John McCowen

MUS421-001

THE SECOND VARIATION OF WEBERNS Op. 27

When it comes to the analysis of western classical music, serial music tends
towards a more systematic organization. In that, it is assumed all musical parameters
are at the mercy of a greater algorithm, a series of patterns which determine the
outcome of a piece of music. What I find in this second variation is a strong emphasis on
non-serial aspects of structure, while maintaining a limited amount of serial structure.
In the second movement of Op. 27, Webern does little to emphasize serial
technique, but instead utilizes non-serial practices to emphasis musicality beyond
patterns (algorithms). If Webern would have utilized what we now consider serial
technique throughout, the piece would appear more accessible to analysis. All musical
parameters would fall within an algorithmic process. What I mean by this is the piece
would tend to follow a regular pattern that would become apparent throughout. By more
traditional aspects of form, I mean non-serialized practices that allow for musical
breath; a more obvious human fingerprint in the music. To clarify musical breath,
what I mean is Weberns own ideas about the flow of music, these are not being
determined by a serialized practice. These aspects are given careful attention by
Webern, as opposed to following a greater algorithm. In this sense, though Webern is
using tone rows to determine pitch material, other musical parameters lend themselves
to the musical practices of his predecessors, like Haydn or Beethoven. Though I have
found aspects of tedious pattern making, I also find the presence of an intuitive
composer.

When non-pitch related parameters are examined, there is no sense of

predetermined patterns. These patterns would be an example of the algorithmic
structures inherent in serial music. On a superficial level I can understand why this
music would seem to be serial. Due to a lack of pattern in non-pitch related parameters,
this music could easily lend itself towards more traditional musical form.
In regard to serial technique, Webern utilizes the two staves of this piano music.
What we find in the staves are two simultaneous tone rows. These rows are related by
inversion. Another important aspect is that these rows are connected by elision. The last
note of each row is also the first note of the following row. These rows commonly
alternate between staves (examples at mm.8, mm. 16-17). When searching for serial
technique in other musical parameters, we find the piece has only three dynamic
markings, as well as five different articulations. Searching for patterns within these
parameters falls short. The pitch content serves as the limit for the serialized aspects of
this variation.
An interesting aspect of this variation is the use of serialized pitch content to
create music that does not adhere to serial practice beyond pitch content. All other
parameters serve their traditional role of highlighting certain aspects of the music that
Webern finds fit. These aspects are then made audible (via dynamics and articulation).
An example of this is the use of simultaneous tone rows in the left and right hand that
are displaced by an eighth note. By this displacement throughout, Webern has
incorporated the canon.
Webern uses this canon to make his diatonic structure clear. By diatonic
structure, I am speaking of the pitch relationships he uses to form his harmonic ideas.
These pitch relationships of the canon are formed in a semi-regular form of two

successive eighth notes followed by an eighth note rest. These pitches form dyads. Upon
examination, these dyads are limited to seven. The occurrence of the number seven
carries the meaning of why I choose to refer to this as a diatonic structure. In most
western classical music, we find seven diatonic pitches before repeating the octave. This
variation shares the same characteristic. We find seven diatonic dyads which serve as
a harmonic basis.
Another important aspect of these dyads is their formation due to inversion. One
pitch of each dyad is the equal distance to A (fixed at 440hz) as the other pitch of the
dyad. For example, the dyad Bb/G# finds itself separated by A440 in pitch set
(8=G#,9=A,10=Bb). Due to the result of this system of dyads, we have two dyads of the
same pitch (A/A, Eb/Eb, or D#/D#). The dyad of Eb/Eb occurs only as grace notes or as
part of a chord, but yet, always occurs ff. An interesting aspect of the dyad A/A (other
than its service as the center for dyad formation), is it is the only dyad that occurs with
the same rhythm, articulation, and dynamics throughout. This A/A dyad occurs at
mm.1, mm.9, mm. 13, & mm. 19. Here we find our semi-regular figure of two eighth
notes, solidified by a p dynamic marking as well as staccato articulation. Visually, this
seems to invert, but this is a mere trick on the eyes. As, both pitches are fixed in treble
clef.
When looking for pitches that are fixed in register, I found four dyads fixed in
register. Though these dyads are not exclusive to chord formations, when they do occur
within chords, they occur in the center of a tone row (row positions 6, 7, and 8). These
dyads serve as structural articulation points within the music. Another reason why the
center of these rows is a strong point of structural articulation is the articulation and
dynamics of these chord formations. The chords always occur with strong articulation as

well as dynamic markings (a strong accent(<) , and a f or ff dynamic).

The structural articulation points of this piece maintain a symmetry in the music
that does not sound symmetrical to the ears. As I just spoke of chords occurring at the
center of the tone rows (four chord occurrences=four rows), on a larger scale, the dyad
Bb/G# serves the same purpose. This variation is a total of 22 measures. The variation
begins with the Bb/G# dyad, as well as ends with it. But when we look to the center of
the piece, we find this dyad at the very center of it all. This serves my analogy of
diatonic structure within the music. As with most diatonic music, you would find your
tonic at the beginning and end of this piece. Here, we find the Bb/G# dyad. This dyad
also occurs at these structural articulation points with regular articulation and dynamics
(f). With this dyad serving as a tonic, I have found another aspect common in western
classical music. Other occurrences of this dyad occur in inversion, differ in articulation,
or serve as part of a chord.
After analysis, the overall form of this variation seems symmetrical. But, when
the music is audible, it maintains a non-symmetrical feel. This is due to large duality in
rhythmic proportions. Its as if a person were to make a tedious grid on a sheet of paper,
only to be used for finger painting. When regarding the overall form of this variation, we
have twenty-two measure that are symmetrical. The repeat appears at mm. 11, and the
piece never alternates meter. When looking even closer, within these twenty-two
measures, we have four tone row sets. Each set has a chord of loud dynamic and
articulation at its center. The proportions of these row sets are relatively the same as the
larger scale form I just discussed. But, due to these row sets being in canon, we have a
regular rhythmic structure of two eighth notes followed by an eighth rest. This gives the
audible feel of a 3/8 meter. When the piece is examined as if it were in this triple meter,

it has interjections of duple meters (2/8, 4/8). This maintains an audible feel of an
irregular rhythm. But, the overall form of the piece seems symmetrical on paper. This is
the core of a large duality in rhythm that Webern maintains throughout this variation.
This duality I speak of is the balance between pattern making and the presence of an
intuitive composer. The form seems symmetrical, but not quite. The piece also seems
serial, but not quite.
When it comes to the analysis of Weberns Op. 27, there is quite a delicate
balance between the serial and the non-serial. In that, it is assumed all musical
parameters are at the mercy of a greater algorithm, while Webern utilizes all kinds of
expressive musical tools. What I find in this second variation is a strong emphasis on
non-serial aspects of structure, while maintaining a limited amount of serial structure.