Transcript SchenkerMelodyI(NEW)..

Schenker’s Concept(s) of
Melody
Bach Chorale 198: Christus, der uns selig
macht
1. The Tonic Triad as Matrix
•Notes of the tonic triad are the most stable and form a compositional grid/matrix.
•Others generally less stable (e.g. LT, upper LT; ^4 often functions as N or PT)
2. Melodic descent: falling motion is the most natural, providing closure/completion
3. Melodic fluency = stepwise or predominantly stepwise motion
4. Melodic prolongation: tones in melodically fluent lines can remain active in the e
even when they are not sounding
Beethoven, Sonata in E-flat Major, Op. 27, no.
1 (III)
5. In great music, structural tones connect to form melodically fluent lines.
Beethoven Sonata in A-flat Major, Op. 26
6. Structure vs. ornament: Schenker theory distinguishes structural tones \
from ornamental tones; works therefore have structural levels/layers
7. A dissonant note is never a structurally important tone (and is
generally
incapable of further prolongation).
Bach: Subject from WTC I, C# minor Fugue
8. Melodic Prolongation: structural tones can be prolonged (aural retention of a t
techniques = (NN), linear progressions, (stepwise lines leading into or away from the
structural note), et al.
9. Compound or Polyphonic Melody: Leaps often suggest two (or
more)
melodically fluent voices in different registers.
10. Horizontalization: Melodies can horizontalize chords: ^5 ^5 PT ^3 PT ^1
11. Composing-Out: Structural lines often horizontalize (compose out)
the tonic triad.
Schubert, Impromptu in B-flat Major
S
S
A
A
^3
^2
^1
12. Compound melody or polyphonic melody often suggests long-range
voice-leading connections between nonadjacent tones.
13. Å compound melody dominated by leaps can often suggest two underlying
fluent melodic lines.
14. To Schenker, a melodic leap is often not a mere skip, but a temporary
switch to an inner voice.
15. Upward leaps can therefore mean that an inner voice has been “flipped” or
transferred above the structural melody.
Schubert, Impromptu in B-flat Major
^3
^3
^4=NN ^3
^4=NN ^3
^2
??
^2
^1
16. Interruption: Antecedant/Consequent Structures often suggest two
melodic
descents, one incomplete, breaking off at ^2, the
descending leading tone, the other a complete descent to ^1.
17. Substitution. Schenker sometimes infers a note that is not prominent or
present.
Mozart, Sonata in F Major
Phrase 1
Phrase 2
Melodically fluent structural
Melody ^5-^4-^3-^2-^1
^5 prolonged ^5 prolonged
^5 prolonged
by chordal skipsby NN by filling in ^5-^3
(linear progresson)
ß
I
________________________
^2 prolonged
by choral skips
Parallel 6ths connect
V7 I
I to II6 (interm) smoothly