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Figure 1. Opening modulations in several of Shostakovich’s fifteen string quartets
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Figure 2. Inter-opus third relations among the first six string quartets, and the last six
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Figure 3. Musorgsky: Boris Godunov, ending: an ambiguous blending of A minor and its submediant, F major
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Figure 4. Symphony of Psalms, first movement, piano part starting two measures before R9: explicit presentation of the axis E-G-B-D
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Figure 5. Shostakovich: Cello Concerto No. 1, first movement, large-scale tonal structure
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Figure 6. Shostakovich: Cello Concerto No. 1, first movement, opening phrase. The bass line E
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-D-C-B drives the music from its initial E
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Figure 7. A scalar ordering of Shostakovich’s motto (D-E
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Figure 8. Shostakovich: Cello Concerto No. 1, first movement, secondary theme, measures 82–87. A reordered version of Shostakovich’s motto now occurs prominently in a C minor context.
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Figure 9. A recurring, small-scale expression of the axis underlying the movement
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Figure 10. Shostakovich: Cello Concerto No. 1, first movement, measures 74–77. The accompaniment presents the axis C-E
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Figure 11. Shostakovich: String Quartet No. 3, second movement, opening. The first violin’s initial C undermines the viola’s opening E minor triad and suggests a conflict between E and C as pitch centers.
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Figure 12. Shostakovich: String Quartet No. 3, second movement, ending. Final chord (boxed) comprises the notes E-G-C-E
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Figure 13. Shostakovich: Twenty-Four Preludes and Fugues (1950–51), Prelude No. 9 in E major, Phrase 1 (measures 1–10)
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Figure 14. Phrase 2 (measures 11–25)
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Figure 15. Phrase 3 (measures 26–37). The first set of beams shows the T1 axis D-F-A-C; the second set shows the chord B-D-F-A
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Figure 16. Phrase 4 (measures 38–46)
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Figure 17. Retransition (measures 46–56)
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Figure 18. Reprise and conclusion (measures 56–71)
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Figure 19. Large-scale tonal structure of the E major prelude
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Figure 20. Measures 1–2 of “The Abbot,” as arranged by Tchaikovsky (No. 32 from 50 Russian Folk Songs)
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Figure 21. “Past the Swift River, Past the Swift Currents,” as arranged by Rimsky-Korsakov (No. 100 from 100 Folk Songs with Piano Accompaniment)
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Figure 22a. Rimsky-Korsakov: Sheherazade, third movement, opening
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Figure 22b. Borodin: Polovetsian Dances, measures 15–18
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Figure 23. Musorgsky: Boris Godunov, ending: an ambiguous blending of A minor and its submediant, F major
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