'kiux 91pm 2|

 

Figure 39: 24-28 seconds. Copyright © 1969 by C. F. Peters Corporation.

8’3; 3

    

Figure 40: Pitches and order of presentation of piano materials, 29-35
seconds.

47

serves the dual function of lower neighbor to the sustained Dl's (6-22
seconds and 32-43 seconds) and upper neighbor to C2 (24 seconds) and C4
(27 seconds). A5 is also sustained at 28 seconds and stands in a ﬁfth
relation with the reintroduced D5. The sustained G#4 has two functions:
ﬁrst, as the leading tone to the sustained A3; second, as a ﬁfth relation to
C#. C# (appearing as both C#5 [27 seconds] and C#7 [29 seconds])
continues and expands the neighboring function of Db. A second ﬁfth
relation occurs between the lowest pitches of the two trichords of 27-28
seconds, C4 and G3. This pair of ﬁfths and the C#/G# ﬁfth relations of 1-
4 seconds and 30-33 seconds reﬂect the emphasis on these pitches in the
second movement.

The piano 6-Z19 [1,2,4,5,8,9] shown in Figure 40 consists of three
discrete elements, each of which forms a dyad of some importance. The
relationship among C#, D, and A (the lower notes of each of the dyads) in
a tonal context is that of leading tone, tonic, and dominant. G#6, which
appears as the higher note of the third dyad, can beheard as a leading
tone to A5. As has been mentioned, D1 (32 seconds) returns D1 from the
opening of the movement.

The saxophone enters at 39 seconds with a sustained C4 (see
Figure 41), returning this pitch ﬁ'om 27 seconds. Underneath this
pianissimo pitch, the piano presents a melodic line of seven notes and
continues to sustain the Dl-Fl dyad. The melody ends on F4 in the 43rd
second, which leaves the sounding harmonic interval between the piano
melody and the saxophone's sustained pitch as a perfect fourth, as well
as reinforcing the underlying F1. Immediately before the rest which

separates this material from that which follows, the saxophone leaps up

48

 

 

QACSM {‘0‘ 3')

Figure 41: 38-43 seconds. Copyright © 1969 by C. F. Peters Corporation.

a major seventh to B4 forming a diminished triad with the D1, F1, and F4
of the piano. B4 represents an octave transferance from the initial piano
pitch at 39 seconds.

At 44 seconds, after a short pause, the piano presents 624, the
same hexachord which opened the movement (see Figure 42). The same
pitch classes are used here, but in a different vertical arrangement and
in different octave placements, with the exception of the lower two notes
of the grouping. The hexachord is now arranged symmetrically with
D#5 and G6 as its outer components. The voice leading from the initial
hexachord to the occurrence at 44 seconds is Fit-G in the upper voice and
G#-D# in the lower. This chord is stated over the next six seconds a total
of ten times in decreasing note values. This signals the beginning of an
area of much increased activity.

Throughout this last area of the A section, 43-71 seconds, piano
and saxophone events overlap one another in a seamless ﬂow. The goal
of this motion is the event of 72 seconds and similar statements which

follow (see Figure 43). Throughout the area (43-71 seconds), G seems to

49

 

 

4,!

Figure 42: Comparison of initial chord (A) with 44th second (B).
C shows pitch content of both hexachords.

 

Figure 43: 72-79 seconds. Copyright © 1969 by C. F. Peters
Corporation.

50

 

 

 

Figure 44: 50-57 seconds. Copyright © 1969 by C. F. Peters Corporation.

51

be of primary importance. The ﬁrst indication of this importance is the
placement of G6 as the highest pitch in the return of 6-Z4 (see Figure
42B). G6 is also the last pitch of the piano ascent of 50-52 seconds (see
Figure 44).

Immediately after the piano reaches G6 (53 seconds) the
saxophone enters with F#5 only to resolve this pitch up to G5 (55
seconds). G7 reinforces this resolution as the highest pitch of the piano
motive which immediately follows (56-57 seconds). The chords extending
from 58-62 seconds serve to lead from G5 up to Ab7. The piano's Ab7,
presented as the upper member of the tremolo in seconds 64-70,
continues the ascent which will eventually lead to C8 at 70 seconds (see
Figure 45).

