Yale University Department of Music

Voice-Leading Parsimony in the Music of Alexander Scriabin

Author(s): Clifton Callender
Source: Journal of Music Theory, Vol. 42, No. 2, Neo-Riemannian Theory (Autumn, 1998), pp.
219-233
Published by: Duke University Press on behalf of the Yale University Department of Music
Stable URL: http://www.jstor.org/stable/843875 .
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VOICE-LEADING

PARSIMONY IN THE

MUSIC OF ALEXANDER

SCRIABIN

CliftonCallender

Discussions of pitch structurein Scriabin'slateroeuvretypically take

as theirpoint of departurea descriptionof the mystic chord,a memberof
set class 6-34. Dahlhaus(1987) describesthis chordas a dominantninth
with a flat fifth and an added sixth, whereas others, including Leonid
Sabaneyeff(Taruskin1997, 342), have consideredthe chordto be generated by the harmonicseries, specifically the seventh throughthirteenth
partialsomittingthe twelfth. However,since the formersupposesa tonal
context andthe latterignores context altogether,neitherof these descriptions accountsfor how this chordis employedin a non-tonallanguage.A
second limitationis thatthe mystic chordis not the only sonorityencountered in Scriabin'smusic. Instead,there are numerouscollections, each
of which is closely relatedto the others by slight alterationsof set content. In order to understandthe close relation of these collections and
their usefulness for Scriabin,it is necessary to determinethe properties
which bind these collections together,ratherthan to simply provide an
auraldescriptionof each collection takenin isolation.
The most prominentpitch-class collections in Scriabin'slater works
are shown in Figure 1. Figure lb reproducesthe mystic chordin scalar
form. Figures la and Ic share a similarrelationto Figure lb. Lowering
the A of Figure lb by a half-stepto Ab while holding the remainingfive
219

I.,

C.

b.

aa.
; :: [

"....... . :i ..

"I

d.

. .

..

IL

. .....

fe
e.
i

b:l
IL

:,,
........
l..:.

......
I

,.
L

UR
AVe

.h

41V

W"

-p
.,

Figure 1. Primarypc-collections:
a) 6-35 (whole-tone);b) 6-34 (mystic); c) 6-Z49;
d) 7-34 (acoustic);e) 7-31; and f) 8-28 (octatonic)
pitch-classesconstantyields the collection at Figure 1a, a whole-tonecollection (set class 6-35). Alternatively,if the D in Figure lb is loweredone
half-stepto Dbwhile the remainingpitch classes areheld in common,the
resulting collection is Figure Ic, a six-note subset of the octatonic collection (set class 6-Z49). The collections at Figures Id and le arerelated
to Figures lb and ic, respectively,by a differenttype of minimal alteration.In this case, everypitchclass of the six-notecollections is held constantand a single pitch class is added,yielding the seven-notecollection
at Figure Id, the acoustic collection (set class 7-34), and Figure le, the
sole seven-note subset of the octatonic collection (set class 7-31). The
final collection, the octatonic (set class 8-28), is similarlyrelatedto the
collection at Figure le by the additionof a single pitch class.
Eachcollection in Figure 1 can be changedinto one or more othercollections by introducinga single alteration.This alterationmay take the
form of "raising"or "lowering,"so to speak, an existing pitch class by a
"half-step"(thatis, ?lmodl2) or of addingor subtractinga single pitch
class. Figure 2 shows an incompleterelationalnetworkfor these collections, including the members of the network and the relationsbetween
them.' Horizontal connections between set classes, which are labeled
PI-relations, correspondto altering a single pitch class by a half-step
"up"or "down."(PI-relationswill be discussed in greaterdetail shortly.)
Verticalconnectionsbetweenelementscorrespondto the additionor subtractionof a single pitch class, labeled as an inclusion-relation.2
Motion from the upperleft-handto the lower right-handcomers reveals a progressionfrom whole-tone sonority,to whole-tone influenced
sonority,to sonorities of increasing octatonic influence, and, finally, to
the octatonic collection. The visual layout of the structureplaces the
acoustic collection in a centralposition within the motion from wholetone to octatonic sonorities.The function of the acoustic collection as a
nexus between the two characteristiccollections will be consideredlater.
In this paper,I will be focusing primarilyon the mystic chordandacoustic
220

