The Scriabin Mystic Hexachord as a Structural Harmonic and ...

The Scriabin Mystic Hexachord as a Structural Harmonic and Motivic Device in Three

Parables for Solo Instruments by Vincent Persichetti

A thesis presented to

the faculty of

the College of Fine Arts of Ohio University

In partial fulfillment

of the requirements for the degree

Master of Music

Zachary J.R. Spivey

August 2021

© 2021 Zachary J.R. Spivey. All Rights Reserved.

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This thesis titled



by

ZACHARY J.R. SPIVEY

has been approved for

the School of Music

and the College of Fine Arts by

Ciro G. Scotto

Associate Professor of Music Theory

Matthew R. Shaftel

Dean, College of Fine Arts

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Abstract

SPIVEY, ZACHARY J.R., M.M., August 2021, Music Theory



Director of Thesis: Ciro G. Scotto

This thesis will demonstrate that the Mystic Hexachord popularized by Alexander

Scriabin functions as a key structural element in three Parables by Vincent Persichetti.

The Mystic Hexachord provides the harmonic basis for each piece on many different

structural levels. Chapter 1 explores Persichetti’s compositional process and philosophy

behind his Parables, illuminating the key aspects that interconnect them. Chapter 2

explores the structural properties of the Mystic Hexachord and its potential for generating

compositional structures. The final chapters contain analyses of three of Persichetti’s

Parables for brass instruments examined through the analytical lens crafted in Chapter 2.

The compositions analyzed in Chapters 3–5 are:

1. Parable VIII for Solo Horn, Op. 120 (analyzed in Chapter 3)

2. Parable XIV for Solo Trumpet, Op. 127 (analyzed in Chapter 4)

3. Parable XVIII for Solo Trombone, Op. 133 (analyzed in Chapter 5)

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Dedication

For Grandma; thank you for getting me started.

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Acknowledgments

Special thanks to Dr. Ciro Scotto for your patience and dedication to this project.

Additional thanks to Professor C. Scott Smith; I never would have discovered any of this

had you not shown me Persichetti’s Horn Parable.

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Table of Contents

Page

Dedication .......................................................................................................................... iv

Acknowledgments............................................................................................................... v

List of Tables ................................................................................................................... viii

List of Figures .................................................................................................................... ix

Chapter 1: Brief Background and Overview of Vincent Persichetti................................... 1

Biographical Context .................................................................................................... 1

Overview of Persichetti’s Compositional Process and Philosophy behind the Parables....................................................................................................................................... 2

Review of Literature Discussing Persichetti’s Parables .............................................. 4

Chapter 2: Some Compositionally Relevant Structural Features of the Mystic Chord for Persichetti’s Parables ......................................................................................................... 6

Origins and Scriabin’s Usages ...................................................................................... 6

Trichordal Subsets of the Scriabin Mystic Hexachord ................................................. 8

What Makes [013] the Parable Motive? ..................................................................... 10

Tetrachordal and Pentachordal Subsets of the [013579] Mystic Hexachord .............. 12

Chapter 3: An Analysis of Persichetti’s Parable VIII for Solo Horn ............................... 14

Section I: Introduction (mm. 1–8) .............................................................................. 14

Section II: Symphony Quote (mm. 9–25) ................................................................... 15

Section III: Moving to Fourths (mm. 26–50).............................................................. 18

Section IV: Cadenza (m. 51) ....................................................................................... 21

Section V: Moving Back to Fifths (mm. 52–61) ........................................................ 24

Section VI: Returning to Original Pitch Center (mm. 62–78) .................................... 26

Section VII: Conclusion (mm. 79–95) ........................................................................ 28

Chapter 4: An Analysis of Persichetti’s Parable XIV for Solo Trumpet .......................... 31

Section I: Introduction (mm. 1–11) ............................................................................ 31

Section II: Rhythmic Drive and Motivic Development (mm. 12–15) ........................ 33

Section III: Emphasizing Chromaticism (mm. 16–21) ............................................... 34

Section IV: More Rhythmic Drive; More Motivic Development (mm. 22–28) ......... 36

Section V: Pushing [013] to the Limits (mm. 29–63) ................................................. 37

Section VI: Return to the Ascending Motive and Conclusion (mm. 64–85) .............. 42

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Chapter 5: An Analysis of Persichetti’s Parable XVIII for Solo Trombone ..................... 47

Section I: Introduction (mm. 1–24) ............................................................................ 47

Section II: Playing with Expectations (mm. 25–38) ................................................... 50

Section III: Rhythmic Drive and Motivic Development (mm. 39–87) ....................... 52

Section IV: Returning Home and Conclusion (mm. 88–118) ..................................... 57

Chapter 6: Final Thoughts ................................................................................................ 63

Bibliography ..................................................................................................................... 66

Appendix A: Compiled Examples from Parable VIII for Solo Horn ............................... 68

Appendix B: Compiled Examples from Parable XIV for Solo Trumpet ......................... 74

Appendix C: Compiled Examples from Parable XVIII for Solo Trombone ................... 80

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List of Tables

Page

Table 1: List of Parables by Vincent Persichetti ................................................................ 3

Table 2: Trichordal Subsets of the [013579] Mystic Hexachord. ....................................... 8

Table 3: Tetrachordal Subsets of the [013579] Mystic Hexachord .................................. 12

Table 4: Pentachordal Subsets of the [013579] Mystic Hexachord .................................. 13

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List of Figures

Page

Figure 1. Notation of the Mystic Hexachord as a scalar set and as a vertical sonority ...... 6

Figure 2. Reduction of the opening measure of Scriabin’s Prometheus, Op. 60. ............... 7

Figure 3. Example of [013] parable motive prepared by rhythmic and dynamic crescendo (from Parable VIII for Solo Horn, mm. 21–23) ............................................................... 11

Figure 4. Example of [013] parable motive prepared and then delayed by IC 1 (from Parable XIV for Solo Trumpet, mm. 67–69) .................................................................... 11

Figure 5. Example A of [013] parable motive being used for pitch material in virtuosic passage of music (from Parable XIV for Solo Trumpet, mm. 53–54) .............................. 12

Figure 6. Example B of [013] parable motive being used for pitch material in virtuosic passage of music (from Parable XVIII for Solo Trombone, mm. 82–85 ......................... 12

Figure 7. Parable VIII for Solo Horn, mm. 1–8 (beginning) ............................................ 14

Figure 8. Parable VIII for Solo Horn, mm. 9–18 ............................................................. 16

Figure 9. Parable VIII for Solo Horn, mm. 19–20 ........................................................... 17

Figure 10. Parable VIII for Solo Horn, mm. 21–25 ......................................................... 17






Figure 16. Parable VIII for Solo Horn, m. 51.a ................................................................ 22

Figure 17. Parable VIII for Solo Horn, mm. 51.b–c......................................................... 23

Figure 18. Parable VIII for Solo Horn, m. 51.d ............................................................... 23

Figure 19. Parable VIII for Solo Horn, mm. 51.e–f ......................................................... 24







Figure 26. Parable VIII for Solo Horn, mm. 87–94 (end) ................................................ 30

Figure 27. Parable XIV for Solo Trumpet, mm. 1–2 ........................................................ 31

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Figure 28. Parable XIV for Solo Trumpet, mm. 3–7 ........................................................ 32

Figure 29. Parable XIV for Solo Trumpet, mm. 8–11 ...................................................... 33

Figure 30. Parable XIV for Solo Trumpet, mm. 12–15 .................................................... 34
















Figure 46. Parable XIV for Solo Trumpet, mm. 81–85 (end)........................................... 46

Figure 47. Parable XVIII for Solo Trombone, mm. 1–4 (beginning) ............................... 47

Figure 48. Parable XVIII for Solo Trombone, mm. 5–11 ................................................ 48

Figure 49. Parable XVIII for Solo Trombone, mm. 12–17 .............................................. 49












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Figure 61. Parable XVIII for Solo Trombone, mm. 98–103 ............................................ 60

Figure 62. Parable XVIII for Solo Trombone, mm. 104–109 .......................................... 61

Figure 63. Parable XVIII for Solo Trombone, mm. 110–118 .......................................... 62

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Chapter 1: Brief Background and Overview of Vincent Persichetti

Biographical Context

Vincent Ludwig Persichetti is often cited as one of the most prolific and important

twentieth-century composers. He was born on the 6th of June 1915 to parents Vincent

Roger Persichetti and Martha Buch. While his father was an Italian immigrant, his

mother was from Germany, granting Vincent Jr. a culturally enriched childhood.1 Music

was an incredibly important part of his youth. From the age of two, Persichetti was sitting

at a player piano listening to the music of Verdi, Schumann, and other major composers.

