more than one measure. This is similar to Schenkerian analysis, where only significant harmonic points or structures are reduced and visualized. The second step is interpreting what the graph represents. Each cube in the graph equals one half step. Fundamental pitch range is indicated vertically on the left starting from C0 and going up to C8. Measure numbers are indicated on the top of the graph and not all measures are indicated, only those where significant harmonic activity occurs. This allows for a reduced visualization of the formal structure. Brackets are used to indicate “segments” which are chords larger than trichords. Segments can be tetrachords, hexachords, etc, or “aggregates” in Schoenbergian language, but not by strict Schoenbergian definition. They can also be thought of as pitch class sets but again, not by strict definition of Schoenbergian analysis. They are simply called segments in Varèsian analysis. Furthermore, a segment is categorized with two notes, each with orchestral range, for example B3 – G5. This segment consists of notes within B-G, but those are not included, only the two outermost notes of the segment. This contrasts with Schoenbergian analysis where every note of a chord or aggregate is visualized and assigned a number for example, [0, 2, 4]. Perhaps a combination of Varèsian and Schoenbergian numerical identification can be developed to indicate pitch and register, for example [04, 25, 46]. This method shows exactly where a pitch class set is spaced or orchestrated. Bernard’s identification of trichords is a main method used for analyzing harmonic textures. These chords are circled by use of an oval on the graph. Overlapping ovals indicate an internal structural relationship between the basic form of a trichord, and its derivatives.
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