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07 - Preda Schenkerian Analysis PDF
07 - Preda Schenkerian Analysis PDF
A. PREDA-ULITA1
1
Department of Music Performance, Transilvania University of Brasov.
48 Bulletin of the Transilvania University of Braşov. Series VIII • Vol. 4 (53) No. 1 - 2011
and through passing and auxiliary notes, in piece, whole sections may prolong V
its most abstract form. Next, they discuss (Schenker called this a “tonicization” of the
the forms that these structures could have dominant) and also, there may be other
in any musical context. Schenker’s harmonic sections prolonged in between the
approach relies on the fundamental initial I and the V of the final perfect cadence,
principles of the harmony and the bass of the fundamental structure
counterpoint. Allen Forte and Steven E. appearing in many different layers of a piece.
Gilbert, on the other hand, began by The bass line is only a harmonic progression
showing different apparitions of the and Schenker's theory seeks to comprehend
arpeggiation, passing tones, etc. at the music in terms of a two-part contrapuntal
note-to-note level before showing the way structure.
to use these in order to create musical Layer or level (Schicht) represents the
forms of greater proportions. Other music fundamental idea of Schenkerian theory
theorists, for example Felix Salzer and that music consists of a series of layers of
Carl Schachter, added to and spread elaboration. Schenker suggests that simpler
Schenker's ideas. By the 1960s, layers underpin the complex ones in almost
Schenkerian analysis had begun to attract the way in which a variation on a theme
renewed interest, and by the 1980s, it had supports the “surface” of the music.
become one of the main analytical methods Background (Hintergrund) refers only
used by many music theorists. to the Ursatz form that covers a whole
piece or movement. In some cases, one can
2.1. Structural concepts use it to refer to the Ursatz and its
immediate prolongations (like the initial
Fundamental structure (Ursatz) is the ascent etc.) that are usually part of the first
representative progression of which all tonal level of the middle ground. In theory, one
pieces are hypothetically an elaboration that simple progression that spans the entire
Schenker believed to be (along with a number piece is the foundation on which the
of variants) the most basic expression of tonal composer created the entire piece.
music. It consists of the descending First-level Middle ground refers to the
progression from , or in the upper part immediate prolongations of the Ursatz that
(Urlinie) over a bass progression Schenker restricts to a small number of
(Bassbrechung) that emerges in the strictly defined forms. The background
background as part of the fundamental sometimes refers to this level of the
structure. This progression represents one of structure as elaborations.
the simplest contrapuntal expressions of the I– Middle ground (Mittelgrund) is the
V–I unit. Schenker described the fundamental surface layer of a piece of music, the
structure as a tension span, as the tension background being the deepest layer, of
introduced by the initial is not resolved until which the whole piece is understood to be
the music reaches the final over the tonic. an elaboration. The middle ground has a
For Schenker, this tension span was what tied variable number of occurring layers that a
complex and various pieces of music into a Schenkerian analysis will identify between
single coherent work of art. the foreground and background.
Schenker considered that any piece of tonal Foreground (Vordergrund) is the
music can be described as an elaboration of surface layer of the music. Schenker
this pattern: tonal pieces generally start with I regards music in terms of layers of
and the V – I epitomizes the final perfect elaboration from the profound structure to
cadence of the piece. Nevertheless, in a longer the surface.
A. PREDA-ULITA : Basic concepts and principles in modern musical analysis. … 49
either their first or last note. The Mixture (Mischung) is the flattening or
Schenkerian model is a dynamic one - the sharpening of scale degrees, the most
diminution is not static but moves either to common of which being to ♭ , which in
or from a principal note. the first level middle ground can change
Consonant Skip is a term used by Allen the mode of the piece from major to minor.
Forte and by some Schenkerian analysts to It is ornamentation rather than a
refer to simple two-note (or incomplete) diminution because it does not derive from
arpeggiations, which usually constitute the rules of strict counterpoint. It describes
some sort of unfolding. The term refers to the flattening or sharpening of scale
a particular diminution in which the voice degrees and it usually appears in the first
leaps from one note of the harmonic unit to level middle ground in connection with
another note of the same harmonic unit. A as shown below. It has the effect of
consonant skip contains only notes from changing the mode from major to minor
the harmonic unit that it is prolonging. In a and back again. Schenker most often uses
Schenkerian analysis, diminutions the term mixture to refer to alternation
generally prolong either a harmonic unit or between the major and minor third in a
a particular note from it. As in an tonic triad.