The saxophone prima at the 64-second point substitutes A5-F#5 for
the higher C6-B5 motion. The ossia B5 serves as a neighbor to C6 and the
piano C8 (70 seconds). This neighboring motion is reﬂected in the piano
with B3 (64 seconds) transferred up to B7 (70 seconds) and resolving to
C8. The prima A5-F#5 holds none of these relationships with the
surrounding pitches. The key to the compositional choice here lies in the
relationship of F#5 (66-70 seconds) to G4 (72 seconds [see Figure 46]).
Rather than preserve the descending half-step relationship of the ossia
with G#5, the composer chooses instead to present F#5, which results in
a leading-tone relationship with the following G4. In addition, use of
G#5 would have placed the upper note of the piano tremolo in octaves
with the saxophone.

Following a pause of one second, the saxophone and piano begin
together. Throughout the section shown in Figure 46, the piano presents
trichords against the saxophone's ﬁgures. This patterning lasts

52

 

 

Figure 45: 63-72 seconds. Upper saxophone pitches are ossia. Copyright
© 1969 by C. F. Peters Corporation.

 

Figure 46: 87-99 seconds. Upper saxophone pitches are ossia. Copyright
© 1969 by C. F. Peters Corporation.

53

through the 79th second and consists of ﬁve events. The second event (73-
74 seconds) forms 3-3 [0,3,4] based on C which is in a ﬁfth relation with
the previously emphasized G4. The third event (4-3 [7 ,8,10,11]) doubles
Ab3/G#3 (76 seconds) while the last (4-Z12 [1,2,5,7], 80 seconds) doubles
Db4, another ﬁfth relation. The tetrachord formed through this
doubling, 4-8 [7 ,8,0,1], is the anchoring tetrachord of Music 2.

The selection of C5-Bb4 as the prima melody in the area which
follows (87-99 seconds [see Figure 46]) is interesting in what is changed
from the ossia A5-D5. Neither the shape of the line nor the intervallic
content of the melody is retained. Nor do the underlying harmonic
materials yield clues as to the reasons for the selection of these
particular pitches. The three chords (4-13 [l,4,6,7], and 7-9 [1,2,3,4,5,7,9])
replicate only F from the melody, though both melodic options (4-27
[9,11,2,5] in ossia and 4-6 [5,10,11,01 in prima) have signiﬁcant trichordal
subset relationships with these chords. Both of the melodic options do,
however, have signiﬁcant tonal implications, with both gravitating to C4,
the ﬁnal pitch of the saxophone line. The upper option outlines a minor
triad on D (F5-A5-D5) which is followed by the pitch B4, leading tone to
the ﬁnal C4. A similar type of motion occurs through the lower pitches
of the group, with this melody reinforcing the arrival tone C4 at the
upper octave before proceeding with Bb4-B4-C4. Interestingly enough, 3-
7 [2,5,7], nserted at 99 seconds, forms a dominant-seventh chord on G5
when taken in combination with the B4 of the saxophone sounding below
it (see Figure 47 for voice leading). A ﬁill resolution to C major occurs at
103 seconds, concluding the B section of the movement with the sounds of
an authentic cadence. Only the addition of F#5 keeps this from sounding
fully tonal. F#5 here in the piano trichord anticipates the appearance of

54

 

 

 

 

 

FE??—

Figure 47 : Voice leading, piano right hand and saxophone, 99-103.

I‘m Swan.

      

174‘ J
19:-u use as as

 

Figure 48: 104-115 seconds, piano. Copyright © 1969 by C. F. Peters
Corporation.

 

Figure 49: 117- 124 seconds, piano. Copyright © 1969 by C. F. Peters
Corporation.

55

F#7 at 107 seconds.

At 104 seconds, a melody is heard in the piano which ends in a
repeated ﬁgure on F#7 and A7 (see Figure 48). These two pitches are led
to by half step from the preceding F7-Ab7 of 105-106 seconds. The
repeated F#7 serves to lead to G6 at 118 seconds (see Figure 49).

At 106 seconds, the saxophone joins in with sustained pitches
which eventually lead to F#3 at 122 seconds (see Figure 50). The selection
of F4-F#4 as ossia for F3-F#3 (116-122 seconds) represents the second
time Bassett has chosen octave displacement in Music ossia. F# in
either ossia or prima leads to G#3 (124 seconds) which is sustained in the
saxophone through the end of Music 3.

