Schenkerian Analysis - Key Terms

1. Tendency tones in major and minor

-Pitches within the scale that have a melodic momentum to move to another pitch. The intervalic
relationships within a given scale often dictate this relationship;7 will move upwards by step to
the 8 for resolution, 2 will move to 3 for continuity or 1 as a descending leading tone, and flat-6
will move to 5 to alleviate dissonance. Other tendency tones within the scale will often lead to
strong intervallic relationships of tonic and dominant.

2. Descending Leading Tone

-Scale degree 2 can function as a leading tone which descends to 1 emphasizing
motion to tonic. This function is similar to the functional motion of scale degree 7 moving to 8.

3. Key-defining Interval
-term for the tritone that occurs only once in a major key, and it’s resolution by half-steps lead to
scale degree 1, and 3 which define the tonic of the key.

4. Melodic Fluency (fliessender Gesang)

-”The balance and poise that stepwise line can provide into a flowing song”

5. Structural Levels
-The melody as heard note for note is the Structural Surface (surface level), and the principle
tones without embellishments are the Reduced Surface (reduced level).

6. Prolongation (melodic/chordal)
-An active tone can be prolonged and featured by embellishment and non-chord tones by motion
that moves away and then returns to the active tone. This principle tone can be framed by extra-
melodic motion that emphasizes it. Chordal prolongation can be achieved with similar behavior
of the bass line that emphasize the harmonic function of chord, as in prolonging of tonic.

7. Polyphonic melody
-A melody that articulates two or more distinct voices, such as the fugue subject, is called a
polyphonic melody, and different voices can be widely separated.

8. Counterpoint
-Combination of two or more lines in agreeable alignment consisting of point by point intervallic
relationships of consonance and dissonance. The frequency of notes moving against each other
determines the species of the counterpoint

9. Four Types of Relative Motion - is a traditional four part harmony in which it is important
that all four lines maintain their own independence, and they are called parallel motion, similar
motion, contrary motion, and oblique motion.
10. First Species Counterpoint - This is when one note in the left hand is set again the right
hand, and they must all start with a consonance on the downbeat of each measure.

11. Chordal Reduction - is when the chords that span over several octaves by having more than
three or 7 notes, and when creating a chord reduction, certain elements of notes are removed to
create a simple chord.

12. Second Species Counterpoint - in this species, two notes are created for every one note such
as, two half nites against each whole-note.

13. Melodic Progression - is the devision of of the octave into twelve equal parts, in which one
note an adjacent ( C to C#) note is a semitone progression in tonal music.

14. Melodic Substitution - A given chord can be expressed in a wide range to create different
effects when played in a piece of music. however, musician often want to enhance their music by
substituting the existing chord with one that sounds different but creates the same harmonic
function.

15. Transfer of register - is the motion of one or more voices into a different octave.

16. Third Species Counterpoint - this species is when four notes are set agains one note, for
example, four quarter notes against each whole-note.

17. Fourth Species Counterpoint - A style of counterpoint in which the cantus firmus and
the contrapuntal line both move in the same bar, but are rhythmically offset by half notes.
This results in numerous suspensions with oblique motion.

18. Rhythmic Dissonance - A rhythmic pattern created by two or more opposing rhythmic
units. Any rhythmic patterns features a some level of rhythmic dissonance, other than
steady, unaccented beat notes.

19. Suspension - A non-chord tone involving three components: the preparation note (which
is a CT in the preceding chord), the suspension itself (which is the NCT), and the
resolution, which is a step lower from the suspension tone. Interval numbers are also
used to indicate suspensions, such as 2-1, 4-3, and 9-8.

20. Breaking the Species - A compositional device used in fourth species counterpoint
which interrupts the series of syncopations in order for both the cantus firmus and
contrapuntal line to both cadence together on the downbeat of the last measure.

21. Fifth Species Counterpoint - A cantus firmus set against a contrapuntal lines that
incorporates a combinations of all four species of counterpoint. Fifth species in itself
does not introduce any new compositional devices, simply the opportunity to combine
 species 1-4.

