Analysis of Tonal Music: A Schenkerian Approach » (2nd Edition)

Oberlin College Conservatory of Music

Queens College, City University of New York

Designed as an introductory text for upper-level undergraduates and beginning graduate students, Analysis of Tonal Music: A Schenkerian Approach explains the fundamental principles of Schenkerian analysis by focusing on the music itself. Intended for use in one- or two-semester courses on Schenkerian theory, this text will also appeal to individuals interested in Schenker's work. The book assumes no prior knowledge of the subject, but it does require a background in harmony and voice leading; a familiarity with species counterpoint is also desirable. The authors develop Schenkerian techniques through the practical analysis of specific compositions, an approach that parallels the evolution of Schenker's work. The book explains structural principles in actual composition rather than through models and formulas, and teaches students how to think about and critically examine compositions in ways that will inform their understanding and performance of great compositions of Western art music.
The first part of the volume provides the foundation for the analysis of complete pieces and includes chapters on melody, bass-line structures, linear techniques, and the essential properties of the Ursatz and its basic elaborations; the presentation of complete compositions in Part II is organized by formal category. The concluding chapter summarizes the main theoretical issues of Schenker's approach. The book includes over 200 analytical graphs, musical examples, and a bibliography. Analysis of Tonal Music: A Schenkerian Approach provides a unique and accessible introduction to Schenkerian analytical ideas and shows how they can be applied toward a better understanding of tonal music.

Preface     xi
Basic Principles     1
Introduction     3
Beethoven, Piano Sonata, Op. 2, No. 1, I     4
Melody and Counterpoint     15
Melody     15
Counterpoint     23
A Sample Analysis     35
Bass Lines and Harmonic Structure     41
Tonic Harmony (T Class)     42
Intermediate Harmonies (Int Class)     46
Dominant Harmony (D Class)     49
Larger Contexts     52
The Imaginary Continuo     62
Chord Prolongation: Summary     63
Linear Techniques     69
Linear Progressions     69
Linear Intervallic Patterns     80
The Neighbor Note     91
Linear Intervallic Patterns: Summary     93
Tonal Structure     99
Notational Symbols     99
Tonal Structure and the Ursatz     102
The Bass Arpeggiation (Bassbrechung)     107
The Fundamental Line (Urlinie)     108
Structural Levels     109
The Principle of Interruption     110
More on the Ursatz     114
Techniques of Melodic Prolongation     119
The InitialAscent     119
The Arpeggiated Ascent     121
Unfolding     124
Motion into an Inner Voice     127
Motion from an Inner Voice     129
Voice Exchange     131
Shift of Register     134
Descending and Ascending Register Transfer     134
Coupling     137
Superposition     139
Reaching Over     139
Cover Tone     144
Substitution     147
The Phrygian 2     147
Mixture of Scale Degree 3     150
Some Basic Elaborations of Fundamental Structures     153
Mozart, Piano Sonata, K. 283, I, bars 1-16     154
Beethoven, Piano Sonata, Op. 14, No. 1, II, bars 1-16     159
Beethoven, Piano Sonata, Op. 2, No. 1, II, bars 1-8     164
Beethoven, Piano Sonata, Op. 10, No. 1, II, bars 1-16     170
Mozart, Piano Concerto, K. 488, II, bars 1-12     177
Beethoven, Piano Sonata, Op. 14, No. 2, I, bars 26-47     182
Some Points for Review     188
Analytical Applications     191
One-Part Forms     195
Bach, Prelude in C major (WTC I)     195
Schubert, "Wandrers Nachtlied"      201
Schumann, "Lieb' Liebchen"     208
Binary Forms     215
Haydn, Piano Sonata, Hob. XVI/43, Minuet 2     216
Mozart, Symphony No. 35, K. 385, Trio     221
Bach, Flute Sonata No. 2, Minuet 1     224
Corelli, Violin Sonata, Op. 5, No. 10, Gavotte     228
Handel, Suite No. 5 in D minor, HWV 436, Menuetto     231
Bach, "Little" Prelude in C major, BWV 933, Menuetto     234
Auxiliary Cadences     239
Ternary Forms and Rondo     243
Beethoven, Bagatelle, Op. 119, No. 1     243
Mendelssohn, Song Without Words, Op. 62, No. 1     253
Schubert, Moment Musical, Op. 94, No. 2     263
Haydn, Piano Sonata, Hob. XVI/37, III     277
Sonata Principle     287
Clementi, Sonatina, Op. 36, No. 1, I     288
Mozart, Symphony No. 35 ("Haffner"), K. 385, II     294
Mozart, Piano Sonata, K. 457, I     304
Some Common Tonal Patterns     327
Introduction     327
Binary Forms     328
Ternary Forms     329
Sonata Principle     334
Prolongational Spans     340
Mixture and Large-Scale Tonal Plans     347
Correspondence Between Patterns and Musical Examples     349
Introduction to Graphic Notation     351
Open Noteheads     352
Slurs and Filled-in Noteheads     352
Beams     355
Broken Ties     355
Stems with Flags     357
Diagonal Lines     357
Diagonal Lines and Beams     360
Rhythmic Notation at Lower Levels     362
Roman Numerals     362
Sample Graphic Analyses for Study     365
Examples from Free Composition     368
Notes     369
Selected Bibliography     389
Index of Musical Examples     395
Subject Index     397