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Prolegomena to an application of the transformational

theory in Boulezs Notations n10
Jean-Patrick Besingrand

The piece Douze notations is a piece composed by Boulez in 1946. It is particularly wellknown for the orchestration of the first four in the 1980s. The set of pieces is built around
one row exposed in its root position at the beginning of the first piece.
In this essay, we will focus on the tenth notation and have a look at it from the perspective
of transformational theory as developed by David Lewin.

In this piece we observe some clear elements after a brief look: a recurring motif
consisting of a quintuplet in sixteenth notes with the last note always accentuated and in a
descending movement, and the presence of little rhythmical diversity. The piece opens
with a clear row as follows: G-F#-B-Ab-Bb-Eb-D-A-F-E-C#-C. The interval of minor 9th is
particularly important in this piece and occurs frequently.

The recurring motif previously mentioned appears every two measures. This recurrence is
significant and needs to be analyzed more precisely as a structural element. After its initial
presentation, the element is reintroduced at the end of the first presentation of the row.
This first enunciation can be considered a small prelude. In effect, after the second
presentation, we observe a development of the discourse before the reintroduction of the
element. By looking more in depth at the construction of this development, we can observe
that Boulez uses the row with limited transposition, usually in a slight permutation leading
to the constitution of different aggregates. These aggregates often overlap during the
piece and the end of an aggregate often leads to the reintroduction of the recurring motif.
These aggregates can be observed in the following example:

Measure 1-2, Notation n10, Douze notations.

The strong personality of the first three notes of the recurring motif: G-F#-B (we will call
these three notes X) will have a particular importance in the development of the piece. In
effect, the notes in the overlap of the two aggregates belong to the same pitch class: B-CG (Forte name: 3-4).

Measure 1-2, Notation n10, Douze notations.

All throughout the piece, during the overlaps of two aggregates, X will appear, introducing
the new aggregate or the recurring motif. The transposition of X will structurally format the
piece. The figure 3 shows the overlapping of the aggregates in the piece and the
connexions with X and its transpositions:

Figure 3, Douze notations.

The first reintroduction of X is made up of two similar notes (G,E) but with a slight
difference concerning the last note: C instead of F#. By using a note at the opposite pole
of the circle of fifths, Boulez doesnt change the color of X and introduces an inversion of
X: I(X).

As mentioned above, the transpositions of X are considered structuring the piece. If we

follow the leading note of X in its root progression, we obtain the following:
G - E - A - E - Bb - C - G - E - C - F.
We observe that when an interval of a 5th appears in this sequence, it corresponds to a
cadential moment in the piece. An example can be found at measure 5: between the

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cadential section, we see the quintuplet motif change in its construction. Instead of
containing a non linear descending motion, it changes to a linear descending motion. This
shape is repeated on measure 7.
On measure 8, X appears in its root inversion form announcing another cadential section.
In effect, the following mesure is the exact transposition of the quintuplet motif and of X
(T10). This recapitulation is emphasized by an ascending motif in the previous measure
and by the presence of a rest.

The last progression of the leading note X leads to the final cadential section, a powerful
chord constituted by 3 triads. Two of these triads belong to the same class as X. We can
also observe a regular motion of eight notes (represented in figure 3 in yellow and purple)
before the last chord containing three overlapping triads as the last clear enunciation of X.
The note C is the only note not belonging to the triads of X is a reminder of the transitional
note between X and its inversion.

This prolegomena as an analysis of the notation 10 shows the importance of the pitch
class of X and can be the beginning of a deeper analysis of the transformation present in
this piece.