Five trichords are presented in the piano as the saxophone‘s ﬁnal
three pitches are performed (see Figure 49). 3-10 [4,7,10], 3-4 [11,3,4], and
3-5 [4,9,10] contain E, anticipating the piano E1 at 136 seconds (see Figure
51A). The highest pitches of 3-10 [4,7 ,10], 3-4 [11,3,4], 3-5 [7,0,1], and 3-5
[4,9,10] foreshadow the appearance of G#3 as the ﬁnal saxophone pitch,
with the motion G6-G#6-G6-A6 (see Figure 49).

"' - :11
i W 7.... J
2257/ :J: 4"“

 

 

 

 

 

 

Figure 50: Pitches from saxophone, remainder of Music 3 106-141
seconds.

56

#28:“

   

ﬁve-9—
EiilEE—J Gil

Figure 51: A: Piano events culminating in ﬁnal hexachord of Music 3.
B: Pitches sounding at end of Music 3.

The ﬁnal events of the movement are two dyads and a single pitch
(see Figure 51A). Taken with the saxophone G#3, these pitches form a
ﬁnal hexachord. The resulting 6-Z4 (see Figure 51B) is completely
invariant as to pc content with the opening hexachord and with the
hexachord which appeared at 44 seconds. The structure of 6-Z4 at the
end of the movement is most similar to its appearance at the opening of
the movement, with D#/F# at the top of the sonority. Outer voices of the
appearances of 6-Z4 form the patterns F#-G-F# and G#-D#-E, preparing
for the return of anchor tones A and G in Music 4. Taken together, the
piano E1 and saxophone G#3 in the ﬁnal seconds of Music 3 can be heard
as having a dominant function in relation to the emphasis on A at the

opening of the movement which follows.

MUSIC-t

Music's fourth movement is recapitulatory in many respects. The
stopped-second B3/C#4 returns from the ﬁrst movement as do some
speciﬁc melodic events. Recapitulation is further evidenced by a return
of A, C, and G as anchoring tones. These anchors are emphasized in
much the same order as they appear in the ﬁrst movement: A, then C,
then G. Pitch reinforcement and repetition, techniques used in the
opening movement, are even more prevalent here. Marked "Fast," the
movement opens with rhythms articulated in both instruments.
Bassett's use of this type of homorhythm is characteristic of the
movement.

The movement opens with a pair of minor thirds presented in
homorhythm (see Figure 52). Bb0, the initial pitch struck in the piano,
prepares the return of A0 later in the movement. While the saxophone
produces a measured trill from A5 down to G#5, the piano presents an
ascending sequential series of minor scale fragments of ﬁve notes
beginning on A and Eb (see Figure 52). Each new statement begins a
half step below the pitch which concludes the preceding group, forming
an overlapping series of minor seconds (A/Bb, E/Eb).

During measure 4, the saxophone comes off its trill ﬁgure and
descends to join the piano at the unison on C4. This pitch has been a goal
of melodic motion since the opening event of the piece, the stopped second
on B3 and C#4. Through the next six measures, the saxophone repeats
this C4 in decreasing note values. Alternate articulations of this pitch
are accompanied by chords in the piano except at the end of measure 9

(see Figure 53 for chord structures). The voice leading in these chords

57

58

 

Figure 52: Measures 1-2. Copyright © 1969 by C. F. Peters Corporation.

 

Figure 53: Chords of measures 6-10.

 

Figure 54: Measure 10, saxophone ossia and prima. Upper pitches are
ossia.

59

substantially reinforces C.

Of the six chords in measures 6-10, the ﬁrst, third, and fourth
include direct reinforcement of C4, with the third and sixth containing
C5. The ﬁrst and second chords contain B3, a neighbor or leading tone to
C4. The second chord returns the B3/C#4 dyad of the opening movement
and doubles B3 at the upper octave. Parallel octaves from B3/B4 of the
second chord to C3/C4 in the third reinforce C as does the structure of the
third chord. Similar voice leading occurs between the ﬁfth and the sixth
chords of the series with B4 ascending to C5.

In measure 10, the saxophone ascends through a quintuplet
ﬁgure. Both ossia and prima have the same melodic shape, but the
pitches on which they end, D6 and F#5, serve different functions entirely
(see Figure 54). The prima F#5 functions locally as a neighbor to F5 in
measure 11 (see Figure 55). D6, on the other hand, leads to the ossia Eb6
in measure 17 (see Figure 56). F415 and D6 further serve to prepare the
saxophone entrance in measure 16. F#5 stands in a ﬁfth relation with

the prima B4, and D6 anticipates the ossia D5.