collection, and theirrespectiverelationsto the whole-tone and octatonic

collections.
Set class 6-34, along with set class 3-11 (consonant triads) and set
class 4-27 (dominantandhalf-diminishedseventhchords),possesses the
importantpropertyof being a minimalperturbationof an equal division
of the octave, in this case the whole-tone collection. Thus, the mystic
chordshareswith set classes 3-11 and4-27 possibilitiesfor parsimonious
voice-leading that preserves set-class identity as considered in Cohn
1996, Childs 1998, and Douthettand Steinbach1998. While the general
notion of smooth, or conjunct,voice leading is very intuitive,there are
subtledistinctionsin the formalizationof parsimony.Some definitionsfor instance Douthett's P, (unpublished)and Douthett and Steinbach's
common tones between chords to remainfixed, so
P,,, (1998)-require
that, for example, between {0231 and {0341 two pitch classes remain
fixed, while anothermoves by whole-step. However, without this constraintone can imagine a single pitch class remainingfixed and two pitch
classes moving by half-step. While this distinction is not relevant in
investigationsof relationsbetween membersof set classes 3-11 or 4-27
(since these sets lack intervalclass 1), it is importantwhen considering
relationsbetween mystic chords.
Another considerationin the formalizationof parsimoniousvoiceleading is the intervalliclimitationof moving voices. Cohnlimits motion
of voices to no more than a whole-step, Childs to a half-step, and Douthett and Steinbachkeep trackof half- and whole-steps separately.Since
the intervalvectorfor set class 6-34 containsa high proportionof wholesteps, I shall limit conjunctvoice leading to the half-step. Takingthese
two considerationsinto account,the formalizationin this paperbegins by

6-35

p1

(6-34)

7-34)

P1

P1

Z4

C7-331

8-28
Figure 2. Incompleterelationalnetworkof Scriabin's
preferredpitch collections
221

a.

b.

0 2 4 6 9 10)

6-34

2 4

(0

6 9 10
P

1 3

11
6-35 (0
810)

11 1 3 5

(O 2

02

A6-35

'
4 6

2 4

6 8 10)

P
I

6-34

03 4 6 8
10)

Figure 3. P2-relationsbetween mystic chords

defininga relationbetween chordsin which only a single voice moves by
half-step:
Definition 1: Let X and Ybe pcsets such thatIX\Y I= I Y\ I= 1. Then
X and Y areP-related(writtenX P Y) if for x e X\Y andy E Y\X,x - y
12).3

-=_l(mod
Motion between chordsin which more thanone voice moves by halfstep will be modeled as a sequenceof P-relatedchords.Forinstance,the
above motion from {023 } to {034} can be bridged by the sequence
{023} P {024} P {034}. Further,we will prefer the shortest possible
sequencebetweenthe given chords.We also requirethateach voice move
no morethanonce withinthe sequence,so as not to allow sequencessuch
as {023} P {024} P {025} P {026}, which violate the half-step condition. Thus, the total numberof moving voices is equivalentto one less
thanthe numberof sets in the sequence.This is accomplishedby making
surethatthe destinationof each voice does not become the originationof
any successive voice. Noting thatfor any two successive pitch-class sets
in the sequence,Xi andXi+1,a single voice movesfrom Xi\Xi+1to Xi+1\Xi,
we have:
a shortest
Definition 2: Let X and Y be pcsets, and suppose
P ... P Xn = Y
sequence of pcsets with the propertyX = XoP X, P X2
(Xk)n_0
(i.e., if
is anothersequence with the above property,then m 2
=
X and Y are Pn-related(writtenX P" Y) if Xi+1\Xi
n Xj\Xj+1
(Yk)-0
n). Then
0, for all j > i.4

