Atonal and 12-Tone Music in Theory today, with Arnold Schoenberg's Six Little Piano Pieces, Op. 19 (1911) --
II. Langsam (although, just how atonal is this piece? -- the G-B ostinato could be an incomplete G chord and the final bass C-E a similar C. How about this analysis of the left hand... C: V i V i V #IVcluster IV bIII bII I, the latter a bizarre IM7 with the right hand) and
VI. Sehr langsam (with its wonderful, frozen, often quartal harmony; strange resolutions; and final "like a breath" marking) --
and the first movement of Pierrot Lunaire, op. 21 (1912) (gotta love that ostinato!), plus
Alban Berg's Wozzeck: Act 1, Scene 3 March and
Lullaby.
Reading the newspaper, seems like it's time to start a new piece, so Op. 156 Vocal Sonata No. 1 ("Spitzer"): I. Allegro moderato "Difficult" (vaguely Latin -- as in Hispanic, rather than Gregorian -- troped on Muzio Clementi's Sonatina No. 1), with text drawn from scandal du jour... solfege on C#
Difficult... he's
Do Re Do... Ti
Difficult... he likes to
Do Re Do... Do Do Do
do a lot of things that, like, you might not think are safe and so he's
Fa Me Re Do Re La La La Do Re Do Ti Do La La La
Difficult...
Do Re Do...
I have a way... of dealing with him...I'd be like
La Sol Re Fa...Re Fa Sol La Sol...Fa Fa Fa
Listen, dude...
Te Te Te La Sol Fa
You really want the sex?...
Do Do Do Do Do Do
You know what I mean...
Fa Fa Fa Fa Fa
I mean, it's just kind of like
La La La La La La La
whatever...I'm
Do La...La
here for a purpose...I
Do Re La Do La... La
know what my purpose is
Do Re La Do Re La
I am
La La
not a moron...you
La La Sol Fa...La
know what I mean...
La La La La
