Stravinsky and The Octatonic: A Reconsideration: Dmitri Tymoczko

Stravinsky and the Octatonic: A Reconsideration
Dmitri Tymoczko
Recent and not-so-recent studies by Richard Taruskin, Pieter lary, nor that he made explicit, conscious use of the scale in many
van den Toorn, and Arthur Berger have called attention to the im- of his compositions. I will, however, argue that the octatonic scale
portance of the octatonic scale in Stravinskys music.1 What began is less central to Stravinskys work than it has been made out to
as a trickle has become a torrent, as claims made for the scale be. In particular, I will suggest that many instances of purported
have grown more and more sweeping: Bergers initial 1963 article octatonicism actually result from two other compositional tech-
described a few salient octatonic passages in Stravinskys music; niques: modal use of non-diatonic minor scales, and superimposi-
van den Toorns massive 1983 tome attempted to account for a tion of elements belonging to different scales. In Part I, I show
vast swath of the composers work in terms of the octatonic and that the rst of these techniques links Stravinsky directly to the
diatonic scales; while Taruskins even more massive two-volume language of French Impressionism: the young Stravinsky, like
1996 opus echoed van den Toorns conclusions amid an astonish- Debussy and Ravel, made frequent use of a variety of collections,
ing wealth of musicological detail. These efforts aim at nothing including whole-tone, octatonic, and the melodic and harmonic
less than a total reevaluation of our image of Stravinsky: the com- minor scales. The use of these latter two scales reaches a peak in
poser, once thought to epitomize the unsystematic type of musi- the rst sections of The Rite of Spring, where theyand not the
cian, working at the piano and following the dictates of his ear, is octatonic scaleaccount for the majority of non-diatonic material
here portrayed as a systematic rationalist, exploring with Schoen- in the piece. (I also show that these scales have been consistently
bergian rigor the implications of a single musical idea. And the misinterpreted by van den Toorn as instances of octatonic-
octatonic scale, once thought to represent a distinctive surface diatonic interaction.) In Part II, I turn to the issue of triadic
color, occasionally used by Stravinsky and others, has now been superimpositions and the scales that often accompany them. I will
promoted to the deepest level of musical structure, purportedly contrast two views: one, which sees scales (such as the octatonic)
controlling extended lengths of musical time. as analytically prior to chordal superimpositions (such as the
I challenge this view in this paper. I do not question that the oc- C-major and F -major triads which comprise the Petrouchka
tatonic scale is an important component of Stravinskys vocabu- chord); and the other, which sees the superimpositions them-
selves as prior to the scales they produce. Drawing on previous
work, where I have shown that triadic superimpositions invariably
1See Taruskin 1996, van den Toorn 1987 and 1983, and Berger [1963] 1968.
produce subsets of a small number of familiar scalar structures, I
This general point of view has also been endorsed by Antokoletz 1984, Craft
1984, Walsh 1984, and, in the case of The Rite of Spring, Moevs 1980. For present analytical examples suggesting that we frequently need to
more critical, but by no means dismissive, perspectives see Straus 1984 and understand Stravinskys scales as arising from his superimposi-
Kielian-Gilbert 1991. tions, and not the other way around.
Stravinsky and the Octatonic: A Reconsideration 69
In the conclusion, I take up the broader question of how we scales represent a natural avenue of exploration for composers in-
should think about Stravinskys compositional style. Taruskin and terested in expanding the vocabulary of traditional tonal harmony:
van den Toorn have both presented a picture of Stravinsky as a rst, because they provide natural scalar counterparts to the ex-
composer whose approach to music is dominated by a single guid- tended triadic sonorities much beloved by early twentieth-century
ing idea, a Stravinsky who is no less systematic in his musical composers; and second, because as scales they are recognizably
thinking than Schenker or Schoenberg. This view has no doubt similar to the major and minor scales of the classical tradition.2
had some salutary consequences: certainly, it provided a way of The four scales in question are the diatonic (trivially), octa-
defending Stravinsky against those who felt that systematicity and tonic, whole-tone, and the ascending form of the melodic minor
rigor were crucial components of musical value. Perhaps more im- scale. In my previous paper, I argued that they are central to the
portantly, it encouraged a kind of careful attention to analytical harmonic vocabulary of the Impressionists as well as to contem-
detail that wasit must be saidsorely lacking in many earlier porary jazz. Here I want to suggest that this same collection of
attempts to understand Stravinskys music. Nevertheless, I believe scales, inherited from both Russian and French sources, plays an
that this picture is fundamentally mistaken. For Stravinsky was in- important role in Stravinskys rst three ballets. Whole-tone scales
deed a methodological pluralist, a bricoleur who used a variety of suffuse The Firebird and make important appearances in both
techniques that do not admit of easy categorization. This conclu- Petrouchka and The Rite of Spring. Likewise, the latter two pieces
sion may seem like a return to an earlier way of thinking. But it is contain substantial passages of the modal use of ascending
tempered by the understandingironically, gained in part through melodic minor scales.3 The Rite of Spring also contains several
the work of Berger, van den Toorn, and Taruskinthat though prominent passages involving modes of the harmonic minor scale,
Stravinskys music may be unsystematic, it is still intelligently as well as passages that alternate between harmonic and melodic
constructed, and that the principles of its construction can be un- minor collections. (The harmonic minor scale is not part of my
covered through close analytical scrutiny. collection of four scales, but it is part of a related seven-scale col-
lection: see p. 88 below.) In these respects, the early ballets wear
SCALES IN STRAVINSKY their Impressionist in uences on their sleeves. It is perhaps for
this reason that the scales appear less frequently in Stravinskys
the four locally diatonic scales later music. Indeed, as we shall see, Stravinsky began even within
Elsewhere I have argued that the diatonic and octatonic scales the rst three ballets to erase the most obvious signs of his debt to
are part of a family of four scales which share some interesting the French tradition.
properties. Each of these collections is capable of being arranged If my argument is sound, and if it can be established that Stra-
so that adjacent notes are separated by one or two chromatic semi- vinsky made use of a variety of non-diatonic scales beyond the oc-
tones, while notes adjacent but-for-one-note are separated by three tatonic, then this should have important repercussions for analysis.
or four chromatic semitones. In other words: the seconds in
these scales are (enharmonically equivalent to) diatonic seconds,
2For a detailed account of this material see Tymoczko 1997.
while the thirds are (enharmonically equivalent to) diatonic 3
For Debussys use of the modes of the ascending melodic minor scale,
thirds. These four scales are thus locally diatonic in that each of see Gervais 1971 (who also nds the scale in Faurs music) and Howat 1983.
their three-note segments is enharmonically equivalent to some Debussys use of the scale is also mentioned in Steven Kostka and Dorothy
three-note span of some diatonic scale. Consequently, the four Paynes 1989 harmony textbook.
70 Music Theory Spectrum
For many of the collections that might have seemed to be obvi- language. Example 2 shows one explicit passage of whole-tone
ously octatonic in origin turn out to belong to more than one type material, representing the trained bear as it walks awkwardly on
of scale. The 6-z23[023568] hexachord, for example, appears in its hind legs.4 I hear this passage as a wry acknowledgement of
the melodic minor scale as well as the octatonic. (Other typically Debussys in uence: the bear trainer plays a high tootling tune on
octatonic collections, such as the 4-17[0347] tetrachord and the his clarinet/pipe that sounds like a parodic quotation of the begin-
6-27[013469] hexachord, belong to the harmonic minor scale.) ning of Debussys Faun. In uence is here being felt and rejected
Thus, widening our conception of Stravinskys scalar vocabulary in a single gesture: the passage is at once Impressionist and anti-
prevents the easy inference from these smaller sets to an octatonic Impressionist, and it transmutes French elegance into lumbering
source-set. This brings to mind the adage that when the only tool Russian spectacle.
you have is a hammer, every problem starts to look like a nail: if, The Rite of Spring, and indeed all of Stravinskys later music,
like Taruskin and van den Toorn, all you have are the octatonic bids farewell to such explicit whole-tone sonorities. However, as
and diatonic collections, then many sets will seem to be clearly Example 3 shows, the whole-tone scale does appear prominently
octatonic, if only because they are clearly not diatonic. If, how- albeit in combination with other materialat the end of both
ever, you are working with more than just two scalesand Stra- parts of the ballet.5 As in Petrouchka, Stravinskys relationship to
vinsky certainly knew more than twothen these same sets will Debussy is ambiguous: on the one hand, the scale does appear
be understood to have multiple potential derivations. Thus, for an- very explicitly and recognizably, and at crucial moments in the
alysts, the key issue is not whether Stravinsky occasionally used ballet. At the same time, its characteristic oating quality is
ascending melodic minor or whole-tone scales. Rather, it is neutralized by the presence of extra-scalar elements. Indeed, the
whether acknowledging that he did use these other scales forces blaring, fanfare-like quality of Example 3(b) hearkens back to
us to rethink our ideas about what sets are or are not obviously Example 2, only without any of the humorous quality of the ear-
octatonic in origin. lier excerpt.
whole-tone scales
ascending melodic minor scales
Whole-tone scales clearly play a signi cant role in The
Firebird. In Example 1(a), they control the vertical dimension, as The situation is just the opposite with regard to the ascending
parallel augmented triads move in contrary motion. (In general, form of the melodic minor scale (henceforth referred to simply as
any two subsets of the whole-tone scale can be transposed in con- melodic minor and abbreviated mm in the examples). It is not
trary motion to produce subsets of the whole-tone set; the tech- a prominent feature of The Firebirds harmonic language, al-
nique is much used in jazz arranging.) At (b), a Debussian whole- though it does make a brief appearance at rehearsal 1 (suggesting
tone glissando punctuates a more-or-less whole-tone texture. And an incomplete melodic minor scale on A ; see Example 4). It does,
at (c), the Firebird theme (the melodic 6-7[012678] hexachord) however, appear quite strikingly in a few places in Petrouchka,
appears against a whole-tone wash. These passages represent 4
Where possible, I have used Stravinskys own two-piano reductions of
Stravinsky at his most Impressionist and could easily appear in the
Petrouchka and The Rite of Spring.
music of Debussy or Ravel. 5
Messiaen (1956, Chapter 16) describes this technique of blunting the dis-
In Petrouchka, whole-tone scales appear less frequently, as tinctive sonic signature of the whole-tone scale by combining it with other
Stravinsky begins to develop his own powerfully original pitch scales.
Example 1. The whole-tone scale in The Firebird
(a). reh. 8, m. 4
Example 2. The whole-tone scale in Petrouchka, reh. 100, mm. 35