222

The superscriptis used in orderto distinguishthis relationfromPn,or Pm,n

and to reflectthe influenceof iteration.Additionally,as P is equivalentto
P', the latter designation will be used exclusively for the remainderof
this paperin orderto minimize confusion with the neo-RiemannianParallel operationon consonanttriads.
Figure 3a demonstratesthe mannerin which members of set class
6-34 engage in P2 relations.The circled pitch-classcollection at the top,
{0,2,4,6,9,10}, is a member of set class 6-34 where the lone deviation
from the whole-tone collection listed on the bottom, {0,2,4,6,8,10}, is
pitch class 9. The solid arrowleadingfrom the upperto lower collections
signifies thatpitch class 9 must descendby a half-stepto pitch class 8, in
a sense returningto the whole-tone fold. Once the original displaced
voice has moved into the whole-tone collection, any of the other five
voices may be displacedup or down by half-step,yielding a total of ten
P2 relations. One realization of this P2 potential is given in Figure 3b
where the motion is brokeninto its P1components.
The specific motion between T6-relatedmystic chords shown in Figure 3b is one of the most common sequences in Scriabin's non-tonal
music. Typically,the four sustainedpitch classes, which yield set class
4-25 (a French augmented-sixthchord), arise from the combinationof
T6-related[026] sets, each articulatedby left-handarpeggios.The third
of the Three Etudes, op. 65, offers a clear example.As Figure 4 shows,
the voice leading between pitch-class collections from the firstand second half of the openingbarsconsists of common tones yielding set class
4-25, the pitch classes containedwithinthe fourrectangles{C#,G, F, B },
articulatedin the left hand with the two remainingvoices, E to EbandA
to Bb, moving by half-step in contrarymotion in the right hand.A similar motion is found at mm. 17-18; here the two voices move by similar
motion yielding inversionally-relatedmembersof set class 6-34.

Ilb~bil
bi

it

a bb
(cJ ef (g)La

317

libiI4
L=

cJ
b

d f

c db
f
Cb
bb(
)bl
IO00.1
b

Figure 4. Scriabin,op. 65, no. 3

223

b.

a.

lowe

e f

Figure 5
pn relations,along with manymodels of voice leading, rely on the existence of a one-to-one mapping between chords in which voices are
paired according to registral order position (Roeder 1994). However,
mappingsmay insteadbe derivedfrom registralproximity,as suggested
by Albert Bregman's work on auditory stream segregation (Bregman
1990). Scriabin'sEtudeprovides an example. The firstbar is reducedto
its essential pitch componentsin Figure5a. Figure 5b shows A, Bb, and
B in the lower voice and Eb, E, and F in the upper voice. In the upper
voice, we can imagine thatE splits into EbandF, while in the lower voice
A and B fuse into Bb. Additionally,each voice may be considered as
existing in one of two states:a fused positionin which a single pitchclass
is sounding,and a split position in which the upperand lower neighbors
of a fused pitch class are sounding simultaneously.Each voice may be
said to be split-relatedaboutthe pitchclass, x, soundingin fused position,
denotedS(x).Formally:
Definition 3: Let X and Ybe pcsets such thatIX\YI = 1 and I Y\X I=
2. X and Y are S(x)-related(writtenX S(x)Y or Y S(x)X) if for x e X\Y
and every y e YY, x - y - +1 (mod 12).
(If x is not specified, then we writeX S Y or YS X.)
Figure 6 shows the four possible combinationsof voices and positions: one in which both voices arefused, anotherin which both are split,
and two cases in which one of the voices is fused while the otheris split.
The top of the network, { 10,4}, correspondsto the situationin which
both voices arefused. Splittingthe lower voice intoA andB producesthe
opening right-handsonority of the 6tude, {9,11,4 }. Splitting the upper
voice of this chord yields {9,11,3,5 }, which is a memberof [0,2,6,8]the exclusive sonorityof the lower stratumfor the entireopening section.
Beginning again at the top of the structureand proceedingalong its right
arc amountsto alternatingthe orderin which voices are split. If the upper
voice is split first, the resulting set is { 10,3,5}, the second chord of the
6tude and a tritone transpositionof the first. Splitting the lower voice
yields the same {9,11,3,5) sonorityas before. Neighboringelements in
224

