530:. From 1925 onwards, he complemented these with other levels of representation, corresponding to the successive steps leading to the fundamental structure. At first, he mainly relied on the size of the note shapes to denote their hierarchic level, but later abandoned this system as it proved too complex for contemporary techniques of musical engraving. Allen Cadwallader and David Gagné propose a description of Schenker's system of graphic notation which, they say, "is flexible, enabling musicians to express in subtle (and sometimes different) ways what they hear and how they interpret a composition". They discuss open noteheads, usually indicating the highest structural level, and filled-in noteheads for tones of lower levels; slurs, grouping tones in an arpeggio or in linear motions with passing or neighbor tones; beams, for linear motions of higher structural level or for the arpeggiation of the bass; broken ties, for repeated or sustained tones; diagonal lines to realign displaced notes; diagonal beams, connecting successive notes that belong to the same chord ("unfolding"); etc.
473:, claimed that "the presentation in graphic form has now been developed to a point that makes an explanatory text unnecessary". Even so, Schenkerian graphs represent a change of semiotic system, a shift from music itself to its graphical representation, akin to the more usual change from music to verbal (analytic) commentary; but this shift already exists in the score itself, and Schenker rightly noted the analogy between music notation and analysis. One aspect of graphic analyses that may not have been enough stressed is the desire to abolish time, to represent the musical work as something that could be apprehended at a glance or, at least, in a way that would replace a "linear" reading by a "tabular" one.
205:(scale degree, scale-step), i.e. a chord having gained structural significance. Chords arise from within chords, as the result of the combination of passing notes and arpeggiations: they are at first mere embellishments, mere voice-leading constructions, but they become tonal spaces open for further elaboration and, once elaborated, can be considered structurally significant: they become scale-steps properly speaking. Schenker recognizes that "there are no rules which could be laid down once and for all" for recognizing scale-steps, but from his examples one may deduce that a triad cannot be recognized as a scale-step as long as it can be explained by passing or neighboring voice-leading.
685:) is the stepwise filling of some consonant interval. It usually is underlined in graphic analyses with a slur from the first note of the progression to the last. The most elementary linear progressions are determined by the tonal space that they elaborate: they span from the prime to the third, from the third to the fifth or from the fifth to the octave of the triad, in ascending or descending direction. Schenker writes: "there are no other tonal spaces than those of 1–3, 3–5, and 5–8. There is no origin for passing-tone- progressions, or for melody" Linear progressions, in other words, may be either third progressions (
381:, the "fundamental line", as a kind of motivic line characterized by its fluency, repeated under different guises throughout the work and ensuring its homogeneity. He later imagined that a musical work should have only one fundamental line, unifying it from beginning to end. The realization that such fundamental lines usually were descending led him to formulate the canonical definition of the fundamental line as necessarily descending. It is not that he rejected ascending lines, but that he came to consider them hierarchically less important. "The fundamental line begins with
1330:
their system ... In reality music serves only to furnish grist for the mill of their insatiable theoretical mind, not for their heart or imagination. There is no art, no poetry, in this remarkable system which deals with the raw materials of music with a virtuoso hand. Schenker and his disciples play with music as others play chess, not even suspecting what fantasy, what sentimental whirlpools lie at the bottom of every composition. They see lines only, no colors, and their ideas are cold and orderly. But music is color and warmth, which are the values of a concrete art.
4534:
2720:, A. Cadwallader ed., New York, Schirmer, 1990, pp. 87–113. Rothstein's idea is that ornamentations such as retardations or syncopations result from displacements with respect to a "normal" rhythm; other diminutions (e.g. neighbor notes) also displace the tones that they ornate and usually shorten them. Removing these displacements and restoring the shortened note values operates a "rhythmic normalization" that "reflects an unconscious process used by every experienced listener" (p. 109).
1182:, before it reaches its goal. As a result, the bass arpeggiation itself is also interrupted at the divider at the fifth (V). Both the fundamental line and the bass arpeggiation are bound to return to their starting point and the fundamental structure repeats itself, eventually reaching its goal. The interruption is the main form-generating elaboration: it often is used in binary forms (when the first part ends on the dominant) or, if the elaboration of the "dividing dominant",
290:
477:
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of lower rank than I and V, notated as half notes. Here there is an unexpected link between
Schenkerian theory and Riemann's theory of tonal functions, a fact that might explain Schenker's reluctance to be more explicit about it. In modern Schenkerian analysis, the chord of IV or II is often dubbed the "predominant" chord, as the chord that prepares the dominant one, and the progression may be labelled "T–P–D–T", for tonic–predominant–dominant–tonic.
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1178:
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662:), ornamenting one single note of the triad by being adjacent to it. These are sometimes referred to generically as "adjacencies"; 2) passing notes, which pass by means of stepwise motion from one note to another and fill the space in between, and are thus sometimes referred to as "connectives". Both neighbor notes and passing notes are dissonances. They may be made consonant by their coinciding with other notes (as in the
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It would appear that the difference between the divider at the fifth and the dominant chord properly speaking really depends on the level at which the matter is considered: the notion of the divider at the fifth views it as an elaboration of the initial tonal space, while the notion of dominant chord conceives it as a new tonal space created within the first. But the opinions of modern
Schenkerians diverge on this point.
3685:. A thorough documentation of Schenker-related research and analysis. The largest Schenkerian reference work ever published, it has 3600 entries (2200 principal, 1400 secondary) representing the work of 1475 authors. It is organized topically: fifteen broad groupings encompass seventy topical headings, many of which are divided and subdivided again, resulting in a total of 271 headings under which entries are collected.
929:
780:
637:
560:
2779:, Appendix, Introduction to Graphic Notation, pp. 384-402: "We discuss the symbols in the following categories, which are not mutually exclusive: 1. Open noteheads ; 2. Slurs and filled-in noteheads ; 3. Beams ; 4. Broken ties ; 5. Stem with flags ; 6. Diagonal lines ; 7. Diagonal lines and beams ; 8. Rhytmic notation at lower levels ; 9. Roman numerals " They conclude with sample graphic analyses for study
607:
514:
simplified notation of some
Baroque works, e.g. the Prelude to Händel's Suite in A major, HWV 426, or early versions of Bach's C major Prelude of Book I of the Well Tempered Keyboard. One indirect advantage of rhythmic reduction is that it helps reading the voice leading: Czerny's example hereby transforms Chopin's arpeggios into a composition in four (or five) voices. Edward Aldwell and
343:, the "arpeggiation of the bass". The fundamental structure is a two-voice counterpoint and as such belongs to strict composition. In conformity with the theory of the tonal space, the fundamental line is a line starting from any note of the triad and descending to the tonic itself. The arpeggiation is an arpeggiation through the fifth, ascending from I to V and descending back to I. The
1132:
980:). Register transfers are particularly striking in piano music (and that for other keyboard instruments), where contrasts of register (and the distance between the two hands) may have a striking, quasi orchestral effect. "Coupling" is when the transferred parts retain a link with their original register. The work, in this case, appears to unfold in two registers in parallel.
3289:, New York, Alfred Knopf, 1945. The book is divided in nine chapters, the first describing "The Concept of Tonality", the eight following devoted to J. S. Bach, Ph. E. Bach, Haydn, Beethoven, Wagner, Debussy, Stravinsky and Schoenberg respectively. On Adele Katz, see David Carson Berry, "The Role of Adele T. Katz in the Early Expansion of the New York 'Schenker School,'"
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fundamental structure. Many classical themes (e.g. the theme to the set of variations in Mozart's K. 331 piano sonata) form self-contained structure of this type. This resemblance of local middleground structures to background structures is part of the beauty and appeal of
Schenkerian analysis, giving it the appearance of a recursive construction.
1287:, in 1945, in which she applied Schenkerian analytical concepts not only to some of Schenker's favorite composers, Johann Sebastian and Philipp Emmanuel Bach, Haydn and Beethoven, but also to Wagner, Debussy, Stravinsky and Schoenberg: this certainly represents one of the earliest attempts to widen the corpus of Schenkerian analysis.
624:
be considered organicist. The example shown here may at first be considered a mere elaboration of an F major chord, an arpeggiation in three voices, with passing notes (shown here in black notes without stem) in the two higher voices: it is an exemplification of the tonal space of F major. The chord labelled (V) at first merely is a "
2306:, pp. xxi–xxii. The steps of this plan are: "Instruction in strict writing (according to Fux-Schenker), in thorough-bass (according to J.S. and C.P.E. Bach) and in free writing (according to Schenker), that finally combines all studies and places them in the service of the law of organic coherence as it reveals itself in the
1029:) or an initial arpeggiation, which may take more extension than the descending fundamental line itself. This results in melodies in arch form. Schenker decided only in 1930 that the fundamental line should be descending: in his earlier analyses, initial ascending lines often are described as being part of the
1303:(which he admits is not yet available in the US) and concludes that "It is precisely when Schenker's teachings leave the domain of exact description and enter that of dogmatic and speculative analysis that they become essentially sterile". The most raging attack against Schenker came in the "Editorial" that
52:. This primal structure is roughly the same for any tonal work, but a Schenkerian analysis shows how, in each individual case, that structure develops into a unique work at the foreground. A key theoretical concept is "tonal space". The intervals between the notes of the tonic triad in the background form a
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properly speaking is complete if it does not include IV or II at the background level. Schenker uses a special sign to denote this situation, the double curve shown in the example hereby, crossing the slur that links IV (or II) to V. That IV (here, F) is written as a quarter note indicates that it is
196:
Any attempt to derive even as much as the first foundation of this system, i.e., the minor triad itself, from Nature, i.e., from the overtone series, would be more than futile. ... The explanation becomes much easier if artistic intention rather than Nature herself is credited with the origin of the
163:
Because the first principle of the elaboration is the filling in of the tonal space by passing notes, an essential goal of the analysis is to show linear connections between notes which, filling a single triad at a given level, remain closely related to each other but which, at subsequent levels, may
78:
Schenkerian analysis is an abstract, complex, and difficult method, not always clearly expressed by
Schenker himself and not always clearly understood. It mainly aims to reveal the internal coherence of the work – a coherence that ultimately resides in its being tonal. In some respects, a Schenkerian
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with the passing notes may also be understood as producing a dominant chord, V, arising from within the tonic chord I. This is the situation found at the beginning of Haydn's Sonata in F major, Hob. XVI:29, where the (incomplete) dominant chord appears at the very end of bar 3, while the rest of the
623:
One aspect of
Schenkerian analysis is that it does not view the work as built from a succession of events, but as the growth of new events from within events of higher level, much as a tree develops twigs from its branches and branches from its trunk: it is in this sense that Schenkerian theory must
1251:
World War II brought
European studies to a halt. Schenker's publications were placed under Nazi ban and some were confiscated by the Gestapo. It is in the United States that Schenkerian analysis knew its first important developments. This history has been contextualized by comments on both sides of
1224:
Schenker himself mentioned in a letter of 1927 to his student Felix-Eberhard von Cube that his ideas continued "to be felt more widely: Edinburgh , (also New York ), Leipzig , Stuttgart , Vienna (myself and Weisse), Vrieslander in Munich , yourself in
Duisburg, and Halm ." Von Cube, with Moritz
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of the fundamental line. This at first produces a mere "divider at the fifth", a complex filling in of the tonal space. However, as a consonant combination, it defines at a further level a new tonal space, that of the dominant chord, and so doing opens the path for further developments of the work.
354:
The theory of the fundamental structure is the most criticized aspect of
Schenkerian theory: it has seemed unacceptable to reduce all tonal works to one of a few almost identical background structures. This is a misunderstanding: Schenkerian analysis is not about demonstrating that all compositions
2450:, vol. I, p. 12: "In the present day, when it is necessary to distinguish clearly between composition and that preliminary school represented by strict counterpoint, we must use the eternally valid of those rules for strict counterpoint, even if we no longer view them as applicable to composition".
1329:
Schenker's and his disciples' musical theory and philosophy is not art, its whole outlook – at least as expressed in their writings – lacks feeling. There was seldom a colder spirit than theirs; the only warmth one feels is the warmth of dogmatism. Music interests them only insofar as it fits into
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Arpeggiation is the simplest form of elaboration. It delimits a tonal space for elaboration, but lacks the melodic dimension that would allow further developments: it "remains a harmonic phenomenon". From the very structure of triads (chords), it follows that arpeggiations remain disjunct and that
513:
The first step of the analytic rewriting often takes the form of a "rhythmic" reduction, that is one that preserves the score, but "normalizes" its rhythm and its voice-leading content. This type of reduction has a long tradition, not only in counterpoint treatises or theory books, but also in the
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Passing tones filling the intervals of a chord may be considered forming lines between the voices of this chord. At the same time, if the chord tones themselves are involved in lines from one chord to another (as usually is the case), lines of lower level unfurl between lines of higher level. The
263:, even in free composition. It avoids successive leaps and produces "a kind of wave-like melodic line which as a whole represents an animated entity, and which, with its ascending and descending curves, appears balanced in all its individual component parts". This idea is at the origin of that of
1210:
The forms of the fundamental structure may be repeated at any level of the work. "Every transferred form has the effect of a self-contained structure within which the upper and lower voices delimit a single tonal space". That is to say that any phrase in a work could take the form of a complete
693:); larger progressions result from a combination of these. Linear progressions may be incomplete (deceptive) when one of their tones is replaced by another, but nevertheless suggested by the harmony. In the example below, the first bars of Beethoven's Sonata Op. 109, the bass line descends from E
601:, replacing the total duration of the elaborated event by shorter events in larger number. By this, notes are displaced both in pitch and in rhythmic position. The analysis to some extent aims at restoring displaced notes to their "normal" position and explaining how and why they were displaced.