1A------ -------—-

A

 

Figure 55: Measures 11-15. Upper sax0phone pitches are ossia.
Cepyright © 1969 by C. F. Peters Corporation.

60

 

1...— l.._. __t
1’“ " 3-___1 3

"—'3 '—'3-‘ 3__.l

 

Figure 56: Measures 16-22. Upper saxophone pitch is ossia. Copyright
© 1969 by. C. F. Peters Corporation.

61

Bassett continues the homorhythms of earlier measures in the
next area of the movement. In measures 11-22 the composer continues to
preserve melodic shape in prima and ossia. Both lines double pitches
from the underlying harmonies (see Figure 55). Every saxophone pitch
but one in both ossia and prima replicates a note from the underlying
piano harmonies. The single exception is in measure 14, where the
saxophone ossia pitch is Ab and the piano pitch is A4. The prima of the
saxophone line at this point, E5, is a member of the piano chord. This
might lead one to believe that a subtle error exists, that either A4 is the
correct saxophone pitch or that Ab3 should appear as the higher pitch of
the lower-stave dyad.

C continues to be emphasized throughout measures 11-15. It is the
highest pitch of 6-27 [0,3,5,6,8,9] and the lowest of 5-31 [3,4,6,9,0]. C is
also the lowest pitch of 4-22 [0,3,5,7]. The lowest voice of measures 13-15
(beat 1) outlines a minor triad on C4 (see Figure 55). A5 is returned with
C5 in measures 12-13, continuing the process of return and emphasis for
A, C, and G.

After a quarter-note rest in measure 16, another area is presented
where pitches are directly doubled in the saxophone out of the materials
of the piano harmonies. This style continues through measure 22. Once
again, two options are given to the saxophonist, one of which involves
altissimo performance and one of which does not (see Figure 56). Here,
melodic shape again seems to govern Bassett's pitch selection. The
opening pitches of measure 16, B4 or D5, are prepared by the ﬁnal
saxophone pitches in measure 10, where D6 anticipates D5 while F#5

stands in a ﬁfth relation with B4 (see Figure 55). All of the ossia pitches

62

in measures 16-22 reiterate the highest pitch of the underlying piano
chord. Bassett's selection of a variety of placements for prima pitches
(especially the opening B4 in measure 16 which is not a part of the
underlying piano gesture) shows a calculated desire to shape both lines
in like manners. In ossia, however, the saxophone produces a
signiﬁcant pattern of emphasized pitches: D5-Eb6-E6-E5-E4. E stands in
a ﬁfth relation with A which is emphasized in the section that follows.
The initial pattern of ascending half steps emphasized in the ossia leads
eventually to the anchor G, which is prolonged extensively near the end
of the movement.

The piano performs a solo passage from measure 23 through
measure 31. The lower-stave eighth notes of this passage open with A0-
C1, returning and emphasizing A0 (see Figure 57). The upper-stave
Bb2/Db3 is sustained through the lower-stave eighths and divides the
pitches into halves with A2 appearing as the central pitch of the
seventeen notes. The lower note of the dyad, Bb2, leads to A2 in measure
25 by half step.

The lower-stave passage of measures 23-27 concludes with an
ascending perfect ﬁfth to B4, transferring this pitch up from B3 in
measure 15 (see Figure 55). B4 is sustained through measure 33 and
leads eventually to C4 in measure 33. Four events are heard over and
around the sustained B4 and with it yield an aggregate presentation (see
Figure 58). C6, A5, and G5 are placed prominently in this series.

Although the piano begins measure 34 with the anchor tone Al,
notes emphasized in measures 32-45 are related to the anchor tones by
half step or by ﬁfth. Ab4 (measures 34-37) and B3 (measure 40),

neighbors to all three anchors, are emphasized in the saxophone (see

63

  

--------—-.J J
9.1““ #4 __-___

Figure 57 : Measures 23-27. Copyright © 1969 by C. F. Peters
Corporation.

 

Figure 58: Measures 28-31, piano upper stave only.

 

64

 

fn----.---------- - -—---------— ----1

 

Figure 59: Measures 32-40. Copyright © 1969 by C. F. Peters
Corporation.

