VI. Sample analysis for study.

An den Sonnenschein, op. 36, no. 4 Schumann

VII. A brief introduction to structural-pitch reduction.

Not all the pitches in a given melody or bass line are equally important. The graphic reduction of a line to its
main pitches helps reveal the directional nature of the line, as well as the ways in which line and tonality
interact. Although the identification of structural pitches is to some extent subjective, the notes that tend to
sound most important in any given line are those that are accented and/or long. These are often tonic triad
members and goal notes.

The following structural-pitch reduction is suggested by, but not directly based on, the work of Austrian
theorist Heinrich Schenker (1868–1935). The following symbols are used in this reduction:

h = principal structural pitch (tonic note)

w = secondary pitch
= decorative pitch
= melodic motion prolonging or connecting structural pitches; these comprise arpeggiation (A),
neighboring motion (N), and passing motion (P)
= prolongations and octave transfers of structural pitches
Dotted lines in this example show the basic scalar motion:

Symphony no. 104 in D Major, fourth movement Haydn

AN INTRODUCTION TO TONAL MELODY 273

 One possible reduction follows:

274 REFERENCE MATERIALS

19 An Introduction to Tonal Counterpoint

I. The term counterpoint refers to a texture in which the voices exhibit some degree of linear independence.
Most music is to some degree contrapuntal.

II. In studying the relationship between two given voices, the following items should be noted.

A. Note the rhythmic relationship. The voices may proceed in the same note values but are more often
rhythmically distinct, frequently in a ratio of 2:1.

Bourrée Bach

Allegro Handel

B. Note relative directions. The voices may run in parallel, similar, oblique, or contrary motion in relation
to one another. In most pieces a mixture of all four types prevails, with a slight preference for contrary
motion. Parallel perfect consonances are not found, and too many successive parallel imperfect conso-
nances detract from the independence of line.

Bourrée Bach

275
 Bagatelle, op. 126, no. 5 Beethoven

C. Note vertical (harmonic) intervals. In general, imperfect consonances are preponderant, except at the
beginning of a phrase and at cadence points, where perfect unisons, octaves, and fifths are often found.
The intervals placed on the beat are usually consonant, except when a nonharmonic tone is clearly heard
in one voice.

Allegro Handel

Viennese Sonatina Mozart

*Occasionally one or more voices will be coupled at the third or sixth.

276 REFERENCE MATERIALS

 The harmonic implications of the most common vertical intervals are as follows: thirds and sixths imply
triads, seconds and sevenths imply seventh chords, and tritones imply dominant function.

D. Note invertible counterpoint, a technique in which the voices exchange place so that the upper voice
becomes the lower.

Sonata, K. 280 Mozart

Sonata, op. 14, no. 1 Beethoven

AN INTRODUCTION TO TONAL COUNTERPOINT 277