Persichetti attributes this to his Italian heritage; many Italian families instilled music in

their children at a young age in the hopes that they would become famous musicians: “[It

was] a social disgrace if [an Italian family’s] living room wasn’t equipped with a player

piano… Every child tall enough to reach the keyboard was regarded as a potential concert

artist long before anyone heard him play a scale.”2

Persichetti began his career as a professional musician at the age of 6. During this

time, he began accompanying various local choirs due to his innate ability to sight-read

on the piano.3 Because he had a talent at reading new music, at 15 he began a twenty

year-long career as a church organist.4 Persichetti would go on to become a prolific

educator, conductor, composer, and performer for the entirety of his career. He never

1. Donald L. Patterson and Janet L. Patterson. “Vincent Persichetti: A Bio-Bibliography.”New York. (1988)2. Ernest L. Biagi, The Italians of Philadelphia. Carlton Press: New York, (1967), 252.3,4. Patterson and Patterson, “Vincent Persichetti.”

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abandoned of any skills he acquired along the way, being somewhat of a renaissance man

of music.

While his educational, performing, and conducting career were all important

aspects of his life, Persichetti’s reputation rests on his compositions, which have

influenced many composers. He had a substantial compositional output; over 160 works

were given an opus number and most of his pieces were published almost immediately

after their completion.5 Persichetti had set methodologies regarding his compositional

process. Above all, he believed in music stemming from a “single germinal idea” which

is manipulated and developed across the duration of the piece.6 Consequently, many of

his works can be analyzed as a theme and variations, though this does not always come

across aurally due to the nature and extent of his musical mutation.

Overview of Persichetti’s Compositional Process and Philosophy behind the Parables

Among Persichetti’s most famous and most performed works are his Parables. He

composed twenty-five of these pieces between 1965 and 1982, scored for a wide array of

instrumentation and ensembles. Most of these pieces are for solo (unaccompanied)

instruments, but several of them are for ensembles, including an entire one-act opera.

Table 1 lists the Parables, their date of publication, and instrumentation.

5. Patterson and Patterson, “Vincent Persichetti,” 8.6. Rudy Shackelford. Conversation with Vincent Persichetti. Perspectives of New Music20. (1981), 113.

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Table 1.

List of Parables by Vincent Persichetti (in chronological order) Title Opus Number Date of Publication Parable [I] for Flute 100 1965 Parable II for Brass Quintet 108 1968 Parable III for Oboe 109 1968 Parable IV for Bassoon 110 1969 Parable V for Carillon 112 1969 Parable VI for Organ 117 1971 Parable VII for Harp 119 1971 Parable VIII for Horn 120 1972 Parable IX for Band 121 1972 String Quartet No. 4 (Parable X) 122 1972 Parable XI for Alto Saxophone 123 1972 Parable XII for Piccolo 125 1973 Parable XIII for Clarinet 126 1973 Parable XIV for Trumpet 127 1973 Parable XV for English Horn 128 1973 Parable XVI for Viola, Op. 130 130 1974 Parable XVII for Double Bass 131 1974 Parable XVIII for Trombone 133 1975 Parable XIX for Piano 134 1975

The Sibyl: A Parable of Chicken Little (Parable XX): An Opera in One Act

135 1976

Parable XXI for Guitar 140 1978 Parable XXII for Tuba 147 1981 Parable XXIII for Violin, Cello, and Piano 150 1981 Parable XXIV for Harpsichord 153 1982 Parable XXV for Two Trumpets 164 1986

Persichetti had a specific style and compositional mindset whilst composing these

works. He described this view in a 1981 interview with Rudy Shackelford, towards the

end of his career:

“My Parables are misstated stories that avoid a truth in order to tell it.

Parables are always ‘again’ even when they are new; they’re never ‘was’

or old. The Parables are non-programmatic musical essays…they are

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always in one movement, almost always about a single germinal idea.

[My] Parables convey a meaning indirectly by the use of comparisons or

analogies, and they are usually concerned with materials from my other

works.”7

Review of Literature Discussing Persichetti’s Parables

Persichetti’s Parables have been a popular topic of study amongst theorists,

performers, and musicologists. Several studies have focused on individual Parables in

the hope of shedding light on Persichetti’s compositional process, as well as his

philosophical relationship to these works. For example, Alan Zoloth’s doctoral

dissertation8 was a focused study of Persichetti’s compositional elements found within

his Parable for Solo Flute, op. 100. In a similar vein, Britton Theurer’s article9 analyzes

his fourteenth Parable in depth in the hopes of illuminating new ideas of performance

practice for the piece. Allyson Fleck’s doctoral dissertation10 attempts a similarly

analyzes Persichetti’s Parable XVI, op. 130, in the context of solo viola literature and

performance practice.

While these analyses are thorough and academically sound, none of them attempt

to draw connections between the Parables themselves. According to Persichetti, the

7. Shackelford, Conversation, 113.8. Alan Zoloth, “Vincent Ludwig Persichetti’s Parable for Solo Flute (Alto or Regular),Op. 100: A Study of Its Compositional Elements.”9. Britton Theurer, “A Rich but Melancholy Chord Learns How to Fly: VincentPersichetti’s Parable XIV for Solo Trumpet.” International Trumpet Guild Journal 34(2010), 73-76.10. Allyson Fleck, “Unaccompanied Contemporary Viola.” University MicrofilmsInternational (UMI), 2004.

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works are “nonprogrammatic musical essays” stemming from a “single germinal idea.”11

In terms of how this philosophy directly affected his compositional process, Persichetti

was not clear. While it may be easy to interpret this statement as Persichetti confirming

that each of these pieces is standalone and has no relation to the other, there is evidence

against this line of thinking. First and foremost, there is a melodic motive that appears

across all twenty-five of the Parables. It does not always contain the same pitch-class

content, but it is almost always in the same rhythmic value. In addition, this motive is

most often prepared by a rhythmic crescendo on a singular pitch; this sort of motion is a

common theme across the Parables. It would be easy enough to end the conversation

there; Persichetti’s Parables are connected by a singular motive and nothing further.

However, this thesis hopes to illuminate other guiding principles present in some of the

works in this collection through harmonic, formal, and melodic analysis of compositional

structures.

11. Shackelford, Conversation, 113.

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Chapter 2: Some Compositionally Relevant Structural Features of the Mystic Chord

for Persichetti’s Parables

Origins and Scriabin’s Usages

Although Scriabin utilized the Mystic Hexachord in many ways throughout

several of his compositions, he did not use the term “mystic chord” in any capacity. The

term was coined by Arthur Eaglefield Hull in 1916. The set is also commonly referred to

as the ”Prometheus” chord, due to its usage in Scriabin’s Prometheus, Op. 60 (more on

this later). The set is [013579] (Forte # 6–34) and features an IC (interval class) 1

followed by a series of IC 2’s when the pc-set is listed in normal form. Therefore, the set

could be thought of as an IC 1 followed by a whole tone segment, or five notes of a

whole tone segment followed by an IC 1. The chord is commonly spelled in fourths

following Scriabin’s pitch-space formation of the chord, possibly implying quartal

harmony. When spelled from bottom to top, it consists of an augmented fourth,

diminished fourth, augmented fourth and two perfect fourths. Figure 1 depicts the set as

both a chord and as a scalar set in pitch space.

