The name is absent

119

Example 3.8: Viola Sonata, First mvt., mm 3-5, motive x

Although this motive is a descending figure, its character is reminiscent of the ascending
y motive used in the last movement of Cajun Set:

Example 3.9: Cajun Set, Third mvt., m. 28

Both of these motives have scalar movement with chromatic alteration that creates
forward energy. In the case of motive x, within each half measure there are two three-
note groups and a two note group that create a rhythmic “groove” mimicking the loose
but edgy feel of early rock ^,n^, roll, without however using any directly borrowed pitch
content or rhythm. Until the last four notes, a sound similar to the early rock ^,n^, roll
guitar solos of Les Paul is established. The articulation indications on these last four
pitches, combined with their “push” rhythm (a characteristic anticipation of the
downbeat) create an aggressive gesture which Larsen explains looks ahead to the more
percussive style of later rock ^,n^, roll.⁶'

The influence of 1950’s jazz piano is also evident in the harmonic accompaniment
of this motive. Three-note chords built on fourths and tritones accompany the x motive
⁶¹ Larsen, interview 8/2008.

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