468:
Graphic representations form an important part of
Schenkerian analyses: "the use of music notation to represent musical relationships is a unique feature of Schenker's work". Schenkerian graphs are based on a "hierarchic" notation, where the size of the notes, their rhythmic values and/or other
1268:
George Wedge taught some of Schenker's ideas as early as 1925 in the Institute of Musical Arts, New York. Victor Vaughn Lytle, who had studied with Hans Weisse in Vienna, wrote what may be the earliest English-language essay dealing with Schenkerian concepts, "Music Composition of the Present"
776:, and the tenor voice alternatively doubles the soprano and the bass, as indicated by the dotted slurs. It is the bass line that governs the passage as a whole: it is the "leading progression", on which all the other voices depend and which best expresses the elaboration of the E major chord.
1122:
This is the complete arpeggiation of the triad. Once elaborated, it may consist in a succession of three tonalities, especially in pieces in minor. In these cases, III stands for a tonicisation of the major relative. This often occurs in Sonata forms in minor, where the first thematic group
959:
In his later writings (from 1930 onwards), Schenker sometimes used a special sign to denote the unfolding, an oblique beam connecting notes of the different voices that are conceptually simultaneous, even if they are presented in succession in the single line performing the unfolding.
1041:
Schenker stresses that the head note of the fundamental line often is decorated by a neighbor note "of the first order", which must be an upper neighbor because "the lower neighboring note would give the impression of the interruption". The neighbor note of the first order is
247:
remains for Schenker the model of strict writing. Free composition is a freer usage of the laws of strict counterpoint. One of the aims of the analysis is to trace how the work remains subject to these laws at the deepest level, despite the freedom taken at subsequent levels.
879:) is an elaboration by which several voices of a chord or of a succession of chords are combined in one single line "in such a manner that a tone of the upper voice is connected to a tone of the inner voice and then moves back, or the reverse". At the end of Schubert's
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most interesting case is when the lines link an inner voice to the upper voice. This may happen not only in ascending (a case usually described as a "line from an inner voice"), but also in descending, if the inner voice has been displaced above the upper line by a
231:, as the diatonic unfolding of the tonic triad, by definition cannot include modulation. Local "tonicisation" may arise when a scale-step is elaborated to the point of becoming a local tonic, but the work as a whole projects a single key and ultimately a single
490:
1202:) the change of mode of the tonic, i.e. the replacement of its major third by the minor one, or of its minor third by the major one. The elaboration of the resulting chord may give rise to a section in minor within a work in major, or the reverse.
136:. This led him to seek the key to an understanding of music in the traditional disciplines of counterpoint and figured bass, which was central to the compositional training of these composers. Schenker's project was to show that free composition (
580:
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Voice exchange is a common device in counterpoint theory. Schenkerians view it as a means of elaborating a chord by modifying its position. Two voices exchange their notes, often with passing notes in between. At the end of the example of
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and the foreground, between the diatony and the tonality, the spatial depth of a musical work expresses itself, the distant origin in the utter simple, the transformation through subsequent stages, and the diversity in the foreground"
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800:
450:
The arpeggiation through the fifth is an imitation of the overtone series, adapted to man "who within his own capacities can experience sound only in a succession". The fifth of the arpeggiation coincides with the last passing note
335:(usually translated as "fundamental structure") is the name given by Schenker to the underlying structure in its simplest form, that from which the work as a whole originates. In the canonical form of the theory, it consists of the
1161:
The dominant chord may be linked to the tonic by a stepwise linear progression. In such case, one of the chords in the progression, II, III or IV, usually takes preeminence, reducing the case to one or the other described above.
2437:, Rochester, University of Rochester Press, 2005, p. 69, reproduces a chart showing that the "tonality of a given foreground can be generated from the diatony of the given background through various levels of the middleground".
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example above) and, once consonant, may delimit further tonal spaces open to further elaborations. Insofar as chords consist of several voices, arpeggiations and passing notes always involve passing from one voice to another.
544:
The meat of a Schenkerian analysis is in showing how a background structure expands until it results in the succession of musical events on the surface of the composition itself. Schenker refers to this process under the term
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788:
491:
2483:, vol. I, p. 74. J. Rothgeb and J. Thym, the translators, quote Cherubini from the original French, which merely says that "conjunct motion better suits strict counterpoint than disjunct motion", but Schenker had written:
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523:", stressing the link between the rhythmic reduction and a notation as a melody with figured bass. Basically, it consists in imagining a figured bass line for the work analyzed, and writing a chordal realization of it.
488:
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Im Abstand von der Urlinie zum Vordergrund, von der Diatonie zur Tonalität, drückt sich die Raumtiefe eines Musikwerkes aus, die ferne Herkunft vom Allereinfachsten, der Wandel im späteren Verlauf und der Reichtum im
581:
188:... is transformed into a succession, a horizontal arpeggiation, which has the added advantage of lying within the range of the human voice. Thus the harmonic series is condensed, abbreviated for the purposes of art".
615:
968:"Register transfer" is the motion of one or several voices into a different octave (i.e. into a different register). Schenker considers that music normally unfolds in one register, the "obligatory register" (Ger.
578:
355:
can be reduced to the same background, but about showing how each work elaborates the background in a unique, individual manner, determining both its identity and its "meaning". Schenker has made this his motto:
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write that the first rewriting should "produce a setting that is reasonably close to note-against-note." Allen Cadwallader and David Gagné suggest a special type of rhythmic reduction that they call "imaginary
1298:
12 (May–June 1935) an obituary article under the title "Heinrich Schenker's Contribution" where, after having recognized some of Schenker's achievements, he criticizes the development of the last years, until
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Schenker describes lines covering a seventh or a ninth as "illusory", considering that they stand for a second (with a register transfer): they do not fill a tonal space, they pass from one chord to another.
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324:
1275:, 1931), without however really crediting Schenker for them. Weisse himself, who had studied with Schenker at least from 1912, immigrated to the United States and began teaching Schenkerian analysis at the
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798:
549:, literally "composing out", but more often translated as "elaboration". Modern Schenkerians usually prefer the term "prolongation", stressing that elaborations develop the events along the time axis.
192:
Linking the (major) triad to the harmonic series, Schenker merely pays lip service to an idea common in the early 20th century. He confirms that the same derivation cannot be made for the minor triad:
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645:
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exercise. Even at intermediate levels of reduction, rhythmic signs (open and closed noteheads, beams and flags) display not rhythm but the hierarchical relationships between the pitch-events.
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not only appears in several 19th-century German translations of Cherubini, but is common in German counterpoint theory from the 18th century and might go back to Fux' description of the
56:
that is filled with passing and neighbour tones, producing new triads and new tonal spaces that are open for further elaborations until the "surface" of the work (the score) is reached.
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259:, who would have written that "fluent melody is always preferable in strict counterpoint." Melodic fluency, the preference for conjunct (stepwise) motion, is one of the main rules of
325:
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the perfect authentic cadence and is not susceptible of elaboration at the background level. The first span, I–V, on the other hand, usually is elaborated. The main cases include:
613:
1138:
1344:
Schenker left about 4000 pages of printed text, of which the translations at first were astonishingly slow. Nearly all have been translated into English, and the project
59:
The analysis uses a specialized symbolic form of musical notation. Although Schenker himself usually presents his analyses in the generative direction, starting from the
67:, the practice of Schenkerian analysis more often is reductive, starting from the score and showing how it can be reduced to its fundamental structure. The graph of the
4045:. New York: Charles Boni. "The first book to present a reorganization (as well as modification and expansion) of Schenker's writings from a pedagogical standpoint." (
148:), by which he meant species counterpoint, particularly two-voice counterpoint. He did this by developing a theory of hierarchically organized levels of elaboration (
2314:
and bass arpeggiation) as background, in the voice-leading transformations as middelground and ultimately through the foreground." (Translation modified following
1148:
Even though he never discussed them at length, these elaborations occupy a very special place in Schenker's theory. One might even argue that no description of an
3124:
Benjamin Ayotte, "The Reception of Heinrich Schenker's Concepts Outside the United States as Indicated by Publications Based on His Works: A Preliminary Study",
1123:
elaborates degree I, the second thematic group is in the major relative, degree III, and the development leads to V before the recapitulation in the tonic key.
3042:
The cases described in the following paragraphs are discussed in Heinrich Schenker, "Further Consideration of the Urlinie: II", translated by John Rothgeb,
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44:(1868–1935). The goal is to demonstrate the organic coherence of the work by showing how the "foreground" (all notes in the score) relates to an abstracted
3365:
373:
The idea of the fundamental line comes quite early in the development of Schenker's theory. Its first printed mention dates from 1920, in the edition of
1620:
Beethovens V. Sinfonie. Darstellung des musikalischen Inhaltes nach der Handschrift unter fortlaufender BerĂĽcksichtigung des Vortrages und der Literatur
489:
556:
In practical art the main problem is how to realize the concept of harmony in a live content. In Chopin's Prelude, Op. 28, No 6, thus, it is the motif
432:". The head note may be elaborated by an upper neighbour note, but not a lower one. In many cases, the head note is reached through an ascending line (
251:
One aspect of strict, two-voice writing that appears to span Schenker's theory throughout the years of its elaboration is the rule of "fluent melody" (
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become separated by many measures or many pages as new triads are embedded in the first one. The analyst is expected to develop a "distance hearing" (
579:
322:
208:
Schenkerian analyses label scale-steps with Roman numerals, a practice common in 19th- and 20th-century Vienna, developed by the theoretic work of
501:
480:
Rhythmic reduction of the first measures of Chopin's Etude, Op. 10, no. 1. Simplified version of the analysis of the "ground-harmony" in Czerny's
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The elaborations of the fundamental structure deserve a specific discussion because they may determine the form of the work in which they occur.
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The elaboration of the triad, here mainly in the form of an arpeggio, loads it with "live content", with meaning. Elaborations take the form of
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is transferred from bass to soprano, while E is transferred from soprano to bass. The exchange is marked by crossed lines between these notes.
758:, in bar 3, after a descending arpeggio of the E major chord. The bass line is doubled in parallel tenths by the alto voice, descending from G
3397:
Ein Beitrag zur Ornamentik, als EinfĂĽhrung zu Ph. Em. Bachs Klavierwerken, mitumfassend auch die Ornamentik Haydns, Mozarts und Beethoven etc
714:
in order to mark the cadence, but it remains implicit in the B chord. In addition, the top voice answers the bass line by a voice exchange, E
92:
Schenker intended his theory as an exegesis of musical "genius" or the "masterwork", ideas that were closely tied to German nationalism and
3259:(Hillsdale, New York, Pendragon Press, 2004), section XIV.c.ii., "Reception through English Language Writings, Prior to 1954", pp. 437–443.
3107:. See David Carson Berry, "Schenker's First 'Americanization': George Wedge, The Institute of Musical Art, and the 'Appreciation Racket'",
1244:
in 1935, both based on Schenkerian concepts. Oswald Jonas and Felix Salzer founded and edited together the short-lived Schenkerian journal
935:
787:
2124:(in French), 2013; several earlier versions archived on the same page. Albanian translation by Sokol Shupo, available on the same webpage.
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567:
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any filling of their space involves conjunct motion. Schenker distinguishes two types of filling of the tonal space: 1) neighbor notes (
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614:
1139:
160:), the idea being that each of the successive levels represents a new freedom taken with respect to the rules of strict composition.
2185:, especially §13 where Schenker writes: "By the concept of tonal space, I understand the space of the horizontal fulfillment of the
4184:
3207:
10/1-2 (1985) published for the 50th anniversary of Schenker's death other early American texts, including an unsigned obituary in
323:
2177:, vol. 2, pp. 117–118 (the translation, although made from vols. 8–9 of the German original, gives as original pagination that of
1090:: the harmony supporting it often is the IVth or VIth degree, which may give rise to a section of the work at the subdominant.
972:), but at times is displaced to higher or lower registers. These are called, respectively, "ascending register transfer" (Ger.
3813:
2989:
2912:
1431:
Beethoven's Ninth Symphony: a Portrayal of its Musical Content, with Running Commentary on Performance and Literature as well
1348:
is busy with the edition and translation of more than 100 000 manuscript pages. Translations in other languages remain slow.
17:
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3963:
Thirteen Essays from The Three Yearbooks “Das Meisterwerk in Der Musik,” by Heinrich Schenker: An Annotated Translation.
