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120

and appear throughout the movement. Stacked thirds are avoided in this voicing, and the
open sound of the fourths provides an ambiguity about tonality. The trichord (016) lies
comfortably on the piano in this voicing and is used throughout the third movement of
the sonata, unifying the piece as a whole. In general Larsen does not transpose motives in
this piece; however motive x and its variant are unique in that the starting pitches
alternate between B, E-flat, and F as shown in Figure 8.

Figure 8: Ibid., Motive x Transpositions

Measure________

Starting Pitch

Other___________

3-5________________

B_____________

9-11_______________

E-flat_______________

17-19_____________

B____________

tremolo___________

36-37 (variant)

F_______________

tremolo___________

43-45_____________

B_____________

91-92 (variant)

F_______________

tremolo___________

102-104__________

B_____________

107-109__________

B_____________

The variant of motive x (shown in Example 3.10) features faster-moving harmony
and tremolo. The range is expanded another octave, and the pitch collections in the viola
part change every beat like Example 3.9 from
Cajun Set. A percussive effect is created by
the accents over the last grouping of notes.

Example 3.10: Viola Sonata, First mvt., mm. 36-37, viola only, x variant



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