Example 3. The whole-tone scale in The Rite of Spring

(a) reh. 75, mm. 79
Tpt., Vln.
(b) reh. 175, m. 3reh. 176, m. 1

Example 4. The melodic minor scale in The Firebird, reh. 1
and in The Rite of Spring it plays a dominant role in the rst two modally rearranged to emphasize the oscillations between two
sections of Part I, as well as in the Ritual Action of the Ancestors dominant-seventh7 chords a whole-step apart. Example 5(b)
section of Part II. Thus, while the use of the whole-tone scale de- shows another passage from Petrouchkas rst tableau: here, the
clines over the course of the rst three ballets, the melodic minor registration of the scale suggests an augmented triad on B with a
scale becomes increasingly important. Although Stravinsky may major seventh. (This sonority will reappear prominently in the
have started to remove Debussian whole-tone sounds from his vo- Symphony of Psalms; see Example 14 below.) Example 5(c) shows
cabulary, the prominence of the melodic minor scale in The Rite of the same sonority as it reappears just before the curtain rises in the
Spring testi es to his continuing debt to the French tradition.6 fourth tableau. Example 5(d), from the third tableau, is taken from
Example 5 lists four places in Petrouchka where the complete a passage that is notably indebted to Debussy in construction: it
melodic minor scale appears. Example 5(a), the most extensive of begins with a simple diatonic melody over a B pedal, suggesting
the three, occurs near the beginning of the Russian Dance of B lydian, or perhaps D natural minor. (This music is not shown in
the rst tableau and contains four different transpositions of the the example.) When the melody repeats, the accompaniment adds
melodic minor scale in sequence. Of course, the passage does not a harmonic A , producing a mode of the F melodic minor scale.
particularly sound like it is in minor, since the scale has been Example 6 lists seven examples of modal uses of the melodic
minor scale in The Rite of Spring. The clearest and most extensive
6
The Stravinsky of Expositions and Developments (1962, 163) was explicit
is shown at (a), which takes up the last twenty-four measures of
about this: Le Sacre owes more to Debussy than to anyone else except myself, the Augurs of Spring. If we take the melodys A to be the tonic
the best music (the Prelude) as well as the weakest (the music of the second part
between the rst entrance of the two solo trumpets and the Glori cation de 7
I use the term dominant seventh chord here to refer to a collection, and
llue). not to the functional chord of traditional tonality.
Example 5. The melodic minor scale in Petrouchka

(a) reh. 35
(b) reh. 7
Example 5. [continued ]
(c) reh. 87, mm. 36 (d) reh. 65, mm. 58
of this section, then the mode in question is the one that begins on common in the Rite, as Examples 6(g), 7(a) and (b) below will
the sixth degree of the normal ordering of the C melodic minor show. Example 6(d) shows a passage from the Introduction to
scale. (Jazz theorists sometimes call this the locrian 2 mode, Part I, at rehearsal 7. Here, the mode is the same as that of
since it is equivalent to the locrian mode with a raised second de- Example 6(a).9 As in the rst three examples, the melodic minor
gree.) This passage is pre gured at (b), which is slightly more scale accounts for virtually all of the pitches present.
ambiguous in that the melodic minor scale (here in the string sec- In Example 6(e), which occurs a few measures after (d), the
tions and horn) is superimposed atop a C-major scale fragment melodic minor scale appears superimposed on top of other mater-
(in the trilling bassoons and solo strings) that is foreign to the ial. The rst measure presents all the pitches of the B melodic
scale. Example 6(c), from the Ritual Action of the Ancestors, minor scale, again in the seventh mode, as in (c). (I am consider-
represents another fairly clear passage. Bass D is the primary ing the second note of the D-clarinet melody, here a D , to be
pitch of this section, so that the passage implies the seventh mode non-harmonic.) We clearly hear this material as a unit, as it is di-
of the E melodic minor scale. (Jazz musicians would call this the rectly derived from the music of Example 6(d). In measure two of
altered scale.) Note that I am considering the melodic B to be the example, however, the alto ute heads off in its own direction,
an embellishing tone, a chromatic neighbor to the sustained C.8
But it could well be taken to be harmonic, in which case the alto
utes sinuous melody would represent an alternation between E 9
I am considering the second note of the clarinet melody to be a passing
harmonic and melodic minor. This sort of alternation is actually tone, as I believe it is in almost all of the melodys appearances; see Examples
6(e) and 7(b). One potential exception is at rehearsal 10 ff., where it is arguably
the D , rather than the E , that is non-harmonic. However, this is a passage that
8
I am also considering the English horns initial chromatic glissando to be features a large number of superimposed musical layers, so that the very notion
nonharmonic. of an underlying harmony becomes problematic.
playing a noodling line that suggests D minor and D mixolydian. Example 6. The melodic minor scale in The Rite of Spring
It is joined a measure later by a ute gure (not shown in the ex- (a) reh. 32
ample) that also does not belong to the B melodic minor collec-
tion. Such superimpositions of melodic minor and other material
are also characteristic of the nal two examples. In 6(f ), we nd a
fascinating interplay of four different musical layers. What I con-
sider the core material harmonic material is found in layer 2: a se-
ries of trills and rif es in the utes (as well as in the third horn)
that outline the pitches ABC D F G , a gapped scale-
fragment suggesting either the lydian mode on A or the third
mode of F melodic minor. The primary melodic material, in layer
3, exploits this ambiguity, alternating (and superimposing) the two
notes that would naturally tend to ll the gap in layer 2.
Consequently, this passage does not present a scale in the (rela-
tively) clear fashion of Examples 6(a)(e); instead, it toys with
scalar ideas, exploiting our tendency to hear (and analyze) music
in scalar terms, while producing a characteristically ambiguous
Stravinskian sonority. Furthermore, the outer layerslayers 1 and
4present material that is foreign to both scales implied by layers
23, thus heightening the non-scalar sound of the passage as a (b) reh. 25
whole.
Example 6(g), which in the score follows immediately upon
(f), intensi es this procedure. The alto ute melody contains a
statement of the complete D melodic minor scale, here centering
on B. Thus the mode is again locrian 2, as in Examples 6(a),
(b), and (d). (Note that the three sustained pitches also belong to
this scale.) Against this, the bass clarinet presents a ve-note frag-
ment of the G melodic minor scale, while the English horn adds a
transposed version of the tune rst heard at rehearsal 2. In
Example 6(h), I have shown how the registral partitioning of the
pitches in this passage suggests that three separate scales are oper-
ative at once: in the top register, D harmonic minor; in the middle
register, D melodic minor;10 and in the lowest register, a six-note
10
Recall in this connection the melodic/harmonic minor interplay of
Example 6(c).
(c) reh. 129, mm. 78
(d) reh. 7
Example 6. [continued ] sonority, an E dominant seventh superimposed atop an E-major