this structureare S-relatedabouta single voice, while elements which lie

opposite one anotherare S-related about both voices. The relationship
between opposing elements, in which two separate S relations occur
simultaneously,is similar to P2 relationsbetween membersof set class
6-34, which may be decomposedinto two PI relations.Motion between
{9,11,4} and { 10,3,5} must "pass through"either { 10,4} or {9,11,3,5},
and vice versa.
Figure7 shows an elaborationof the above networkthroughthe addition of a set of stationarypitch classes drawnfrom [0,2,6,8]. Beginning
with the whole-tonecollection shown at the upperleft, splittingBbyields
an acoustic collection, and subsequentsplittingof E yields an octatonic
collection. Proceedingthroughthe staves on the right of Figure7, splitting E in the whole-tone collection resultsin anotheracousticcollection,
which is the tritonetranspositionof the previous7-34 set, and subsequent
splittingof Bbresultsin the same octatoniccollection as before.Figure8
casts this elaborationof the originalnetworkin termsof set classes of the
constituentsets. Any whole-tone collection standsin an S relationto two
T6-relatedacoustic collections, each of which is S-relatedwith the same
octatoniccollection.
There are two inferencesto be drawnfrom the structuresin Figures6
and 8. First,the potentialfor parsimoniousvoice-leadingvia S relations
between T6-relatedmembersof set class 7-34 is present at the onset of
the 6tude.The upperstratumemphasizesT6-related[0,2,7] sonorities,two
of the core elements of the structure,connected by split voice-leading.
The lower stratumemphasizes [0,2,6,8] sonorities,which correspondto
the addedpitch classes of the elaboratedstructure.All that is needed for
this potentialto be fully realized is the right relationbetween the strata
such that their respective three- and four-notecollections are mutually
exclusive subsets of the acoustic collection. At the opening, split voiceleading is present but there is an overlap between the upper and lower

So)(10

10,4)IS(4)
S(10,4)

( 9,11,4 )
S(4)

"?

S(10,4

10,3,5)

(9,1,3,5)(- ?5

S(oo)

Figure 6
225

6-35

6-35

7-34

7-34

90

6a

A 8-28

9 1

8-28

60

Figure7. Voice leading between sets resultingfrom the additionof

{8,0,2,6} to the relationalnetworkof Figure6

()

[6-35])

Sxx[6-3

( [734)S+6
S(x+6)

Sx+6,

S
([7-34])

([8-28)S

Figure 8. Networkof split relationsbetween set classes

6-35, 7-34, and 8-28
strata.In mm. 33-34, shown in Figure9, the strataare in the properrelation such that the union of the respective subsets does form the acoustic
collection, but split voice-leading is not present.A few bars later,however, in m. 37, this potentialis fully realized as Figure 10 demonstrates.
In the lower stratum,E, Ab,Bb, andD areheld as commontones throughout the bar,while in the upperstratumF and G fuse into Gb,and C splits
into CbandDb.Scriabinconfirmsan awarenessof the potentialfor smooth
voice-leading between acoustic collections througha progressiverealization of the necessary conditions.
A second inferenceto be drawnfrom the structuresin Figures6 and 8
is thatthe relationalnetworkof Scriabin'spreferredpitchcollections, left
incompleteearlier,may now be completed.Figure 11 reproducesthe earlier relationalnetworkfrom Figure2 with one notableaddition:the diag226

onal connections between whole-tone, acoustic, and octatonic collections, as well as between the mystic chord and set class 7-31. These are
precisely the S-relationswe have been considering.The completednetwork structureexplicitly shows the acoustic collection as an important
mediating sonority between whole-tone and octatonic sonorities. This
mediatingpotentialof the acousticcollection echoes an interestingprop33.

37.

