Abstract
Abstract A discussion is given of the structuring of tonal materials and “gestural” figurations of Berio's Sequenza IV and VI. Both works are seen to present an unfolding continuum of figurations from chordal ideas to arpeggiating and eventually melodic fragments which interact in a syntactic flux between structurally opposite and intermediate constituents. Closely integrated with this are aspects of tonal organization: various transformative devices and cyclic constru‐als in the treatment of the opening two chords of Sequenza IV and VI. Also observed are other strata of organization in tempo, dynamics, etc. as well as notable formal effects in the structuring of immediate and long range repetition.
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