(e) reh. 8 triad (spelled F ) involves all the pitches of the G melodic minor
scale and no others. Although we may not hear it as minor in
origin, it arguably results from just the same procedures that gave
rise to Examples 5 and 6. Note in this context that the bassoons
melody can be understood as arising from the G melodic minor
scale. Thus, the passage as a whole involves the same kind of
harmonic/melodic minor ambiguity that was found in Example
6(c). Here, however, the primary sonority comes from the pound-
ing harmonic minor chords in the strings.
Readers may well be skeptical about this proposed derivation
of the Augurs chord, preferring instead to think of it as result-
ing from a superimposition of two (unrelated) tertian har-
monies.11 I am somewhat sympathetic to this objection, and will
address the relation between scales and superimpositions below.
But Example 7(b) provides a measure of support for the deriva-
tion I have proposed. Here, we nd the same modal use of the
harmonic minor scale, indeed at the same pitch-level and with a
very similar E-major triad in the bass. In 7(b), however, the har-
monic minor colorings of the piccolo clarinet line are very ex-
plicit: the descent from G to G to E, all over the oboes insistent
D , outlines the characteristic 4-7[0145] sound of the harmonic
subset of the G melodic minor scale. Here, as elsewhere in minor scale. (This set is very distinctly non-octatonic, and does
Stravinskys music, register and timbre combine to keep different not appear in that collection.) In mm. 45 of the example,
layers distinct, allowing us to understand the music as a construc- Stravinsky gradually inserts notes from the other G minor
tion of seemingly independent musical ideas. scales: rst an F (from G natural minor) and then, in m. 5, the
harmonic minors E . These in ltrations are again reminiscent of
harmonic minor those in Examples 7(a) and 6(c), and while they enrich the har-
In Example 6(c), we saw a predominantly melodic-minor pas- monic minor sonority of the passage, they do not, at least to my
sage colored by a brief in ltration from the harmonic minor scale. ear, fundamentally dislodge it.
Now I would like to consider two examples of the opposite phe-
nomenon: a predominantly harmonic minor sound that is lightly
colored by notes from the other minor scales. 11
Cf. Frederick Smith (1979, 178), who writes of the chord: there is no
The most obvious instance, Example 7(a), comes from the harmonic analysis called for; it is simply a question of how the composer
Augurs of Spring section and features the chord that has come placed his hands on the keyboard. I have taken this quotation from Whittall
to serve as a metonymy for the Rites harmonic innovations. This 1982.
(f) reh. 5
The preceding analyses lie along a continuum, ranging from evidence, we may also add the historical fact that modally-con-
explicit and, to my mind, clearly intentional uses of the scale ceived minor scales are common in the works of Debussy and
(Examples 5[a], 6[a], and 6[b]) to more subtle passages (Example Ravel, two composers whom Stravinsky knew and admired.
6[g]) that require a good deal of analytical interpretation. I do not Nevertheless, van den Toorn has analyzed most of these passages
expect that all of these interpretations will be convincing to every speci cally, Examples 5(a) and (b), 6(a), (b), (e)(g), and 7(a)
reader. I do, however, think that as a whole they demonstrate that and (b)as resulting from the combination of octatonic and dia-
non-diatonic minor scales are an important part of the vocabulary tonic materials.13 This, I submit, is not just wrong, but wrong in a
of both Petrouchka and The Rite of Spring. For both the number of
the examples (thirteen in all) and their concentration in just two 13 For Examples 5(a)(b), see van den Toorn 1983, 846; for 6(a)(b), see
pieces suggest that we are not dealing with coincidences here, but van den Toorn 1987, 1535; Examples 6(c) and (d) are not analyzed by van den
rather with matters of compositional technique.12 To this internal Toorn; for (e)(g), see van den Toorn 1983, 10010; for 7(a), see van den Toorn
1983, 108; for 7(b), see van den Toorn 1987, 152. Richard Taruskin (1996, 939
and 942 [example]) also analyzes Example 5(b) in terms of octatonic-diatonic
12
Compositional technique can be in part a subconscious matter: it is quite interaction. Peter Hill (2000, 612), who expresses some reservations about
possible that Stravinsky picked up the sound of these two scales by listening to octatonic-centered readings of Stravinsky, nevertheless describes 7(b) as the
other music, and used them without full awareness of what he was doing. rst octatonic sound of the work.
(g) reh. 6
(h) Registral partitioning at reh. 6 of The Rite of Spring
way that should make us suspicious of the underlying methodol- It is particularly tempting to analyze the non-diatonic minor scales
ogy. For Examples 5(a) and 6(a) are near-incontrovertible in- in this way. For both scales share six notes with a diatonic collec-
stances of modal use of the melodic minor scale; if even these tion and six notes with an octatonic collection, as Example 8
passages can be interpreted as the result of octatonic-diatonic in- shows. Both scales can also be understood as combining the octa-
teraction, then we should rightly ask whether there is any music tonic scales signature 4-3[0134] tetrachord with a diatonic scale-
that cannot be understood in this way. fragment, as in Example 9. Thus, the non-diatonic minor scales
In a sense, there is not: any proper subset of the chromatic naturally tend to evaporate under the scrutiny of the analyst pre-
scale can be decomposed into octatonic and diatonic components. disposed to interpret music in terms of diatonic and octatonic
Example 7. The harmonic minor scale in The Rite of Spring

(a) reh. 19, mm. 25
(b) reh. 4
fragments.14 This tendency should be resisted, since both analyti- Example 8. Minor scales as composed of octatonic and diatonic
cal and historical evidence suggest that in Stravinskys music the components
non-diatonic minor scales are entities in their own right, rather
than mere derived (or surface) formations.
a brief overview of the rst two sections of THE RITE OF

SPRING
Readers will have noticed that most of Examples 6 and 7 come
from the rst few sections of The Rite of Spring. The heavy con-
centration of modally-reconceived minor scales in these few min-
utes of music may prompt us to look for a higher-level analysis.
Example 9. Minor scales as composed of octatonic and diatonic
In particular, we may want to know the relative importance of oc-
scale-fragments
tatonic scales and minor passages in these opening sections of
The Rite of Spring. This comparison will provide an important
test of the notion that Stravinskys language is predominantly oc-
tatonic in derivation, especially in light of van den Toorns asser-
tion that the Rite is generally octatonic and without question
the most thoroughly octatonic of all Stravinskys works.15
Examples 10(a) and 10(b) provide such a comparison. In these
tables, I have attempted to summarize scales used in all the differ-
ent blocks of material in the rst two sections. As one can see,
minor scales play an important role in a third of the measures in
the introduction (25 out of 75 measures). By contrast, the intro-
more extreme: more than half of the measures of the section (93
duction contains not a single measure of incontrovertibly octa-
out of 172) potentially involve modal uses of minor scales. By
tonic music.16 In the Augurs of Spring, the situation is even
contrast, there are just a few measures of explicit octatonicism:
the eight measures of rehearsal 30, and the ve measures at re-
14
Since the melodic minor scale shares ve notes with the whole-tone col- hearsal 23. These numbers strongly suggest that the octatonic
lection, it is sometimes misinterpreted as a product of whole-tone/diatonic in- scale is a relatively minor feature of the rst two sections of The
teraction. See, for example, Whittall 1975, particularly the analysis of mm. Rite. What emerges instead is a picture that is fundamentally at
268 of Des pas sur la neige.
15
Generally octatonic: van den Toorn 1983, 101; without question: van
odds with previous analyses of this piece. In these rst 247
den Toorn 1983, 470, n. 4. Cf. also Robert Moevss claim that perhaps ninety
percent of this composition can be referred directly to a matrix of alternate half
and whole-tone steps (1980, 100). sages consistently, and without comment, leave out non-octatonic grace notes.
16
Van den Toorn (1983, 424) claims that the material at rehearsals 6 (For the analysis with the missing grace notes, see pp. 1045.) Note that van
(Example 6[g]) and 8 is explicitly octatonic (cf. their appearance on List den Toorns analyses do contain grace notes when they do not interfere with
1), but his argument is undermined by the fact that his graphs of these pas- his octatonic readings.
Example 10(a). Scalar structures in the Introduction to Part I of The Rite of Spring
Measures 19, 13 1012, 14 19 20 4 257 2831 328 3941, 43

Rehearsal number 1 23 4 5 6 7
Key scalar elements C major bassoon E.h.: C minor G harm. min. A lyd./ D harm/mm; 4-10[0235] E mm.
melody w/ pentachord F mm. also G mm. ute melody/
chromatic accomp. (chromatic accomp.) chromatic accomp.
Notes see Ex. 7(b) see Ex. 6(f) see Ex. 6(g) See Ex. 6(d)
Measures 42, 445 4651 526 5765 6675

Rehearsal number (7) 8 9 1011 12
Key scalar elements D mm. Initially B mm., Superimposed Massive superimposition Return of bassoon melody,
(+ harmonic?) later joined by diatonic of elements, including introduction of Augurs
other diatonic scales scale fragments chromatic scales, A ostinato, altered dominants
pentatonic, G harmonic on F , E
minor, others
Notes Similar to Ex. 6(g) See Ex. 6(e)
Example 10(b). Scalar structure in the Augurs of Spring
Measures 7683 84 7 8897 98109 110144 1456 14752

Rehearsal number 13 14 (14)15 1617 1821 (21) 22
Key scalar elements G harm. min. Superimposed G harm. min. Superimposed G harm. min. Non-scalar chromatic
triads: C, E, e (+ chromatic diatonic (+ G mm.) chords (m. 145: ostinato +
+ ostinato melody) elements possibly C/D trill
(G harm. min. octatonic)
with an added C?) low register:
B CD E F
upper register:
C mixolydian
Notes See Ex. 7(a)
Measures 1537 15873 17481 1829 190207 20815 21623 22447

