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ETc Etc ETC etc ETC etc ETc Etc ETC etc ETC etc ETc Etc ETC etc ETC etc ETc Etc ETC etc ETC etc ETc Etc ETC etc ETC etc ETc Etc ETC etc ETC etc ETc Etc ETC etc ETC etc ETc Etc ETC etc ETC etc ETc Etc ETC etc ETC etc


Glass

The first section looks more derivative of Laurie Anderson. 

This is all getting very silly, and some "deconstruction" is needed. Who better to come to the rescue than Heinrich Schenker - so let's just apply some good old "Schenkerian Analysis".

Ready?...................

H..................................................................A..................................................................D

Baz 

H...................A.....................D is more like
VI..................V......................I

isn't it?

Which indeed is the sequence with which Glass's Einstein on the Beach begins!

I took Reiner's graph to be representing the 3-2-1 Urlinie unfolding over the bass line, not mapping the H--A--D on to the bass line itself.

Obviously only Reiner can explain.

(I'm running out of ways to end a message with an attempt to steer the thread back ON-TOPIC. )

How about this, then?

Does anyone have anything to say about large-scale harmonic planning in Shostakovich?

I do have problems with this question; I haven't been able to find anything particularly illuminating. Since his writing is generally pretty modal anyway it complicates the issue somewhat - yes the piece starts in C minor but the second note is a Bb for example.

But to expand one or two steps on Baz's outline:

1 in C minor, ends in C major
2 in Db major, trio section outlines A minor first but is generally pretty unstable, second appearance of trio goes first to D minor
3 in E minor, trio section in Gb/F# major
4 in G# minor
5 in C major

Is it looking like anything? 

I forgot to mention that both the outer movements also have important E minor episodes (the key of the third movement): the first movement's Allegro section has a repeated E-G as an ostinato in the bass from bar 231 (just before letter I), the last movement has an E minor melody in the cellos, bassoon and bass clarinet at letter D which comes back as a bass clarinet solo after the last big climax. Indeed the ostinato pattern in the first movement has quite a close correspondence with the third movement, not just in the key.

I don't suspect any of these tonal relationships are going to lead to some kind of Eureka moment though. Even the relationships in thirds aren't as striking in a vocabulary with modal leanings as they are in mostly strictly tonal harmony (Beethoven!) - third relationships are stock-in-trade of a modal vocabulary but a bit risqué in tonal common-practice harmony.