Figure 1. Notation of the Mystic Hexachord as a scalar set and as a vertical sonority

Most famously, the set serves as an influential structural device of Scriabin’s most

famous piece: Prometheus: The Poem of Fire, Op. 60 (1910). The music is scored for

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piano, orchestra, optional choir, and clavier à lumières, a “color organ” which displayed

specific shades in correspondence to the pitches being performed. This was no doubt and

effort by Scriabin to convey his aural synesthesia (a condition where sounds are

interpreted as actual colors in the patient’s mind) alongside his compositions.

The beginning of Prometheus opens with a direct harmonic representation of the

Mystic Hexachord, though it is not spelled in the typically seen quartal pitch-space

representation seen in Figure 2. It may be easy to assume that this is Scriabin using the

hexachord as either a scale, harmony, or some combination of both, but the reality is

more complex. Scriabin utilized the set as a pool of compositional ideas from which

material could be derived. Often, the notes will be reordered to provide variation of the

harmonic or melodic material, and it is rare that Scriabin stays on one ordering of the

mystic chord for a long section of music.

Figure 2. Reduction of the opening measure of Scriabin’s Prometheus, Op. 60.

On the subject of subsets, it is interesting to note that almost every possible

trichord is a subset of [013579]. The one exception to this rule is [012], which is not a

subset of the set-class because it featured two consecutive IC 1s and the Interval Class

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Vector (ICV) for [013579] only contains a single instance of IC 1. The next section will

explore these trichordal subsets of the Mystic Hexachord, while the last will discuss the

relevant tetrachordal and pentachordal subsets.

Trichordal Subsets of the Scriabin Mystic Hexachord

Table 2. Trichordal subsets of the [013579] Mystic Hexachord (most common sets used in Persichetti’s Parables bolded)

[013] [014] [015] [016]

[024] [025] [026] [027]

[036] [037] [048] [012]

(EXCLUDED)

[013] is the first immediately relevant trichordal subset of the Mystic Hexachord

for Persichetti’s Parables. It is the most prominently used trichord throughout and is

deemed the parable motive.12 The Mystic Hexachord contains only ONE member of the

trichordal set-class [013] as a subset. When parsed from the Mystic Hexachord, [013]

leaves behind a member of trichordal set-class [024], emphasizing the whole-tone nature

of the hexachord. As will be demonstrated in the analyses, trichordal set-class [014] is

most often used as a background set and as connecting material between sections. It is

also commonly used as the closest direct expansion of the [013] parable motive.

12. This analysis will occasionally abbreviate parable motive as “PM.”

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The trichord [015] is built on the two most important intervals of the Mystic

Hexachord: ICs 1 and 5 (minor seconds and perfect fourths). The former is important as it

changes the hexachord from a whole-tone scale, and IC 5 is important as the mystic chord

is (traditionally) spelled in vertical fourths.

The [016] trichord is built with two of the crucial intervals of the mystic chord. As

mentioned before, IC 1 is critical in the set to differentiate it from a whole tone segment

while IC 6 is the first vertical interval from the bottom in the most common spelling of

the Mystic Hexachord. In addition, the whole tone collection could be constructed from

two transpositions of an IC 6 by T2.

The set-class [024] is the most frequently appearing trichordal subset in the

Mystic Hexachord. This is due to the set’s roots in the whole tone collection. Aside from

the initial half step, the rest of the set is a whole tone segment. Persichetti seems to

generally treat this trichord as a contrast to the [013] trichord, and when stacked with a T5

operation they form the entire Mystic Hexachord. The subset [025] is infrequent but does

occur occasionally throughout the Parables as either a background set or as transitional

material between sections.

The trichordal set-class [026] occurs less frequently than other sets, but its

connection to the whole tone scale contained in the Mystic Hexachord makes it a viable

trichord when expanding the harmonies.

The trichordal subset [027] ends up being a common background set in

Persichetti’s Horn Parable, as it contains both IC 5 and 2, outlining the perfect 5th

relationships throughout.

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Persichetti rarely utilized the trichord [036] in his Parables, but it is still a viable

subset and may be present as a background set for other Parables not analyzed in this

study.

The trichordal set-class [037] is an essential part of Persichetti’s musical

development in Parable VIII for solo horn. The music frequently oscillates between Tn

classes [037] and [047], which are both members of [037]. Often, the relationship

between these sets is a perfect fourth apart, further calling out to the set’s origins in the

Mystic Hexachord. The set-class [048] is not a commonly used set throughout the

Parables, but it is used occasionally as an expansion of the [037] relationships seen in

Parable VIII, as well as being a trichordal subset of the [0148] ascending motive seen in

Parables XIV and XVIII.

As mentioned above, [012] is the only triadic set that is impossible to derive from

the initial Mystic Hexachord [013579] due to the fact that there is only one IC 1 present

in the hexachord.

What Makes [013] the Parable Motive?

Although all previous trichords are subsets of the [013579] Mystic Hexachord,

[013] has been given the name parable motive throughout this analysis due to its key role

in the structural and motivic development of the music throughout all three Parables. The

set class is used in a variety of ways, but most importantly it is explicitly stated and

prepared as a motive. Most often, the motive is prepared by a dynamic crescendo on a

repeated pitch, gradually growing in rhythmic intensity as well. Figure 3 depicts an

example of this from Parable VIII.

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Figure 3. Example of [013] parable motive prepared by rhythmic and dynamic crescendo (from Parable VIII for Solo Horn, mm. 21–23)

Sometimes, the parable motive is delayed or expanded as part of the

compositional process. This is quite common in the middle sections of the Parables,

which are generally more developmental in nature. Figure 4 depicts an example of this

from Parable XIV.

Figure 4. Example of [013] parable motive prepared and then delayed by IC 1 (from Parable XIV for Solo Trumpet, mm. 67–69)

In still more instances, the set-class [013] is used to generate most (or all) of the

pitch material in a passage. This is especially common in the more virtuosic passages,

where the set class is often extensively layered on top of itself. There will sometimes be

other set classes that act as either connecting material or developmental expansions of

[013], but the parable motive is always the clearest structural connector. Figures 5 and 6

depict examples of this from Parables XIV and XVIII.

[013] parable motive

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Figure 5. Example A of [013] parable motive being used for pitch material in virtuosic passage of music (from Parable XIV for Solo Trumpet, mm. 53–54)

Figure 6. Example B of [013] parable motive being used for pitch material in virtuosic passage of music (from Parable XVIII for Solo Trombone, mm. 82–85

Tetrachordal and Pentachordal Subsets of the [013579] Mystic Hexachord

Table 3. Tetrachordal subsets of the [013579] Mystic Hexachord (most prominent sets bolded)

[0135] [0148] Ascending Motive Tetrachord

[0248] X2

[0137] All-Interval Tetrachord

[0236] [0268]

[0146] [0246] Whole tone, x2

[0258] X2

[0157] [0247] X2

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While trichords dominate most of the motivic organization in the Parables,

tetrachords also play a role in development and expansion of the trichords discussed in

the previous section. There are three tetrachords of particular importance. [0148] is a

prominent motivic cell throughout Parables XIV and XVIII, and its frequent spelling in

ascending thirds has caused me to label it as the Ascending Motive (more on this in

Chapter 4). The tetrachord [0246] is a whole tone segment that is four notes long, which

occurs twice within the [013579] Mystic Hexachord. This tetrachordal subset is most

often used to emphasize this whole tone nature of the [013579] Mystic Hexachord

([0268] is also utilized this way to a lesser extent). Finally, [0137] is an all-interval

tetrachord, featuring exactly one of each interval class. This tetrachord is utilized

throughout Parable XVIII.