Rehearsal number 23 245 26 27 289 30 31 326
Key scalar elements octatonic B mm. Same as B dorian E dorian Octatonic A minor C mm.
+ C major 15873, but (C maj. trills (trills now (over diatonic (+ chromatic (+ chromatic
trills with a chromatic continue) suggest ostinati in low bass) urries)
melody E mm.) strings)
Notes See Ex. 6(b) See Ex. 6(a)
measures, the primary musical materialsbesides the diatonic sentation represents a fundamental challenge to the traditional
collectionare not octatonic, but rather minor scales. assumption that a single scale or key area (or referential collec-
To be sure, these scales play a less important role in the rest of tion) should govern music at any one time.
the Rite (although they are very prominent in the Ritual Action of One can speak of this, if one likes, as polytonality. This is a
the Ancestors.) And, starting in the Ritual of Abduction, octa- concept that has come in for much undeserved abuse. Some theo-
tonic materials do make an important appearance. But throughout rists, such as Benjamin Boretz and Allen Forte, have argued that
the piece, the octatonic scale continues to be just one element of the very notion of polytonality involves logical incoherence.17
many: much of the music (Spring Rounds, Evocation of the Others have questioned whether it is possible for human beings to
Ancestors) is diatonic; some sections (The Dancing Out of the perceive two or more keys simultaneously.18 We can grant that a
Earth) involve the superimposition of diatonic elements on other piece of music cannot, in the fullest and most robust sense of the
scales; some are octatonic (especially the Ritual of Abduction, term, be in two keys at once; indeed, it may be impossible for us
the central part of the Ritual Action of the Ancestors, and some to hear one and the same note as having two tonal functions si-
parts of the Sacri cial Dance), and still other parts (such the multaneously. Still, this should not cause us to jettison the notion
Naming and Honoring of the Chosen One, and much of the of polytonality altogether. For many piecesincluding many of
Sacri cial Dance) have no clearly identi able scalar back- Stravinskysnaturally segregate themselves into independent
ground. In a word, the music is heterogeneous, exhibiting a variety auditory streams, each of which, if heard in isolation, would sug-
of techniques and compositional procedures. To my mind, this het- gest a different tonal region.19 Further, it seems clear that we can,
erogeneity is a major feature of Stravinskys style. The challenge in some more rudimentary sense of the term, hear more than one
for the analyst, then, is to explain the musics coherence while still tonal area at once. (Imagine an oboist playing My Country Tis
doing justice to the variety of different techniques that animate it. of Thee in F, while across the room a pianist plays the Star-
Spangled Banner in D : this is a musical situation that can rea-
SUPERIMPOSITIONS sonably be described as involving polytonality, and it is one in
which I suspect most skilled listeners would have no problem dis-
stravinsky, polyscalarity, and the petrouchka chord cerning the presence of two independent tone-centers.) Out of
Perhaps the most striking aspect of Stravinskys harmonic lan-
guage is polyscalarity: the simultaneous use of musical objects
which clearly suggest different source-collections. Polyscalarity
17
See Forte 1955, 137, and Boretz [1972] 1995, 244. (Both passages are
cited in van den Toorn 1983.) Boretz seems strangely to think both that the
is a kind of local heterogeneity, a willful combination of disparate
idea of polytonality is logically contradictory and that we can experience more
and clashing musical elements. It is the feature that prompted the than one tonality at once. This is delicate ground, but I am inclined to think
Italian composer Alfred Casella (1924) to compare Stravinskys that if a concept accurately describes a common, non-illusory experience, then
musical style to the cubist technique of Picasso and Braque, in it is probably not incoherent or contradictory. For an analysis (of a Milhaud
which single objects are portrayed from more than one vantage work) that is sympathetic to polytonality, see Harrison 1997. Harrison help-
fully suggests some reasons why analysts have been reluctant to take poly-
point. Whether this is an apt description of cubism is open to
tonality seriously.
question, but the analogy is certainly useful in thinking about 18
See Krumhansl 1990, 22639, for an empirical discussion of the issue.
Stravinsky: here, the different perspectives are different scales, 19
I use tonal region here in a very general sense that is not restricted to
or radically different harmonic areas, and their simultaneous pre- the voice-leading conventions of Western classical music.
deference to terminological sensibilities, I will use the word merely this oscillation or superimposition of the (0,6) tritone-
polyscalarity to refer to music of this sort. I intend the term to related (0 4 7) triads of Collection III at C and F .23
carry no implication that we can (in the most robust sense) per-
Note the structure of the argument: beginning with the notion that
ceive two keys at once.20
we cannot (in some rich sense of the term) perceive two keys at
The desire to avoid polytonality seems to be have been one
once, van den Toorn concludes that the Petrouchka chord is mono-
of the major motivations for octatonic-centered readings of
scalar in origin. But this is doubly problematic. First, although
Stravinsky.21 For it often happens that on an octatonic interpreta-
some seeming instances of polyscalarity can in fact be resolved by
tion, what might at rst sound like objects that belong to different
the octatonic scale, many others cannot.24 Thus, although the
scalessay a C-major triad and an F -major triadare inter-
availability of the octatonic scale may provide the impression that
preted as sonorities that derive from a single octatonic collection.
we can do without the notion of polytonality (or its weaker cousin,
As Arthur Berger put it, apropos the Petrouchka chord:
polyscalarity), this is not the case: sooner or later, even the parti-
Since the entire con guration may now be subsumed under a sans of octatonicism will have to confront the fact of Stravinskys
single collection with a single referential order, i.e., the octatonic multiscalar superimpositions. The second problem is that even
scale, the dubious concept of polytonality need no longer be when we can interpret a given passage of music as deriving from
invoked. 22 the octatonic scale, it is not clear that we should necessarily do so.
Van den Toorn quotes this passage approvingly, adding For in many places, Stravinsky clearly does make use of multiple
scales at a single time. (Indeed, he explicitly spoke of the music of
questions regarding the bitonality or polytonality of certain pas- Petrouchkas second tableau as being in two keys.25) While it
sages in this literature can no longer be taken seriously within the
might be possible to interpret the Petrouchka chord as monoscalar,
context of this inquiry. Presumably implying the simultaneous (C-
it may be more fruitful to regard it as polyscalar, deriving from the
scale tonally functional) unfolding of separate tonalities or
keys, these notionsreal horrors of the musical imagination superimposition of elements belonging to the C-major and F -
have been widely (and mercifully) dismissed as too fantastic or il- major collections. Whatever scruples we may have about the no-
logical to be of assistance . . . There is [in the Petrouchka chord] no tion of polytonality, the music itself will necessarily be our last
simultaneous (tonally functional) unfolding of two keys, but court of appeal.
Let us consider the various transformations of the Petrouchka
chord in that ballets second tableau. The rst is shown in Ex-
ample 11(a). Notice that the chord is accompanied by a note (the
20
There is an old debaters trick of refuting an opponents claim by inter- bassoons G ) foreign to the octatonic collection that contains it.
preting it only in its extremest possible sense. The attack on the notion of poly- (The bassoons complete melody, which is not shown in the
tonality sometimes seems to partake of this: theorists sometimes seems to sup-
pose that by showing that we cannot perceive two keys in the richest possible
sense, they have shown that there is no useful sense in which we can be said to
perceive more than one key at a time. 23
van den Toorn 1987, 634.
21
Taruskin ([1987] 1990, 1996) is the exception here. He, too, argues that 24 For example: the music at rehearsals 6, 8, 9, 10, 11 of the introduction of
polytonality is a useful notion, though he seems to think that Stravinskys use of The Rite of Spring; the gure which is rst heard at 43, and much of the music
multiple keys arises from deeper-level octatonicism. of the last section of Part I.
22
Berger [1963] 1968, 1345. 25 Stravinsky 1962, 156.
example, is a six-note subset of the harmonic minor collection.) Example 11(e) (The Moor and the Ballerina Prick Up Their
The second time the chord appears, 11(b), it is again in a poly- Ears), where E major alternates with B minor. This sonority is
scalar context: the pianos F arpeggio is now accompanied by a the point of furthest remove from the Petrouchka chord proper.
G-major arpeggio. (This association of F major, G major, and C I summarize this process in Example 12. What should be clear
major continues throughout the second and third tableaux, and is is that the transformations applied to the Petrouchka chord are
as characteristically a part of Petrouchkas musical personality as guided not by underlying octatonicism, but rather by the principle
is the bare juxtaposition of F and C.) This development makes of black-note/white-note superimposition. Indeed, the develop-
more sense if we understand the Petrouchka chord as a superim- ment of the Petrouchka chord represents a fairly systematic explo-
position of two different scales, one white-note and the other ration of the possibilities of such superimposition. Initially a C-
black-note; if we see the original chord as wholly octatonic, then major triad is juxtaposed against an F -major triad, producing a
the appearance of the non-octatonic G major will have to be inde- clear octatonic sound (albeit distorted by the bassoons initial G ).
pendently motivated. Consider now the material at rehearsal 59, Gradually the number of white notes in the superimposition is
shown in Example 11(c).26 Again, we nd the same non-octatonic increased rst, to include the notes of the G-major triad, and
pattern of superimposition of black notes and white notes: here, then to include those of the D-minor triad as well. Correspondingly,
the white notes appear on the last three quintuplets (or on unac- the number of black notes in the superimposition is increased,
cented sextuplets), and contain all but one of the notes of the C producing resultant sonorities that are ever more chromatic, and
major scale (E is missing). All ve of the black notes are used (the eventually including all but one of the twelve pitch classes. Once
A will not be found in the example: it appears in measures 89 of this maximum point of chromatic saturation is achieved, the initial
rehearsal 59). C- and G-major triads disappear, while the black notes are re-
What happens next is quite telling: at rehearsal 60 (Example duced to their original F -major sound. This produces the hexa-
11[d]), the material of rehearsal 51 (Petrouchkas cries) is trans- tonic sonority, strongly contrasting with the original octatonic
formed into a representation of Petrouchkas despair. Again, we sound, and yet still recognizably Petrouchka-esque.
nd the same trilling alternation of black notes and white notes, Contrast this with Taruskins interpretation of Petrouchkas
but here, instead of F and C (the Petrouchka chord proper) F second tableau (1996, 73756). In Taruskins view, the octatonic
is juxtaposed with D minor. This shifts the music completely out scale is a stable tonic collection throughout the entire movement.
of the octatonic realmthe resultant sonority is an instance of the Various departures from this collectionsuch as the extended dia-
hexatonic 6-20[014589] set, structurally analogous to the octatonic episode beginning at rehearsal 52are to be understood as
tonic collection (alternating half-steps with minor thirds, instead analogous to modulations in traditional tonal music. Even the
of half-steps and major seconds) but very different in its sonorous hexatonic collection of Example 11(d) above is seen in relation to
qualities. This hexatonic sonority alternates with the original the octatonic set: in Taruskins reading, the D-minor chord is an
Petrouchka chord in the rst four measures of rehearsal 60. appoggiatura to the C-major portion of the Petrouchka chord
Finally, the hexatonic sound is transposed away from the white- proper. And although Taruskin does acknowledge that there are
note/black-note orbit at rehearsal 76 of the third tableau, shown in some grounds for thinking of this musicespecially Examples
11(b) and (c)as polytonal, he writes that this is acceptable
only so long as it is borne in mind that the keys in question were
26
Similar material can also be found at rehearsal 50. chosen not simply ad libitum but from among the circumscribed
Example 11(a). The rst appearance of the Petrouchka Chord, reh. 49
Example 11(b). The Petrouchka Chord, reh. 49, mm. 112
Example 11(c). Development of the Petrouchka Chord, reh. 59
Example 11(d). Development of the Petrouchka Chord, reh. 60 Example 11(e). Development of the Petrouchka Chord, reh. 76, mm. 23
Example 12. The development of the Petrouchka Chord: summary
Rehearsal 49 (49) 59 60 76
Superimposed element #1 C triad C, G triads All the white notes except E D-minor triad B-minor triad
Superimposed element #2 F triad F triad All the black notes F triad E triad
Resultant sonority Octatonic Chromatic Chromatic Hexatonic Hexatonic