4608:
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1870:
1926 "Das Organische der Fuge, aufgezeigt an der I. C-Moll-Fuge aus dem Wohltemperierten Klavier von Joh. Seb. Bach",
436:, "initial ascent") or an ascending arpeggiation, which do not belong to the fundamental structure properly speaking.
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4577:
3925:
Schenker never presented a pedagogical presentation of his theories, this being the first according to its authors.
2661:
2142:
2107:
3104:
374:
3782:"Schenkerian Theory in the United States: A Review of Its Establishment and a Survey of Current Research Topics"
3736:, translated by John Rothgeb. New York and London: Longman. "Most complete discussion of Schenker's theories." (
4314:
3768:
3199:
2875:
The matter of the elaboration of seventh chords remains ambiguous in Schenkerian theory. See Yosef Goldenberg,
1325:, also published in 1945; his attacks also target Schenker's followers, probably the American ones. He writes:
4448:
4223:(2001), "Elephants, Crocodiles, and Beethoven: Schenker's Politics and the Pedagogy of Schenkerian Analysis",
4756:
4404:
377:, but the idea obviously links with that of "fluent melody", ten years earlier. Schenker first conceived the
4293:
2278:, opposed Schenker's musical conservatism and expanded the analytical method to more modern repertoire. See
1934:"Ein Gegenbeispiel: Max Reger, op. 81. Variationen und Fuge ĂĽber ein Thema von Joh. Seb. Bach fĂĽr Klavier",
4348:
96:. The canon represented in his analytical work therefore is almost entirely made up of German music of the
4518:
3443:
2971:
2894:
2460:
4342:
3929:
Snarrenberg, Robert (1997). "Schenker's Interpretive Practice." Cambridge: Cambridge University Press.
2733:, p. 287, quotes Czerny's representation of the "ground-harmony" of Chopin's Study op. 10 n. 1 (in his
2334:, English translation, vol. I, pp. 22, 77 and 82. The term has been taken over by Wilhelm Furtwängler,
2043:, transl. J. Rothgeb, New York and London, Longman, 1982; 2 edition, Ann Arbor, Musicalia Press, 2005.
3197:
David Carson Berry, "Victor Vaughn Lytle and the Early Proselytism of Schenkerian Ideas in the U.S.",
2866:, literally "apparent linear progressions"; Oster's translation as "illusory" may overstate the point.
4638:
4307:
4107:
4028:
3241:
I/2 (1946); Arthur Waldeck and Nathan Broder, "Musical Synthesis as Expounded by Heinrich Schenker",
2085:, Boston, Schirmer, Cengage Learning, 4th edition (with Allen Cadwallader), 2011 (1st edition, 2003).
105:
2270:, New York, Pendragon, 1978. Influential early exponents of Schenker's theory in the United states,
4359:
1283:, devoted an article to "Heinrich Schenker's Method of Analysis" in 1935, then an important book,
4695:
4551:
4084:
3884:
2654:
1405:
113:
2504:
2491:, vol. I, p. 104) ("the fluent melody is always better in strict style than the disjunct one").
4601:
4365:
3439:
2700:
On this most interesting topic, see Kofi Agawu, "Schenkerian Notation in Theory and Practice",
1385:
1276:
180:, that from which the work as a whole arises, takes its model in the harmonic series. However,
97:
2053:, 2 vols., New York, Charles Boni, 1952. Reprint, 2 vols. bound as one, New York, Dover, 1982.
4453:
4385:
3835:
3802:
Schenker-Traditionen: Eine Wiener Schule der Musiktheorie und ihre internationale Verbreitung
3708:
Schenkerian traditions. A Viennese school of music theory and its international dissemination
3370:
3328:
3269:
3251:
2100:
1309:
1271:
101:
45:
4287:
1174:) is an elaboration of the fundamental line, which is interrupted at its last passing note,
883:
op. 4 no. 3, the vocal melody unfolds two voices of the succession I–V–I; the lower voice, B
4710:
4296:, on the website of the European Network for Theory & Analysis of Music (EuroT&AM).
2981:
2904:
117:
3806:
Schenker Traditions: A Viennese School of Music Theory and Its International Dissemination
2801:
1098:
The canonic form of the bass arpeggiation is I–V–I. The second interval, V–I, forms under
520:
184:
the mere duplication of nature cannot be the object of human endeavour. Therefore ... the
8:
4473:
209:
3227:
XI/1, November–December 1933); Frank Knight Dale, "Heinrich Schenker and Musical Form",
2380:
4680:
4565:
4463:
4232:
4210:
Heinrich Schenker. Nach TagebĂĽchern und Briefen in der Oswald Jonas Memorial Collection
4124:
4093:
3893:
3852:
3514:
3209:
3005:
See David Gagné, "The Compositional Use of Register in Three Piano Sonatas by Mozart",
1372:
676:
469:
devices indicate their structural importance. Schenker himself, in the foreword to his
264:
4533:
3744:
Essays on the dissemination of Schenkerian thought in the U.S. by David Carson Berry:
3726:
Introduction to the theory of Heinrich Schenker: the nature of the musical work of art
2041:
Introduction to the Theory of Heinrich Schenker: The Nature of the Musical Work of Art
1610:
1595:
4594:
4545:
4513:
4493:
4438:
4370:
4255:
4052:
4011:
3996:
3978:
3968:
3945:
3930:
3916:
3868:
3809:
3729:
3711:
3693:
3678:
3661:
3646:
3611:
3603:
3591:
3575:
3563:
3547:
3535:
3521:
3509:
3501:
3491:
3487:
3473:
3469:
3457:
3447:
3427:
3413:
3409:
3401:
3395:
3391:
3351:
2985:
2908:
1389:
1185:
1177:
1109:
1101:
1085:
1077:
1069:
1061:
1053:
1045:
870:
629:
526:
Schenker himself usually began his analyses with a rhythmic reduction that he termed
454:
445:
419:
411:
401:
392:
384:
314:
307:
300:
41:
1580:
1345:
1190:
above V, takes some importance, it may produce ternary form, typically sonata form.
1025:), may be reached only after an ascending motion, either an initial ascending line (
27:
Method of musical analysis of tonal music based on the theories of Heinrich Schenker
4725:
4648:
4633:
4558:
4503:
4330:
4116:
3844:
3379:
3220:
3213:(February 3, 1935); Arthur Plettner, "Heinrich Schenker's Contribution to Theory" (
3173:
2037:
EinfĂĽhrung in die Lehre Heinrich Schenkers. Das Wesen des musikalischen Kunstwerkes
2002:
368:
34:
4203:
Ideologie und Methode. Zum ideengeschichtlichen Kontext von Schenkers Musiktheorie
3781:
3154:
Ideologie und Methode. Zum ideengeschichtlichen Kontext von Schenkers Musiktheorie
4675:
4665:
4653:
3766:"Victor Vaughn Lytle and the Early Proselytism of Schenkerian Ideas in the U.S".
3674:
A Topical Guide to Schenkerian Literature: An Annotated Bibliography with Indices
3257:
A Topical Guide to Schenkerian Literature: An Annotated Bibliography with Indices
3215:
2920:
1304:
256:
213:
185:
133:
128:), and he used his methods to oppose more modern styles of music such as that of
125:
3188:
David Carson Berry, "Schenker's First 'Americanization'", op. cit., pp. 143–144.
1093:
4643:
4220:
3988:
2747:
2078:
2019:
2004 Russian transl. by B. Plotnikov, Krasnoyarsk Academy of Music and Theatre.
2016:
1997 Chinese translation by Chen Shi-Ben, Beijing, People's Music Publications.
1291:
989:
515:
221:
121:
1815:
4750:
4735:
4523:
4488:
4468:
4458:
4380:
4353:
4193:
The Schenker Project: Culture, Race, and Music Theory in Fin-de-siècle Vienna
3830:
3750:
3690:
The Schenker Project: Culture, Race, and Music Theory in Fin-de-siècle Vienna
3520:. Translated by John Rothgeb; JĂĽrgen Thym. New York, London: Schirmer Books.
3383:
3246:
2967:
2890:
2271:
2266:
For a complete list of the works discussed by Schenker, see Larry Laskowski,
1950:
1930 "Rameau oder Beethoven? Erstarrung oder geistiges Leben in der Musik?",
1280:
260:
224:, the classes of whom Schenker had followed in the Konservatorium in Vienna.
217:
177:
72:
1629:, partial transl. by E. Forbes and F. J. Adams jr., New York, Norton, 1971 (
4730:
4705:
4700:
4660:
4483:
4478:
4280:
4153:
4146:. Princeton: Princeton University Press/Austin, Texas: Peer Publications. (
4064:
4038:
3958:
3848:
3721:
3615:
3595:
3431:
3165:
2485:
der fliessende Gesang ist im strengen Stile immer besser as der sprungweise
2347:
2275:
2074:, New York, Oxford University Press, 3rd edition, 2011 (1st edition, 1998).
2046:
1981:
1855:
1730:
1715:
1318:
1257:
1238:
1230:
539:
429:
244:
141:
109:
3461:
1565:
1550:
63:
to reach the score and showing how the work is somehow generated from the
4720:
4685:
4670:
4508:
4198:
4144:
Theory of Suspensions: A Study of Metrical Pitch Relations in Tonal Music
3879:
3797:
3703:
3623:
3149:
2577:
Schenker himself mentioned and refuted the criticism, in § 29 (p. 18) of
2503:, Liber secundus, Exercitii I, Lectio quinta) or even earlier. N. MeeĂąs,
2181:
1; the text is the same). The concept of tonal space is still present in
2135:
2056:
1253:
289:
37:
4236:
3177:
2422:
Viennese Harmonic Theory from Albrechtsberger to Schenker and Schoenberg
1886:
1926 "Joh. Seb. Bach: Suite III C-Dur fĂĽr Violoncello-Solo, Sarabande",
476:
439:
4498:
4443:
4396:
3282:
3237:(1935); William J. Mitchell, "Heinrich Schenker's Approach to Detail",
2716:
William Rothstein, "Rhythmic Displacement and Rhythmic Normalization",
2165:(“Elucidations”), which he published four times between 1924 and 1926:
2117:, Portuguese (Brasil) translation from the French by L. Beduschi, 2008.
1588:
1924 "Schumann: Kinderszenen Nr. 1, Von fremden Ländern und Menschen",
424:". The initial note of the fundamental line is called its "head tone" (
93:
4128:
4097:
3897:
3856:
2268:
Heinrich Schenker. An Annotated Index to his Analyses of Musical Works
925:, is doubled one octave lower in the right hand of the accompaniment:
4283:
on the Schenkerian site of Luciane Beduschi and Nicolas MeeĂąs (Paris)
4008:
SchenkerGUIDE: A Brief Handbook and Web Site for Schenkerian Analysis
2925:
Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic
2548:, vol. III (1930), pp. 20–21 (English translation, p. 7-8). The word
2302:
See Schenker's "instructional plan" described in his Introduction to
2114:
2039:, Wien, Universal, 1972. English translation of the revised edition,
633:
fragment consists of arpeggios (with neighbor notes) of the F chord:
129:
2090:
Schenkerguide. A Brief Handbook and Website for Schenkerian Analysis
1957:
1973 Transl. by S. Kalib, "Thirteen Essays from the Three Yearbooks
1941:
1973 Transl. by S. Kalib, "Thirteen Essays from the Three Yearbooks
1925:
1973 Transl. by S. Kalib, "Thirteen Essays from the Three Yearbooks
1909:
1973 Transl. by S. Kalib, "Thirteen Essays from the Three Yearbooks
1877:
1973 Transl. by S. Kalib, "Thirteen Essays from the Three Yearbooks
1861:
1973 Transl. by S. Kalib, "Thirteen Essays from the Three Yearbooks
1830:
1973 Transl. by S. Kalib, "Thirteen Essays from the Three Yearbooks
1801:
1973 Transl. by S. Kalib, "Thirteen Essays from the Three Yearbooks
1777:
1973 Transl. by S. Kalib, "Thirteen Essays from the Three Yearbooks
1692:
1973 Transl. by S. Kalib, "Thirteen Essays from the Three Yearbooks
1676:
1973 Transl. by S. Kalib, "Thirteen Essays from the Three Yearbooks
1660:
1973 Transl. by S. Kalib, "Thirteen Essays from the Three Yearbooks
592:
that gives life to the abstract concept of the triad, B, D, F-sharp.
79:
analysis can reflect the perceptions and intuitions of the analyst.
4690:
4617:
4299:
4174:
Clark, Suzannah (2007). "The Politics of the Urlinie in Schenker's
4120:
3954:
The second major English-language textbook on Schenkerian analysis"
3583:
3555:
2835:
2818:
2646:
William Rothstein, "Articles on Schenker and Schenkerian Theory in
1685:
1925 "Joh. S. Bach: Sechs Sonaten fĂĽr Violine. Sonata III, Largo",
3995:. Schirmer. 2nd ed. 2008; 3rd ed. (with Allen Cadwallader), 2011.
4628:
3627:
3046:, vol. II, Cambridge, Cambridge University Press, 1996, pp. 1–22.
928:
779:
4275:
2121:
2093:
1961:: An Annotated Translation," PhD diss., Northwestern University.