22. Free Composition and Diminution - Diminution is the rhythmic shortening of note
values. Free Composition is a treatise by Heinrich Schenker, and is one of his best
known works.

23. Urlinie(n) - The fundamental melodic line of a composition featuring a descending

stepwise motion beginning and ending on one of the notes from the tonic triad.
Schenkerian Analysis - Key Terms for Chapter 3
Jeremy Kelly, Bongani Ndhlalane, & Derrik Nelson

1. Scale Steps / Stufen - Fundamental pitches that are derived triads that are built from the given
scale. Stufen may contain more than one pitch, but they will be from the triad built from the root
of the scale. Schenker's concept of harmonic structure is base on these scale steps

2. Chord vs Harmony - A distinction must be made between the quality of an individual chord
and the harmonic function that it ultimately serves. Example; a chord may be of a dominant
quality but my function only as a prolongation of tonic.

3. Classes of Harmonies - A practical way of evaluating harmonic structure by providing a

framework of the contrapuntal motion of a harmonic progression that moves from T (Tonic) ->
Int (Intermediate) -> D (Dominant) -> T (Tonic)

4. Tonic Harmony - Class of structural harmony characterized by the tonic of the key. This class
is comprised on tonic harmonies as well as the other chords that ultimately serve as expansion or
prolongation of tonic. Non-tonic chords are often built from common pitches of the tonic they
support.

5. Intermediate Harmonies - Class of structural harmony characterized by elaborative motion

from the Tonic to the Dominant. These harmonies intensify the motion to Dominant and are so
frequent that they most be included in the framework of harmonic structure.

6. Motivic Brackets - Written indicators that show motivic movement relationships within the
voices. A voice may move in specific motion to emphasize later similar motion in another voice
highlighting important harmonic destination.

7. Chromaticized intermediates - A non-diatonic chord, or applied chord that can function as an

Intermediate, or its expansion/prolongation, which intensifies the movement of the harmonic
structure to the Dominant.

8. Subordinate Prolongation - The expanding of any subordinate harmonies

9. Evaded Cadence – a cadence that resolves to a chord that was not expected, for example,
deceptive cadence resolves to (IV) instead of tonic.

10. Apparent Tonic – Whenever the initial key is first interpreted as tonic, but this interpretation
is rejected as the work develops.

11. Dominant Harmony (class D) - a dominant harmony is a progression that has a dominant
function leading to tonic, and this includes V, V7, vii diminished.

12. Harmonic prolongation – is when the bass repeats or sustains a bass note while other voices
are changing, and maintaining or remaining in the function T-S-D, but roman numerals may
change.

13. Contrapuntal Chord – Any other chords other than the Tonic, Dominant, or Intermediate
structural harmonies (I, IV or ii(6), and V).

14. Cadential 64 notation (V64 vs. I64) - Two different methods to notation the cadential 64
chord. The first, V64, emphasizes the harmonic function of the chord itself, functioning as a
dominant. The second, I64, places emphases instead of the action chord being sounded,
considering only the vertical notes and not the linear function of the harmony.

15. Dividing Dominant - The structural V that supports scale degree 2 of the fundamental
structure and similar progressions in the middleground.

16. Harmonic Interruption - a prolonging of the fundamental harmonic structure by stopping

scale degree 2 in the melody from reaching 1. Scale degree 2 is taken back up to 3, before its
descent from 3 - 2 - and finally 1.

17. Voice Exchange - Typically occurring in the outer voices (Sop. & Bass), this is when, over
the course of a few chord (usually three) the note that was featured in the soprano becomes the
note in the bass, and the note that was featured in the bass becomes the soprano note. They
exchange pitch classes and not actual pitches (they maintain their respective registers). They
voices also exchange by using contrary motion.

18. 5–6 Technique - Voice leading between the bass and another voice. What begins as a fifth
becomes a sixth by both voices moving the distance of a second by contrary motion, creating a
LIP of 5-6.