:x a :I

Figure 9. Scriabin,op. 65, no. 3

bg

db

Cb

Figure 10. Split-voice leading betweenT6-related

acoustic collections in m. 37

P1

6-35

PI

6-34)Z4
c

7-34)

c
731

S
(8-28 T
Figure 11. Relationalnetworkof Scriabin'spreferredpitch collections
227

erty of its step-intervalcontent, demonstratedin Figure 12: a five-note

segment of the collection is a subset of the whole-tone collection, while
a six-note segment is a subset of the octatonic collection (Perle 1984).5
The S relation transformsthe whole-tone portion of the collection into
the octatonic segment and vice versa.
The relationsbetween whole-tone, acoustic, and octatoniccollections
are even more pervasivethan Figure 11 reveals. Figure 13 shows a relational network which incorporatesall of the unique forms of each collection. Collections are designatedby transpositionsof the prime form,
e.g., w.t. 1 = T1({02468t}), ac. 6 = T6({013468t}), and so forth.A wholetone collection is S-relatedto six acousticcollections, each relatedto the
others throughtranspositionby an even numberof half-steps. The six
acousticcollections relatedto one whole-tonecollection aredistinctfrom
those related to the other whole-tone collection yielding all twelve
uniqueforms of the set class. EachT6-relatedpairof acousticcollections
thatis S-relatedto a single whole-tone collection is in turnS-relatedto a
uniqueoctatoniccollection. Thus, eitherwhole-tone collection is related

whole-tone
whole-tone

Figure 12. Exchangeof whole-tone and octatonic subsetsin split voice

leading between T6-relatedacoustic collections

ac.
0O

ac.4
ac. t

ac.3
ac. 9

ac. 6

w.t.0

Z3

ac.
oct.
Ic

ac. 7

ac. 2

ac. 5

ac. 8

ac. e

w.t.

Figure 13. Relationalnetworkof split-relationsbetween whole-tone,

acoustic, and octatoniccollections
228

Lento.

Figure 14. Scriabin,op. 71, no. 2, concludingmeasures

eb

f#L

ib

Figure 15. Combinationof P'- and S(e)-relations

by smooth voice-leadingthrougha pairof S-relationsto any of the three
octatoniccollections and vice versa.Additionally,any two acoustic collections which are relatedthroughtranspositionby either an even number of half-steps or a multipleof threehalf-steps are relatedby a pair of
S-relations.If the index of transpositionis a multiple of two, this occurs
as a combinationof S-relationswith the whole-tone collection, and as a
combinationof S-relationswith the octatoniccollection if the index is a
multiple of three. Acoustic collections related by tritone may interact
with either whole-tone or octatoniccollections since the index, six, is a
multiple of both two and three.
Many otherprominentpitch-classsets arerelatedthroughsplit voiceleading. An example is the relationof consonanttriadsto dominantand
half-diminishedseventhchords.Splittingthe root of a majortriadyields
a half-diminishedseventh,while splittingthe fifthof a minortriadyields
a dominantseventh.In both cases, motion from triadto seventhchordis
achieved by splittingthe Riemannianroot. Motion in the reverse direction, from seventhchordto triad,is achievedby fusing the root and seventh of the chord to the correspondingRiemannianroot. Dominantsevenths with augmentedfifths are also S-relatedto consonant triads. By
connecting triads and seventh chords, S-relationscan complementneo229

",

LL

',

'

,..

Figure 16. Debussy, "Feuillesmortes,"mm.

Riemannianoperations on triads-Leittonweschel, Parallel, and Relative-and provide a link to recent work developing neo-Riemannian
operationson seventhchords.Forexample,Mozart'sPianoConcerto,K.
453, movement2, mm. 86-90, containsa transitionfrom C#minorto the
returnof the opening theme in C major via the following progression,
which begins and ends with the respectivedominantsof each key:
G#(