1945:: An Annotated Translation," PhD diss., Northwestern University.
1929:: An Annotated Translation," PhD diss., Northwestern University.
1913:: An Annotated Translation," PhD diss., Northwestern University.
1881:: An Annotated Translation," PhD diss., Northwestern University.
1865:: An Annotated Translation," PhD diss., Northwestern University.
1834:: An Annotated Translation," PhD diss., Northwestern University.
1805:: An Annotated Translation," PhD diss., Northwestern University.
1781:: An Annotated Translation," PhD diss., Northwestern University.
1696:: An Annotated Translation," PhD diss., Northwestern University.
1680:: An Annotated Translation," PhD diss., Northwestern University.
1664:: An Annotated Translation," PhD diss., Northwestern University.
1463:
2013 Japanese transl. by M. Yamada, H. Nishida and T. Numaguchi.
1448:
2012 Japanese transl. by M. Yamada, H. Nishida and T. Numaguchi.
1313:
32/2 (April 1946) to the recently published book by Adele Katz,
636:
559:
4252:
Beyond Schenkerism: The Need for Alternatives in Music Analysis
4105:
Travis, R. (1966). "Directed Motion in Schoenberg and Webern".
3800:; Fink-Mennel, Evelyn, eds. (2006). "Hans Weisse (1892–1940)".
3482:] (in German). Vol. I. Stuttgart, Berlin: J. G. Cotta.
1622:, Vienne, Tonwille Verlag and Universal Edition. Reprint 1970.
1290:
The opinions of the critics were not always positive, however.
284:
3233:
7, October 1943); Hans Weisse, "The Music Teacher's Dilemma",
2691:, New York, Dover, 1969. The Foreword is dated 30 August 1932.
1573:
1924 "Mendelssohn: Venetianisches Gondellied, op. 30, Nr. 6",
2293:, vol. II, pp. 17–18, 192 (English translation, p. 1–22, 117)
2189:. ... The tonal space is only to be understood horizontally."
1094:
Articulation of the span from I to V in the bass arpeggiation
1021:
The starting point of the fundamental line, its "head note" (
652:
606:
3368:(2003). "Hans Weisse and the Dawn of American Schenkerism".
2956:, PhD Thesis, State University of New York at Buffalo, 2012.
2173:, vol. 1, pp. 201–205; 2, pp. 193–197. English translation,
2065:
Instructor's Manual for Introduction to Schenkerian Analysis
1205:
861:
at the end of the first bar may be read as a reaching over.
4586:
3753:
in the Early Expansion of the New York 'Schenker School'".
2729:
Kofi Agawu, "Schenkerian Notation in Theory and Practice",
1131:
1008:
271:) and, more specifically, of that of the Fundamental Line (
4281:
List of Schenker's writings concerning theory and analysis
4018:– an introduction for those completely new to the subject.
2948:
For a detailed study of "unfolding", see Rodney Garrison,
2817:
8–9, English translation, vol. II, p. 117 (translation by
2737:, 1848), reproduced here in a somewhat simplified version.
2241:, Cambridge Studies in Music Theory and Analysis 11, 1997.
347:
unfolds the tonal space in a melodic dimension, while the
4288:
provides an introduction to primary and secondary sources
4082:
Travis, R. (1959). "Towards a New Concept of Tonality?".
3865:
Challenge to Musical Tradition. A New Concept of Tonality
3287:
Challenge to Musical Tradition. A New Concept of Tonality
2834:
8–9, English translation, vol. I, p. 117 (translation by
1754:
1925 "Domenico Scarlatti: Keyboard Sonata in G major, ",
1738:
1925 "Domenico Scarlatti: Keyboard Sonata in D minor, ",
255:), or "melodic fluency". Schenker attributes the rule to
3009:
A. Cadwallader ed., New York, Schirmer, 1990, pp. 23–39.
2754:, 4th edition, Schirmer, Cengage Learning, 2011, p. 692.
1603:
1924 "Schumann: Kinderszenen op. 15, Nr. 9, Träumerei",
3570:(in German). Vol. 1–3. Münich: Drei Masken Verlag.
2802:
http://nicolas.meeus.free.fr/Cours/2012Elaborations.pdf
2670:, ch. "Schenker's Theories: A Pedagogical View", p. 27.
2139:(1967–1987), music theory and analysis academic journal
2013:, French transl. by N. Meeùs, Liège-Bruxelles, Mardaga.
1016:
152:), called prolongational levels, voice-leading levels (
3882:(1959). "Schenker's Conception of Musical Structure".
3235:
Proceedings or the Music Teachers National Association
3095:, Rochester, University of Rochester Press, pp. 96–98.
1723:
1925 "Joh. S. Bach: Zwölf kleine Präludien, Nr. 12 ",
815:
3542:(in German). Vol. 1–10. Vienna: Tonwille Verlag.
1708:
1925 "Joh. S. Bach: Zwölf kleine Präludien, Nr. 6 ",
1436:
2010 Japanese transl. by H. Nishida and T. Numaguchi.
1366:
1979 Japanese translation by A. Noro and A. Tamemoto.
440:
Arpeggiation of the bass and the divider at the fifth
3965:(Vols. I–III). Ph.D. diss., Northwestern University.
3131:
1648:
1998 transl. under the direction of William Drabkin.
1225:
Violin, another of Schenker's students, founded the
2862:, pp. 74–75, §§ 205–207. Schenker's German term is
2424:, Ann Arbor, London, UMI Research Press, 1982/1985.
1918:"Haydn: Die Schöpfung. Die Vorstellung des Chaos",
1242:
Sinn und Wesen des Abendländischen Mehrstimmigkeits
999:
above, the bass and soprano exchange their notes: G
359:, "always the same, but never in the same manner".
4069:Readings in Schenker Analysis and Other Approaches
3833:(1935). "Heinrich Schenker's Method of Analysis".
3658:Explaining Tonality: Schenkerian Theory and Beyond
3643:Schenker's Argument and the Claims of Music Theory
3513:
3500:] (in German). Vol. II. Vienna, Leipzig:
3422:] (in German). Stuttgart, Berlin: J. G. Cotta.
3093:Explaining Tonality. Schenkerian Theory and Beyond
2621:
2619:
2435:Explaining Tonality. Schenkerian Theory and Beyond
1852:Readings in Schenker Analysis and Other Approaches
1558:1923 "J. S. Bach: Zwölf kleine Präludien Nr. 5 ",
1543:1923 "J. S. Bach: Zwölf kleine Präludien Nr. 2 ",
201:The basic component of Schenkerian harmony is the
2966:Drabkin, William (2001). "Register transfer". In
2552:already appeared in Schenker's writings in 1923 (
2161:Schenker described the concept in a paper titled
1506:, transl. under the direction of William Drabkin.
4748:
3255:XXI/3, July 1935). See also David Carson Berry,
1396:(with editorial cuts in text and music examples)
628:". However, the meeting of the fifth (C) in the
3942:Analysis of Tonal Music: A Schenkerian Approach
3808:]. Vienna: Böhlau Verlag. pp. 91–103.
2977:The New Grove Dictionary of Music and Musicians
2900:The New Grove Dictionary of Music and Musicians
2765:Analysis of Tonal Music: A Schenkerian Approach
2649:The New Grove Dictionary of Music and Musicians
2616:
2556:5, p. 45; English translation, vol. I, p. 212).
2072:Analysis of Tonal Music. A Schenkerian Approach
901:, is the main one, expressing the tonality of G
3230:Bulletin of the American Musicological Society
2279:
2210:Schenker writes: "In the distance between the
1823:1926 "Fortsetzung der Urlinie-Betrachtungen",
1627:Ludwig van Beethoven: Symphony N. 5 in C minor
963:
238:
4602:
4412:
4315:
4033:Beyond Orpheus – Studies in Musical Structure
3786:Zeitschrift der Gesellschaft fĂĽr Musiktheorie
3574:
3562:
3534:
3168:, "Music Theory and the White Racial Frame",
2954:Unfolded: Notation, Terminology, and Practice
2889:Drabkin, William (2001). "Reaching over". In
2877:Prolongation of Seventh Chords in Tonal Music
1219:
533:
4043:Structural Hearing: Tonal Coherence in Music
3940:Cadwallader, Allen and Gagné, David (1998).
3911:Forte, Allen and Gilbert, Steven E. (1982).
3249:, "Heinrich Schenker's Method of Analysis" (
2051:Structural Hearing: Tonal Coherence in Music
1770:1925 "Chopin: Etude Ges-Dur op. 10, Nr. 5",
1263:
1036:
3586:e.a. Cambridge: Cambridge University Press.
976:) and "descending register transfer" (Ger.
339:, the "fundamental line", supported by the
71:is arrhythmic, as is a strict-counterpoint
4609:
4595:
4419:
4405:
4322:
4308:
4294:Schenker's Writings on Theory and Analysis
3558:e.a. Oxford etc.: Oxford University Press.
2879:, Lewinston, The Edwin Mellen Press, 2008.
2338:, Wiesbaden, Brockhaus, 1954, pp. 201–202.
2330:1 (1921), p. 23; 2 (1922), pp. 31 and 35;
2035:, Wien, Universal, 1934; revised edition,
1279:in New York in 1931. One of his students,
653:Arpeggiation, neighbour note, passing note
3645:, Cambridge, Cambridge University Press.
2544:, §§ 1–44, but it was first described in
2169:vol. 8–9, pp. 49–51, vol. 10, pp. 40–42;
1997:. Translations of the 2nd edition, 1956.
1206:Transference of the fundamental structure
4426:
4286:Yale University's Gilmore Music Library
4254:. Chicago: University of Chicago Press.
4185:Journal of the Royal Musical Association
4075:
3677:. Hillsdale, New York: Pendragon Press;
3610:
3590:
3546:
3508:
3486:
3468:
3426:
3408:
3390:
2687:), New York, Mannes Music School, 1933;
2379:The same link is made, for instance, in
1839:1926 "Vom Organischen der Sonatenform",
1790:I, pp. 201–205. (Also published in
1130:
1009:Elaboration of the fundamental structure
944:
932:
927:
796:
784:
778:
635:
605:
576:
564:
558:
498:
486:
475:
319:supported by an arpeggiation of the bass
288:
4208:Federhofer, Hellmut Federhofer (1985).
2965:
2888:
2712:
2710:
2387:, Wien, Universal, 1911, 7/1966, p. 16.
2092:, New York and London, Routledge, 2008
1471:1915 Beethoven, Sonate C moll op. 111 (
1456:1914 Beethoven, Sonate As dur op. 110 (
1388:, edited and annotated by Oswald Jonas
1235:Das Wesen des musikalischen Kunstwerkes
1214:
463:
14:
4749:
4136:
4035:. Cambridge, Massachusetts: MIT Press.
3706:and Fink-Mennel, Evelyn, eds. (2006).
3442:. Annotated by Oswald Jonas. Chicago:
2791:, p. 281; English translation, p. 211.
2033:Das Wesen des musikalischen Kunstwerks
1669:1925 "Weg mit dem Phrasierungsbogen",
1522:II, transl. by J. Rothgeb and J. Thym.
1483:1920 Beethoven, Sonate A dur op. 101 (
1441:1913 Beethoven, Sonate E dur op. 109 (
4590:
4400:
4303:
4161:
4160:. New Haven: Yale University Press. (
4147:
4046:
3737:
3578:(1995–1997) . William Drabkin (ed.).
3364:
3345:
3137:
3115:III, particularly p. 157 and note 43.
2667:
1417:I, transl. by J. Rothgeb and J. Thym.
1334:
670:
4329:
4158:The Stratification of Musical Rhythm
3913:Introduction to Schenkerian Analysis
3905:
3350:. New Haven: Yale University Press.
2707:
2120:Luciane Beduschi and Nicolas MeeĂąs,
2061:Introduction to Schenkerian Analysis
1980:1969 New version with a glossary by
1653:1925 "Die Kunst der Improvisation",
1636:2000 Japanese transl. by T. Noguchi.
1017:Initial ascent, initial arpeggiation
227:Schenker's theory is monotonal: the
4168:
4071:. New Haven: Yale University Press.
3944:, Oxford: Oxford University Press,
3710:. Vienna, Cologne, Weimar: Böhlau.
3223:, "The Role of Heinrich Schenker" (
2813:Heinrich Schenker, "Elucidations",
2767:, New York, OUP, 3/2011, pp. 66–68.
2763:Allen Cadwallader and David Gagné,
2070:Allen Cadwallader and David Gagné,
1977:, New York, D. Mannes Music School.
1490:2015 English transl. by J. Rothgeb.
1478:2015 English transl. by J. Rothgeb.
1466:2015 English transl. by J. Rothgeb.
1451:2015 English transl. by J. Rothgeb.
1126:
996:
839:
825:, a case known as "reaching over" (
816:Lines between voices, reaching over
362:
24:
3635:
2804:, examples 5 a and b, pp. 3 and 4.
2509:and the Concept of Melodic Fluency
2499:, the "flexible ease of motions" (
2465:and the Concept of Melodic Fluency
2257:, English translation, Vol. I, 17.
