180
The last excerpt is a suo-na instrumental interlude. The unit-pattern is the motif itself. There are eleven motifs, in the These motives are strung together
modes of la, do, sol, and mi, in the following fashion:8
motif a b c d
a be f
mode la do
la - do \
hidj:
2
MA
-
8 k
mi
la
mi
sol
do
Variation techniques are not only seen in the repetition of the same motif, as indicated in the transcription, but are also essential to the formation of new motifs; for example, motif e refers its material to motif a but ending in mode do, motif j is the result of combining motifs f and e, and motif k quotes part of motif d and turns it into a cadential motif ending on mode mi,
Example 5.
Original first pitch
B
ь
If I had but th
180
The last excerpt is a suo-na instrumental interlude. The unit-pattern is the motif itself. There are eleven motifs, in the These motives are strung together
modes of la, do, sol, and mi, in the following fashion:8
motif a b c d
a be f
mode la do
la - do \
hidj:
2
MA
-
8 k
mi
la
mi
sol
do
Variation techniques are not only seen in the repetition of the same motif, as indicated in the transcription, but are also essential to the formation of new motifs; for example, motif e refers its material to motif a but ending in mode do, motif j is the result of combining motifs f and e, and motif k quotes part of motif d and turns it into a cadential motif ending on mode mi,
Example 5.
Original first pitch
B
ь
If I had but th
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