Slide 1

Basic elaborations

This Powerpoint presents some of the material from the first two chapters of the
handbook.

the idea of music as embellishment/elaboration (slides 2-4)

consonant and dissonant embellishments (slide 5)
compound melody (slides 6-7)
figured bass and species counterpoint (slides 8-11)
basic elaborations (slides 12-22)
refinements to linear progression (slides 23-24)
unfolding, reaching over (slides 25-28)
Slide 2

Example 1.1

music as embellishment/elaboration
surface grouping, like language
Slide 3

By ten-forty-five it was all over. The town was occupied, the defenders defeated.

Example 1.2

Larger scale groupings

Tension of expectation created by non-completion in both language (opening of
Steinbecks Moon is Down) and music
Slide 4

4 Beethoven, Seven Variations on the National Song God save the King

Example 2.1

layers talk through process of reduction from a) to d) BUT

better understood as generation
aesthetic of unity and deep structure
interest is in seeing how surface is generated from simple and common patterns
analysis as comparison just like sonata principle how do composers elaborate
and develop simple patterns
Slide 5

(unfolding)

Figure 2.1

basic building blocks.

at various levels, Schenker tells us what we might expect.
this is the very simple foundation of Schenkerian analysis - complication comes
from their combination and layering
Slide 6

6 J. S. Bach, Partita No. 2 in D minor for Violin Solo, BWV 1004, Chaconne

Example 2.2

compound melody in single-line music

Slide 7

7 Mozart, Piano Sonata in F major, KV 332, Adagio

Example 2.3

same principle of compound melody here

talk about LH first then RH
Slide 8

figured bass - reminder of how to label chords with RNs and fig bass (if needed)
Slide 9

Example 2.5

species counterpoint.
many composers did these exercises
principles of species are to some extent internalised in Western musical language
Slide 10

10 Mozart, Symphony in G minor, K.550, first movement

Example 2.6

an example of a piece of music that can be understood in terms of a first species

exercise.
Slide 11

11

Example 2.7

species counterpoint embodies the principle of layers that is so important to

Schenkerian analysis
Slide 12

12

Example 2.8

arpeggiations
Slide 13

13 Beethoven, Piano Sonata in Eb major, Op. 27, No. 2 (Moonlight), Presto agitato

Example 2.9
nested arpeggiations.
the foreground arpeggiations are almost too fast to hear we unconsciously listen
to the rising arpeggiations just beneath the surface.
Slide 14

14 Corelli, Violin Sonata, Op. 5, No. 12, Adagio

Example 2.9

arpeggiation beneath surface is decorated by a series of two-note arpeggiations

best understood as compound melody.
Slide 15

15

Example 2.11

neighbor notes
Slide 16

16 J.S. Bach, The Well Tempered Clavier, Book 1, Preludio II

Example 2.12

whole piece made up of compound melody decorated by neighbor notes.

Slide 17

17 Schubert, Six Impromptus, Op. 142 No. 3

Example 2.13

neighbor note beneath the surface decorated by compound melody.

Slide 18

18

Example 2.14

linear progressions
basic principle of spanning two notes from the same chord
Slide 19

19

Some common mistakes:

a) The progression must make sense of the harmony so should be interpreted as b)
c) A chromatic passing note still a third progression the 3 refers to the interval
spanned
Slide 20

20 Mozart, Piano Sonata in G major, KV 283, Presto

Example 2.14

linear progressions on the surface

Slide 21

21

Example 2.16

nested linear progressions

work from depth to surface Schenkerian analysis makes much more sense this
way.
passing note in a) is supported harmonically in b) and then can have its own
elaboration in c)
Slide 22

22 Mozart, Variations in
Eb, KV 353,
Thema

Example 2.17

again, work from depth to surface:

passing note is supported harmonically and then various surface elaborations of
the basic underlying descending third progression.
Slide 23

23 (Haydn, Piano Sonata in C major, Hob. XVI, No. 15, Air )

Example 2.22

some refinements to linear progressions

third progression agrees with goal harmony of V
fourth progression is the only exception to this general rule moves from I-V
Slide 24

24

Haydn, Piano Sonata in C minor, Hob. XVI, No. 20,

Allegro moderato

Examples 2.24-5

leading progressions
example on click
Slide 25

25 Haydn, Piano Sonata in Eb major, Hob. XVI, No. 28, Allegro Moderato, mm. 49-53

(Beethoven, Sonata quasi una fantasia, Op. 27, No. 1, Andante)

Examples 2.19-20
unfolding
very simple Haydn example
click: more leisurely example from Beethoven
Slide 26

26 Haydn, Sonata in Eb major, Hob. XVI, No. 52, Andante

Example 2.21

more complicated unfolding filled in with linear progressions and arpeggiations.

Slide 27

27 Mozart, Nannerls Notebook, KV 6, No. 2, Andante, mm. 9-11

Example 2.29

reaching over
Click 1: unfoldings
Click 2: reaching over onto third progression
Slide 28

28 Chopin, Mazurka in G# minor, Op. 33, No. 1, mm. 16-17

Example 2.31

unfolding reaching over to create an arpeggio

Slide 29

29 Mozart, Twelve Minuets, KV 103, No. 1

Example 2.34

voice exchange
Slide 30

30
Mozart, Eleven Minuets,
KV 176, No.1

Example 2.18

Final example.
Here an incomplete neighbor is decorated by a third progression at b) and this is subject
to further decorations at c)