(8 notes) (11 notes) 6-20[014589] 6-20[014589]
Notes White-note/black-note
superimposition _
and historically sanctioned wares of the octatonic complex.27 The in the second tableau. It is instead a foreground phenomenon, a
octatonic scale, in other words, produces the Petrouchka chord, surface manifestation of the more fundamental (middleground)
rather than the other way around. principle of black-note/white-note opposition. Granted, such juxta-
We can certainly accept Taruskins point that juxtapositions of positions can produce octatonic sonorities; but they can also, as
tritone-related major triads are characteristic of the music of Stra- Stravinsky shows us, produce chromatic or hexatonic sonorities.
vinskys Russian precursors.28 But are we so sure, even in light of
this history, that all such juxtapositions derive from the octatonic scales and superimpositions
scale? And is it even clear that the Petrouchka chord itself arises The appearance of octatonic and hexatonic sonorities in our
out of the octatonic complex? There is surprisingly little in the analysis of the Petrouchka chord should not be surprising. As is
music which might tell us this: if we set aside the appearances of well known, the superimposition of any two (major, minor, or di-
the Petrouchka chord propersince this is the entity that we are minished) triads whose roots are separated by a minor third or tri-
trying to understandthen we note that in the entire second tone will produce a subset of the octatonic scale. Similarly, the su-
tableau, there are only four other measures of octatonic material. perimposition of any two (major, minor, or augmented) triads
(These are mm. 1 and 7, and the two-measure cadenza that pre- whose roots are separated by major third will produce a subset of
cedes rehearsal 59.) At the same time, there are approximately the hexatonic scale.29 In analyzing a work where triadic super-
thirty measures of music (including Examples 11[b][d] above) impositions play an important role, we should therefore expect
that seem to derive from polyscalar black-note/white-note superim- that octatonic and hexatonic sonorities will be produced as a nat-
position. Counting is, of course, no substitute for musical analysis, ural byproduct of the superimpositions themselves.
but here it does suggest that octatonicism is not the main technique
29
One can go further: superimposition of two (major or minor) triads sepa-
27
Taruskin 1996, 749. Taruskins original paper ([1987] 1990) argues more rated by a half-step produces a subset of either the harmonic minor or its in-
forcefully in favor of the polytonal explanation of the chord. version. This fact is somewhat unfamiliar to theorists, and it perhaps accounts
28
Taruskin has done more than anyone else to uncover this history. See espe- for their reluctance to see the harmonic minor scale in passages such as
cially Taruskin 1996, Chapter 4. Examples 7(a) or 18(b).
More generally, as I showed in a previous paper, there is a set byproducts of triadic superimpositions for the entities which pro-
of seven scales which has the remarkable property of containing duce those superimpositions. In other words, we risk treating the
as subsets all those pitch-class sets that do not themselves contain constraints inherent in the twelve-tone universe as distinctive fea-
a 3-1[012] trichord.30 (These seven scales are the diatonic, tures of a composers style.
melodic minor, whole-tone, octatonic, harmonic minor, its inver- By way of example, let us examine the set-classes that result
sion [sometimes called the harmonic major], and the 6- from the superimposition of a triad with one other note. (I will call
20[014589] hexatonic scale.) As a consequence, any superimposi- these sets the triadic tetrachords: triadic tetrachords containing a
tion of two triadsmajor, minor, diminished, or augmentedwill major triad will be major triadic tetrachords; those containing a
necessarily produce a subset of one of these seven scales.31 (A minor triad will be minor triadic tetrachords, and so on.32) As
fortiori, the same holds for the superimposition of subsets of Example 13 makes clear, six of the major triadic tetrachords be-
triads.) There is thus a deep link between the technique of triadic long to the diatonic scale; ve of them belong to the octatonic
superimposition and harmonies that are recognizably scalar. But, scale; and only one belongs to neither. (Since the diatonic and oc-
crucially, this is an intrinsic feature of the twelve-tone universe tatonic scales are inversionally symmetrical, the situation is the
and not a result of decisions made by individual composers. same for the minor triadic tetrachords). That one set, 4-19[0148] ,
What this means is that we must take care in analyzing the contains the augmented trichordone of only two trichords that
work of a composer who, like Stravinsky, makes use both of belong neither to the diatonic nor the octatonic scale.33
scales and of superimposed triadic sonorities. Is it the scale that is Now consider Example 14, from the Symphony of Psalms,
analytically fundamental, determining the choice of the objects which shows the rst climax of the last movements fast section.
that are to be superimposed? Or, as I suggested in the case of the The rst four measures of the passage involve all three major tri-
Petrouchka chord, does the superimposition lie at the deepest mu- adic tetrachords that do not belong to the diatonic scale, and only
sical level, producing scales in the foreground? If the latter, are the one other (4-z29[0137] , which belongs to both the diatonic and
surface scales even an important part of the musical development? octatonic collections). The rst chord, here an A-major triad over
Or are they merely the inevitable byproducts of the superimposi- a bass F, is the one triadic tetrachord that is neither diatonic nor
tions involved? I do not think that there need be any one answer octatonic.34 The next chord, F major over a G , is octatonic, while
to these questions, and, indeed, I think we can nd examples of a the third, D major over a G , is both octatonic and diatonic. (Note,
wide variety of procedures in Stravinskys work. At the same time, however, that this octatonic- avored tetrachord has a distinctly
I think that it is important to take these questions seriously. For non-traditional sound.) The last, F major over a G , again belongs
otherwise, we are in danger of mistaking scales that are the mere
30
Tymoczko 1997. See also Pressing 1978. 32 Obviously these de nitions are non-exclusive. 4-17[0347], for example, is
31
To be more accurate: any superimposition of any triad or diminished sev- both a major and minor triadic tetrachord.
enth chord with any other triad or diminished seventh chord will produce a 33
The other trichord is 3-1[012]. The only tetrachords which do not belong
subset of one of these seven scales. The reason is that triads and diminished to either the octatonic or diatonic scales are 4-7[0145] and those which contain
seventh chords do not contain major or minor seconds, and thus it is impossible either a 3-1[012] or 3-12[048] trichord.
to superimpose two of them in such a way as to produce a set containing a 34
I am considering the E, which appears only in the second bar, to be an im-
3-1[012] trichord. plied part of the chord throughout.
to the octatonic scale. Each of these tetrachords is further associ- Example 13. Octatonic and diatonic set-membership of the major
ated with a different scalar region: the rst two measures of the triadic tetrachords
excerpt (mm. 467 of the piece) belong to both the D harmonic
and melodic minor scales; while the second two measures belong Triad Added Note Total Set
to a single octatonic collection.35 (Note that the last two measures Diatonic Only D 4-22[0247]
suggest the D harmonic major scale and include a fth triadic F 4-14[0237]
tetrachord.) In short, the excerpt seems to involve a number of dif- B 4-20[0158]
CEG
ferent major triadic tetrachords that produce a series of different Diatonic and F 4-z29[0137]
scalar harmonies.36 Octatonic A 4-26[0358]
Or does it? As analysts, we have a choice between taking the B 4-27[0258]
scales as the primary objects (determining the triadic tetrachords to Octatonic Only C 4-18[0147]
be used) and seeing the tetrachords as occupying the fundamental E 4-17[0347]
musical level. In this case, I believe the choice is clear. If we see Neither Diatonic A 4-19[0148]
the tetrachords as producing the scales, then the rst four measures nor Octatonic
of the passage are consistent and comprehensible: they present
the various non-diatonic triadic tetrachords, and ll them out with
scales that contain those sonorities. If, on the other hand, we in Petrouchka, it is superimpositionshere, superimpositions of a
see the scales as fundamental, then it is unclear what (other than major triad with notes foreign to that triadthat determine the
the triadic tetrachords) could link them together. Furthermore, it is choice of scales, rather than the other way around.
dif cult to imagine that these scales could have been chosen rst,
and that Stravinsky only later realized that they provided the op- the symphony of psalms, rst movement
portunity to explore the three non-diatonic triadic tetrachords.37 As With these points in mind, let us look more closely at the outer
two movements of the Symphony of Psalms. Van den Toorn de-
35
It is important to note that this passage is preceded by a series of E-major scribes the Symphony of Psalms, with Scherzo Fantastique,
arpeggios over an FG bass ostinato, a formation which can be attributed to the Petrouchkas second tableau, The Rite of Spring, and the Sym-
octatonic scale. phony in Three Movements, as Stravinskys most octatonic works,
36
Notice that in a van den Toorn-style interpretation, the rst chord in the but one could go further: the rst movement of the Psalms is quite
passage is anomalous since it belongs neither to the diatonic nor octatonic col-
possibly the most thoroughly octatonic of all of Stravinskys ma-
lection; it is only the middle two measures that count as truly characteristic of
Stravinskys language. In the interpretation I am proposing, this sonority is by ture compositions. As such it represents the strongest possible
contrast just as typical of Stravinskys language as the rest of the passage. case for an octatonic-centered reading of Stravinskys oeuvre.
37
I would like to emphasize that I do not mean for these words to express I do not so much wish to deny as to qualify the claim that the
undue concern with the way Stravinsky thought about this passage or the way octatonic scale is central to the rst movement of the Psalms. For
he actually composed. Instead, I take analyses to represent a kind of hypotheti-
although the scale is present in forty-one of the pieces seventy-
cal story about how a piece of music might have been logically and rationally
composed. That a good analysis makes a piece of music look sensible, and that eight measures, it often appears alongside other notes and scales
composers often work in intuitive or even irrational ways simply underscores foreign to the octatonic collection, as Example 15 demonstrates.
the difference between analysis and history. Indeed, the scale appears on its own (unimpeded) in only eigh-
Example 14. Symphony of Psalms, III, m. 4651 (mm. 510 of reh. 5)
teen measures of the piece. Of course, this is still a fairly high pro- is in ltrated by an A, a note foreign to the collection that suggests
portion by Stravinskys standards, but it is important to remember an outward (augmented sixth-style) resolution of the minor sev-
that there are pieces in the literature which are vastly more octa- enth. In m. 7, the G7 arpeggio is accompanied by an F , again sug-
tonic than this. Messiaens Regard du Pere, for example, the rst gesting an outward resolution of the seventh. These non-octatonic
piece of the Vingt Regards, is a work whose nineteen measures outward resolutions immediately create the recognizably Stravin-
last more than twice as long as the rst movement of the Psalms. skian sound of clashing scales.
This piece is almost entirely octatonic in derivation, save for one The point here is simply that Stravinsky, even at his most octa-
progression at the end that suggests functional tonality. Indeed, tonic, is notably reluctant to use the scale for very long. In mm.
the movement contains only a single sonority (the second to last) 1113, shown in Example 16(b), the octatonic scale reappears,
which does not belong to an octatonic collection. Furthermore, the this time underneath an ascending F dorian scale. In m. 20, it is
octatonic scale appears on its own, without interference from accompanied by a melody in the horn and solo cello that suggests
notes foreign to the collection, in almost every measure of the E phrygian. At rehearsal 4, it appears on its own for seven meas-
piece. This is true and explicitsome might even say excessive ures; but immediately thereafter, the full chorus, singing forte,
octatonicism. By comparison, Stravinskys use of scales tends to superimposes notes from the key of C minor on top of it. Like-
be subtle, quali ed, and ambiguous. wise, in mm. 6874, the scale appears underneath notes from the
The opening of the Psalms is a case in point. The piece begins E phrygian collection. So, while it is true that this movement can
with the celebrated octatonic passage shown in Example 16(a): an be well accounted-for in terms of octatonic and diatonic scales, it
E-minor triad, followed by dominant-seventh chords on B and G. is equally true that it frequently blurs its own octatonicism, com-
But having established this octatonic frame of reference, Stravin- bining that scale with notes foreign to the collection. In this sense
sky immediately begins to break it down: in m. 5 the B 7 arpeggio even Stravinskys most insistently octatonic work suggests that it
Example 15. Scalar structures in Symphony of Psalms, I
Measures 14 510 11 4 158 1925 2632 336