65

Figure 59). The piano centers on D in measures 35-40, using C# as a
neighbor. Both Ab (as a neighbor) and D (as dominant) anticipate the
return of G in measure 51 (see Figure 60). During these measures, B3 is
approached in the saxophone through a line consisting of Ab4-A4-A#3
(see Figure 61 for reduction). B3 leads to the anchor C, returned in
measure 41 as C1 and measure 43 as C6 (see Figure 62). B3 is also
emphasized through the ﬁfth relation provided by Gb5 in measure 39.
The saxophone returns to Gb5 (now respelled enharmonically as F#5) in
measure 45. An ascent follows with the saxophone line terminating on
G5 in measure 51 (see Figure 62). G5, although an anchor, is only
anticipated here, as the following measures move away from this pitch.
Chromatic motion (E-F-F#-G) continues to be emphasized until G5

ﬁnally is prolonged in measures 100-131.

 

Figure 60: Measures 46-51, saxophone line.

 

Figure 61: Reduction of measures 32-43, saxophone.

 

66

 

Figure 62: Measures 41-48, piano. Copyright © 1969 by C. F. Peters
Corporation.

67

Piano chords in measures 41-50 continue an emphasis on the
anchor C and on D, the dominant of G, anticipating the brief appearance
of G in measure 51 (see Figure 60). The lowest pitch of the piano
trichords in measures 41-45 is D5, while the highest pitch of the piano's
septachord in measure 46 returns us to D5 (see Figure 62).

C#5, the lowest pitch of the trichord articulated in measure 43,
serves as a lower neighbor to D5 (measures 41-43 and 46-47). C6,
representative of the anchor tone being prolonged in this area, is found
as the top pitch of the trichord articulated in measure 43 and returns in
measure 48.

The lower-stave eighth notes presented in measures 41-47 are
divided into three subgroups of three pitches each by phrase marks and
beaming (see Figure 62). Each subgroup ascends. The only melodic half
step here is C#2/D2 which begins measure 42. This continues the
emphasis on D found in the upper-register chord of measures 41-43.
Anchors C1 (as ﬁrst pitch of the area) and G1 (through a directional
change) are emphasized in this line as well. F is found at two levels of
transposition, F2 and F4, in the remaining eighth notes of measures 43-
45. Both F2 and F4 are approached through ﬁfths, F2 from C1 in
measure 41 and F4 from C4 in measure 44. F3, as the lowest pitch of the
lower-stave trichord in measure 46, continues the emphasis on F. All of
these F's are part of the chromatic ascent to G5 anticipated in measure
51 and accomplished in measure 100.

The return of F5 in measure 54 is accompanied by two measures of
silence in the piano (see Figure 63). The piano enters in measure 56,
ﬁrst with C#5 and then E4 which serve as neighbors to D1 and D7 in
measures 58-59. D1 and D7 in turn stand as dominants to G.

 

68

 

Figure 63: Measures 54-59. Copyright © 1969 by C. F. Peters
Corporation.

69

 

Figure 64: Measures 60-66, beat 2. Upper saxophone pitches are ossia.
Copyright © 1969 by C. F. Peters Corporation.

70

After a short silence, the saxophone enters in measure 60 on one of
two C#'s (C#5 or C#6), giving rise to yet another of Bassett's ossia
passages (see Figure 64). Ossia and prima once again share melodic
shape. The process of entry for the piano here is much like the event
beginning in measure 54 (see Figure 63) with the saxophone holding a
pitch and the piano entering with two separate notes. The saxophone C#
in either octave serves as a neighbor to D in measures 58 and 64 and
anticipates the return of the stopped-string B3/C#4 in measure 93. A4 is
introduced in the piano in measure 62 and is sustained through
measure 64, beginning a return to this anchor. Bb3 (measures 63-64)
and Ab5 (measure 64) serve as neighbors to A4. The piano reintroduces
C6 (one of the anchor pitches) in measure 64, which prepares the
sustention of C5 in measures 67-70 and C6 in measures 73-74.

Measures 67-72 recall directly the events of measures 11-13 of
Music 4 (see Figures 55 and 65). The saxophone doubles the topmost
pitch of the hexachords of measures 67-7 2 rather than the lowest as in
measures 11-12. This gives added emphasis to the motion from C5 to B4,

w 70 '13 /

 

Figure 65: Chords from measures 67 , 70, and 73.