19. Modulation and “Illusory Keys” - Schenker was skeptical of actual modulation, viewing
what is commonly referred to as modulations as a mere link in the harmonic chain beginning on
I(i), transiting through intermediate states to the dominant, and back to I(i). Schenker referred to
what seems to be modulations as “illusory keys”, as they merely form an illusion of a change of
key.

20. Imaginary Continuo - A metrical keyboard reduction with a flexible number of voices and
idealized voice leading.

21. Composing Out (Auskomponierung) - The process of how a background structure can
expand until it becomes featured on the surface of the composition. An example of this is how a
triad can control or lead sections of music even when not actually sounding.

24. Linear Progressions - Scalar motion that unfold the interval or intervals of an underlying
chord, and referred to by the interval that the motion spans as well as the direction of the
movement; ascending third-progression, or descending fifth-progression
25. motivic parallelism - instances of imitative relationships within voices often presented in a
statement-answer fashion. A passing motion many be present in one voice that is answered
in similar motion in another. In analytical reduction these instances are marked with
brackets.
26. expanded repetitions ("hidden" repetition) - Based on the relation of the melodic motion to
the lower voices, as well as the emphasized pitches of a reduction, new progressions can be
seen that may serve addition functions within the line.
27. Linear progressions
• Prolonging - Movement of the progression consists of the scale degrees of the
interval that serve to prolong the harmony without moving from the harmony type
(T, Int, D)
• Connecting - Compositional tactic of linking octaves with each other in order to
integrate registers with a scalar stepwise motion.
5. Interval Inversion - a registral shift were an alternate line can be created by inverting the
intervals creating different spacial relationships
6. Linear intervallic patterns - harmonic sequences that with a repeated intervallic pattern
• Linear intervallic patterns may serve to prolong a single harmonic class
• Linear intervallic patterns my be used to expand the space between harmonic
classes as they transition to other classes (T-Int-D)

7. Descending Fifths Sequence: model vs. variant

- Model: A series of two chords with the roots moving in descending fifths fashion (bass can
be inverted, thus moving in ascending fourths) that is then repeated a step lower than the
preceding progression. (Ex. Root movement: C—F, B—E, etc.)
- Variant: The same basic progression, with every other chord being inverted. (Ex. Bass
movement: C—A, B—G, etc.)

8. Normalization: An unconscious process by which the experienced listener can hear music as
if rhythmic displacements, such as the suspension or retardation, did not occur.
9. Transfer of Register: This occurs when a voice maintains is relation or “status” within the
original register, but is transferred up or down an octave.

10. 5-6 Sequence: model vs. variant

- Model: Also referred to as the “falling 3rds” sequence, this sequence occurs when there is a
descending stepwise line in one of the voices (often times the bass) occurring between two
chords. These two chords are repeated, along with the stepwise melodic line, now a third
lower. (Ex. F — C/E, Dm — Am/C, etc.). It is referred to as the 5-6 sequence because of the
5-6 interval relationship that occurs between the bass and one of the other voices.
- Variant: The same basic progression, but this time the descending melodic line is not in the
bass. This version of the 5-6 progression will feature a leaping bass, skipping down a fourth
then up a second to begin the iteration of the sequence.

11. Mentally Retained Tones: Whenever a structural note (Stufe) is heard, we retain it in our
minds until another structural note is heard.

12. “Implied” Pitches: Tones that are never sounded, but can be logically inferred by the
surrounding context. (Ex. E moving down to B before resolving to C. The D can be implied or
inferred, thus creating a stepwise line down from E through D to C.)

13. Neighbor Tone (N) vs. Incomplete Neighbor Tone (IN)

- Neighbor Tone: Similar to the passing tone, but this NCT returns right back to the note that
it is embellishing. (Ex. C — D — C or C — B — C.)
- Incomplete Neighbor Tone: An embellishing tone that is a step away from the CT. The IN
is broken town into two types:
- The Appoggiatura (AP): This is approached by leap and resolved by step to the CT. (Ex. C
— A — G.)
- The Escape Tone (ESC): This is approved by step and resolved by leap to the CT. (Ex. C
— D — G.)