Bla Bartks Axis System

One of the most prominent characteristics of Bartks music is the

symmetry contained in his works. Sometimes subtle, sometimes obvious, it could

cover everything from melodies, structures, tonal centers, rhythms, to forms and

chord relations. During the course of his professional life, Bartk never revealed

or spoke openly about his compositional techniques (nor did he publish anything

on the topic), he always claimed to be an instinctive composer.

It was the Hungarian musicologist Ern Lendvai who dedicated a big

portion of his life to investigate Bartks compositional style, and revealed to the

world important techniques that he considered Bartk used in his compositions.

The list includes, for example, the use of the Fibonacci series, mi-pentatony, six-

four structures, hypermajor and hyperminor chords, alpha harmonies, golden

section, etc. Among those techniques one represents the culmination of

Lendvai's research, the axis system.

The axis system as described by Ern Lendvai, is a method used to divide

the chromatic scale symmetrically considering the harmonic functions of

subdominant, tonic and dominant. The aim of this technique is to create chord

successions using the twelve pitches from the chromatic scale and still maintain

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a sonority reminiscent of the tonal system. The explanation Lendvai gives to this

theory can easily be visualized from the circle of fifths.60

Figure 71. Circle of Fifths.

C
F G

Bb D

Eb A

Ab E

Db B
F#

Lendvai starts by organizing the circle of fifths according to the harmonic

functions of subdominant, tonic and dominant major triads in the key of C major.

Figure 72. Harmonic Functions.

Subdominant Tonic Dominant

F C G

60
Karen Anne Bates, The Fifth String Quartet of Bla Bartk: An Analysis Based on the
Theories of Ern Lendvai, PhD diss., University of Arizona, 1986. In ProQuest Dissertations and
Theses, http://wwwlib.umi.com/dxweb/ details?doc_no=1186293 (accessed February 21, 2008),
44-49.

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 Lendvai then draws a symmetric axis using C (tonic) as the starting point,

creating a link between opposing poles C, A ,F#, and Eb, named as the tonic

axis.

Figure 73. Tonic Axis.

Eb A

F#

Using the same concept, Lendvai then draws the dominant axis, which

links opposing poles G, E, Db, and Bb.

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 Figure 74. Dominant Axis.

Bb

Db

In the same manner the subdominant axis links the opposing poles F, D,

B, and Ab.

Figure 75. Subdominant Axis.

Ab

When superimposed, the three axis (tonic, dominant and subdominant)

complete the axis system diagram.

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 Figure 76. Axis System Complete Diagram.

T
SD C D
F G
D Bb D SD

T Eb AT

SD Ab E D

Db B
D F# SD
T

What this symmetry creates according to Lendvai is an equivalent-function

relationship between all the pitches contained in each axis.61

Figure 77. Function Symmetry.

Subdominant Tonic Dominant

F, D, B, Ab. C, A, F#, Eb. G, E, Db, Bb.

Once the axis pitches are organized in this way, Lendvai creates a

secondary subdivision of the pitch-classes contained in each function into

primary and secondary branches in clockwise motion, as shown in the next

figure.

61
Ibid.

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 Figure 78. Primary and Secondary Branches.

Subdominant Tonic Dominant

Primary Secondary Primary Secondary Primary Secondary

F, D. B, Ab. C, A. F#, Eb. G, E. Db, Bb.

The categorization into primary and secondary branches is derived from

the relative minor relationship. The starting point of each axis (IV, I, V) is related

to the degree of its relative minor and grouped as primary, and the opposing

poles are the secondary branches.

Considering this, Lendvai points out that the symmetry founded in the

relation of perfect fifths between F, C, G (creating the functions of subdominant,

tonic, and dominant), can also be found in other symmetric relations. For

example the symmetrical relationship of major thirds Ab, C, and E, creates, in an

atonal manner, a sonority similar to the tonal functions of subdominant, tonic, and

dominant.

Figure 79. Major Third Relationship.

Subdominant Tonic Dominant

Ab C E

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 Lendvai also points out that regardless of symmetrical relations, any chord

can be substituted for another from its axis, creating in an atonal manner, a

sonority similar to tonal functions.

Figure 80. Chord Substitution Table 1.

Subdominant Tonic Dominant

F A Bb

Subdominant Tonic Dominant

D C Db

Subdominant Tonic Dominant

B Eb G

Subdominant Tonic Dominant

Ab F# E

The final step in Lendvais analysis is to add to every axis major triad its

parallel minor.

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 Figure 81. Parallel Minor Axis.

T
SD C- D
F- G-
D Bb- D- SD

T Eb- A- T

SD Ab- E- D

Db- B-
D F#- SD
T

Lastly, any of the major triads can be substituted for its parallel minor.

Figure 82. Chord Substitution Table 2.

Subdominant Tonic Dominant

F- A Bb-

Subdominant Tonic Dominant

D C- Db

Subdominant Tonic Dominant

B Eb- G-

Subdominant Tonic Dominant

Ab F#- E

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 Since the very first moment the axis system appeared in Ern Lendvais

book entitled Bartks Style in 1955, there have been many defenders of

Lendvais theories like Andrs Szentkirlyi. At the same time, some very sharp

detractors like Peter Petersen, Jnos Krpti, Malcolm Gillies and Paul Wilson,

argued that the axis system lacks valid fundamentals and is pure fantasy.62

Regardless of what position any musician assumes in this debate, the axis

system is still a great tool for composing music. Whether this was one of the

means Bartk used to achieve his compositional goals, it is something that may

never be established. Nevertheless, it remains as a very useful tool to analyze

and understand Bartks music.

In order to apply this system to the style of jazz, the first step is to choose

a root movement derived from the three axis. In this case six roots have been

chosen, as shown in the next figure.

Figure 83. Axis System Application 1

Subdominant Tonic Dominant

Ab F# E

B Eb G

62
Jnos Krpti, Axis Tonality and Golden Section Theory Reconsidered, Studia
Musicologica 36 (1995): 365-380, http://iimp.chadwyck.com/marketing.do (accessed February 18,
2008).

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 The next step is to determinate the modes that are going to be assigned to

each root. In order to do that, it is important to consider what types of chords are

conventionally used in a subdominant, dominant, tonic progression in jazz. Since

most of the time this type of cadence is achieved through a ii-7, V7, Imaj7

progression, the following example maintains a minor chord for the subdominant,

a dominant 7th for the dominant, and a major 7th for the tonic roots. It is also

important to point out that the same modes (from chapter 3) have been

maintained for the two subdominant, two dominant, and two tonic roots, in order

to continue with the symmetry.

Figure 84. Axis System Application 2.

Ab E F# B G Eb
Dorian Lydian b7#9 Lydian #9#13 Dorian Lydian b7#9 Lydian #9#13
Augmented #11 Augmented #11

Finally, the resulting chords and modes are assigned to an electric piano,

and an electric bass in a style of jazz-rock, similar to the music of Mike Stern.

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Figure 85. Axis System Application 3.

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