ABSTRACT
For composers of the Second Viennese School, especially Webern, a derived series is a twelve-note series composed of several forms of a single trichord or tetrachord and in twelve-note theory, a derived set is not a new set in the composition, but it can be thought of as resulting from the juxtaposition of segments from the fundamental forms. There are only a few instances where Skalkottas produces derived sets from the sequential presentation of several forms of a single segment, dyad, trichord or tetrachord, suggesting that he was perhaps only experimenting with this technique. Such derived sets are found in the third string quartet and the third sonatina for violin and piano. However, these chromatic tetrachords result from a rearrangement of the pitch-class order within the source set S2 of the first movement, Allegro giusto. Two of the sets of the moderato become the source material for the construction of the Andante, through tetrachordal cyclic rotation.
