Pitch Structure
An important global structural feature of Musica ricercata is that Ligeti confines himself to only certain pitch classes in each movement, with each subsequent movement having exactly one more pitch class than the last. The pitches found in each movement are as follows:
| Movement | Pitches |
|---|---|
| I | A, D |
| II | E♯, F♯, G |
| III | C, E, E♭, G |
| IV | A, B♭, F♯, G, G♯ |
| V | A♭, B, C♯, D, F, G |
| VI | A, B, C♯, D, E, F♯, G |
| VII | A♭, A, B♭, C, D, E♭, F, G |
| VIII | A, B, C, C♯, D, E, F♯, G, G♯ |
| IX | A, A♯, B, C, C♯, D, D♯, F, F♯, G♯ |
| X | A, A♯, B, C♯, D, D♯, E, F, G♭, G, G♯ |
| XI | A, A♯, B, C, C♯, D, D♯, E, F, F♯, G, G♯ |
Read more about this topic: Musica Ricercata
Famous quotes containing the words pitch and/or structure:
“He maintained that the case was lost or won by the time the final juror had been sworn in; his summation was set in his mind before the first witness was called. It was all in the orchestration, he claimed: in knowing how and where to pitch each and every particular argument; who to intimidate; who to trust, who to flatter and court; who to challenge; when to underplay and exactly when to let out all the stops.”
—Dorothy Uhnak (b. 1933)
“The philosopher believes that the value of his philosophy lies in its totality, in its structure: posterity discovers it in the stones with which he built and with which other structures are subsequently built that are frequently better—and so, in the fact that that structure can be demolished and yet still possess value as material.”
—Friedrich Nietzsche (1844–1900)