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Here, the initial three-note group is
E, C sharp, D. It is projected as inverted - non-inverted - inverted, rather than inverted
- non-inverted - non-inverted, as before. The first interval, a descending minor third, is
projected from E to G, from C sharp to B flat, from D to F. The next interval, an
ascending minor second, is projected from G to F sharp, from B flat to B and from F to E.
The next note is C sharp. In Iris, two of the notes (B flat and B) are freely
transposed an octave up.
It may be seen that the third note in every three-note group is a major second below the
first note in the group. Since they do not immediately follow each other, the result will
not be monotonous. It may also be seen that within these first 10 notes no notes are
repeated, and nor will this subsequently be the case.
In tripartite series outside the 'tone lakes' Nørgård has never used initial figures
that would involve the repetition of notes. In a letter to the present author, Nørgård
wrote that:
this is
partly due to the analogy with the basic two-note series, in which notes are never
repeated, partly - and more especially - because such a repetition of notes would disturb
the tonal progression. Various freely-composed note values already appear in the third
love song (Wie soll ich....) from 1963, and in addition 'expressive'
repetitions of the same note. It would therefore be 'structurally unclear' if 'built-in'
repetitions of series were to be added to this.
(Letter of 12.9.1992 to Jørgen Mortensen).
It should be noted that Nørgård allows the repetition of
notes in the 'tone lakes', though here they never come to play a dominating role. |
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