71

anticipating the arrival of B0 in measure 75 (see Figure 66). B4 also
serves as a neighbor to C5 (measures 67-70) and C6 (measures 73-74).
The lowest pitch of 6-Z49 [5,6,8,9,0,2], F#4, is in a ﬁfth relation with B0
(see Figure 65). The upper-neighbor motion to Cl in measures 81 and 83
eventually serves as passing motion from B0 to C#1 in measure 85 (see
Figure 66). Emphasis on motion from B to C# through measure 85
suggests this as a prelude to the return of the stopped-string B3/C#4 in
measure 93.

The melodic content of the descending piano trichords in
measures 75-80 is similar to the descent of both instruments in measures
65-66, though the similarity is only in terms of contour (see Figure 64).
Each of these trichords is a presentation of the set 3-3 with the exception
of the last, 3-2 [4,6,7]. The motion of the lowest voice of these trichords is
Eb5-F5-C5, focusing attention on the anchor C. The ﬁnal chord of the
series, 5-14 [8,10,1,2,3], has D4 as its lowest pitch. D4 here is in a ﬁfth
relation with G4 in measures 81-82.

The saxophone melody presented in measures 80-85 outlines a C-
major triad as is the case in measures 5-7 of Music 2 (see Figure 19).
Here in Music 4, the saxophone arrival pitch is A5 rather than the
expected G5 (see Figure 67). The underlying dyad in measures 87-93,
C2/F#2, recalls the dyad in measure 2 of Music 1, where the same two
pitches underlie the saxophone A5 (see Figure 1). The saxophone
materials of measures 88-93 are quite similar to those of measures 3—5 of
Music 1, here augmented from the original sixteenth notes to quarter
notes. As in the earlier occurrence, the melody begins on D#5 and peaks

on G#5.

 

72

     

-(s “(LID

--.——- --,—<- """'._

 

5’
V: L“

 

 

 

 

 

Figure 66: Measures 75-85. Copyright © 1969 by C. F. Peters

Corporation.

73

 

Figure 67: Measures 86-93. Copyright © 1969 by C. F. Peters
Corporation.

74

The return of the stopped-string B3-C#4 in measure 93 signals the
beginning of the end of the movement and of the piece. The upper pitch
of the pair is reinforced by the abrupt end of the saxophone line on C#4.
After four beats of sustained B3/C#4, a short interjection in the upper
register is presented, anticipating the return of G5 in measure 100 (see
Figure 68A). Measure 98 continues the process of recapitulation by
returning the ascending piano motive from measure 2 of the ﬁrst
movement (see Figure 68B). The ascending arpeggio to G5 (see Figure
68C) in measure 100 and the consequent materials of the ﬁrst half of the
cadenza present an altered inversion of the material in measure 4 of
Music 4 (see Figure 69). In the area following measure 4, the saxophone
and piano prolong the anchor C through repetition. In the cadenza, G is
prolonged. Here in the fourth movement Bassett has expanded to 100
measures the motion from A5 to G5 which he attained in the space of six

measures (measure 2-7) in the ﬁrst movement (see Figure 70).

A84: B

W

 
    

  

79

C it

Figure 68: Events of measures 96 (A), 98-99 (B), and 99-100 (C).

75

 

Figure 69: Measure 4.

 

Figure 70: Reduction graph, measures 1-105, showing emphasis on
anchor tones and upper-voice motion from A to G. Compare to Figure 3.

76

The piano chords of measures 101-106 (see Figure 71) begin by
replicating the chord structures of measures 67-74, this time without the
rearticulations of the earlier occurrence. The last sonority (measure 105)
is important for its relationship to the concluding sound of the movement
in measure 131. In measure 105, C#7 leads by ﬁfth to F#7 which in turn
leads to G7 (see Figure 71). G7 stands in a ﬁfth relation of its own with
C8 in measure 131 (see Figure 82). Bb0 in measure 105 is an upper
neighbor, expanding A0 from measure 23 to measure 131 (see reduction,
Figure 70).

The opening area of the cadenza prolongs G5. Each successive
ascending event in this opening area contracts the interval between the
ﬁrst and last pitches of the event. The last pitch of the event is always
G5, and the ﬁrst ascends from G#3 to C#5 (see Figure 72). The ﬁnal G5
is also emphasized through the use of a "resonance trill," accomplished
through changes of ﬁngering which change the color of the tone of the
saxophone but do not change its basic pitch appreciably.

The sweeping ascent which follows this ﬁrst fermata returns A5.

The next section of the cadenza is involved in a descent from the arrival

 

1A-"-

Figure 71: Measures 101-105, piano. Copyright © 1969 by C. F. Peters
Corporation. Compare to Figure 65.