Rehearsal number 1 2 3 4 5
Key scalar elements Octatonic Polyscalar: Octatonic E phrygian Octatonic and Octatonic Octatonic and
aug. 6th and E phrygian C minor
resolution of F dorian
dom. 7th chords
Notes See Ex. 16(a) See Ex. 16(b)
Measures 3740 418 4952 539 604 657 6874 758

Rehearsal number 6 78 9 1011 12 13
Key scalar elements Diatonic Octatonic E phrygian Mostly Mostly E phryg. Octatonic C min.
(m. 40: E phryg. C min. and
chromatic) E phryg.
is not octatonicism per se that characterizes the composers har- (More properly, we could say that van den Toorn recognizes poly-
monic language, but rather polyscalar superimpositionwhich scalarity and superimposition as important aspects of Stravinskys
may or may not involve octatonic scales. vocabulary, but limits himself to superimpositions involving octa-
I do not think that van den Toorn would necessarily deny this. tonic elements.) As we have seen, however, Stravinskys superimpo-
His analyses are lled with instances of octatonic-diatonic interac- sitions come in many varieties, some of which involve the octatonic
tion, in which Stravinskys music is segregated into independent scale, and many of which do not.
diatonic and octatonic streams. If we are to take these analyses as
having perceptual relevance, rather than representing mere formalist the symphony of psalms, third movement
decompositions of the music, then we are presumably supposed to Superimpositions play an even more important role in the
hear such passages as involving independent diatonic and octatonic third movement of the Psalms. Some involve non-diatonic ,
musical layers. But then we have not come so far from the pre-oc- non-octatonic elements; others involve diatonic fragments be-
tatonic view of Stravinsky, with its multiple layers, superimposi- longing to different collections; and still others involve diatonic
tions, and bitonality. Speaking loosely, we could say that for van elements belonging to a single scale. Example 17 shows two
den Toorn, octatonic-diatonic interaction is a species of bitonal- prominent superimpositions of the rst type. Example 17(a), from
ityindeed, the only one his analytical methodology recognizes.38 the beginning of the fast section of the movement, has three
seemingly independent components: a C-major triad, a set of in-
terlocked diatonic thirds in the trumpet and harp, which suggests
38
I say speaking loosely, because I understand that there is no such thing
the C natural-minor scale, and a chromatic ostinato in the low
as an octatonic tonality. Nevertheless, the phenomenon of superimposed
scales, each with its own distinctive sonic identity, is the one which the word bass. (Notice that if we were interested in attributing all of this
polytonality, however inaccurately, was meant to capture. material to a single collection, we could treat the low F as a
Example 16(a). The opening of the Symphony of Psalms
Example 16(b). Scalar superimposition in Symphony of Psalms I, mm. 113
neighbor note; everything else would then belong to the F melodic sion of the interlocked-thirds motive to form the inversionally
minor scale.) At (b), we nd a whole-tone scale in the trombone symmetrical set 7-z17[0124569]. (Note that the registration of
combined with parallel triads in the trumpets that bark out the in- the English horn arpeggio recalls the lower half of the famous
terlocked thirds motive from the beginning of the movements Psalms chord that opens the rst movement.) At (b), a major
fast section. triad in the utes and trombone is juxtaposed with another major
Example 18, by contrast, contains three instances of the combi- triad a half step above it. (Note that here the registration of the
nation of diatonic materials to form non-diatonic totalities. At (a), ute/trombone triad recalls the upper half of the Psalms chord.)
an F-major arpeggio is combined with an octave transposed ver- The resultant sonority is a six-note subset of the harmonic minor
scale. And at (c), we nd a complicated series of typically Stra- V 43 I progression appears underneath the tonic note in the melody,
vinskian chords. (The example omits the harp and chorus parts, skewing the listeners sense of tonal function. (The non-diatonic
which I think belong to different strata of music.) As the ex- bass D further contributes to this effect.) At (b), high oboes pro-
ample should make clear, these chords are registrally partitioned duce a similar sound, undermining a very explicit, neo-Baroque
into two halves, each of which on its own is diatonic. The upper viiiviiiii sequence in the low strings and bassoons. Viewed
part of the chords belongs to B major (or C dorian), and consists from a set-theoretic or scale-theoretic perspective, such superim-
of an E -major triad, an incomplete F-major triad, a stack of fths positions are unremarkable, since they produce only subsets of the
beginning on B (B FC), and another F-major triad. The lower major scale; but viewed in the light of Stravinskys technique as a
half contains, respectively, a stack of fths on C, a perfect fourth whole, these all-diatonic formations demonstrate the variety and
(D G ) that perhaps represents an incomplete G triad, an incom- range of Stravinskys superimposition procedures.
plete E -major triad, and a 3-6[024] trichord {D, E, F }, in a reg- In Example 20, I have catalogued all the different forms of su-
istration that here suggests a D9 chord. Of the four resultant perimposition that appear in Movement III of the Symphony of
sonorities, the rst and third are diatonic, both belonging to B Psalms. In Example 21, I summarize Example 20. One hundred
major/C dorian. The second chord forms a ve-note subset of the fty-seven of the movements 212 measures contain some form of
actual pitches of Example 18(b). Similarly, the nal sonority, typi- superimposition. Most of these superimpositions result in a chro-
cally Stravinskian in its clangorous beauty, is a six-note subset of matic sonority, although all of them involve diatonic elements.
the actual pitches of Example 18(a). The appearance in Example About a third of the superimpositions produce a diatonic result
18(c) of subsets of the actual pitches in both (a) and (b) suggests (and perforce involve only diatonic elements from the same key).
that Stravinsky was, if not conscious of the reuse of the sonorities Superimpositions are involved in thirteen measures (8%) of
themselves, at least acutely aware of the characteristic sounds of clearly octatonic music, while the remaining nine measures (6%)
superimpositions of different diatonic materials. And while it is produce sonorities that suggest non-diatonic and non-octatonic
probably unrealistic to expect listeners to pick up the similarities scales. Admittedly, these classi cations involve interpretation, and
of pitch content among Examples 18(a)(c), it is perhaps not are therefore open to question. But even if we regard them as use-
unreasonable to expect that they would hear that these various ex- ful approximations, the lesson is clear: superimposition is an ex-
amples all result from a characteristically Stravinskian superimpo- tremely characteristic feature of Stravinskys pitch organization in
sition of different scalar regions. the third movement of the Psalms; the majority of these superim-
Finally, in Example 19, I have listed some examples of another positions produce a chromatic totality, although they often use di-
common form of Stravinskian superimposition: the combination atonic materials to do so. Octatonicism, though present, is a rela-
of materials that belong within a single scale. The most striking of tively minor feature of Stravinskys harmonic procedures here;
these sonorities are those that cannot easily be interpreted as ex- even less frequent, though not unimportant, are superimpositions
tended tertian harmonies9ths, 11ths, and 13ths. In particular, that produce non-diatonic , non-octatonic, yet still recognizably
the combination of low-register dominant material with high-reg- scalar totalities.
ister pitches from the tonic triad produces a very bright and ener- Putting aside the issue of superimpositions (since almost sixty
getic sound of uncertain tonal function, one that is typical of measures of music do not involve this technique), we see that the
Stravinskys neoclassic period. Example 19 lists two such sonori- same picture still holds. Eighty-nine of the 212 measures of the
ties: At (a), the dominant chord in a relatively traditional i7iv 46 piece (42%) are clearly diatonic, while ninety-three (44%) are
Example 17. Superimposition of non-diatonic elements in Symphony of Psalms, III
Example 18. Superimposition of diatonic elements belonging to different collections in Symphony of Psalms, III
Example 19. Superimposition of diatonic elements belonging to the works are less octatonic than they have been made out to be. Very
same collection in Symphony of Psalms, III often the analyses that purport to uncover the octatonic basis of
crucial passages make questionable assumptions about which
tones are structural and which are not, or about the priority of
scales over superimpositions. In short, they seem to require a
prior commitment to the idea that the octatonic scale is fundamen-
tal to Stravinskys music. But, of course, it is just this that Berger,
Taruskin, and van den Toorns analyses were supposed to be
demonstrating. To my mind, the failure of the octatonic hypothe-
sis, in these paradigm cases of Stravinskian technique, means
we need to expand our ideas about Stravinskys compositional
methods.
My own analyses have made free use of a variety of concepts,
some (in C minor, augmented sixth) belonging to the tradition
of tonal music, and others (B lydian, polyscalar superimposi-
tion) more tangential to that tradition. It may seem, therefore,
chromaticalthough it should be emphasized that chromatic that I am producing a methodological hodge-podge , an undisci-
here encompasses quite a wide range that stretches from largely- plined analysis that helps itself to an ad hoc set of unrelated con-
diatonic yet chromatically-tinged music to extremely dissonant, cepts. Something very much like this sentiment seems to lie be-
non-diatonic music. Twenty (9%) measures involve potential ex- hind van den Toorns criticism of earlier Stravinsky scholarship:
amples of octatonicism, while 10 (5%) involve other scales. These Here, a bewildering succession of descriptive terms and explanatory no-
results contrast strongly with van den Toorns claim that almost tions (e.g., key, C-major, tonality, bitonality, atonality, pan-
half of the movement (102 measures) betrays the signs of octa- tonality, pandiatonicism , polyharmony, polychordal , superimposi -
tonic in uence. With all due respect to van den Toorn, and in light tion), invariably left unde ned or underde ned, deprives the undertakin g
of all that has been said above, I think we need to ask whether this of all meaning and consequence. Stravinskys music, everywhere and at
rampant octatonicism might lie in the eye of the beholder. The oc- once, is made to embrace every conceivable musical technique .39
tatonic scale is important in Stravinsky, but it is not so om-
But I do not think that such methodological pluralism is necessarily
nipresent as it has been made out to be.
a vice. Why should we think that we can analyze sophisticated music
with just a few techniques? Why should it not be the case that
Stravinskys music, sometimes bewildering in its complexity, multi-
CONCLUSION
This paper has drawn its examples from three pieces that by all
accounts are among the most octatonic that Stravinsky wrote:
Petrouchka (especially the second tableau), The Rite of Spring,
and the Symphony of Psalms. I have tried to show that even these 39
van den Toorn 1983, xiv.
Example 20. Superimpositions in the third movement of the Symphony of Psalms
Measures: 16 78, 11 910 1220 213 2436

