ABSTRACT
The author describes the three rhythmic sounds as the duration and attacks time as the introduction part. Since the four pitches of this second time span contain only three pitches not previously presented, and for further analytical reasons total time span of duration 4/3 of the previously described ensemble duration, but equal in duration to the previous time span if the initial eighth-rest is included perhaps reproductively. These ten sounds of the second trichord-halfnote arrange their six attacks in an ensemble rhythm of corroborating the principle of repetition of equal durations inferred from the first trichord-span. Arpeggiation so defined is also a relation between sets of sounds in different levels in a rhythmicized version of Schenkerial theory. The tonal operation that consolidates pitch-timespans (de-arpeggiation) may be workable, mutatis mutandis, in a serial theory, but the tonal operation into the background that eliminates pitches while consolidating their time spans is dependent on a content-determinate syntax.