Pentachords are utilized in the Parables, but they are typically used as incomplete

spellings of the [013579] Mystic Hexachord (such as [01357], [01579], etc.) and are not

as structurally prominent or emphasized as the previously listed and discussed trichords

and tetrachords. Table 4 lists all possible subsets for reference.

Table 4 Pentachordal subsets of the [013579] Mystic Hexachord

(01357)

(02368) (02468)

(02458)

(01468) (02469)

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Chapter 3: An Analysis of Persichetti’s Parable VIII for Solo Horn

Section I: Introduction (mm. 1–8)

Parable VIII for Solo Horn opens with an ascending perfect fifth on the PC’s 4 to

e.13 Whether intentional or not, this is an appropriate reference to the historical origins of

the horn, being used for hunting calls that almost always outlined a perfect fifth. The

melody expands the opening fifth idea by an IC 1, resulting in several nested instances of

the [013] parable motive. This foreshadows the first explicit statement of the [013]

parable motive in measure 6 (see Figure 7). The introduction closes on PC 5, an IC 1

away from the initial pitch. IC 1 is a critical interval in the Mystic Hexachord; its

inclusion allows for it to be nearly trichordally inclusive. Without it, the hexachord would

simply be a whole tone segment, which underscores the importance of the IC 1 in the

Mystic Hexachord.

Figure 7. Parable VIII for Solo Horn, mm. 1–8 (beginning)

13. “t” will represent pitch-class ten and “e” will represent pitch-class eleven throughout the duration of this analysis.

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Section II: Symphony Quote (mm. 9–25)

The next section of this piece is a direct quote from Persichetti’s Symphony 7–

Liturgical. The quote is from a horn soli section in the first movement. This quote

supports Persichetti’s Parable process from both an analytical and philosophical

perspective. From the philosophical perspective, the quote is equally applicable to

Persichetti’s Parable style because the term Parable is most often associated with the

bible and Christian faith (i.e. the Parables of Jesus Christ), and the seventh symphony is

subtitled Liturgical. Interestingly, the symphony was not the origin of much of the

musical material; Persichetti reused thematic elements from his “Hymns and Responses

for the Church Year” to create the work. For these reasons, I speculate that the quote is a

calculated philosophical connection to Persichetti’s compositional goals behind this

Parable.

The music compares and contrasts two ordered PC-sets that are members of set-

class [037]. These sets outline the major and minor triad in terms of tonality. In addition

to the contrasting PC sets mentioned, Persichetti also includes a few instances of the

[013] parable motive, but they are mostly used for background structure rather than

foreground motivic phrases (see Figure 8).

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Figure 8. Parable VIII for Solo Horn, mm. 9–18

The peak of the symphony quote’s phrase in measure 19 is the overall climax of

the entire section, featuring all implicit and explicit trichords that have been Persichetti’s

primary motivic focus through the previous section. It is quite apparent why Persichetti

decided to reuse the musical material after parsing this measure; the overall emphasis is

on the [013] trichord, with the background sets of [037] and [024], both important

trichordal subsets that Persichetti used throughout the quote (see Figure 9).

17


Following the direct quote, Persichetti sets up yet another explicit [013] parable

motive, prepped by a repeated note of increasing rhythmic intensity. This particular

“germ” is one that Persichetti uses throughout many of the Parables (in particular, see

Parable XIV for Solo Trumpet). The section closes with less explicit statements of [013]

and ends on a major/minor tonal harmony [0347], possibly in reference to the contrast

between the PC sets that are members of set-class [037] seen in the symphonic quote (see

Figure 10).


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Section III: Moving to Fourths (mm. 26–50)

This section opens with two explicitly stated ascending trichords, both members

of set class [037]. The two trichords are separated by a perfect fourth (Interval Class 5),

which indicates a shift in focus from the horn fifths of the opening to the perfect fourths

of the Scriabin Mystic Chord. Following this explicit statement, the music becomes much

more lyrical and flowing. The melody focuses on [014], avoiding the [013] trichords as

much as possible, perhaps to allow the new [037] development to be most prominent.

This is true until measure 29, where there is a sudden outburst of two successive,

accented [013] parable motives (see Figure 11).


Throughout this section, the overall phrase contour is descending. The structural

tones that are outlined most often imply perfect fourths, even if they are enharmonically

spelled. The end of measure 32 is one of the first emphasized melodic IC 6’s that we see

19

in this section, which almost feels to be used in defiant avoidance of either fourths or

fifths. He repeats the C♯ in the next measure, almost confirmating that the avoidance was

intentional. This measure also features [024] as a key foreground structural device,

demonstrating a shift where previously background sets are highlighted while previously

foreground sets are cast into the background (see Figure 12).


Measure 34 seems to set up more development of the [037] motives seen in

measure 26, but the music quickly moves away from this idea to a member of set-class

[015]. This particular set-class is more intervallically differentiated from the initial [013]

parable motive than any similar trichord used thus far since it only shares IC 1 with

[013]. The music then descends an IC 5 but moves between being an IC 5 or 6 away

before finally settling on the “defiant” IC 6. The next measure features the last explicit IC

20

5 seen until the ending sections of the music. The melody then descends, outlining more

trichords that are members of set class [037] (see Figure 13).


Measure 39 begins a long descending motive that features several explicit and

implicit trichordal subsets of the Mystic Hexachord. The music features several motives

outlining a descending IC 5, with the high points outlining [0246]. This is a whole tone

segment, but more importantly it’s a large portion of the [013579] Mystic Hexachord. If

we look ahead to the peak of the phrase, the ending pitch is a G#, which (when paired

with the rest of the line) would end the phrase at the completion of the [013579] Mystic

Hexachord (see Figure 14).

Figure 14. Parable VIII for Solo Horn, mm. 38-45

21

The section ends with some short outbursts that feature important trichords seen

throughout the section. There is an instance of [014], implying that the music is moving

back towards the most foundational trichord, the [013] parable motive. Measure 48 is a

dramatic crescendo to another explicit and accented [013] parable motive, and while it

does not feature a repeated note, the dramatic crescendo indicates that this is Persichetti’s

main idea (see Figure 15).


Section IV: Cadenza (m. 51)

The cadenza is the first section of the music so far that does not feature meter.

The music builds to an explicit statement of the [013579] Mystic Hexachord. The first

interval outlined is IC 1, emphasizing how important the IC is to the identity and

structure of the Mystic Hexachord. This is supported by the next melodic idea, the

tetrachord <3479>, a member of the all-interval set class [0146], which is also a

tetrachordal subset of the [013579] Mystic Hexachord. Interestingly, the [013] parable

22

motive is not present as a trichordal subset of this tetrachord. The music then crescendos

to a flurry of fast rhythmic motives, centering around the [013] parable motive. The

sequence <t976> is a member of set class [0134], which seems to be the dyad <97> with

an IC 1 on either side (see Figure 16).

Figure 16. Parable VIII for Solo Horn, m. 51.a

A series of glissandi begin the next melodic motive. This motive is very similar to

the opening horn call from Persichetti’s Symphony no.6 for Band, Op. 69, but the

composer does not make any claim to this reference as in the beginning. The pentachord

that follows the glissando motive, a member of set class [01357], is a subset of the Mystic

Hexachord. To complete the hexachord, PC 7 begins the phrase. The music descends

chromatically, leading to a background [013]. Persichetti then includes one more instance

of the trichordal set classes [013] and [014] before moving on to the Mystic Hexachord

(see Figure 17).

