The Minor Second in Béla Bartók’s Second String Quartet, Mvt. II

The Minor Second in Béla Bartók’s Second String Quartet, Mvt. II

One of the most interesting devices Bartók uses in his second string quartet is the minor second interval. Bartók’s uses the minor second like a cadential gesture in this movement; the appearance denotes the ending of an idea and introduces the following phrase. Take, for example, the very opening of the movement. Bartók immediately sets up a small motive that is used in the movement in altered and fragmented versions. This motive begins with a minor second motion from F to E, and again up to F.

Example 1. First appearance of motive and minor second motion, m. 2.

This first appearance sets up the importance of the interval; here it implies the importance of F, and is supported by entrance of the violin parts on F in m.1 , as well as the repetition of the motive an octave higher – still beginning on F – in m. 4.

As the piece continues to develop, the minor second begins to signal the end of passages and the beginning of the following sound events. In m. 7 both violin parts play the minor second of E flat to D.

Example 2. Minor second motive setting up following passage, mm. 7-8.

The half-step motion downwards from E flat to D accentuates D, and in m. 8 the movement’s next passage begins on a D. This highlights the minor second’s function as an arrival, stressing a particular pitch and emphasizing the starting note of the music to come. This same minor second interval – E flat to D – reappears later in the movement; in each instance, it signals the arrival of the next musical idea often similar to the one described above.

At rehearsal 4, this E flat to D returns, and the following musical material is quite similar to the material at m. 8, with the variation of the first violin playing an E natural against the second violin’s D, as well as fragments of the motive (Example 1) throughout the viola and cello lines. Two bars before rehearsal 7 the Eflat to D is played again in the first violin, and the following material presents a second variation of the opening material; this time, the reused characteristics of the opening material are the repeated staccato eighths in both violin parts, and repeated pizzicato quarter note fifths in the viola.

In the third bar after rehearsal 9 the E flat reappears in the first violin, but this time it moves down to a C instead of a D. At this juncture the alteration of the minor second motive is appropriate, seeing as the following section becomes the contrasting middle section of the movement.

Example 3. Alteration of signaling motive in first violin, three after rehearsal 9.

Following this alteration the material of the movement is drastically different, including harmonics, glissandos, and short-lasting tempo changes. In this way the motive signals both returning musical ideas as well as their alterations.