Rehearsal: 1 2 34
Key area: C minor C major C minor C mix. C
Superimposition
elements: Diatonic ostinatos Diatonic & chromatic
Resultant
sonority: C major/minor Diatonic F melodic minor (?)
Element 1: C-minor triad C-major triad
Element 2: C-major triad C-minor scale fragment
Element 3: 3-1[012] trichord
Notes: Ostinati of different lengths See Ex. 17(a)
Measures: 3739 403 445 467 489 501 52

Rehearsal: 5 6
Key area: E (?) E ? ? ? C (F mm.)
Superimposition
elements: Diatonic Diatonic Diatonic Diatonic Diatonic/
Resultant D minor (harmonic harmonic major
sonority: Chromatic Octatonic? or melodic) Octatonic D harmonic major
Element 1: D-major triad E-major triad A-major triad F-major/D- F -minor7 arpeggio
major triads
Element 2: C-minor scale C-minor scale F F /G D harmonic major
fragment fragment arpeggio
Element 3: GDA horn call
Notes: See Ex. 14 Ex. 14 Ex. 14
Measures: 535, 57, 60 56, 589 614 6571 729 806

(Ostinato 1) (Ostinato 2)
Rehearsal: 67 8 9 10
Key area: C minor C (loosely) C (octatonic) C major C major/C mixolydian
(similar to reh. 9, but
voices have B )
Superimposition
elements: Diatonic Diatonic Diatonic Diatonic/chromatic Diatonic/chromatic
Resultant
sonority: Diatonic Chromatic Quasi-diatonic Quasi-diatonic Quasi-diatonic
Element 1: V chord (in C dorian Minor 6ths in C-major progression C-major progression
harmony) horns in low instruments in low instruments
Element 2: Tonic (in Various Choral melody Chromatic lines Chromatic lines in
melody) (C mixolydian?), in winds winds
various others
Element 3: Timpani ostinato Timpani ostinato Oboes superimpose
tonic on low
instruments V
Notes: Ex. 19(a) Ex. 18(c) Ex. 19(b)
Measures: 8798 99103 1048 109, 11314 11012 11531

Rehearsal: 11 12 13 14 1517
Key area: C9/A7 C min./F phryg. C phryg. ? ? C/E
Superimposition
elements: Diatonic/chromatic Whole-tone/diatonic Diatonic
Resultant
sonority: Quasi-diatonic Chromatic Chromatic
Element 1: C-major progression A/D major
in low instruments Whole-tone scale scale fragment
Element 2: Chromatic lines thirds motive F-major
in winds (parallel triads) arpeggio
Element 3: 4 mm. sequence in voice
Notes: Ex. 17(b) Ex. 18(a) Repeat of mm. 2845
Measures: 132 4 1357 13846 1479 1506

Rehearsal: 18 1819 (19) 20
Key area: B mixolydian E ? ? G
Superimposition
elements: Diatonic Diatonic Diatonic
Resultant
sonority: Diatonic B harmonic minor Diatonic
Element 1: E -major horn F-major triad Functional G-
melody major progression
F dorian scale
Element 2: in low F -major triad G-major triad
instruments
Notes: Transposed rpt., Ex. 18(b)
mm. 449
Measures: 15762 16374 17582 1836 18798