23

Figure 17. Parable VIII for Solo Horn, mm. 51.b–c

The next musical motive is an exact [013579] Mystic Hexachord performed

ascending and spelled mostly in fourths. This is the dynamic zenith of the cadenza, and as

a result is also the climax of the music. The next few musical ideas are rapid virtuosic

runs that predominantly feature trichordal set classes [013], [014], and a singular

statement of [012]. Everything beyond this statement of the hexachord is moving closer

to the opening fifths of the beginning (see Figure 18).

Figure 18. Parable VIII for Solo Horn, m. 51.d

24

Following this climactic statement, Persichetti fills in the rest of the cadenza with

connecting [013] material, using connecting [014] on occasion. In the first beamed group,

the first two [013]s are related by TeI. The second relates to the third by T4I, and the first

relates to the third by T5. In the second beamed group, the second two [013]s are related

by T3I. The final triad outlined in the music is [014], which has commonly ended phrases

throughout the cadenza. The music fades in rhythmic and dynamic intensity before

making a shift from free meter to being in time (see Figure 19).

Figure 19. Parable VIII for Solo Horn, mm. 51.e–f

Section V: Moving Back to Fifths (mm. 52–61)

The music that led to the Mystic Hexachord was generally in service of moving

the primary musical focus away from fifths to fourths, so it is logical that the remainder

of the music moves the focus back to the original idea. Starting at measure 52, the music

becomes heavily focused on melodic fourths, outlining several before climaxing on a

25

melodic IC 6. Immediately following this IC 6, the music becomes much more focused

on ascending melodic fifths (see Figure 20).


The music in measure 59 further solidifies that Persichetti’s focus has shifted back

to perfect 5ths. Measure 60 contains two fourths and two IC 1s, but this is the final

deviation before primarily focusing on fifths. The phrase ends on a melodic tritone

emphasized by a fermata (see Figure 21).


26

Section VI: Returning to Original Pitch Center (mm. 62–78)

The penultimate section of the piece begins with an ascending IC 6, followed by

IC 1, followed by another IC 6. The resulting tetrachord is interesting, as the only

intervals present are ICs 1, 5 and 6. The resulting tetrachord is a member of set class

[0167], relating to the larger compositional process of the music with its inclusion and

emphasis of IC 5 and IC 1. Especially when performed melodically, this created a duality

between IC 5, IC 1, and IC 6; both are aurally distinguishable simultaneously. Persichetti

then further develops the [013] parable motive; instead of prepping it with repeated notes

that rhythmically accelerate and dynamically crescendo, he prepares the motive with a

rhythmically decelerating and dynamically decrescendo-ing repeated notes. The phrase

ends with a melodic IC 6 (see Figure 22).


The phrase beginning in measure 66 simultaneously emphasizes a few of the

aspects that defined the previous section. There is a melodic perfect fifth, a background

27

IC 6, and a [013] parable motive displaced by an octave. Following the displaced parable

motive, Persichetti prepares a more explicit instance of the [013] parable motive. He ends

the phrase with a couple slight falls of an IC 1, continuing to emphasize the importance

of that interval throughout the harmonic structure of the music (see Figure 23).


The next section of music seems to focus primarily upon layering as many

instances of [013] as possible. They are nested throughout measures 70–71 and are

layered on top of each other, almost like stretto in Baroque fugue. Measures 72 through

78 also emphasize the parable motive trichord, but they also outline melodic tritones and

[037] and [047] trichords. The phrase ends on a very low note and features a substantial

pause, indicating that the music has reached its final concluding section (see Figure 24).

28


Section VII: Conclusion (mm. 79–95)

The concluding section of this Parable borrows several melodic, rhythmic, and

structural ideas from the beginning of the piece. The opening motive in measure 79 is

incredibly similar to the figures first seen in measure 26. Measure 81 – 82 presents the

original perfect fifth seen in the beginning of the work, which is followed by a series of

repeated pitches. Persichetti almost seems to be preparing another strong instance of the

[013] parable motive, but he instead decides to quote the end of the Nicine creed with

some small variation; a “quote of a quote.” Following this brief quote, Persichetti again

creates rhythmic tension by not only increasing the rhythmic intensity, but also including

a trill on a lower partial for the horn. He includes a dramatic crescendo into measure 86,

where there is one final explicit [013] parable motive before the end of the music, relating

to the initial parable motive by T7. (see Figure 25).

29


Measure 87 is, again, reminiscent of previous material. It seems to draw influence

from measure 26 as well, and even draws more of its melodic contour from this section.

Harmonically, the emphasis is twofold: Persichetti sets up several melodic fifths but then

delays them by expanding the interval by an IC 1. This is no doubt yet another method

that Persichetti utilizes to emphasize the importance of the IC 1 in the Mystic Hexachord.

The final three measures expand around the original (4e) IC 5, and begin a half step away

in both directions before resolving inwards. The piece concludes on the exact same

perfect fifth that it begins with, bringing the long arch-like form to a conclusion (see

Figure 26).

30

Figure 26. Parable VIII for Solo Horn, mm. 87–94 (end)

31

Chapter 4: An Analysis of Persichetti’s Parable XIV for Solo Trumpet


Similar to Parable for Solo Horn, Op. 120, Parable XIV for Solo Trumpet is

composed out of three main compositional ideas: the [013] parable motive, the Mystic

Hexachord, and one additional motive: an ascending minor/major seven chord [0148].

This tetrachord is a subset of [013579]. Furthermore, the set can also be parsed as the

trichord [048] (a trichordal subset of [013579]) plus one IC 1, emphasizing the

importance of IC 1 in the Mystic Hexachord. The music opens with a repeated low C4,

almost in prep for a [013] parable motive, but then moves to the first instance of the

[0148] ascending motive. After ascending, the next passage is a rapid flurry of notes

centering around [013] with a few chromatic passing notes as connecting material (see

Figure 27).

Figure 27. Parable XIV for Solo Trumpet, mm. 1–2

Now that Persichetti has introduced the major compositional devices that he plans

to use in the work, he moves to include the first explicit instance of a [013] parable

motive. The music repeats G4 with increasing rhythmic and dynamic intensity, before

landing on an explicit, accented [013] parable motive. This motive is prepared exactly in

the same fashion as the previously analyzed Parable VIII for Solo Horn. After the initial

32

parable motive, the melodic material continues to focus on [013] as a structural device,

featuring a few less explicit trichords. The lowest pitch of [013] is raised in measure 7 to

create [012]. This is significant, as [012] is the only trichord that is not possible to parse

from the [013579] Mystic Hexachord. Throughout the work, this trichord is frequently

utilized to connect sections of material that prominently feature [013] (see Figure 28).


The connecting material that leads into the first tempo change features several

nested [013] parable motives, both explicit and implicit. The passage seen in measure 9

contains two layered [013] sets related by T10. This is significant because the first and last

[013] of measure 10 are also related by T10. As a result, the sets are separated by an IC 2,

placing the whole-tone aspects of the Mystic Hexachord in a background function. There

is a brief instance of [012], but its function seems to be more as a passing sonority rather

than a structural device. The final melodic motive before the tempo change is an

ascending IC 6. While there is no significant overarching usage of IC 6 in this Parable

33

(or others), it is commonly seen at the end of sections to signify a shift of musical focus.

One interesting thing to note in regards to this section is that this is a series of quiet

flurries that crescendo to a loud, explicit [013] parable motive. This is in direct contrast to

the opening measures of the work (see Figure 29).


