Transcript Introduction

Introduction to the Ideas
of Heinrich Schenker
Beethoven Piano Sonata,
Op. 2, no. 1 in f minor,
(1st movement)
I______________ Vŀ___________
__
_
I
I
Vŀ
VII6
or
VŁ
I
I6
II6
VII6 I6
V
II6
or VŁ
How many harmonies in this passage?
V
Opening Progression (Schenkerian Explanation)
N
Tonic(I)
Tonic
P harm.
Nb harmony
Dom(V)
Tonic Interm.
a.k.a Divider
(Divides I-V span)
II6
I
tonic prolongation
V
divider dom.
#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.)
What else would interest Schenker about the bass, mm. 1-8?
^1______
^2
^3
^4
#4. Schenker Theory is a melodic/contrapuntal theory.
(It sees chord as secondary to melody).
^
Arpeggiation
#5: Linearizing or Composing-Out: Melodies linearize
chords (often in much more subtle ways!)
Arpeggiation
Chordal Skip
PT NN
#6: Structure vs. Ornament:
Schenker theory recognizes a distinction btw.
structural tones and ornamental tones (diminutions).
Chordal Skip
PT NN
#7. Variation without a Theme
Great works are like a Variation on an unannounced theme
Foreground
?
NN
NN
Middleground
“Background”
#8. Structural Depth and Structural Layers: great music
has structural depth; behind embellished surface
lurks deep structure or background
(structural layers=foreground, middleground, background).
Viewed conventionally, does the right hand melody move:
•only by step,
•only by leap,
•or a combination of steps and leaps?
What is the melodic function of this bĚ (how does it relate to c)?
b& inflects c as lower NN
#9: Melodic Fluency
Structural lines (middle/background) are melodically
fluent—move mostly stepwise & recover leaps
Find the melodically fluent line
in the “jumpy”
bass
starting here:
Find the melodically fluent
Schenkerian line in the upper voice:
NN
Combine the 2 fluent lines. What does this remind you of?
pt
pt
#10: Outer-Voice Contrapuntal Framework
In great music, the middle/background, esp. outer voices,
resembles strict species counterpoint:
•Elegantly fluent lines
•Dissonance subordinate to consonance
•Follow rules of strict voice leading
Corollary: Beneath irregular foreground with leaps,
Dissonance, etc:
is a regular background of strict counterpoint:
pt
IV. Schenker’s Concept of Melody
Assuming fluent structural lines, where does LT, e& resolve
?
Soprano
Alto
3rd 6th
5th
pt
3rd
6th
unfolded
unfolded
5th
unfolded
#11: Compound melody or polyphonic melody: Single-line
melodies w/ leaps often imply 2 or more voices.
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__________
Establish Tonic
Modulate to Relative Major
Modulate through a series of remote keys,
Eventually modulate via V back to tonic
End in Tonic
#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)
#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.
Let this triangle be sacred
to him!
#14. Bassbrechung (the breaking of the bass) = The fundamental progression I-V-I is itself a prolongation of the tonic.
=
#15. The ascending 5th of the Bassbrechung creates I-V tonal space
that is often filled via dividers (II, III, IV or related harmonies)
What is the most important motive in mm. 1-8?
3rd-prg.
#16: To Schenker, motives often = middleground melodic
patterns rather than rhythmic surface
Can you find a 6th-progression elsewhere on p. 1?
There’s something very interesting about that 6th-prg.
•Opening fills in span of a 6th, C-EĚ = ^5to ^7 in f minor
•Mm. 16-20 fill in 6th span, ^E@ -G = 5 to ^7 in A@
(relative Maj)
6-prg
6-prg.
6-prg
Can you find additional appearances of the
Schenkerian motive (6th-prg. ^5-^7, E@-G) on
page 1?
V. Schenker’s Concept of Motive
Remember ME? What do you notice about my melodic shape?
=Same Linear Descent of a 6th: ^5-^7 (C-E&) as op
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).
III. Schenker’s Concept of Counterpoint
Why does Beethoven use the RH sf markings
in this passage?