1. Introduction to the Ideas of Heinrich Schenker Introduction to the Ideas of Heinrich Schenker

6. Beethoven Piano Sonata, Op. 2, no. 1 in f minor, (1st movement) Beethoven Piano Sonata, Op. 2, no. 1 in f minor, (1st movement)

7. IVŀ IVII 6 I 6 II 6 V or VŁ I______________ _ Vŀ___________ __ I VII 6 or VŁ I6I6 II 6 V How many harmonies in this passage?

8. N Tonic(I) Nb harmony Tonic P harm. TonicInterm. a.k.a Divider (Divides I-V span) Dom(V) Opening Progression (Schenkerian Explanation)

9. #1: Harmonic Prolongation: Progressions ≠ strings of chords, but means of prolonging more basic harmonies. #2: “Chords” vs. “Harmonies” ( Beethoven passage therefore has 7 chords, but only 3 real harmonies ) #3 Linear Embellishments: Most chords not harmonic, but have contrapuntal or melodic functions ( neigh., pass., etc. ) I II 6 V tonic prolongation divider dom.

10. What else would interest Schenker about the bass, mm. 1-8? #4. Schenker Theory is a melodic/contrapuntal theory. (It sees chord as secondary to melody). ^1______ ^2 ^3 ^4 ^5

12. #5: Linearizing or Composing-Out: Melodies linearize chords ( often in much more subtle ways! ) Arpeggiation

13. #6: Structure vs. Ornament: Schenker theory recognizes a distinction btw. structural tones and ornamental tones (diminutions). Chordal Skip PT NN Arpeggiation

14. Chordal Skip PT NN #7. Variation without a Theme Great works are like a Variation on an unannounced theme

15. #8. Structural Depth and Structural Layers: great music has structural depth; behind embellished surface lurks deep structure or background (structural layers=foreground, middleground, background). NN Foreground Middleground “Background” NN ?

18. b& inflects c as lower NN What is the melodic function of this bĚ (how does it relate to c)? Viewed conventionally, does the right hand melody move: only by step, only by leap, or a combination of steps and leaps?

19. #9: Melodic Fluency Structural lines (middle/background) are melodically fluent—move mostly stepwise & recover leaps

20. Find the melod- ically fluent line in the “jumpy” bass starting here:

21. Find the melodically fluent Schenkerian line in the upper voice:

22. NN

23. Combine the 2 fluent lines. What does this remind you of? pt

24. #10: Outer-Voice Contrapuntal Framework In great music, the middle/background, esp. outer voices, resembles strict species counterpoint: pt Elegantly fluent lines Dissonance subordinate to consonance Follow rules of strict voice leading

25. is a regular background of strict counterpoint: pt Corollary: Beneath irregular foreground with leaps, Dissonance, etc:

27. #11: Compound melody or polyphonic melody: Single-line melodies w/ leaps often imply 2 or more voices. IV. Schenker’s Concept of Melody ? 3 rd 6 th 5 th unfolded unfolded unfolded pt Assuming fluent structural lines, where does LT, e& resolve? Soprano Alto

30. Conventional View of Tonal Form in minor key sonata form Exposition 1. First theme in _________ 2. Modulation to second theme__________ 3. Closing theme also in _____________ Development 1.Tonally unstable, eventually retransition leads via __________ back to ___________ Recapitulation 1. First theme in ___________ 2. Second theme in_________ 3. Closing theme in__________

31. Establish Tonic Modulate to Relative Major Modulate through a series of remote keys, Eventually modulate via V back to tonic End in Tonic

32. #12: Schenker rejects the idea of modulation. (e.g., regards minor-key sonata form as one expansive progression, I-III-V-I in the tonic key)

33. #13: The Fundamental Progression = I-V-I The trek from I-V is music’s natural law. Tonal composition = the prolongation or composing-out of the fundamental progression.

34. Let this triangle be sacred to him!

35. #14. Bassbrechung (the breaking of the bass) = The funda- mental progression I-V-I is itself a prolongation of the tonic. = #15. The ascending 5 th of the Bassbrechung creates I-V tonal space that is often filled via dividers (II, III, IV or related harmonies)

37. #16: To Schenker, motives often = middleground melodic patterns rather than rhythmic surface 3rd-prg. What is the most important motive in mm. 1-8?

38. Can you find a 6 th -progression elsewhere on p. 1? There’s something very interesting about that 6 th -prg.

39. Mm. 16-20 fill in 6 th span, ^E@ -G = 5 to ^7 in A@ (relative Maj) Opening fills in span of a 6 th, C-EĚ = ^5to ^7 in f minor 6-prg. 6-prg

40. Can you find additional appearances of the Schenkerian motive (6 th -prg. ^5-^7, E@-G) on page 1?

41. Remember ME? What do you notice about my melodic shape? V. Schenker’s Concept of Motive =Same Linear Descent of a 6th: ^5-^7 (C-E&) as opening

42. V. Schenker’s Concept of Motive Remember ME, too?? Holy S &*^! another Linear Descent of a 6th: ^5-^7 (C-E&) #17: Great music is unified by motives below the surface level (motivic parallelism).

45. III. Schenker’s Concept of Counterpoint Why does Beethoven use the RH sf markings in this passage?