Section II: Rhythmic Drive and Motivic Development (mm. 12–15)

The double bar line not only indicates a change in tempo but also a change in

overall style. While the opening measures are rather lyrical and flowing, this section is

rather light and articulated. There are many repeated pitches in rapid succession, followed

by explicit [013] parable motives, along with some developmental [014]’s utilized as

well. As the music slows down, there is a significant [014] seen, indicating a shift of

importance from background to foreground (see Figure 30).

34


Section III: Emphasizing Chromaticism (mm. 16–21)

The third section marks the return of the original style and tempo, as well as

another shift of focus back to the [013] parable motive. The motive is staggered in

excess; there are two instances that at first glance seem to be [0123] tetrachords, but due

to their spelling and rhythmic weight their implicit [013] contained within are

theoretically (and aurally) distinct in the texture (see Figure 31).

35


This is followed by several implicit [013] parable motives and one soft yet

explicit parable motive. The melody then dramatically increases in rhythmic density with

a repeated [012]. Persichetti seems to be intentionally drawing attention to this set to

reference the trichord’s absence in the [013579] Mystic Hexachord. The end of this

section features an ascending tritone followed by a repeated pitch increasing in rhythmic

intensity (see Figure 32).


36

Section IV: More Rhythmic Drive; More Motivic Development (mm. 22–28)

The next tempo change brings yet another brief stylistic shift back to the

capricious and light music of Section II. The music opens with two back-to-back explicit

[013] parable motives, with a third instance eliding with the next musical gesture. The

descending sixteenths follow a specific interval pattern: Ordered Pitch Class (OPC) -1

then OPC -4. The resulting gesture has three distinct [015] trichords, indicating

development of the initial [013] germ. There is one more implicit [013], and then a

[0148] ascending motive (see Figure 33).


There are a variety of approaches that could be taken to explaining the last few

measures of this section, but the most succinct and informative would be analyzing the

notes as a pentachord. The prime form of the pitches is [01369], which is a very closely

related pentachordal subset of [013579] (see Figure 34). The inclusion of IC 6 can easily

37

be justified by its liberal and purposeful use throughout the remainder of this composition

(as well as the other pieces analyzed in this study).


Section V: Pushing [013] to the Limits (mm. 29–63)

Persichetti opens the next section of music with a substantial, indeterminate

pause, indicating that some kind of musical change is likely. The opening pitch content is

[012345], which contrasts with the mostly whole-tone tendencies of the [013579] Mystic

Hexachord. The set [012345] could also be seen as a combination of the two whole-tone

hexachords [02468t] and [13579e], taking only the first six notes of the resulting set. The

first note, high point, and low point of the motive form a [013] parable motive. The pitch

content of the next run is determined by alternating intervallic content, constructed with

alternating IC 3s and 1s (in a similar fashion to forming an octatonic scale with

alternating IC 1s and 2s). The final pitch of the motive connects with the next passage as

a [013] parable motive, and leads to a rapid repeating note that again reveals an explicit

[013] parable motive (see Figure 35).

38


The following measures are quite rhapsodic and frantic compared to the previous

passages. They are rhythmically dense and feature many different trichordal set classes

juxtaposed on top of one another. The run primarily features some back-and-forth

between set classes [013] and [014]. [012] continues to be used as background, “passing”

material in between instances of the aforementioned trichordal set classes (see Figure 36).


39

The next few measures contain the first instance of among Persichetti’s more

abstract compositional devices in this Parable. Following a brief [013] parable motive,

there are a series of melodic descending tetrachords featuring a tie in some capacity. The

pitch content of these trichords is not always consistent and neither is their

transpositional/inversional relationship with each other, but their rhythmic and musical

consistency create a standalone motivic germ that is distinct to both the analysist and to

the listener (see Figure 37).


Once Persichetti has introduced this descending tetrachordal motivic cell, there is

a brief return to the alternating interval motive seen in the previous section. However, this

time the pitch classes alternate between IC 4 and IC 1, consequently creating [015]

trichords and ending with a [013]. Persichetti moves to [014] in areas that he is

developing the [013] parable motive, so it could be safe to assume that changing IC 3 to 4

in this instance of the motive is his way of developing this musical idea. This is further

40

supported by the proceeding measures, which almost exclusively utilize [013] parable

motives with interspaced [014] developmental motives (see Figure 38).


As Persichetti descends to the lower tessitura of the instrument, he begins to

include more chromatic passages which consequently create [012] trichords throughout.

Their structural importance is never greater than the [013] parable motive, but their

frequent inclusion here is a contraction of [013] in the same way that Persichetti has used

[014] throughout the rest of this piece. The music chromatically ascends to the higher

range of the instrument in preparation for one of the piece’s most decisive moments (see

Figure 39).

41


The next few measures of music are similar to the cadenza section in the

previously analyzed Parable VIII. In Parable VIII, there is an explicit [013579] Mystic

Hexachord performed in fourths by the soloist, followed by set class [012], standing

alone as the only trichordal set class not included in the Mystic Hexachord. This Parable

takes somewhat the opposite approach; following a developmental [014], there is an

explicit [012] trichord, followed by what is almost an explicit [013579] Mystic

Hexachord. While incredibly close, there is one altered pitch in the set class that changes

the hexachord to [013479]. It should be noted that this difference in hexachordal set class

is only one IC 1 away from the original, further implying the importance of the IC 1 in

the Mystic Hexachord as a defining feature separating it from a whole tone segment. The

end of the section features a flurry of rhythmic activity alongside many nested and

42

explicit [013] parable motives, as well as a few interspaced [014] developmental parable

motives (see Figure 40).


Section VI: Return to the Ascending Motive and Conclusion (mm. 64–85)

The next section of music marks the final mute change for the performer;

Persichetti notates a substantial pause to allow for the soloist to insert a straight mute.

Harmonically, the music opens with a [014] developmental parable motive, but quickly

shifts to utilizing several nested [013] parable motives. This is followed by another

repeating note motive, leading to yet another instance of an explicit [013] parable motive,

this time including a nested [013] as well. This is created by adding IC 7 to the trichord

43

instead of IC 8, which the soloist slides to at the end of the germ. The following measures

feature a flurry of nested [013] trichords with connecting chromatic material throughout

(see Figure 41).


At this point, Persichetti finally returns to the opening ascending motive from the

beginning of the music, transposed up by IC 3. This may seem insignificant at first, but

the only other explicit instance of this ascending motive occurs an IC 4 down from the

initial motive. It stands to say that Persichetti was demonstrating the importance of these

two pitch classes in both the Scriabin [013579] Mystic Hexachord and both [013] and

[014] parable motives (see Figure 42).

44


After one more brief (yet explicit) [013] parable motive, Persichetti the brings

back the intermediate descending motive, alternating IC 4 and IC 1. Interestingly, this

motive is transposed up by IC 2, which (up to this point) has been more of a background

operation than foreground. It serves to deduce that this motive’s transposition is to

emphasize the importance of “whole steps” in the [013579] Mystic Hexachord as a whole

(see Figure 43).


At this point, the focus of the music shifts towards development of the ascending

[0148] tetrachordal motive. The first instance is not spelled using the same ascending

intervals and features a repeated octave IC 7, but the rhythmic intensity and harmonic

content relate it to the beginning germ (though the pitch content is [0347]). Following

this ascent, the melody descends back to the lower tessitura of the instrument, alternating

IC 4 and IC 1 while crescendo-ing towards the end of the phrase (see Figure 44).

45


Following a brief instance of [014] expansion, there is the first instance seen in

the piece of the ascending melodic motive being used as a descent instead. This instance

doesn’t feature Pitch Class (PC) 2, but otherwise it is transpositionally identical. This

germ is followed up by two more explicit instances of the ascending opening melodic

motive (see Figure 45).


