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Analysis of Bela Bartok's String Quartet No.4 Movement 3
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Bela Bartok¡¦s third movement of his fourth string quartet written in 1928 has a highly engaging and emotive effect on the listener as Bartok¡¦s harmonic world reveals a highly sonorous and atmospheric sound-scape. It is difficult to identify any fundamental scale, mode or tonal center. However, based on Bartok¡¦s reputation in the world of ethnomusicology and his penchant for intermingling folk music and traditional western harmonic practices, it would not be any surprise to find that through set theory analysis modes play a functional in the tonal structure of the movement. This analysis focuses on the pitch class collections obtained from segmenting the movement and how it relates to traditional analytical parameters such as articulation and form. Bartok¡¦s Sting Quartet No.4 comprises of 5 movements. The slow movement (III) is the kernel of the work, with the 4 other movements arranged in layers around it. Bartok employed an arch form when constructing the quartet A-B-C-B-A (fast-scherzo-slow-scherzo-fast). The slow movement (III) is the kernel of the work; with the 4 other movements arranged in layers around it. The third movement contains material independent of the other movements as a means of contrast and highlighting it as the central movement and point of symmetry. Within the third movement itself Bartok has employed a ternary form that is symmetrically sectioned (the coloured bands in the score). A- Non troppo lento [mm.1] „« 13 [mm. 1-13] „« 8 [mm. 14-21] „« 13 [mm. 22-34] „« 8 [mm. 34-41] B- Agitato [mm. 42] „« 5 [mm. 42-46] „« 8 [mm. 47-54] A¡¦- Tranquillo [mm.56] „« 8 [mm. 55bt2-63bt2] „« 8 [mm. 64-71] Each of these coloured band sections are distinct and different through Bartok¡¦s use of different pitch class sets, articulations and constant timbral and textural changes. Form/Section Band Colour Measure Number Timbre A 13 Bars Brown mm. 1-13 Solo: Vc PCSet: 9-6 Accomp: VnI & II, Va PCSet 6-32 8 Bars Yellow mm. 14-21 Solo: Vc PCSet: 8-11, 9-6 Accomp: VnI & II, Va PCSet 6-18 13 Bars Orange mm. 22-34 Solo: Vc PCSet: 7-33 Accomp: VnI & II, Va PCSet 6-34 8 Bars Green mm. 34-41 Solo: VnI [Entire ¡§codetta¡¨ uses PCSet 8-10 as the solo Vn part does not have enough notes to form a set] Accomp: VnII, Va, Vc PCSet 6-Z45 B 5 Bars Pink mm. 42-46 Solo: VnII PCSet 7-25 Accomp: VnI, Va, Vc PCSet *6-Z29 8 Bars Turquoise mm. 47-54 ¡¥Solo¡¦:VnII Pcset 7-1 Va Pcset 5-Z12 Canon PCSuperset 8-23 Accomp: VnI, Vc PCSet *5-35 A¡¦ 8 Bars Purple mm. 55bt2-63bt2 ¡¥Solo¡¦: Canon VnI, Vc No Main Dominating PCSet Accomp: VnII, Va PCSet *9-6, 7-25, 6-Z46, 6-32 8 Red mm. 64-71 Solo: VnI PCset *3-6 Accomp: VnII, Va, Vc PCSet mainly 6-32 An entire dissertation can be written Bartok¡¦s use of symmetry in this string quartet. This particular analysis focuses on set theory more than Bartok¡¦s use of symmetry in this movement. However symmetry is inherent in every single part of this movement eg.
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