15
Figure 2: BlackRoller Motive Chart
|
Motive |
Example |
Sections Used |
Variant(s) |
Variant Sections Used | ||
|
Motive x |
X |
A, B, E, I*, J, L |
See example 1.2 |
C, F | ||
|
p |
t⅜≡ | |||||
|
Motive y |
У |
A, B* |
_____________ 7 ⅛ j. 7 |
C, D, E, H | ||
|
Γ ∣*-f∙ z⅛P P | ||||||
|
I k⅛Γ ( | ||||||
|
∣≡1 l>-θ∙ | ||||||
|
Motive z |
J |
A, B, F, L |
- |
^A* | ||
|
Motive a |
E, F*, G*, H, J, | |||||
6
* Indicates the motive appears only one time in the section
Figure 2 also highlights the overall lack of motivic development: only the x and y
motives appear in varied forms (the z motive appears once in the opening section as a
written out variant of the quintuple grouping). Additionally it reveals the lack of overlap
between the early motives (x, y, z) and motives introduced in the middle of the piece (a,
b, c, d).
The piece begins with an eight-measure flute and clarinet duo marked “very freely,
very fluidly,” which starts calmly in unison but pulls away to parallel minor seconds in