Interestingly, the next few measures seem to draw attention towards the whole

tone segment-like nature of the [013579] Mystic Hexachord. There is a rapid, arpeggiated

tuplet that features the pentachord [02458]. If the IC 6 is taken into consideration, the set

instead becomes [02468]. It is significant that Persichetti utilizes a pentachord rather than

a hexachord; the [013579] Mystic Hexachord features a five-note whole tone segment

along with an IC 1 in the beginning. Altering the above set by a single IC 1 is most likely

in reference to this property of the Mystic Hexachord. The music ends with a melodic IC

6, most likely in reference to the pitch that was altered and to the nature of whole-tone

46

segments of music. The music concludes with a descending IC 1 followed by an explicit

statement of the [01348] ascending arpeggiating motive (see Figure 46).

Figure 46. Parable XIV for Solo Trumpet, mm. 81–85 (end)

47

Chapter 5: An Analysis of Persichetti’s Parable XVIII for Solo Trombone


Parable XVIII opens with the soloist muted and gentle, evoking a very similar

mood to the previously analyzed Parables VIII and XIV. The first motive of the piece is

an explicit [013] parable motive, but instead of being loud and bombastic the music is

lyrical and introspective. The music repeats a singular pitch, starting with great rhythmic

intensity and gradually laxing in speed. The contrast is great compared with other first

instances of the [013] parable motive, which are typically proceeded by a repeated pitch

that gradually increases in rhythmic intensity. Being one of the later composed Parables,

the contrast appears to me an indication of perhaps the composer toying with the

compositional processes set up throughout (see Figure 47).

Figure 47. Parable XVIII for Solo Trombone, mm. 1–4 (beginning)

The measures following this explicit instance of [013] develop this set class and

the [013] parable motive in particular. The set is used as the pitch material for nearly all

melodic motivic cells; Persichetti is particularly careful to group the music in ways that

highlight groups of three. There is one instance that breaks this pattern, and the music

48

oscillates on IC 6, a motive idea that repeats several times throughout the course of the

work (see Figure 48).

Figure 48. Parable XVIII for Solo Trombone, mm. 5–11

The measures following this section serve many functions in the harmonic

development of the music. First, there is the (re)introduction of the [0148] ascending

motive from Parable XIV for Solo Trumpet. The next two motive cells utilize [013] and

[012], followed by [0347]. The two trichords are significant, as the first is the parable

motive and the second is the only excluded trichordal subset from the [013579] Mystic

Hexachord. Of even greater interest are the tetrachords [0148] and [0347]. Not only are

they both tetrachordal subsets of the [013579] Mystic Hexachord, but they are both key

tetrachords from previously composed Parables ([0148] with Parable XIV for Trumpet

and [0347] with Parable VIII for Horn). Introducing two previously significant motivic

cells in quick succession, separated by the development of the [013] parable motive, is

49

suggestive of a subversion the audience’s expectation for how those devices are used (see

Figure 49).


The next melodic idea consists of the unusual tetrachord [0125], which is not a

tetrachordal subset of the Mystic Hexachord. For this reason, it may be easy to dismiss

this as “filler material” that connects larger ideas, but this is not the case. The two upper

notes outline IC 1, as do the highest and lowest pitches. The two lower pitches form an

IC 5, so this passage might be another development of IC 6 as seen before. The next few

motives continue to use and develop [013] as a melodic device, ending with the first

explicit [014] seen in the piece (see Figure 50).

50


Section II: Playing with Expectations (mm. 25–38)

The opening motivic cell of this section is directly in line with the compositional

process found in this piece. The section opens with a repeated note increasing in both

rhythmic intensity and dynamic volume. In the previously analyzed Parables, this has

almost always been a setup for some kind of [013] parable motive. The opening gesture

suggests this idea, moving from PC4 to PC7, but instead of completing the motive with

either PC5 or PC6, we find another instance of the ascending [0148] motive from the

trumpet Parable. Toying with the audience’s expectation of a [013] parable motive at this

section is exactly the kind of subversion that has been a theme throughout this work (see

Figure 51).

51


The section continues to develop the [013] parable motive throughout the next

few measures, using it as the primary foreground and background motivic device. There

are a few instances of [016] and [014]: both trichordal subsets of the [013579] Mystic

Hexachord, and additionally can be viewed as expansions to the [013] parable motive

(see Figure 52).


52

The closing measures of this section deal primarily with the [013] parable motive

as seen before. The motives are layered on top of one another and separated by register,

further emphasizing their melodic/harmonic connection. The section again ends on the

oscillating IC 6 motive seen previously. Persichetti almost seems to be using IC 6 as an

indication of a sectional change or a shift in compositional focus, and the first two

instances of this oscillating motive are indicative of this usage (see Figure 53).


Section III: Rhythmic Drive and Motivic Development (mm. 39–87)

The next section is a stark contrast to the previous music; the meter and rhythmic

drive are more clearly defined, leading to a drastic change in style and overall musical

character. The music begins as a frantic flurry of layered [013] parable motives of

varying rhythmic intensity, but then quickly moves to [012] as the harmonic/melodic

focus, ending with a melodic IC 6. The duality of these two musical ideas solidifies

viewing the [013] parable motive as the primary motivic device, while [012] is a more

peripheral, background set (see Figure 54).

53


The overwhelming majority of the proceeding pitch content can be fit into the

[013] parable motive theoretical mold, with some intermediate pitch content being

derived from other relevant trichordal subsets of [013579]. In particular, there is a greater

emphasis placed on [024], emphasizing the whole tone nature of the Mystic Hexachord.

In conjunction with the harmonic implications of [012] and the [013] parable motive,

many of the key harmonic aspects of the [013579] Mystic Hexachord are brought to the

foreground using these trichordal subsets. There are also several instances of the IC 1/IC

6 motive seen before, but the ordering is almost always reversed or obscured in some

way. This is no doubt developmental of the motive and quite intentional on Persichetti’s

part. Towards the end of this passage, the high points each phrase chromatically ascend,

creating a [012345] chromatic hexachord ending on beat 2 of measure 66. This hexachord

couldn’t be more different from the [013579] Mystic Hexachord, but given its chromatic

nature it could be interpreted as an emphasis on IC 1 (see Figure 55).

54


55

Following the gradual chromatic ascent of the previous passage, the motivic

material remains largely the same. There is still extensive emphasis on [013], with

interspaced [014] and IC 1/IC 6 developments throughout. However, the pitch sets are

much more spaced out and obscured than they have been up until this point, marking

further development of the [013] parable motive and to the [013579] Mystic Hexachord

as a whole. The section ends by establishing a low pedal point after a couple IC 6/IC 1

motives (see Figure 56).


The introduction of a melodic IC 6 has been indicative of a section-change

previously in this Parable, so its introduction here is expectedly similar. In m.75 the

soloist glissandos from E4 to Bb4, before playing a much lower A2. The low, isolated

56

pitch sets up a pedal for the next measure, being an IC 1 away from the highest pitch that

it precedes. Melodic IC 6s become increasingly common, and their musical/artistic drama

is heightened by separating them by register. When the [013] parable motive returns, IC 6

has moved to a background function, serving as the starting and end point to several

musical motivic cells throughout this section. Measure 78 features the all-interval

tetrachord [0137], which features both [013] and [037] as trichordal subsets (see Figure

57).


The passages that follow exist to develop two important motivic devices: the

[013] parable motive and IC 6. The music opens with very large, dramatic leaps that

divide the music into two distinct registers. Collectively, the pitches create [0268],

emphasizing the whole tone nature of the [013579] Mystic Hexachord, but the intervals

between the most dramatic leaps form IC 6. The pitch content that follows features

ascending passages that are filled with [013] parable motives, and their beginning and

ending pitches outline IC 6. The music grows in rhythmic intensity towards measure 86,

before landing on PC1 and changing time signatures in preparation for the next section

(see Figure 58).