2099:William Renwick and David Walker,
837:). In the example from Schubert's
351:expresses its harmonic dimension.
25:
4768:
4269:
3660:. University of Rochester Press.
1399:1990 Spanish transl. by R. Barce.
983:
4532:
4216:. Hildesheim, Olms, pp. 324–330.
3554:. Vol. 1–10. Translated by
3550:(2004) . William Drabkin (ed.).
2280:§ Early reception in the US
2239:Schenker's Interpretive Practice
2143:Glossary of Schenkerian analysis
2067:, New York, London, Dover, 1982.
1858:ed., New Haven, 1977, pp. 38–53.
1184:
1176:
1156:
1136:
1108:
1100:
1084:
1076:
1068:
1060:
1052:
1044:
663:
640:
611:
610:Elaboration of the F major chord
453:
418:
416:via the descending leading tone
410:
400:
391:
383:
320:
313:
306:
299:
4276:Schenker Guide by Tom Pankhurst
4058:An Introduction to Tonal Theory
3974:An Introduction to Tonal Theory
3582:. Vol. 1–3. Translated by
3321:
3309:
3306:2/1 (Autumn 1975), pp. 113–119.
3296:
3276:
3262:
3191:
3182:
3159:
3143:
3118:
3098:
3085:
3073:
3061:
3049:
3036:
3024:
3012:
3007:Trends in Schenkerian Research,
2999:
2959:
2942:
2930:
2882:
2869:
2853:
2841:
2824:
2807:
2794:
2782:
2770:
2757:
2740:
2735:School of Practical Composition
2723:
2694:
2673:
2640:
2631:
2607:
2595:
2583:
2571:
2559:
2530:
2518:
2474:
2453:
2440:
2427:
2414:
2402:
2390:
2373:
2357:
2341:
1850:12, pp. 164–183, reproduced in
1339:
1165:
482:School of Practical Composition
357:Semper idem, sed non eodem modo
82:
3915:. W. W. Norton & Company.
3769:Journal of Schenkerian Studies
3273:21/3 (July 1935), pp. 311–329.
3200:Journal of Schenkerian Studies
3170:MTO: A Journal of Music Theory
3113:Essays in Honor of Allen Forte
2718:Trends in Schenkerian Research
2321:
2296:
2284:
2260:
2244:
2231:
2228:, p. 5 (translation modified).
2204:
2192:
2155:
1433:, transl. by J. Rothgeb, 1992.
1315:Challenge to Musical Tradition
1285:Challenge to Musical Tradition
13:
1:
4243:
4022:
3867:, New York, Alfred A. Knopf.
3348:Aspects of Schenkerian Theory
3339:
2592:, vol. I, 1910, quoted above.
2101:Schenkerian Analysis Glossary
1846:1968 Transl. by O. Grossman,
1527:1922 "Haydn: Sonate Es-Dur",
822:
4616:
3823:
3568:Das Meisterwerk in der Musik
2927:, vol. 8, iss. 1, article 6.
2919:‎. See also Nicolas Meeùs, "
2546:Das Meisterwerk in der Musik
2291:Das Meisterwerk in der Musik
2171:Das Meisterwerk in der Musik
2025:
2006:, transl. by E. Oster, 1979.
1975:Five Analyses in Sketch Form
1959:Das Meisterwerk in der Musik
1952:Das Meisterwerk in der Musik
1943:Das Meisterwerk in der Musik
1936:Das Meisterwerk in der Musik
1927:Das Meisterwerk in der Musik
1920:Das Meisterwerk in der Musik
1911:Das Meisterwerk in der Musik
1904:Das Meisterwerk in der Musik
1888:Das Meisterwerk in der Musik
1879:Das Meisterwerk in der Musik
1872:Das Meisterwerk in der Musik
1863:Das Meisterwerk in der Musik
1841:Das Meisterwerk in der Musik
1832:Das Meisterwerk in der Musik
1825:Das Meisterwerk in der Musik
1803:Das Meisterwerk in der Musik
1796:Das Meisterwerk in der Musik
1788:Das Meisterwerk in der Music
1779:Das Meisterwerk in der Musik
1772:Das Meisterwerk in der Musik
1756:Das Meisterwerk in der Music
1740:Das Meisterwerk in der Music
1725:Das Meisterwerk in der Musik
1710:Das Meisterwerk in der Musik
1699:1976 Transl. by J. Rothgeb,
1694:Das Meisterwerk in der Musik
1687:Das Meisterwerk in der Musik
1678:Das Meisterwerk in der Musik
1671:Das Meisterwerk in der Musik
1662:Das Meisterwerk in der Musik
1655:Das Meisterwerk in der Musik
1643:Das Meisterwerk in der Musik
864:
843:below, the descending line G
625:
7:
4142:Komar, Arthur (1971/1980).
3692:. Oxford University Press.
3671:Berry, David Carson(2004).
3641:Blasius, Leslie D. (1996).
3444:University of Chicago Press
2685:Five Analyses in Sketchform
2497:flexibili motuum facilitate
2128:
1986:Five Graphic Music Analyses
1902:"Mozart: Sinfonie G-Moll",
1893:1970 Transl. by H. Siegel,
1890:II, 1926, pp. 97–104.
1727:I, 1925, pp. 115–123.
1359:1976 Transl. by H. Siegel,
964:Register transfer, coupling
239:Counterpoint, voice-leading
168:), a "structural hearing".
10:
4773:
4343:Essays in Musical Analysis
4205:. Tutzing, Hans Schneider.
4195:. Oxford University Press.
3346:Beach, David, ed. (1983).
3245:XI/4 (December 1935); and
3219:VI/3, February 10, 1936);
1816:French transl. by N. MeeĂąs
1731:French transl. by N. MeeĂąs
1716:French transl. by N. MeeĂąs
1611:French transl. by N. MeeĂąs
1596:French transl. by N. MeeĂąs
1581:French transl. by N. MeeĂąs
1566:French transl. by N. MeeĂąs
1551:French transl. by N. MeeĂąs
1534:1988 Transl. by W. Petty,
1424:Beethovens neunte Sinfonie
1354:Ein Beitrag zur Ornamentik
1220:Europe before World War II
1198:Schenker calls "mixture" (
1193:
1117:
987:
868:
689:) or fourth progressions (
674:
537:
534:Techniques of prolongation
443:
375:Beethoven's Sonata Op. 101
366:
282:
171:
144:", of strict composition (
4639:Consonance and dissonance
4624:
4575:
4541:
4530:
4434:
4337:
4108:Perspectives of New Music
3993:Harmony and Voice Leading
3977:. New York: W.W. Norton.
2752:Harmony and Voice Leading
2658:45/1 (2001), pp. 218–219.
2253:, pp. xxi–xxiv, 158–162.
2083:Harmony and Voice Leading
1808:1986 Transl. by J. Bent,
1761:1986 Transl. by J. Bent,
1745:1986 Transl. by J. Bent,
1346:Schenker Documents Online
1264:Early reception in the US
1252:the Atlantic, notably by
1135:Bass elaboration I–IV–V–I
1037:First-order neighbor note
907:major; the upper voice, D
278:
140:) was an elaboration, a "
106:Carl Philipp Emanuel Bach
40:based on the theories of
4250:Narmour, Eugene (1977).
4214:Schenkers Weltanschauung
4061:. New York: W.W. Norton.
3384:10.1525/jm.2003.20.1.104
2980:(2nd ed.). London:
2903:(2nd ed.). London:
2704:8/3 (1989), pp. 275–301.
2613:Free Composition, § 106.
2148:
87:
4696:Otonality and utonality
4191:Cook, Nicholas (2007).
4085:Journal of Music Theory
4010:, New York: Routledge.
4006:Pankhurst, Tom (2008),
3885:Journal of Music Theory
3863:Katz, Adele T. (1945).
3688:Cook, Nicholas (2007).
3656:Brown, Matthew (2005).
3580:The Masterwork in Music
3293:74 (2002), pp. 103–151.
3172:26/2, September, 2020.
3156:. Hans Schneider, 1995.
3044:The Masterwork in Music
2750:and Allen Cadwallader,
2655:Journal of Music Theory
2637:Free Composition, § 16.
2515:2/1 (2017), pp. 162–63.
2471:2/1, 2017, pp. 160–170.
2354:, New York, Boni, 1952.
2059:and Steven E. Gilbert,
1848:Journal of Music Theory
156:), or transformations (
114:Wolfgang Amadeus Mozart
4366:Roman numeral analysis
3440:Elisabeth Mann Borgese
3105:Letter of June 1, 1927
1938:II, pp. 171–192.
1922:II, pp. 159–170.
1906:II, pp. 105–157.
1786:1925 "Erläuterungen",
1386:Elisabeth Mann Borgese
1332:
1317:, which he opposed to
1277:Mannes School of Music
1145:
956:
954:
942:
808:
806:
794:
681:A linear progression (
649:
620:
595:
588:
586:
574:
510:
508:
496:
329:
199:
190:
154:StimmfĂĽhrungsschichten
98:common practice period
4454:Fundamental structure
4076:Post-tonal expansions
3987:Aldwell, Edward, and
3836:The Musical Quarterly
3792:(2–3): 101–137. 2005.
3602:(in German). Vienna:
3400:(in German). Vienna:
3371:Journal of Musicology
3329:The Musical Quarterly
3270:The Musical Quarterly
3252:The Musical Quarterly
3203:1 (2005), pp. 98–99.
2689:Five Graphic Analyses
2122:Analyse schenkérienne
2094:Schenkerguide website
1774:I, pp. 161–173.
1758:I, pp. 137–144.
1742:I, pp. 125–135.
1631:Norton Critical Score
1547:IV, 1923, p. 7.
1327:
1310:The Musical Quarterly
1272:The American Organist
1248:(Vienna, 1937–1938).
1134:
952:
940:
931:
829:, also translated as
804:
792:
782:
639:
609:
584:
572:
562:
554:
506:
494:
479:
471:Five Graphic Analyses
292:
194:
182:
102:Johann Sebastian Bach
4757:Schenkerian analysis
4716:Schenkerian analysis
4711:Progressive tonality
4428:Schenkerian analysis
4376:Schenkerian analysis
3849:10.1093/mq/XXI.3.311
3626:. New York, London:
3128:(CZ), 2004 (online).
2982:Macmillan Publishers
2905:Macmillan Publishers
2237:Robert Snarrenberg,
2115:Análise schenkeriana
2108:A Schenkerian Primer
1954:III, pp. 9–24.
1843:II, pp. 43–54.
1712:I, pp. 99–105.
1531:III, pp. 3–21.
1229:in Hamburg in 1931.
1215:Legacy and responses
626:divider at the fifth
464:Schenkerian notation
118:Ludwig van Beethoven
100:(especially that of
31:Schenkerian analysis
18:Schenkerian Analysis
4474:Obligatory register
4349:Functional analysis
4225:Theory and Practice
4188:132/1, pp. 141–164.
4137:Rhythmic expansions
3366:Berry, David Carson
3243:The Musical Mercury
3205:Theory and Practice
3178:10.30535/mto.26.2.4
2939:, p. 50, §140.
2681:FĂĽnf Urlinie-Tafeln
2446:Heinrich Schenker,
2077:Edward Aldwell and
1968:FĂĽnf Urlinie-Tafeln
1874:II, pp. 55–95
1827:II, pp. 9–42.
1812:5/2-3, pp. 187–191.
1765:5/2-3, pp. 171–179.
1749:5/2-3, pp. 153–164.
1689:I, pp. 61–73.
1673:I, pp. 41–60.
1607:X, pp. 36–39.
1592:X, pp. 34–35.
1577:X, pp. 25–29.
1485:Erläuterungsausgabe
1473:Erläuterungsausgabe
1458:Erläuterungsausgabe
1443:Erläuterungsausgabe
997:Beethoven's Op. 109
881:Wanderers Nachtlied
840:Wanderers Nachtlied
210:Georg Joseph Vogler
4654:Secondary function
4464:Linear progression
4053:Westergaard, Peter
3969:Westergaard, Peter
3755:Current Musicology
3612:Schenker, Heinrich
3592:Schenker, Heinrich
3576:Schenker, Heinrich
3564:Schenker, Heinrich
3548:Schenker, Heinrich
3536:Schenker, Heinrich
3510:Schenker, Heinrich
3488:Schenker, Heinrich
3470:Schenker, Heinrich
3428:Schenker, Heinrich
3410:Schenker, Heinrich
3392:Schenker, Heinrich
3332:32/2, pp. 301–302.
3291:Current Musicology
3210:The New York Times
2507:Fliessender Gesang
2493:Fliessender Gesang
2352:Structural Hearing
2106:Larry J. Solomon,
1988:, New York, Dover.
1657:I, pp. 9–40.
