EXAMPLE 1.

Schubert Impromptu in Eß, foreground sketch

A ^5 N N
a 5-prg. b N 6th N a′
N
mm. 1–24 25 5-prg. 36 44 60 (15ma)

(repeated twice)
5-prg.
mm. 52–59 =
mm. 9–16

Eß: I i ßIII V I i

∂^5 = ß^6 = N
N N B ^3 ^2 N N ^2
Anstieg
71 77 83 97 102 111

(8vb) x2 mm. 91–96 =

mm. 83–88

Bm: i (Bm:) v
Eß: i ßIII = V ßviß
N Coda
∂^5 = ß^6! ^5 ∂^5 = ß^6 = N ^5 ^4 ß^3 ^2 ^1
^2 ^3 3rd ∂^2 ƒ^2 ^1
267
120 127 135 146 251

(repeated twice)
N
mm. 127–34 =
A da capo
mm. 83–90

Bm: V v i iv V i
∞fl ∞fl @~~~! !~~@~~!
Eß: ßviß ii V ßviß V i ii V i
EXAMPLE 2. Schubert Impromptu in Eß, background and middleground sketches

^5 ^5 ^5 ^4 ß^3 ^2 ^1
(a)

Eß: I V i V i

^5 ß^6 = N ^5 ^5 ^4 ß^3 ^2 ^1
(b)

Eß: I ßviß V¶·——° i ii∞fl V i

^5 ß^6 = N ^5 ^5 ^4 ß^3 ^2 ^1
(c)

etc.

Eß: I i V ßviß ii∞fl V¶·——° I i ßviß V i ii∞fl V i

A B A′ Coda
^5 ß^6 = N ^5 N ^5 ^4 ß^3 ^2 ^1
(d)
a b a′

etc.

Eß: I i ßIII V I i V ßviß ii∞fl V¶·——° I i ßviß V i ii∞fl V i

EXAMPLE 3. Bß–Cß–Bß motivic parallelisms (bracketed)
(a) As middleground “form generator”
^5 ß^6 = N ^5 ^5 ^4 ß^3 ^2 ^1

A B A Coda

Eß: I ßviß V¶·——° i ii∞fl V @~~! i

(b) In the foreground of mm. 1–83

^5 N
N N N
N
N 6th N
N
mm. 1–24 25 5-prg. 36 44 60 71 77 83

etc.

Eß: I i ßIII V I i ßIII ßviß

(c) In mm. 273–83 (seven occurrences in tenor register)

E . Schubert Impromptu in Eß, neo-Riemannian analysis

A B A′

a b a′

mm. 1 25 36 52 71 82 83 99 127 135 143 159 169

(a)
PLP PLP

Eß b Eß

(b)
E
P LP
Eß eß b b PL eß P
Eß

retrograde

retrograde
(c)
RL LR LR RL
P LP PL P
Eß eß b fƒ b e b eß Eß

retrograde

(d)
P R P R
RP RLP
Eß eß Gß Eß eß Gß b (remainder as in level (c) above)
EXAMPLE 5. Linear environment of transformed triads

(a) Transformed iterations of opening gesture (mm. 1–36)


m. 1 m. 25 m. 36
 3   
 4           
         
   
  ( )
 
3   
 4

      

^5 ^5 ^5 ^5 ^5 ^5

             = 
        
 
=  
         =  
   

Eß eß Gß
P R

(b) Transition from A into B (mm. 52–83)

m. 52 m. 71 m. 80
  
 3   
                  
15 ma

 4  

             
 z ffz ffz
    ff
 34                         

    
 
ß^6 = N
^5 ^5 ^5 ^5
       
    
   

RLP
Eß eß Gß b
P R
LP
PLP
EXAMPLE 6. Lewin’s four tonal/functional transformations

D OP Name UTT
D Dominant 〈+, 5, 5〉
〈+, 7, 7〉
a SM C
M e
S Subdominant
M Mediant 〈–, 9, 8〉
SM Submediant 〈–, 4, 3〉
S

EXAMPLE 7. A three-node tonal network

(a) (b) (c)

G G
etc.
D 3 D
A
C C 2

S 1 S
D
F F

G
(d) D

C
etc. etc.

D S
D
F
D 2

G 1
G
D Bß
S
C C
Eß
S
etc.
F F

Bß Bß
etc. etc.
EXAMPLE 8. Lewin’s “system modulation”

f AfA–1
X Y (X)A (Y)A

EXAMPLE 9. Three-node tonal product networks with any UTT U

(a) HORIZ-network of (b) VERT-network of (c) Product network

VERT-networks HORIZ-networks
U U (G)U
G (G)U G (G)U G

D D D D D

U U U (C)U
C (C)U C (C)U C

S S S S S
U U
F (F)U F (F)U F (F)U

EXAMPLE 10. Modal-mixture network and its hexatonic extension

(a) Modal-mixture network...