57


Section IV: Returning Home and Conclusion (mm. 88–118)

The next section of music begins with a dramatic arpeggio involving a slide-

glissando while moving through the harmonic series. The pitch content in this motive can

certainly be analyzed, but due to its effectual nature, the analysis will focus solely on the

top and bottom pitches. There is an emphasis on IC 1, along with several elided instances

of the [013] parable motive. These trichords are almost always grouped rhythmically or

registrally, thus following the sets through this passage is aurally feasible (see Figure 59).

58


Throughout this section, the music continues to reference the [013579] Mystic

Hexachord by relation to the [013] parable motive. These instances are often elided on

top of one another and, like the previous section, are most commonly grouped

rhythmically or registrally. There is some whole tone emphasis in measure 94, but the

other pitch content is all either [013] or some expansion of the parable motive, such as

[014] (see Figure 60).

59


Aside from yet more strings of elided [013] parable motives, there is a rapid

ascending motive reminiscent of Parable XIV. However the pitch content is quite

different. The set is [0137], which is an important tetrachordal subset of [013579]. This

set is of interest, as it is an all interval tetrachord, meaning that there is exactly one of

each interval class contained within. Based on that the [013579] Mystic Hexachord

includes all but one of the possible trichordal PC sets ([012]), it might seem more logical

to utilize a set that is almost all interval, yet he chooses to use this pitch content instead.

A possible explanation for this will be discussed later in this analysis. The other pitch

material is almost entirely formed with [013] parable motives, with some [014] and [024]

background sets present as well (see Figure 61).

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The next few measures are mostly an expansion of the [013] parable motive, with

the harmonic content being either identical or closely-related. For example, there is an

explicit instance of [014], which is quite clearly an expansion of the initial set. Persichetti

also brings back another common device in the form of repeated rhythmic pitches; he

writes a line that repeats G3 interspaced with interjections of [013]. This device has been

previously used to prepare the listener for an upcoming explicit [013] parable motive, but

this time there is no such instance. The pitch material is still [013], but the lack of distinct

rhythmic emphasis is unusual (see Figure 62).

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The next line marks the beginning of the end for this Parable. Starting with an

emphasis on IC 6, the music then introduces a drone on the original starting pitch of

D♭s4, bringing back the beginning material and bringing everything together. In addition,

this section offers a possible explanation for the usage of the [0137] all interval tetrachord

seen previously in the piece. The motive is the same; a rapidly arpeggiated set followed

by a sustained note, but the pitch content this time is very slightly different. Instead, the

set is [0237]. Shifting PC1 to PC2 in the set may be yet another emphasis on the

importance of IC 1 in the [013579] Mystic Hexachord, the [013] parable motive, and the

compositional processes underlying the Parables as a whole. The music concludes with

even more emphasis on [013], the melodic IC 6 and repeated PC1, fading away just like

the beginning (see Figure 63).

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63

Chapter 6: Final Thoughts

Much of this analysis can be directly applied to the performance and pedagogy of

these three Parables. My aim was to create a guide and to outline the major

compositional features present in these works. That is, a “practice guide” that might

illuminate patterns and pitch relations that are not explicit or obvious. It would be

wonderful if performers of this music could benefit from these analyses by enhancing

their knowledge of Parables through these analyses. It would be even better if these

analyses fostered new interest in performance of these works, consequently creating

brand new musical interpretations. To help encourage this process, Appendices A, B, and

C have been included in this document as an aid and quick reference.

It is my hope that this study has proven that distinct harmonic, melodic, and

structural features tie these three Parables together and demonstrate a higher

compositional process. While conducting preliminary research for this analysis, there are

elements of the Parables analyzed in this thesis, such as the [013] parable motive, the

[013579] Mystic Hexachord, that are present in seemingly every Parable that I briefly

studied. My idea of an effective expansion of this analysis would be to connect the

remaining 22 Parables not studied to the melodic, harmonic, and structural framework

outlined throughout this paper.

However, this may prove problematic due to the scope of some Parables. As

briefly mentioned before, the Parables vary widely in ensemble size and instrumentation.

These three works were for solo brass instruments, but there are also works for keyboard

instruments (piano [XIX] and carillon [V], for example). There are more aspects to

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consider when analyzing works such as this; the possibility of simultaneous horizontal

and vertical harmony has the possibility to create more complex and motivically dense

textures.

Not only are there Parables written for instruments capable of vertical sonorities,

but there are also several written for various ensembles. Parable II, written for brass

quintet, is more than twenty minutes in duration. An analysis of this piece might

constitute the length of an entire thesis alone, and the same can be said for Parable X for

string quartet, Parable XXIII for Violin, Cello and Piano, and Parable XXV for Two

Trumpets.

That being said, two pieces stand as the two singular greatest challenges in

connecting all twenty-five Parables. Parable IX is written for wind band and is a little

less than eighteen minutes long in total, again constituting a substantial analytical

investment that would require solid preparation and dedication to complete. This pales in

comparison to Parable XX, subtitled The Sybil: A Parable of Chicken Little, which is an

entire one-act opera. The score of this work is over three-hundred pages, making it the

longest and most complex Parable by a considerable margin.

While these analytical challenges are certainly present, I believe that it would still

be a very worthwhile endeavor. The addition of multiple voices provides a much greater

opportunity for denser sonorities and more complicated set class and transformational

relationships. There is a possibility that the smaller trichords and tetrachords of these solo

works combine in some significant way to create hexachordal (or larger) supersets that

relate in unique ways to the [013579] Mystic Hexachord.

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Parable XX is the only Parable to include voices alongside instrumentalists,

providing the opportunity for not only a variance of textures and colors but also the

inclusion of text. It would be quite interesting to see if Persichetti’s compositional

processes seen throughout this analysis are also present in his use of text, especially

considering that the composer also wrote the libretto. Furthermore, this work was

Persichetti’s only opera and the work was only premiered once. Given the reputation of

Persichetti’s music, it would also be academic to discern the reasons that this opera may

not have been a success, and if its (potential) reliance on the Parable formula is

responsible in any significant way.

Despite all this speculation, it remains impressive that Persichetti was able to craft

multiple pieces that are thematically cohesive while aurally distinct like the Parables

analyzed in this thesis. Persichetti’s music is still performed in halls throughout the globe,

and the intelligent music composition highlighted in this analysis could easily serve as

justification (though justification of Persichetti’s musical integrity is entirely

unnecessary). I hope that there is some academic, musical, or philosophical aspect that

seen through this analytical lens leads to the enrichment of music, which to me there is no

higher praise or achievement.

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Bibliography

Biagi, Ernest L. The Italians of Philadelphia, 252. Carlton Press: New York, 1967.

Fleck, Allyson. “Unaccompanied Contemporary Viola.” University Microfilms

International (UMI), 2004.

Patterson, Donald L., & Patterson, Janet L. Vincent Persichetti: A Bio-Bibliography. New

York, 1988.

Shackelford, Rudy. “Conversation with Vincent Persichetti.” Perspectives of New Music

20, 1981.

Theurer, Britton. “A Rich but Melancholy Chord Learns How to Fly: Vincent

Persichetti’s Parable XIV for Solo Trumpet,” 73-76. International Trumpet Guild

Journal 34, 2010.

Zoloth, Alan. “Vincent Ludwig Persichetti’s Parable for Solo Flute (Alto or Regular),

Op. 100: A Study of Its Compositional Elements.”

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Appendix A: Compiled Examples from Parable VIII for Solo Horn

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Appendix B: Compiled Examples from Parable XIV for Solo Trumpet

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Appendix C: Compiled Examples from Parable XVIII for Solo Trombone

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