1335:After World War II
1170:The interruption (
1146:
957:
955:
943:
809:
807:
795:
677:Linear progression
671:Linear progression
650:
621:
589:
587:
575:
511:
509:
497:
330:
265:linear progression
4744:
4743:
4649:Diatonic function
4584:
4583:
4546:Heinrich Schenker
4494:Register transfer
4439:Bass arpeggiation
4394:
4393:
3906:Pedagogical works
3815:978-3-205-77494-5
3604:Universal Edition
3502:Universal Edition
3402:Universal Edition
3126:Acta musicologica
2991:978-1-56159-239-5
2914:978-1-56159-239-5
2830:"Erläuterungen",
2463:flieĂźender Gesang
2420:Robert E. Wason,
1562:V, pp. 8–9.
1227:Schenker Institut
1142:
950:
938:
871:Unfolding (music)
823:register transfer
802:
790:
646:
630:bass arpeggiation
617:
582:
570:
552:Schenker writes:
504:
492:
446:Bass arpeggiation
326:
253:flieĂźender Gesang
220:and his disciple
216:, transmitted by
42:Heinrich Schenker
16:(Redirected from
4764:
4726:Tonality diamond
4634:Circle of fifths
4611:
4604:
4597:
4588:
4587:
4559:Free Composition
4536:
4504:Structural level
4449:Fundamental line
4421:
4414:
4407:
4398:
4397:
4331:Musical analysis
4324:
4317:
4310:
4301:
4300:
4265:
4239:
4169:Political issues
4132:
4101:
3901:
3860:
3819:
3793:
3777:
3762:
3761:: 103–151. 2002.
3631:
3622:. Translated by
3620:Free Composition
3607:
3587:
3571:
3559:
3543:
3531:
3519:
3505:
3483:
3465:
3438:. Translated by
3423:
3405:
3387:
3361:
3333:
3325:
3319:
3316:Critical Inquiry
3313:
3307:
3304:Critical Inquiry
3300:
3294:
3280:
3274:
3266:
3260:
3221:Israel Citkowitz
3195:
3189:
3186:
3180:
3163:
3157:
3147:
3141:
3135:
3129:
3122:
3116:
3102:
3096:
3089:
3083:
3080:Free Composition
3077:
3071:
3068:Free Composition
3065:
3059:
3056:Free Composition
3053:
3047:
3040:
3034:
3031:Free Composition
3028:
3022:
3019:Free Composition
3016:
3010:
3003:
2997:
2995:
2963:
2957:
2946:
2940:
2937:Free composition
2934:
2928:
2918:
2886:
2880:
2873:
2867:
2860:Free Composition
2857:
2851:
2848:Free composition
2845:
2839:
2828:
2822:
2811:
2805:
2798:
2792:
2786:
2780:
2774:
2768:
2761:
2755:
2746:Edward Aldwell,
2744:
2738:
2727:
2721:
2714:
2705:
2698:
2692:
2677:
2671:
2665:
2659:
2652:, 2nd edition,"
2644:
2638:
2635:
2629:
2626:Free Composition
2623:
2614:
2611:
2605:
2602:Free Composition
2599:
2593:
2587:
2581:
2579:Free Composition
2575:
2569:
2566:Free Composition
2563:
2557:
2542:Free Composition
2540:is discussed in
2534:
2528:
2527:, vol. I, p. 94.
2522:
2516:
2478:
2472:
2457:
2451:
2444:
2438:
2431:
2425:
2418:
2412:
2406:
2400:
2394:
2388:
2377:
2371:
2366:, § 1. See also
2364:Free Composition
2361:
2355:
2345:
2339:
2325:
2319:
2304:Free Composition
2300:
2294:
2288:
2282:
2264:
2258:
2251:Free Composition
2248:
2242:
2235:
2229:
2226:Free Composition
2208:
2202:
2199:Free Composition
2196:
2190:
2183:Free Composition
2159:
2011:L'Écriture libre
2003:Free Composition
1794:9 and 10 and in
1633:9), pp. 164–182.
1189:
1188:
1181:
1180:
1144:
1143:
1127:I–IV–V or I–II–V
1113:
1112:
1105:
1104:
1089:
1088:
1081:
1080:
1073:
1072:
1065:
1064:
1057:
1056:
1049:
1048:
1004:
1003:
951:
939:
924:
923:
918:
917:
912:
911:
906:
905:
900:
899:
894:
893:
888:
887:
860:
859:
854:
853:
848:
847:
803:
791:
772:
771:
763:
762:
750:
749:
741:
740:
732:
731:
723:
722:
710:is replaced by B
706:
705:
648:
647:
619:
618:
583:
571:
505:
493:
458:
457:
423:
422:
415:
414:
407:
405:
404:
396:
395:
388:
387:
369:Fundamental line
363:Fundamental line
328:
327:
318:
317:
311:
310:
304:
303:
212:and his student
21:
4772:
4771:
4767:
4766:
4765:
4763:
4762:
4761:
4747:
4746:
4745:
4740:
4676:Major and minor
4666:Just intonation
4620:
4615:
4585:
4580:
4571:
4537:
4528:
4430:
4425:
4395:
4390:
4333:
4328:
4272:
4262:
4249:
4246:
4221:Schachter, Carl
4219:
4171:
4139:
4104:
4081:
4078:
4025:
3989:Schachter, Carl
3908:
3878:
3829:
3826:
3816:
3796:
3780:
3776:: 92–117. 2005.
3765:
3748:
3638:
3636:Further reading
3528:
3454:
3358:
3342:
3337:
3336:
3326:
3322:
3314:
3310:
3301:
3297:
3281:
3277:
3267:
3263:
3216:Musical America
3196:
3192:
3187:
3183:
3166:Philip A. Ewell
3164:
3160:
3148:
3144:
3136:
3132:
3123:
3119:
3103:
3099:
3091:Matthew Brown,
3090:
3086:
3078:
3074:
3066:
3062:
3054:
3050:
3041:
3037:
3029:
3025:
3017:
3013:
3004:
3000:
2992:
2964:
2960:
2947:
2943:
2935:
2931:
2915:
2887:
2883:
2874:
2870:
2864:scheinbare ZĂĽge
2858:
2854:
2846:
2842:
2829:
2825:
2812:
2808:
2799:
2795:
2787:
2783:
2775:
2771:
2762:
2758:
2745:
2741:
2728:
2724:
2715:
2708:
2699:
2695:
2678:
2674:
2666:
2662:
2645:
2641:
2636:
2632:
2624:
2617:
2612:
2608:
2600:
2596:
2588:
2584:
2576:
2572:
2564:
2560:
2535:
2531:
2523:
2519:
2479:
2475:
2458:
2454:
2445:
2441:
2433:Matthew Brown,
2432:
2428:
2419:
2415:
2407:
2403:
2395:
2391:
2378:
2374:
2362:
2358:
2346:
2342:
2326:
2322:
2301:
2297:
2289:
2285:
2265:
2261:
2249:
2245:
2236:
2232:
2224:, 1935, p. 17;
2209:
2205:
2197:
2193:
2179:Das Meisterwerk
2160:
2156:
2151:
2131:
2113:Nicolas MeeĂąs,
2088:Tom Pankhurst,
2028:
1897:2, pp. 274–282.
1895:The Music Forum
1703:4, pp. 141–159.
1701:The Music Forum
1538:3, pp. 105–160.
1342:
1337:
1305:Paul Henry Lang
1266:
1258:Philip A. Ewell
1222:
1217:
1208:
1196:
1183:
1175:
1168:
1159:
1137:
1129:
1120:
1107:
1099:
1096:
1083:
1075:
1067:
1059:
1051:
1043:
1039:
1019:
1011:
1001:
1000:
992:
986:
966:
945:
933:
921:
920:
915:
914:
909:
908:
903:
902:
897:
896:
891:
890:
885:
884:
873:
867:
857:
856:
851:
850:
845:
844:
818:
797:
785:
783:
775:
769:
768:
766:
760:
759:
757:
753:
747:
746:
744:
738:
737:
735:
729:
728:
726:
720:
719:
717:
713:
709:
703:
702:
700:
696:
679:
673:
655:
641:
612:
577:
565:
563:
547:Auskomponierung
542:
536:
499:
487:
485:
466:
452:
448:
442:
417:
409:
399:
398:
390:
382:
371:
365:
321:
312:
305:
298:
287:
281:
257:Luigi Cherubini
241:
214:Gottfried Weber
186:overtone series
174:
150:Auskomponierung
134:Igor Stravinsky
126:Johannes Brahms
90:
85:
33:is a method of
28:
23:
22:
15:
12:
11:
5:
4770:
4760:
4759:
4742:
4741:
4739:
4738:
4733:
4728:
4723:
4718:
4713:
4708:
4703:
4698:
4693:
4688:
4683:
4678:
4673:
4668:
4663:
4658:
4657:
4656:
4646:
4644:Diatonic scale
4641:
4636:
4631:
4625:
4622:
4621:
4614:
4613:
4606:
4599:
4591:
4582:
4581:
4576:
4573:
4572:
4570:
4569:
4562:
4555:
4548:
4542:
4539:
4538:
4531:
4529:
4527:
4526:
4521:
4519:Voice exchange
4516:
4511:
4506:
4501:
4496:
4491:
4486:
4481:
4476:
4471:
4466:
4461:
4456:
4451:
4446:
4441:
4435:
4432:
4431:
4424:
4423:
4416:
4409:
4401:
4392:
4391:
4389:
4388:
4383:
4378:
4373:
4368:
4363:
4360:Music Analysis
4356:
4351:
4346:
4338:
4335:
4334:
4327:
4326:
4319:
4312:
4304:
4298:
4297:
4290:
4284:
4278:
4271:
4270:External links
4268:
4267:
4266:
4260:
4245:
4242:
4241:
4240:
4217:
4206:
4196:
4189:
4180:Der freie Satz
4170:
4167:
4166:
4165:
4151:
4138:
4135:
4134:
4133:
4121:10.2307/832217
4102:
4092:(2): 257–284.
4077:
4074:
4073:
4072:
4067:, ed. (1977).
4062:
4050:
4036:
4029:Epstein, David
4024:
4021:
4020:
4019:
4004:
3985:
3966:
3956:
3938:
3927:
3907:
3904:
3903:
3902:
3876:
3875:(2011 reprint)
3861:
3843:(3): 311–329.
3825:
3822:
3821:
3820:
3814:
3794:
3778:
3763:
3742:
3741:
3719:
3701:
3686:
3669:
3654:
3637:
3634:
3633:
3632:
3608:
3600:Der freie Satz
3588:
3572:
3560:
3544:
3532:
3526:
3506:
3484:
3466:
3452:
3424:
3406:
3388:
3378:(1): 104–156.
3362:
3356:
3341:
3338:
3335:
3334:
3320:
3308:
3302:Reproduced in
3295:
3275:
3261:
3190:
3181:
3158:
3142:
3140:, p. 104.
3130:
3117:
3097:
3084:
3082:, p. 87, §242.
3072:
3060:
3048:
3035:
3023:
3011:
2998:
2990:
2968:Sadie, Stanley
2958:
2941:
2929:
2913:
2891:Sadie, Stanley
2881:
2868:
2852:
2850:, p. 78, §221.
2840:
2823:
2806:
2793:
2781:
2769:
2756:
2748:Carl Schachter
2739:
2722:
2706:
2702:Music Analysis
2693:
2672:
2660:
2639:
2630:
2615:
2606:
2594:
2582:
2570:
2558:
2536:The canonical
2529:
2517:
2473:
2452:
2439:
2426:
2413:
2401:
2389:
2372:
2356:
2340:
2320:
2318:, 1935, p. 2.)
