JAVS Summer 2000

VoL. 16 No.2

18

jOURNAL OF THE AMERICAN VIOLA SOCIETY

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At the same time, the viola melody introduces two chromatic alterations to this hexachord, pitch-classes C and E, which form a minor third and perfect fifth respectively above pitch-class A. Though realized somewhat differently on the musical surface, this same eight-element collec tion recurs at the beginning of measure 5 and at the end of measure 6. In all of these instances, pitch-class A is destabilized as a perceptible chordal root by being paired with its tritone in the bass. At the beginning ofmeasure 4, however, the perfect fifth alteration displaces the tritone and yields a statement of the previously described basic hexachord in Roslavets' system (which con sists of a major triad, minor seventh, minor ninth, and minor thirteenth). Example one also shows that, within the first six measures of the piece, the chordal statements on A alternate with similar chordal statements on E. Lacking the minor ninth component, the pentachords onE in measures 3 and 4 are incomplete statements of the referential chord trans posed up a fifth. On the other hand, the similarly transposed statements in measures 5 and 6 not only add the minor ninth and include the minor third components, they also raise the minor