77

     

35"": T

Figure 72: Reduction of cadenza through "violent." Lower line shows
lower pitch of each ascending gesture.

 

at

Figure 73: Reduction, second section of cadenza. Upper and lower lines
show extremes of gestures.

tone A5 to A3, two octaves below, after which an eighth rest interrupts
the cadenza (see Figure 73). The lower line of the reduction of this
section of the cadenza spells out a diminished triad rooted on G# and
leading to A3. The upper line descends A5-G5-F5-Eb5-Db5, a whole-tone
construct. Db5, the last pitch of this upper line, stands in a ﬁfth relation
with Ab4 which begins the descent into the last section of the cadenza.
The stopped-string pitches of the piano shown in Figure 74 present
the three anchor tones G3, A4, and C4. The remainder of the cadenza is
given over to emphasis of materials which, for the most part, lead to
these anchors by half step or ﬁfth. The thirty-second note saxophone run
which follows these stopped tones begins on D5 which is in a ﬁfth
relation with A (see Figure 74). The highest pitch of the run is F#5,
leading by half step to the ﬁnal G5 of the piece in measure 115. At the

78

 

Figure 74: Cadenza, "violent" to double bar. Copyright © 1969 by C. F.
Peters Corporation.

79

 

Figure 75: Measures 107-113. Copyright © 1969 by C. F. Peters
Corporation.

80

bottom of the run, the piano reinforces the saxophone Db3. Db3 leads to
the ﬁnal emphasis on C in the last section of the piece. Saxophone and
piano join in unison to present pitches which ascend to three choices for
the end of the cadenza: D6, F6, or Ab6, each of which has its own
particular logic. D6 is in a ﬁfth relation with G5, extended in the
saxophone from measure 115 through measure 131. F6 has a neighbor
relationship with G5. Ab6 also functions as a neighbor to G5.

The movement ends with a 26-measure "Presto" which opens with
a measured trill E5-D#5 in the saxophone, reminiscent of the measured
trill of A5-G#5 which opens the movement. Taken in their entirety,
measures 107-113 present the universal set (see Figure 75). D7, the ﬁnal
piano pitch of this line, stands in a ﬁfth relation with G5. The ascending
melodic statement which completes the saxophone ﬁgure and leads to G5
in measure 115 is a direct reference to the opening sixteenths in the
saxophone in measure 3 of Music 1 (see Figure 76). These lead to G5 up

from E5 instead of down from A5 as in the original passage.

 

Figure 76: Measures 114-115. Copyright © 1969 by C. F. Peters
Corporation. Compare to Figure 1.

81

if-

 

Figure 77: Measures 116-118, piano. Copyright © 1969 by C. F. Peters
Corporation.

 

Figure 78: Measures 124-125 saxophone.

 

Figure 7 9: Measure 130-132. Copyright © 1969 by C. F. Peters
Corporation.

82

Measures 116-123 once again reproduce the hexachordal
structures of measures 67-74 (see Example 77). These chords do not lead
directly to the ﬁnal sound of the movement as the previous statement of
these sonorities led to the cadenza. Instead, an ascending motive in the
saxophone interrupts in measure 124. This event leads to G5 in measure
125 (see Figure 78).

The penultimate piano event of the piece is struck in measure 127
and is sustained through measure 130 (see Figure 79). The outer pitches
of the chords reinforce the saxophone G5 and emphasize the anchor CZ.
The ﬁnal event of the piece (see Figure 79) is a minor third from A0 to C8
which covers the entire range of the piano keyboard. This inverts and

expands the sixth Cl-A7 which occurs in measure 2 of Music 1.

CONCLUSIONS

Primary anchor tones for Music are A, C, and G. These pitches
are emphasized through their sustention, repetition, registral
placement, and articulation. Other pitches which are emphasized in
Music have tonal relationships to A, C, and G. These relationships are
half steps (which can be construed as leading tones), neighboring tones,
and ﬁfth relations. Through these relationships, long-term step
progressions are formed in Music.

A, C, and G are most prominent in the outer movements of the
piece. In the second movement, Bassett emphasizes the ﬁfths C/G and
C#/G#. In the third movement, a hexachord taken from the opening of
the second movement is the focus of attention. In addition to this
hexachord, the third movement contains a bass progression of D-Eb-E,
leading by ﬁﬁh to the last movement's initial emphasis on A. The
saxophone's ﬁnal melodic motion of the third movement also leads
toward A. Eric Salzman's statement that Music "ends with the distinct
effect of C major" is in some ways conﬁrmed by the analysis above. The
fact that the C/G pair is reiterated and reinforced throughout the piece
eventually gives this ﬁfth relation the power of a dominant/tonic
relationship.