2316:Der freie Satz
2295:
2283:
2259:
2243:
2230:
2222:Der freie Satz
2203:
2191:
2153:
2152:
2150:
2147:
2146:
2145:
2140:
2130:
2127:
2126:
2125:
2118:
2111:
2104:
2097:
2086:
2079:Carl Schachter
2075:
2068:
2054:
2044:
2031:Oswald Jonas,
2027:
2024:
2023:
2022:
2021:
2020:
2017:
2014:
2007:
1995:Der freie Satz
1991:
1990:
1989:
1978:
1964:
1963:
1962:
1948:
1947:
1946:
1932:
1931:
1930:
1916:
1915:
1914:
1900:
1899:
1898:
1884:
1883:
1882:
1868:
1867:
1866:
1859:
1837:
1836:
1835:
1821:
1820:
1819:
1813:
1810:Music Analysis
1806:
1784:
1783:
1782:
1768:
1767:
1766:
1763:Music Analysis
1752:
1751:
1750:
1747:Music Analysis
1736:
1735:
1734:
1721:
1720:
1719:
1706:
1705:
1704:
1697:
1683:
1682:
1681:
1667:
1666:
1665:
1651:
1650:
1649:
1639:
1638:
1637:
1634:
1616:
1615:
1614:
1601:
1600:
1599:
1586:
1585:
1584:
1571:
1570:
1569:
1556:
1555:
1554:
1541:
1540:
1539:
1525:
1524:
1523:
1509:
1508:
1507:
1493:
1492:
1491:
1481:
1480:
1479:
1469:
1468:
1467:
1464:
1454:
1453:
1452:
1449:
1439:
1438:
1437:
1434:
1420:
1419:
1418:
1402:
1401:
1400:
1397:
1369:
1368:
1367:
1364:
1341:
1338:
1336:
1333:
1301:Der freie Satz
1292:Roger Sessions
1265:
1262:
1221:
1218:
1216:
1213:
1207:
1204:
1195:
1192:
1167:
1164:
1158:
1155:
1128:
1125:
1119:
1116:
1095:
1092:
1038:
1035:
1018:
1015:
1010:
1007:
990:Voice exchange
988:Main article:
985:
984:Voice exchange
982:
965:
962:
869:Main article:
866:
863:
817:
814:
773:
764:
755:
751:
742:
733:
724:
715:
711:
707:
698:
694:
675:Main article:
672:
669:
654:
651:
594:
593:
538:Main article:
535:
532:
516:Carl Schachter
465:
462:
444:Main article:
441:
438:
367:Main article:
364:
361:
283:Main article:
280:
277:
240:
237:
222:Anton Bruckner
173:
170:
122:Franz Schubert
89:
86:
84:
81:
46:deep structure
26:
9:
6:
4:
3:
2:
4769:
4758:
4755:
4754:
4752:
4737:
4736:Voice leading
4734:
4732:
4729:
4727:
4724:
4722:
4719:
4717:
4714:
4712:
4709:
4707:
4704:
4702:
4699:
4697:
4694:
4692:
4689:
4687:
4684:
4682:
4679:
4677:
4674:
4672:
4669:
4667:
4664:
4662:
4659:
4655:
4652:
4651:
4650:
4647:
4645:
4642:
4640:
4637:
4635:
4632:
4630:
4627:
4626:
4623:
4619:
4612:
4607:
4605:
4600:
4598:
4593:
4592:
4589:
4579:
4574:
4568:
4567:
4563:
4561:
4560:
4556:
4554:
4553:
4549:
4547:
4544:
4543:
4540:
4535:
4525:
4524:Voice leading
4522:
4520:
4517:
4515:
4512:
4510:
4507:
4505:
4502:
4500:
4497:
4495:
4492:
4490:
4489:Reaching over
4487:
4485:
4482:
4480:
4477:
4475:
4472:
4470:
4469:Neighbor note
4467:
4465:
4462:
4460:
4457:
4455:
4452:
4450:
4447:
4445:
4442:
4440:
4437:
4436:
4433:
4429:
4422:
4417:
4415:
4410:
4408:
4403:
4402:
4399:
4387:
4386:Transcription
4384:
4382:
4381:Sonata theory
4379:
4377:
4374:
4372:
4369:
4367:
4364:
4362:
4361:
4357:
4355:
4354:Chord letters
4352:
4350:
4347:
4345:
4344:
4340:
4339:
4336:
4332:
4325:
4320:
4318:
4313:
4311:
4306:
4305:
4302:
4295:
4291:
4289:
4285:
4282:
4279:
4277:
4274:
4273:
4263:
4261:9780226568478
4257:
4253:
4248:
4247:
4238:
4234:
4230:
4226:
4222:
4218:
4215:
4212:, Chapter V,
4211:
4207:
4204:
4200:
4197:
4194:
4190:
4187:
4186:
4181:
4177:
4173:
4172:
4163:
4159:
4155:
4154:Yeston, Maury
4152:
4149:
4145:
4141:
4140:
4130:
4126:
4122:
4118:
4114:
4110:
4109:
4103:
4099:
4095:
4091:
4087:
4086:
4080:
4079:
4070:
4066:
4065:Yeston, Maury
4063:
4060:
4059:
4054:
4051:
4048:
4044:
4040:
4039:Salzer, Felix
4037:
4034:
4030:
4027:
4026:
4017:
4016:0-415-97398-8
4013:
4009:
4005:
4002:
4001:0-495-18975-8
3998:
3994:
3990:
3986:
3984:
3983:9780393093421
3980:
3976:
3975:
3970:
3967:
3964:
3960:
3959:Kalib, Sylvan
3957:
3955:
3951:
3950:0-19-510232-0
3947:
3943:
3939:
3936:
3935:0-521-49726-4
3932:
3928:
3926:
3922:
3921:0-393-95192-8
3918:
3914:
3910:
3909:
3899:
3895:
3891:
3887:
3886:
3881:
3877:
3874:
3873:9781174860447
3870:
3866:
3862:
3858:
3854:
3850:
3846:
3842:
3838:
3837:
3832:
3828:
3827:
3817:
3811:
3807:
3803:
3799:
3795:
3791:
3787:
3783:
3779:
3775:
3771:
3770:
3764:
3760:
3756:
3752:
3751:Adele T. Katz
3749:"The Role of
3747:
3746:
3745:
3739:
3735:
3734:9780967809939
3731:
3727:
3723:
3722:Jonas, Oswald
3720:
3717:
3716:3-205-77494-9
3713:
3709:
3705:
3702:
3699:
3698:0-19-974429-7
3695:
3691:
3687:
3684:
3683:9781576470954
3680:
3676:
3675:
3670:
3667:
3666:1-58046-160-3
3663:
3659:
3655:
3652:
3651:0-521-55085-8
3648:
3644:
3640:
3639:
3629:
3625:
3621:
3617:
3613:
3609:
3605:
3601:
3597:
3593:
3589:
3585:
3581:
3577:
3573:
3569:
3566:(1925–1930).
3565:
3561:
3557:
3553:
3549:
3545:
3541:
3538:(1921–1924).
3537:
3533:
3529:
3527:0-02-873220-0
3523:
3518:
3517:
3511:
3507:
3503:
3499:
3495:
3494:
3489:
3485:
3481:
3477:
3476:
3471:
3467:
3463:
3459:
3455:
3453:0-226-73734-9
3449:
3445:
3441:
3437:
3433:
3429:
3425:
3421:
3417:
3416:
3415:Harmonielehre
3411:
3407:
3403:
3399:
3398:
3393:
3389:
3385:
3381:
3377:
3373:
3372:
3367:
3363:
3359:
3357:9780300028003
3353:
3349:
3344:
3343:
3331:
3330:
3324:
3317:
3312:
3305:
3299:
3292:
3288:
3284:
3279:
3272:
3271:
3265:
3258:
3254:
3253:
3248:
3247:Adele T. Katz
3244:
3240:
3236:
3232:
3231:
3226:
3222:
3218:
3217:
3212:
3211:
3206:
3202:
3201:
3194:
3185:
3179:
3175:
3171:
3167:
3162:
3155:
3151:
3146:
3139:
3134:
3127:
3121:
3114:
3110:
3106:
3101:
3094:
3088:
3081:
3076:
3069:
3064:
3057:
3052:
3045:
3039:
3032:
3027:
3021:, §§ 236–237.
3020:
3015:
3008:
3002:
2993:
2987:
2983:
2979:
2978:
2973:
2972:Tyrrell, John
2969:
2962:
2955:
2951:
2945:
2938:
2933:
2926:
2922:
2916:
2910:
2906:
2902:
2901:
2896:
2895:Tyrrell, John
2892:
2885:
2878:
2872:
2865:
2861:
2856:
2849:
2844:
2837:
2833:
2827:
2820:
2816:
2810:
2803:
2797:
2790:
2789:Harmonielehre
2785:
2778:
2773:
2766:
2760:
2753:
2749:
2743:
2736:
2732:
2726:
2719:
2713:
2711:
2703:
2697:
2690:
2686:
2682:
2679:H. Schenker,
2676:
2669:
2664:
2657:
2656:
2651:
2650:
2643:
2634:
2627:
2622:
2620:
2610:
2603:
2598:
2591:
2586:
2580:
2574:
2567:
2562:
2555:
2551:
2547:
2543:
2539:
2533:
2526:
2521:
2514:
2510:
2508:
2502:
2498:
2494:
2490:
2486:
2482:
2477:
2470:
2466:
2464:
2456:
2449:
2443:
2436:
2430:
2423:
2417:
2410:
2405:
2398:
2393:
2386:
2385:Harmonielehre
2382:
2376:
2369:
2365:
2360:
2353:
2349:
2344:
2337:
2333:
2329:
2324:
2317:
2313:
2309:
2305:
2299:
2292:
2287:
2281:
2277:
2273:
2272:Adele T. Katz
2269:
2263:
2256:
2252:
2247:
2240:
2234:
2227:
2223:
2219:
2213:
2207:
2200:
2195:
2188:
2184:
2180:
2176:
2172:
2168:
2164:
2163:Erläuterungen
2158:
2154:
2144:
2141:
2138:
2137:
2133:
2132:
2123:
2119:
2116:
2112:
2109:
2105:
2102:
2098:
2095:
2091:
2087:
2084:
2080:
2076:
2073:
2069:
2066:
2062:
2058:
2055:
2052:
2048:
2045:
2042:
2038:
2034:
2030:
2029:
2018:
2015:
2012:
2008:
2005:
2004:
1999:
1998:
1996:
1992:
1987:
1983:
1979:
1976:
1972:
1971:
1969:
1965:
1960:
1956:
1955:
1953:
1949:
1944:
1940:
1939:
1937:
1933:
1928:
1924:
1923:
1921:
1917:
1912:
1908:
1907:
1905:
1901:
1896:
1892:
1891:
1889:
1885:
1880:
1876:
1875:
1873:
1869:
1864:
1860:
1857:
1853:
1849:
1845:
1844:
1842:
1838:
1833:
1829:
1828:
1826:
1822:
1817:
1814:
1811:
1807:
1804:
1800:
1799:
1797:
1793:
1789:
1785:
1780:
1776:
1775:
1773:
1769:
1764:
1760:
1759:
1757:
1753:
1748:
1744:
1743:
1741:
1737:
1732:
1729:
1728:
1726:
1722:
1717:
1714:
1713:
1711:
1707:
1702:
1698:
1695:
1691:
1690:
1688:
1684:
1679:
1675:
1674:
1672:
1668:
1663:
1659:
1658:
1656:
1652:
1647:
1646:
1644:
1640:
1635:
1632:
1628:
1624:
1623:
1621:
1617:
1612:
1609:
1608:
1606:
1602:
1597:
1594:
1593:
1591:
1587:
1582:
1579:
1578:
1576:
1572:
1567:
1564:
1563:
1561:
1557:
1552:
1549:
1548:
1546:
1542:
1537:
1533:
1532:
1530:
1526:
1521:
1517:
1516:
1514:
1510:
1505:
1501:
1500:
1498:
1494:
1489:
1488:
1486:
1482:
1477:
1476:
1474:
1470:
1465:
1462:
1461:
1459:
1455:
1450:
1447:
1446:
1444:
1440:
1435:
1432:
1428:
1427:
1425:
1421:
1416:
1412:
1411:
1409:
1408:
1403:
1398:
1395:
1394:9780226737348
1391:
1387:
1384:, transl. by
1383:
1379:
1378:
1376:
1375:
1374:Harmonielehre
1370:
1365:
1363:4, pp. 1–139.
1362:
1358:
1357:
1355:
1351:
1350:
1349:
1347:
1331:
1326:
1324:
1320:
1316:
1312:
1311:
1306:
1302:
1297:
1294:published in
1293:
1288:
1286:
1282:
1281:Adele T. Katz
1278:
1274:
1273:
1261:
1259:
1255:
1249:
1247:
1246:Der Dreiklang
1243:
1240:
1237:in 1932, and
1236:
1232:
1228:
1212:
1203:
1201:
1191:
1187:
1179:
1173:
1172:Unterbrechung
1163:
1157:I–II–III–IV–V
1154:
1151:
1133:
1124:
1115:
1111:
1103:
1091:
1087:
1079:
1071:
1063:
1055:
1047:
1034:
1032:
1028:
1024:
1014:
1006:
998:
991:
981:
979:
975:
971:
970:Obligate Lage
961:
930:
926:
882:
878:
872:
862:
842:
841:
836:
832:
831:superposition
828:
824:
813:
781:
777:
692:
688:
684:
678:
668:
665:
661:
638:
634:
631:
627:
608:
604:
602:
600:
591:
590:
561:
557:
553:
550:
548:
541:
531:
529:
524:
522:
517:
483:
478:
474:
472:
461:
456:
447:
437:
435:
431:
427:
421:
413:
408:and moves to
403:
394:
386:
380:
376:
370:
360:
358:
352:
350:
346:
342:
338:
334:
316:
309:
302:
296:
291:
286:
276:
274:
270:
266:
262:
261:voice leading
258:
254:
249:
246:
236:
235:(the tonic).
234:
230:
225:
223:
219:
218:Simon Sechter
215:
211:
206:
204:
198:
197:minor mode.".
193:
189:
187:
181:
179:
169:
167:
161:
159:
158:Verwandlungen
155:
151:
147:
146:strenger Satz
143:
139:
135:
131:
127:
123:
119:
115:
111:
107:
103:
99:
95:
80:
76:
74:
73:cantus firmus
70:
66:
62:
57:
55:
51:
47:
43:
39:
36:
32:
19:
4731:Tonicization
4715:
4706:Polytonality
4701:Parallel key
4661:Figured bass
4564:
4557:
4552:Counterpoint
4550:
4484:Prolongation
4479:Primary tone
4427:
4375:
4358:
4341:
4251:
4228:
4224:
4213:
4209:
4202:
4199:Eybl, Martin
4192:
4183:
4179:
4176:Der Tonwille
4175:
4157:
4143:
4115:(2): 85–89.