P P
G g G g G g

D D D D D

P P P c
C c C c C

S S S S S
P P
F f F f F f

(b) ...given hexatonic extension.

P g L
G g Eß G Eß
Vertical, tonal-functional

D D D D D D
dimension

P L C P c L Aß
C c Aß

S S S S S S
P L
F f Dß F f Dß

Horizontal, hexatonic
dimension
EXAMPLE 11. Modally mixed functional transformations

G g
OP Name UTT
D Dominant 〈+, 5, 5〉
S Subdominant 〈+, 7, 7〉
C c P Parallal 〈–, 0, 0〉
D* Mode-rev. Dom 〈–, 5, 5〉
S* Mode-rev. Subdom〈–, 7, 7〉
F f

downward arrows = D downward angled arrows = D*

upward arrows = S upward angled arrows = S*
horizontal arrows = P

EXAMPLE 12. Analysis of mm. 1–52

(a) Pass 1 (mm. 1–25) (b) Pass 2 (mm. 25–36)

Bß bß Bß bß Dß dß
3
3
4 4
2 Eß eß Eß eß Gß gß
2
1 1

Aß aß Aß aß Cß cß

Eß M/m network Eß M/m network Gß M/m network

Arrows 1–3: mm. 1–8, 9–16, 17–24 Arrows 1–3: mm. 25–35
Arrow 4: mm. 24–25 Arrow 4: mm. 35–36 (= R)

(c) Pass 3 (mm. 36–52)

EXAMPLE 13. Suggestion of Cß=B minor
in mm. 36–37

Bß bß Dß dß

      
          
5

6 4 3

Eß eß Gß gß
1

actual suggested?

    
    
2
Aß aß Cß cß

Eß M/m network Gß M/m network Gß dim.∞fl V£› Gß S* cß

Arrows 1–2: mm. 36–38

Arrows 3–4: mm. 38–43
Arrow 5: mm. 43–44
Arrow 6: mm. 44–52
EXAMPLE 14. Reduction of Example 12

Bß bß Dß dß
Pass 3

Eß Pass 1 eß Pass 2 Gß gß

Aß aß Cß cß

Eß M/m network Gß M/m network

EXAMPLE 15. End of A section, transition to B section (mm. 60–83)

(a) Initial protension through m. 82

Bß bß Dß dß

Eß 1 eß 2 Gß gß

Aß aß Cß cß

Eß M/m network Gß M/m network?

Arrow 1: mm. 60–71
Arrow 2: mm. 71–82

(b) Reinterpretation with arrival of m. 83

Bß bß Dß dß

Eß 1 eß 2 Fƒ fƒ
3

Aß aß B b Downward shift
of “tonal frame,”
! ! fifth-related
Eß M/m network triadic grid
remains fixed
E e
Arrow 1: mm. 60–71
Arrow 2: mm. 71–82 B∂ M/m network!
Arrow 3: mm. 82–83

(c) Compare mm. 1–36 (Exx. 12 and 14)

Bß bß Dß dß

Eß Pass 1 eß Pass 2 Gß gß
Pass 3,
arrow 1

Aß aß Cß cß

Eß M/m network Gß M/m network

EXAMPLE 16. Retransition to the A′ section (mm. 154–69)

Bß bß Fƒ fƒ
1
4
Downward shift
3
of entire Eß eß B b
network, ! !
including 2
triadic nodes

Aß aß E e

Eß M/m network! B∂ M/m network

Arrow 1: mm. 154–59 (= PL)

Arrow 2: mm. 159–63
Arrow 3: mm. 163–65
Arrow 4: mm. 165–69

EXAMPLE 17. Functional realignment in the Coda

(a) End of A′, transition to Coda (mm. 228–51)

Bß bß Dß dß

Eß 1 eß 2 Fƒ fƒ
3

Aß aß B b Downward shift
of “tonal frame,”
! ! fifth-related
Eß M/m network triadic grid
remains fixed
E e
Arrow 1: mm. 228–39
Arrow 2: mm. 239–50 B∂ M/m network!
Arrow 3: mm. 250–51

(b) Unequivocal realignment in mm. 251–64)

2/6

Bß bß Fƒ fƒ
3/7 1/5
Downward shift 4
of entire
network, ! Eß eß ! B b
including
triadic nodes
4
Aß aß E e

Eß M/m network! B∂ M/m network

Arrow 1/5: mm. 251–54, 259–62

Arrow 2/6: mm. 254–55, 262–63 (= LP)
Arrow 3/7: mm. 255–56, 263–64
Arrow 4: mm. 258–59 (= LP)
EXAMPLE 18. Interaction of foreground keys and voice-leading structure
in retransition to A′ (Cf. Ex. 16)

B A′
154 159 163 169
N  N
 ^5

             
             
 

 
          
 

 
N
Fgd. keys: Bm Eßm!! EßM

ßviß (P@) iiØ∞fl V¶·–—–—–° I

Eß Stufen:
ßviß V I