4P

S(D#)
g#g S(D-) E7 -

G7.6

As suggested in Figure 11, P" and S relations may be combined to

relate any collections which are not directly connected in the network.
Thus, any mystic chord is P'S-relatedto six acoustic collections, either
whole-tonecollection is SP'-relatedto twelve membersof set class 7-31,
and so forth.One examplefrom Scriabinwill serve to illustratethis principle. Figure 14 reproducesthe concludingtwo barsof Scriabin'sPoeme,
op. 71, no. 2. The voice leading between pc-collections in the final two
bars, given in Figure 15, shows the mannerin which parsimoniousvoice
leading between the two collections decomposesinto a P' and a S(e)relation. In this example,the split relationinvolves motion from an octave to
a majorninth,ratherthana unisonto a majorsecond.The octavefrom E5
to E4 is emphasizedthroughthe right-handarpeggiationin the penultimate bar,and the motion into the majorninthfrom F5 to Eb4is likewise
emphasized as the boundarypitches on the downbeat of the final bar.
Here the groupingof voices does not resultfrom registralproximity,but
pitch-class proximityemphasizedby context. Similarly,the motionfrom
A4 to Bb3 is heightened, despite octave displacement,through corresponding serial orderpositions within their respectivequintupletarpeggiations.
Figure 16 provides a similar example involving motion between
whole-tone and octatonic,ratherthan acoustic collections, in Debussy's
Feuilles mortes.The four-barphrasealternatesbetween a five-note subset of the whole-tone collection and a six-note subset of the octatonic.
Figure 17 shows both the general smooth voice-leading template between the referentialwhole-tone and octatonic collections and the specific motion involving theirrespectivesubsets,using parenthesesfor eleS e

(c

a
g#

ed
d " #[f[g#g

b#

(ax)[jb

Figure 17. Voice leading between whole-tone and octatonicsubsets

231

ments of the referentialcollections which arenot presentin the example.

Eachbaris relatedto its neighborsby a S(,eand a P1 relationinvolvingA#
and Gx. However,the P1 relationbetweenA# and Gx may be understood
as an incomplete split relation.Thus, not only are the sonoritiesused in
each bar subsets of the largerreferentialcollections, but the voice leading which connects them smoothlyis a subsetof the more generalvoiceleading templatebetween whole-tone and octatoniccollections.
Althoughthe collections in Figure 1 firstappearedin Scriabin'smusic
as extended dominants,they have interestingpropertieswhich may be
exploited outside of a tonal context. The voice-leading relations stemming from these propertiesprovide a partialaccount of the interaction
between various collections and the logic behind Scriabin's non-tonal
progressions.These relations are not only relevantfor Scriabin,but for
other turn-of-the-centuryand more recent composers7who make use of
these referentialcollections. The relations among whole-tone, acoustic,
andoctatoniccollections, as well as theirrespectivesubsets,in Scriabin's
music demonstratethe potentialinsights to be gained throughanalytical
approachesinformedby relationsof voice-leadingparsimony.8

232

NOTES
1.- Scriabin'suse of threeof thesecollectionsin quicksuccession,7-34 -- 6-34 -6-Z49, accompaniedby salientrealizationsof theconnectionsbetweenthem,may
be observedin the openingtwo barsof Op.74, No. 5. See Perle 1984.
2. Theinclusionrelationbetweensetsin thisrelationalnetworkmaybe strengthened
by consideringonly those pc-sets which Zimmerman(forthcoming)refersto as
"collectionswithoutclusters(CWC)."CWCarepitch-classsets whichdo notcontain [012] as a subset.Limitingthe repertoireof pitch-classsets to CWC,7-34 is
the only 7-notesupersetof 6-34, and,likewise,8-28 is the only 8-notesupersetof
7-31, whichin turnis the only 7-notesupersetof 6-Z49.
3. P is equivalentto DouthettandSteinbach'sP1,0(1998)orDOUTH1(Lewin1996).
Note thatneitherP norP1,orequirethe relatedpitch-classsets to be membersof
the sameset class.
4. JackDouthettsuggestedseveralusefulmodificationsto my originaldefinitions,
whichareincorporated
in Definitions1 and2.
5. Taruskin1997makesa similarpointwithrespectto the mysticchord,notingthat
two differentfive-notesubsetsaresubsetsof the whole-toneandoctatoniccollections, respectively.He describesthe mysticchord,sistersonorityto the acoustic
collection,as being "on the cusp betweentwo nonfunctionalpitch collections"
(344).
6. Fortransformations
addressingthe motionfromE7 to G7,see Childs1998,DouthettandSteinbach1998, andGollin 1998.
7. Forexample,see SteveReich'sTheDesertMusic,whichmakesextensiveuse of
the acousticcollection.
8. I wouldlike to thankDavidClampitt,RichardCohn,andJackDouthettfor their
helpfulcommentson earlierdraftsof thispaper.

233