Rehearsal: 21 223 24 25 267
Key area: B mixolydian, E B -minor Various
others
Superimposition
elements: Diatonic Diatonic/chromatic Diatonic/chromatic
Resultant
sonority: Diatonic Chromatic Chromatic
Element 1: Laudate music Chromatic oboe Chromatic oboe
chords (ostinato) chords
Element 2: E B FB ostinato E B FB ostinato E B FB ostinato E B FB ostinato
Element 3:
Notes: Repeat of mm. 16374
Example 20. [continued ] Example 21. Summary of the different superimpositions in the last
movement of the Symphony of Psalms
Measures: 199204 20512
Rehearsal: 28 29 Number of measures in which this
Key area: Various Resultant sonority type of superimposition appears
Superimposition
chromatic 87 (all involving diatonic elements)
elements: Diatonic/chromatic
diatonic 48
Resultant
octatonic 13
sonority: Chromatic
other scales 9
Element 1: Chromatic oboe chords
Element 2: E B FB ostinato
Element 3:
Notes: Varied repeat of mm. 28
faceted in its in uences and references, should not require a simi- with the view that musical language is systematic and regular, a
larly complicated analytical apparatus? Granted, it would be gratify- quasi-logical system that is grounded in a few surveyable prin-
ing if we were able to understand Stravinsky in terms of a few funda- ciples. And it is the sort of view that naturally leads analysts to
mental procedures. But we have no strong evidence that this is search for totalizing accounts of a composers individual sound.
possible. After all, it may just be that Stravinskys music is by turns I agree that Stravinskys music sounds characteristically Stra-
tonal, pantonal, bitonal, atonal, and many other things besides. vinskian. But I do not think that there need be any single explana-
Elsewhere, van den Toorn writes: tion of why this is so. (Similarly, I do not think there is any non-
complex explanation of why Mozart sounds like Mozart, or why
Stravinskys music has seemed stubbornly to resist binding
Charlie Parker sounds like Charlie Parker.) Instead, the unity
analytic-theoretical legislation. This is curious because of the con-
viction voiced by those familiar with his music that there is a that we perceive in Stravinskys music may be the result of a mul-
consistency, a remarkable identity or distinction in sound that titude of disparate factors which together constitute the Stravin-
certainly ought to lend itself to such legislation.40 sky sound. In place of van den Toorns essentialist account, I am
therefore proposing something more like a family resemblance: an
Here, it seems to me, we come to the heart of the matter: Stravin- explanation in which the perceived unity of Stravinskys music is
skys music always sounds characteristically Stravinskian, and due to a cluster of different techniques, no one of which is truly
therefore there should be some speci able characteristic that ac- central to the composers style. Octatonicism is one of these tech-
counts for this. This, I believe, represents a fundamental miscon- niques, but so are polyscalar superimposition, modal use of the
ception of the nature of musical style, one that has been abetted by non-diatonic minor scales, and many others.
some of the centurys most prominent theorists. It is of a piece It is in this spirit, then, that I would suggest we return to the fa-
miliar picture of Stravinsky as pluralist, a bricoleur who used a
variety of materials possessing no systematic unity. This is a com-
40
van den Toorn 1983, xiii. poser whoto use Isaiah Berlins tired but useful metaphorwas
more fox than hedgehog, a man who knew many small musical Forte, Allen. 1955. Contemporary Tone Structures. New York:
tricks rather than a single large one. This is a musician who cared Columbia University Press.
not a whit about technical explanations or theoretical concepts. He Gervais, Franoise. 1971. Etude compare des langues har-
is the composer who never once spoke about the octatonic scale, moniques de Faur et de Debussy. 2 volumes, special numbers
and who described the Petrouchka chord as being in two keys. 2723 of La Revue Musicale.
This Stravinsky worked at the piano, nding the note that was Harrison, Daniel. 1997. Bitonality, Pentatonicism, and Diatonicism
right (though most other composers would have heard it as in a Work by Milhaud. In Music Theory in Concept and Practice.
wrong) through the power of one of the centurys great musical Edited by James M. Baker, David W. Beach, and Jonathan W.
ears. Some may feel that this picture cannot account for the unity Bernard. Rochester: University of Rochester Press, 393408.
of Stravinskys language, the characteristic Stravinsky sound Hill, Peter. 2000. Stravinsky: The Rite of Spring. New York: Cam-
that persists across radical stylistic changes. But others can take bridge University Press.
heart in the thought that unity need not be a matter of any one Howat, Roy. 1983. Debussy in Proportion. New York: Cambridge
speci able technique, much as a rope may be uni ed though no University Press.
one thread runs along its length. Stravinskys musical style, one Kielian-Gilbert, Marianne. 1991. Review of Stravinsky and The
might say, is a family of practices, of mixed Russian and French Rite of Spring: The Beginnings of a Musical Language , by
heritage, a motley assemblage that still manages to produce the Pieter van den Toorn. Music Theory Spectrum 13: 2529.
impression, if not the analytically obvious fact, of unity. Kostka, Stefan and Payne, Dorothy. 1989. Tonal Harmony.
Second Edition. New York: Alfred A. Knopf.
Krumhansl, Carol. 1990. Cognitive Foundations of Musical Pitch.
LIST OF WORKS CITED
New York: Oxford University Press.
Antokoletz, Elliott. 1984. Review of The Music of Igor Stravinsky, Messiaen, Olivier. 1956. The Technique of My Musical Language.
by Pieter C. van den Toorn. Journal of the American Musicolo- Translated by John Satter eld. Paris: A. Leduc.
gical Society 37: 42836. Moevs, Robert. 1980. Review of The Harmonic Organization of
Berger, Arthur. [1963] 1968. Problems of Pitch Organization in The Rite of Spring, by Allen Forte. Journal of Music Theory
Stravinsky. In Perspectives on Schoenberg and Stravinsky. 24: 97107.
Edited by Benjamin Boretz and Edward T. Cone. New York: Perle, George. 1977. Bergs Master Array of the Interval Cycles.
Norton, 12354. Originally in Perspectives of New Music 2.1: Musical Quarterly 63: 130.
11 42. Pressing, Jeff. 1978. Towards an Understanding of Scales in
Boretz, Benjamin. [1972] 1995. Meta-Variations, Part IV: Jazz. Jazz Research 9:2535.
Analytic Fallout (1). In Volume 1 of Meta-variations/ Smith, F. Joseph. 1979. The Experiencing of Musical Sound:
Compose Yourself. Red Hook: Open Space. Originally in Prelude to a Phenomenology of Music. New York: Gordon and
Perspectives of New Music 11.1: 146223. Breach.
Casella, Alfred. 1924. Tone-Problems of Today. Musical Straus, Joseph. 1984. Review of The Music of Igor Stravinsky, by
Quarterly 10: 15971. Pieter van den Toorn. Journal of Music Theory 28: 12934.
Craft, Robert. 1984. Pluralistic Stravinsky. In Present Per- Stravinsky, Igor, and Craft, Robert. 1962. Expositions and
spectives. New York: Alfred A. Knopf. Developments. New York: Doubleday.
Taruskin, Richard. [1987] 1990. Chez Petrouchka: Harmony and Whittall, Arnold. 1975. Tonality and the Whole-tone Scale in the
Tonality chez Stravinsky. In Music at the Turn of the Century. Music of Debussy. The Music Review 36: 26171.
Edited by Joseph Kerman. Berkeley: University of California . 1982. Music Analysis as Human Science? Le Sacre du
Press. Originally in Nineteenth Century Music 10: 26586. Printemps in Theory and Practice. Music Analysis 1: 3354.
. 1996. Stravinsky and the Russian Traditions. Berkeley:
University of California Press.
Tymoczko, Dmitri. 1997. The Consecutive Semitone Constraint:
ABSTRACT
A Link Between Impressionism and Jazz. Intgral 11: 13579.
The importance of the octatonic scale in Stravinskys music has consis-
van den Toorn, Pieter. 1983. The Music of Igor Stravinsky. New tently been overstated. While octatonicism is an aspect of Stravinskys
Haven: Yale University Press. technique , it is just one of a number of different components that jointly
. 1987. Stravinsky and the Rite of Spring: The Beginnings produce the Stravinsky sound. The article focuses on two technique s
of a Musical Language. Berkeley: University of California Press. that have often been mistaken for octatonicism : modal uses of the non-
Walsh, Stephen. 1984. Review-Survey: Some Recent Stravinsky diatonic minor scales; and the superimposition of elements that belong to
Literature. Music Analysis 3: 201 8. different scalar collections .

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Stravinsky and the Octatonic: A Reconsideration

Example 1. The whole-tone scale in The Firebird

Example 2. The whole-tone scale in Petrouchka, reh. 100, mm. 35

Example 3. The whole-tone scale in The Rite of Spring

(b) reh. 175, m. 3reh. 176, m. 1

Example 4. The melodic minor scale in The Firebird, reh. 1

Example 5. The melodic minor scale in Petrouchka

Example 6. [continued ] sonority, an E dominant seventh superimposed atop an E-major

(h) Registral partitioning at reh. 6 of The Rite of Spring

Example 7. The harmonic minor scale in The Rite of Spring

a brief overview of the rst two sections of THE RITE OF

Measures 19, 13 1012, 14 19 20 4 257 2831 328 3941, 43

Measures 42, 445 4651 526 5765 6675

Example 10(b). Scalar structure in the Augurs of Spring

Measures 7683 84 7 8897 98109 110144 1456 14752

Measures 1537 15873 17481 1829 190207 20815 21623 22447

Example 11(a). The rst appearance of the Petrouchka Chord, reh. 49

Example 11(b). The Petrouchka Chord, reh. 49, mm. 112

Example 11(c). Development of the Petrouchka Chord, reh. 59

Example 12. The development of the Petrouchka Chord: summary

Example 14. Symphony of Psalms, III, m. 4651 (mm. 510 of reh. 5)

Example 15. Scalar structures in Symphony of Psalms, I

Measures 14 510 11 4 158 1925 2632 336

Measures 3740 418 4952 539 604 657 6874 758

Example 16(a). The opening of the Symphony of Psalms

Example 16(b). Scalar superimposition in Symphony of Psalms I, mm. 113

Example 17. Superimposition of non-diatonic elements in Symphony of Psalms, III

Example 20. Superimpositions in the third movement of the Symphony of Psalms

Measures: 16 78, 11 910 1220 213 2436

Measures: 3739 403 445 467 489 501 52

Example 20. [continued ]

Measures: 535, 57, 60 56, 589 614 6571 729 806

Measures: 8798 99103 1048 109, 11314 11012 11531

Example 20. [continued ]

Measures: 132 4 1357 13846 1479 1506

Measures: 15762 16374 17582 1836 18798

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