<html><head><meta http-equiv="Content-Type" content="text/html charset=windows-1252"></head><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space;"><div>I don’t know if he was the first, but Edward T. Cone, in *The Composer’s Voice* talks about this at length.</div><div>Jay Scheide</div><div><a href="http://verygoodrecordertranscriptions.com">verygoodrecordertranscriptions.com</a></div><br><div><div>On Jul 22, 2014, at 11:46 AM, Murphy, Scott Brandon <<a href="mailto:smurphy@ku.edu">smurphy@ku.edu</a>> wrote:</div><br class="Apple-interchange-newline"><blockquote type="cite">
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Would someone be so kind to remind me who recognized (and printed) that the fivefold series of bass pitch classes and interonset durations in mm. 5-8 of the first movement of Beethoven’s first piano sonata (i.e. <F,2>, <G,2>, <Ab,1>, <Bb,1>, <C,1>) is a temporal
diminution (by one-half) of the same fivefold series of treble pitch classes and durations in mm. 1-7? Once captive in (and I’m pretty sure not invented by) my brain, this information has managed to escape, and my various efforts at bibliographic and Internet
trolling for it have been to no avail.
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<div>Thanks!</div>
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<div>-Scott<br>
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Scott Murphy<br>
Director, Music Theory and Composition Division<br>
Associate Professor, Music Theory<br>
University of Kansas<br>
<a href="mailto:smurphy@ku.edu">smurphy@ku.edu</a></div>
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