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Jared Waters

Professor Jennifer Kitchen

MUS 505A

20 March 2016

Webern Analysis

The fourth movement of Webern’s op. 5 is in Ternary form, A B A’. When analyzed, the

marking pattern of the A sections are the consistent alternating sets whose prime forms are (0 1 5

6) followed by (0 1 6 7), respectively. This switching back and forth of sets can be found in

measures 1-5 and in the A’ section, measures 11 and 12. The trading off of the (0 1 6 7) set

 between Violin 1 and 2 in measures 3 and 4 are related by a half step. The pitches of measure 3

are repeated in retrograde as well as being lowered by a half step. In order of occurrence, the

 pitches in measure 3 are as follows: 6, 11, 5, 0. The pitches in measure 4 are 11, 4, 10, 5. Now, if

the tones in measure 4 are raised by a step and played directly after the tones in measure 3, a

mirror image of the notes are revealed: 6, 11, 5, 0 - 0, 5, 11, 6. After this retrograde restatement,

the line is continued in the same manner as Violin 1 in the cello, effectively creating two

sequences of retrograde motion between the three instruments over the span of these two

measures (6, 11, 5, 0 - 0, 5, 11, 6 - 6, 11, 5, 0). Additionally, the recurring sets of (0 1 5 6) in

measures 1-2 and between the notes produced by Violin 1 and Viola in measure 5 are also

related by a half step, except this set is raised by a half step as opposed to the recurring (0 1 6 7)

sets which are lowered.

The B section can be distinguished by a shift in pitch, rhythm, and pattern. But, before

addressing the B section, it’s important to note the transitional motive found between each

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sections. This ascending motivic set has the primary form of (0 1 2 3 6 7 9) and is found between

A and B in measure 6, found between B and A’ in measure 10 but with rhythmic augmentation

and transposed down a Perfect 5th, and finally in measure 13 but with rhythmic diminution and

transposed up by an Augmented 5th when compared to the first appearance of this figure. Like a

seam holds patches of fabric together in a quilt, this motive connects the individual sections

together and carries the piece to an end. In reference to the B section, it is rather unique as it is

rather short and produces new sets from the A’s. However, there is an abstract subset in section

B that comes from section A. Starting in measure 7, the cello and Violin 2 create a set with the

 prime form (0 2 7). This stems from a larger set found in the cello line in measures 4-5 which has

a prime form of (0  1 2 6 7  ). This section is primarily focused around the set (0 4 8) as is found in

the viola line accompanied by a quick melody in Violin 1 before transitioning to A’.

A’ is very similar to A, however there are a few differences. The first and most obvious is

the length. While it still alternates between (0 1 5 6) and (0 1 6 7), it is heavily condensed.

Additionally, the first statement of (0 1 5 6) is played in Violin 1 while the other 3 voices play

the subset (0 1 5) as a canon before the bottom three create the penultimate set via pizzicato. The

 piece, as previously stated, is then brought to a close by the transitional figure that ascends in

 pitch while fading into silence.