This is certainly not the only type of analysis to which this piece
might be subjected. Set theory, for example, could be applied to Music
with satisfying results. Indeed, a brief examination of the sets identiﬁed
in the Figures of this dissertation leads one to the set 4-3 (0,1,3,4) as a
generative set. From this pc set can be derived both of the cardinal-three

sets found in important placements throughout the piece, 3-2 (0,1,3) and

83

84

3-3 (0,1,4). Hexachords found in Music are also closely related to 3-2, 3-3,
and 4-3 (see Figure 80 below for relations). In addition, octatonic
(diminished scale) melodic and harmonic ideas found throughout the
piece can be seen as multiple appearances at different transposition
levels of the set 4-3. Especially telling is the close relation between 4-3
and the structurally important hexachords 6-Z4/6-Z37, 6-Z19, 6-27, and 6-
Z49.

3-2 3-3
43 Kb Kh 4-3
6-Z4/6-Z37 Kh Kh Kb
6-Z12 Kh Kh
6-Z17 Kh Kh
6—Z19 K“ Kh K‘
6-Z45 Kh Kh K
6-Z25 Kh K
627 Kb Kh Kh
6-Z49 Kh Kh K‘

Figure 80: K relations for hexachords found in Music with 3-2, 3-3, and
4-3.

In order to apply linear analysis to a piece such as Music it is
important for the analyst to establish a method for choosing primary
pitch collections. Otherwise, such analyses are reduced to the arbitrary
selection of some pitches as "primary tones" while all others are
arbitrarily reduced to secondary functions.

Because of Bassett's statements regarding tonal design and
"anchor tones" one can feel reasonably secure in the application of linear
analysis to his music. Similar methods should not be used in the

analysis of music where tonal function is not a means of organization.

85

Still, some composers of nontonal music use a form of tonal reference in
their works. The application of guidelines for analysis similar to those
presented and applied above should be helpful in approaching the music

of such composers.

BIBLIOGRAPHY

BIBLIOGRAPHY

Baker's Biographical Dictionary of Musicians, 7th edition,1984.
S. v. "Bassett, Leslie."

Bassett, Leslie. Manual of Sixteenth Century Counterpoint. New York:
Appleton-Century-Crofts, 1967.

Bassett, Leslie. Music for Saxophone and Piano. New York: C.F. Peters
Corporation, 1969.

Bassett, Leslie, et. al. "Five Questions: Thirty ﬁve [sic] Answers," The
Composer 9, no. 18 (1977-1978): 18-27.

Bassett, Leslie, et. al. "10 Questions, 270 Answers," Composer
Magazine 10-11 (1980): 57-103.

Briggs, John. "Notes on the Program," Programmes Philadelphia
Orchestra October 22, 23 (season 1965-1966): 15ff.

Dale Underwood Volume II. Golden Crest, RE7067.
Dictionary of Contemporary Music, 1974. S. v. "Bassett, Leslie."
Fanfares and Celebrations. WMU School of Music Records, SMR1983-1.

Kelley, Kenneth B. “The Choral Music of Leslie Bassett.” DMA
monograph, University of Illinois, Urbana-Champagne, 1977.

Kelley, Leslie B. “The Choral Music of Leslie Bassett,” The Choral
Journal (December 1978): 16-17.

Londeix, Jean-Marie. 125 ans de Musique pour Saxophone. Paris:
Alphonse Leduc Editions Musicales, 1971.

Meyer, Leonard B. Explaining Music. Chicago: The University of
Chicago Press, Phoenix edition, 1978.

The New Grove Dictionary of American Music. S.v. "Bassett, Leslie."

New Music for Virtuosos. New World Records, NW209. Liner notes by
Eric Salzman.

86

8 7
Recital Music for Saxophone. Brewster Records, BR1295.

Textures I. Dorn Records, D136.

Wyatt, Lucius Reynolds. “The Mid-Twentieth Century Orchestral
Variation, 1953-1963: An Analysis and Comparison of Selected Works by
Major Composers.” PhD. dissertation, University of Rochester, 1974.

   

           

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