a 1 appears. It could be a coincidence , but the emphasis on the 1 leads me to think it was planned. There are many other intervals in the vocal line, but none have the importance that 1 has. The only other interval influences the sound of the vocal line is the 6. The tritone is established as an important interval from the very beginning of the piece. In the opening phrase there is three tritones. Ex.2 shows the tritones. In almost every other phrase has at least one tritone. The tritone and 1 work together to define the sound of the vocal line. (see Ex 2 for more example of tritones) The tritone creates the tension of the vocal line and the chromatic half-step helps to create a feeling of slowing building anger. Another area of careful consideration is Berg?s use of unordered pitch-class relationships. On the outside , many of the vocal phrases look different in length and actual pitches. When you send certain phrases through normal form and into prime form , the intervals show the true relationships. The first relationship occurs between ex.3 and ex.4. When reduced to their prime form , these two example yield similar interval content. Ex.3?s interval content is *13112* and ex.4?s interval content is *21131*. Ex.3 and ex.4 are inversions of each other , therefore they are related. Any realtion helps add unity to this piece.One more example of relationships by unordered pitch class occurs between ex.5 and ex.6. Once again we can observe how prime form reveals an identical interval content. Ex.5 and 6 both have the interval content *111112111*. Although ex.1-4 appear to be different , analysis proved that they do have an internal relationship which was planned by Berg. I like to think of it as musical franchising. It?s the same food and ingredients , but in a different building and location. Besides the above there are also some smaller and less significant vocal features. In some sections , the vocal line uses...