arpeggiation, both notes from the Linear progression (Zug) is the
consonant skip are belong to the triad of Schenkerian term for a passing note
the harmonic unit, thus the prolonged note intensification that elaborates a specific
depends on the context. harmony in the middle ground or
Neighbour Note (Nebennote) is a foreground. Its first and last notes must be
diminution in which a note is ornamented a part of the harmony at the end of the
by a figure that moves stepwise to a note progression. A linear progression can be
above or below the original note before either ascending or descending, therefore it
returning to it. In other words, it elaborates moves only in one direction. Schenker
a note of a chord through stepwise motion appreciates that the linear progression is
to and/or from a dissonance. Neighbour the unfolding of a two-note interval made
notes may also be incomplete (move to a up of its initial and final note. In other
note a step away and not return to the words, the interval between these notes
original note). A complete neighbour note (first and last) gives a linear progression its
moves stepwise a dissonance and back name. The simplest linear progression is
again. An incomplete neighbour note can the passing note, which is dissonant as it
move from the dissonance to the passes from one consonant note to another.
consonance or the reverse.
Passing note (Durchgang) Some 3. Basic principles
Schenkerian analysts recognize most
passing note progressions as Linear Heinrich Schenker’s analytical approach
Progressions (see separate entry). In order of music engages looking beneath the
to be a true linear progression, however, surface of music in order to understand
the passing note must be the elaboration of how it connects into larger spans. It is
a harmony. A passing note right at the important for the performer to reflect on
foreground (surface) of a piece of music the direction and shape of the phrases, in a
may not always fulfil this condition. natural and logical way. At the basic level,
Examples might be a chromatic passing one can understand Schenker's ideas as a
note or a note that connects two surface formalization of his intuitive thinking that
harmonies. music should not be regarded as a series of
A. PREDA-ULITA : Basic concepts and principles in modern musical analysis. … 51
notes, but in terms of larger-scale shapes phrase are like words into a sentence. One
and patterns. analyzes a word as a part of speech,
The basic method of Schenkerian having, in the same time, a function within
analysis is to show how elaborations such the sentence.
as neighbour and passing notes, Felix Salzer (1952) introduced a concept
progressions and arpeggios group into that describes very well the schenkerian
forming music. These patterns do not analysis: structural hearing. He considered
appear only on the surface of the music but that the understanding of tonal music is a
that they also span much larger fragments. matter of hearing, and the ear has to be
Schenker regarded music like a trained to hear not only a succession of
superposition of layers/levels, the surface tones (sounds), melodic lines and chord
layer being the elaboration of a simpler progressions, but also their coherence and
layer beneath that surface. The surface of structural signification.
the music defines as the foreground, the Schenker’s conceptions rely on an
deepest layer the background and those observation that represents the corner stone
layers of elaborations in between refer to of his research: the distinction of the
as the middle ground. In addition, an “chord grammar” and “chord signification”
important feature of Schenkerian analysis (Salzer, 1952). “Chord grammar” signifies
is showing how melodic figures are the usual method of analysis, this being the
elaborations of harmonies. most important feature of a harmonic
The basic ideas stated by Schenker in his analysis that has the purpose of status
theory are quite simple, but the process of recognition of the chords in a musical
analysis is a complicated one, mostly piece. On the other hand, the study of
because music itself is complex. Analysts “chord signification” shows his specific
that approached this kind of analysis found role in a phrase, or an entire piece.
that it provides richly rewarding insights Schenker discovered that the roles that
into the shape and structure of tonal music. chords have are diverse. Two identical
Schenker is probably most famous for chords that appear in the same phrase can
his suggestion that musical works are fulfill different functions. The signification
elaborations of the basic model that he and the function of a sound or of a chord
called the Ursatz – a two-voice reductive depend on the direction of the movement
structure forming the basis for an and on the purpose, in other words on the
analytical approach that emphasizes the context.
essential simplicity of tonal music. It Schenker made a distinction between
shows how pieces are contrapuntal structure chords and prolongation chords,
elaborations of a tonic chord. Schenker by means of chord grammar and
stated that we could reduce a piece of signification, taking into consideration the
music to the Ursatz, and we can explore direction of music – this being the main
the complexities of the piece by idea of his approach. Salzer considered
considering them in relation to this simple that this method of understanding the
model. movement of music represents the
Some theorists (like Steven Porter instinctive perception of a truly musical
(2002)) that approached schenkerian ear; this can be called “structural hearing”.
analysis referred to grammar in order to The structural outline and framework work
explain the principles of Schenker’s signifies the main movement to its goal,
theories, taking into consideration that showing the shortest way to it.
notes and chords that belong to a musical Nevertheless, the tension of music consists
52 Bulletin of the Transilvania University of Braşov. Series VIII • Vol. 4 (53) No. 1 - 2011