4112:
4106:
4089:
4083:
4068:
4056:
4042:
4032:
4007:
3992:
3972:
3962:
3953:
3941:
3924:
3912:
3889:
3883:
3864:
3840:
3834:
3805:
3801:
3798:Eybl, Martin
3789:
3785:
3773:
3767:
3758:
3754:
3743:
3725:
3707:
3704:Eybl, Martin
3689:
3673:
3657:
3642:
3619:
3616:Oswald Jonas
3599:
3596:Oswald Jonas
3579:
3567:
3552:Der Tonwille
3551:
3540:Der Tonwille
3539:
3516:Counterpoint
3515:
3498:Counterpoint
3497:
3492:
3480:Counterpoint
3479:
3474:
3435:
3432:Oswald Jonas
3419:
3414:
3396:
3375:
3369:
3347:
3327:
3323:
3318:2/1, p. 118.
3315:
3311:
3303:
3298:
3290:
3286:
3278:
3268:
3264:
3256:
3250:
3242:
3238:
3234:
3228:
3225:Modern Music
3224:
3214:
3208:
3204:
3198:
3193:
3184:
3169:
3161:
3153:
3145:
3133:
3125:
3120:
3112:
3111:4/1 (2011),
3108:
3100:
3092:
3087:
3079:
3075:
3067:
3063:
3058:, §§ 87–101.
3055:
3051:
3043:
3038:
3030:
3026:
3018:
3014:
3006:
3001:
2975:
2961:
2953:
2949:
2944:
2936:
2932:
2924:
2898:
2884:
2876:
2871:
2863:
2859:
2855:
2847:
2843:
2832:Der Tonwille
2831:
2826:
2815:Der Tonwille
2814:
2809:
2796:
2788:
2784:
2776:
2772:
2764:
2759:
2751:
2742:
2734:
2730:
2725:
2717:
2701:
2696:
2688:
2684:
2680:
2675:
2663:
2653:
2647:
2642:
2633:
2625:
2609:
2601:
2597:
2590:Counterpoint
2589:
2585:
2578:
2573:
2565:
2561:
2554:Der Tonwille
2553:
2549:
2545:
2541:
2537:
2532:
2525:Counterpoint
2524:
2520:
2512:
2506:
2500:
2496:
2492:
2488:
2484:
2481:Counterpoint
2480:
2476:
2468:
2462:
2455:
2448:Counterpoint
2447:
2442:
2434:
2429:
2421:
2416:
2408:
2404:
2396:
2392:
2384:
2375:
2367:
2363:
2359:
2351:
2348:Felix Salzer
2343:
2336:Wort und Ton
2335:
2332:Der Tonwille
2331:
2328:Der Tonwille
2327:
2323:
2315:
2311:
2307:
2303:
2298:
2290:
2286:
2276:Felix Salzer
2267:
2262:
2255:Der Tonwille
2254:
2250:
2246:
2238:
2233:
2225:
2221:
2218:Vordergrund.
2216:
2211:
2206:
2198:
2194:
2186:
2182:
2178:
2175:Der Tonwille
2174:
2170:
2167:Der Tonwille
2166:
2162:
2157:
2134:
2089:
2082:
2071:
2064:
2060:
2050:
2047:Felix Salzer
2040:
2036:
2032:
2010:
2001:
1994:
1985:
1974:
1967:
1958:
1951:
1942:
1935:
1926:
1919:
1910:
1903:
1894:
1887:
1878:
1871:
1862:
1851:
1847:
1840:
1831:
1824:
1809:
1802:
1795:
1792:Der Tonwille
1791:
1787:
1778:
1771:
1762:
1755:
1746:
1739:
1724:
1709:
1700:
1693:
1686:
1677:
1670:
1661:
1654:
1642:
1630:
1626:
1619:
1605:Der Tonwille
1604:
1590:Der Tonwille
1589:
1575:Der Tonwille
1574:
1560:Der Tonwille
1559:
1545:Der Tonwille
1544:
1535:
1529:Der Tonwille
1528:
1520:Counterpoint
1519:
1512:
1504:Der Tonwille
1503:
1497:Der Tonwille
1496:
1484:
1472:
1457:
1442:
1430:
1423:
1415:Counterpoint
1414:
1406:
1381:
1373:
1360:
1353:
1343:
1340:Translations
1328:
1322:
1319:Donald Tovey
1314:
1308:
1300:
1296:Modern Music
1295:
1289:
1284:
1270:
1267:
1250:
1245:
1241:
1239:Felix Salzer
1234:
1231:Oswald Jonas
1226:
1223:
1209:
1199:
1197:
1171:
1169:
1166:Interruption
1160:
1149:
1147:
1121:
1097:
1040:
1030:
1026:
1022:
1020:
1012:
993:
978:Tieferlegung
977:
973:
969:
967:
958:
880:
876:
874:
838:
834:
830:
826:
819:
810:
690:
686:
682:
680:
659:
656:
622:
603:
598:
596:
555:
551:
546:
543:
540:Prolongation
528:Urlinietafel
527:
525:
512:
481:
470:
467:
449:
433:
430:primary tone
425:
378:
372:
356:
353:
349:Bassbrechung
348:
344:
341:Bassbrechung
340:
336:
332:
331:
294:
272:
268:
252:
250:
245:counterpoint
242:
232:
228:
226:
207:
202:
200:
195:
191:
183:
175:
165:
162:
157:
153:
149:
145:
142:prolongation
137:
110:Joseph Haydn
91:
83:Fundamentals
77:
68:
64:
60:
58:
53:
49:
30:
29:
4721:Sonata form
4686:Neotonality
4509:Tonal space
3892:(1): 1–30.
3831:Katz, A. T.
3624:Ernst Oster
3493:Kontrapunkt
3475:Kontrapunkt
3150:Martin Eybl
2950:Schenker's
2921:Ăśbergreifen
2505:Schenker's
2489:Kontrapunkt
2461:Schenker's
2459:N. MeeĂąs, "
2136:Music Forum
2057:Allen Forte
1513:Kontrapunkt
1499:(10 vols.)
1407:Kontrapunkt
1361:Music Forum
1307:devoted in
1254:Martin Eybl
974:Höherlegung
875:Unfolding (
835:overlapping
827:Ăśbergreifen
599:diminutions
178:tonic triad
138:freier Satz
54:tonal space
38:tonal music
4681:Modulation
4499:Scale-step
4444:Diminution
4292:N. MeeĂąs,
4244:Criticisms
4162:Beach 1983
4148:Beach 1983
4047:Beach 1983
4023:Expansions
3738:Beach 1983
3340:References
3283:Adele Katz
3239:Musicology
3138:Berry 2003
2952:Ausfaltung
2668:Beach 1983
2568:, pp. 4–5.
2381:Schoenberg
1993:1935/1956
1645:, 3 vols.
1641:1925–1930
1502:2004–2005
1495:1921–1924
1233:published
877:Ausfaltung
660:Nebennoten
243:Two-voice
94:monarchism
4514:Unfolding
4371:Reduction
3880:Forte, A.
3824:Summaries
3614:(1979) .
3594:(1956) .
3512:(1989) .
3430:(1954) .
3394:(1908) .
2026:Textbooks
1982:F. Salzer
1856:M. Yeston
1323:Beethoven
941:Reduction
865:Unfolding
793:Reduction
691:QuartzĂĽge
507:Reduction
297:: a line
166:Fernhören
130:Max Reger
35:analyzing
4751:Category
4691:Ostinato
4618:Tonality
4578:Glossary
4237:41054326
4231:: 1–20,
4201:(1995).
4156:(1976).
4055:(1975).
4041:(1952).
4031:(1979).
3991:(2003).
3971:(1975).
3961:(1973).
3724:(1982).
3584:Ian Bent
3556:Ian Bent
3490:(1922).
3472:(1910).
3412:(1906).
3070:, § 193.
2974:(eds.).
2897:(eds.).
2836:Ian Bent
2819:Ian Bent
2777:Op. cit.
2731:op. cit.
2628:, § 120.
2129:See also
1200:Mischung
1033:itself.
1002:♯
953:Original
922:♭
916:♭
910:♭
904:♭
898:♭
892:♭
886:♭
858:♭
852:♭
846:♭
805:Original
770:♯
761:♯
748:♯
739:♯
730:♯
721:♯
704:♯
687:TerzzĂĽge
585:Arpeggio
521:continuo
495:Original
293:Minimal
4629:Cadence
4566:Harmony
3628:Longman
3618:(ed.).
3598:(ed.).
3436:Harmony
3434:(ed.).
3420:Harmony
3033:, §106.
2604:, § 10.
2411:, § 79.
2409:Harmony
2397:Harmony
2370:, § 13.
2368:Harmony
2312:Urlinie
2212:Urlinie
2201:, § 21.
2187:Urlinie
1536:Theoria
1426:, 1912
1382:Harmony
1194:Mixture
1118:I–III–V
1031:Urlinie
1027:Anstieg
1023:Kopfton
736:above G
434:Anstieg
426:Kopfton
379:Urlinie
345:Urlinie
337:Urlinie
273:Urlinie
172:Harmony
4258:
4235:
4129:832217
4127:
4098:842853
4096:
4014:
3999:
3981:
3948:
3933:
3919:
3898:842996
3896:
3871:
3857:739052
3855:
3812:
3732:
3714:
3696:
3681:
3664:
3649:
3524:
3462:280916
3460:
3450:
3354:
2988:
2911:
2550:Ursatz
2538:Ursatz
2501:Gradus
2399:, § 23
2308:Ursatz
1392:
1150:Ursatz
484:, 1848
428:) or "
333:Ursatz
295:Ursatz
285:Ursatz
279:Ursatz
229:Ursatz
124:, and
69:Ursatz
65:Ursatz
61:Ursatz
50:Ursatz
48:, the
4459:Klang
4233:JSTOR
4125:JSTOR
4094:JSTOR
3894:JSTOR
3853:JSTOR
3804:[
3496:[
3478:[
3418:[
3109:Gamut
2513:Orfeu
2469:Orfeu
2149:Notes
2009:1993
2000:1979
1973:1933
1966:1932
1798:II.)
1625:1971
1618:1925
1518:1987
1511:1922
1429:1992
1422:1912
1413:1987
1404:1910
1380:1954
1371:1906
1352:1904
664:Haydn
573:Chord
233:Stufe
203:Stufe
88:Goals
4256:ISBN
4178:and
4012:ISBN
3997:ISBN
3979:ISBN
3946:ISBN
3931:ISBN
3917:ISBN
3869:ISBN
3810:ISBN
3730:ISBN
3712:ISBN
3694:ISBN
3679:ISBN
3662:ISBN
3647:ISBN
3522:ISBN
3458:OCLC
3448:ISBN
3352:ISBN
2986:ISBN
2909:ISBN
2800:See
2274:and
2063:and
1515:II.
1390:ISBN
1256:and
849:–F–E
767:to G
697:to E
176:The
132:and
4671:Key
4182:",
4117:doi
3845:doi
3380:doi
3174:doi
2923:,"
2467:",
2383:'s
2220:).
1487:).
1475:).
1460:).
1445:).
1410:I.
1321:'s
1066:or
833:or
754:)–E
745:–(F
701:. F
683:Zug
397:or
275:).
269:Zug
4753::
4229:26
4227:,
4123:.
4111:.
4088:.
3952:.
3923:.
3888:.
3851:.
3841:21
3839:.
3788:.
3784:.
3772:.
3759:74
3757:.
3728:.
3456:.
3446:.
3376:20
3374:.
3285:,
3152:,
2984:.
2970:;
2907:.
2893:;
2838:).
2709:^
2618:^
2511:,
2350:,
2081:,
2049:,
1984::
1970:.
1854:,
1377:.
1356:.
1260:.
919:–B
913:–C
895:–G
889:–A
855:–D
727:–G
718:–F
389:,
120:,
116:,
112:,
108:,
104:,
4610:e
4603:t
4596:v
4420:e
4413:t
4406:v
4323:e
4316:t
4309:v
4264:.
4164:)
4150:)
4131:.
4119::
4113:4
4100:.
4090:3
4049:)
4003:.
3937:.
3900:.
3890:3
3859:.
3847::
3818:.
3790:2
3774:1
3740:)
3718:.
3700:.
3668:.
3653:.
3630:.
3606:.
3530:.
3504:.
3464:.
3404:.
3386:.
3382::
3360:.
3176::
2996:‎
2994:.
2917:.
2821:)
2683:(
2487:(
2310:(
2215:(
2110:.
2103:.
2096:.
1818:.
1733:.
1718:.
1613:.
1598:.
1583:.
1568:.
1553:.
1269:(
1106:–
1082:–
1074:–
1058:–
1050:–
774:3
765:4
756:2
752:2
743:2
734:4
725:4
716:4
712:1
708:2
699:2
695:3
406:,
267:(
20:)
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