Free composition: volume III of New musical theories and fantasies = Der freie Satz 9781576470749

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FREE COMPOSITION

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(Der frere Satz) Volume III of New Musical Theories and Fantasies Heinrich Schenker Semper idem sed non eodem modo Translated and edited by Ernst Oster

DISTINGUISHED REPRINTS SERIES No. 2

Pendragon Press

Hillsdale, NY ,

ISBN 978-1-57647-074-9 Library of Congress Catalog Card Number: 79-14797 Printed in the United States of America

Library of Congress Cataloging-in-Pubiication Data Schenker, Heinrich, 1868-1935. Free composition (Der freie Satz)

“Published in cooperation with the American Musicological Society.”

“The text is based mainly on the second German edition (ed. Oswald Jonas, Vienna, 1956, but the first edition (Vienna, 1935) was also consulted.” Includes bibliographical references. 1. Musie—Theory. 2. Counterpoint. I. Oster,

Ernst. II. Jonas, Oswald. III. Title. IV. Title: Der freie Satz.

MT40.8292123 781 79-14797 copyright 1977 The Estate of Emst Oster

&G | :

: HEINRICH SCHENKER was born in Podhyce (Podgajcy), Galliee cia, on June 19, 1868. (His birthplace lies in what is today the

oe western region of the Ukraine, near L’vov.) As a youth he dem_ es onstrated great talent as a pianist and received encouragement

a 4 from Carl Mikuli, a student of Chopin. He emigrated to Vienna

- , 4 where, in the late 1880s, he studied at the Conservatory and fa 7 4 also earned the Dr. Jur. degree at the University. 4 a Before the appearance in 1906 of his first major theoretical

_ 2 — 227 work, Harmonielehre, Schenker was active chiefly as a practical ee See le” musician—as a pianist, a conductor, an editor, and a composer. ee @ r a ow ge oo He toured as accompanist to one of the greatest singers of ee et ~ A e Y the period, the Dutch baritone Johannes Messchaert. In connec— ; hg a? ‘a — . 4 tion with his activity as a conductor, he made continuo realiza-

~~ . ‘+ *, aid 4 : . if, tions and arrangements of music of earlier periods, including —«$-§ SFU FC, Bach cantatas, piano concerti by C.P.E. Bach, and organ con-

Z , - , ” : | : Brahms, who recommended them to his publisher, Simrock. BuA. ee | Oe soni also took an interest in Schenker’s music and programmed

a — rs ae f | several of his works on a concert series in Berlin beginning

0 inf ha -’we During thevarious 1890speriodicals Schenker in wrote essays in musical criticism Cf ; for Berlin, Leipzig, and Vienna. It was i partly the desire to establish a more precise foundation for , , — 4 criticism, both of composition and of performance, that moti-

| Z , | _ vated Schenker to embark upon the path that led to the confF 2 i 2 nected series of original theoretical works culminating with a Z /> -toFree Composition. the prevalent approach fi 3 +ZA music theory withDissatisfied its abstract with speculations (for example, Ai J pC the question of harmonic ‘“‘dualism”) and rigid formal schemata,

| . A. > i Schenker set out to discover and formulate the principles of a . sf & tonal art as they were manifested in the greatest products of 7 4 a , that art. For Schenker, it was their intimate connection to the — > musical artwork that set his theories apart from all others then

Z Py — “ i Le = = - ] . in vogue. Thus the cover of Harmonielehre attributes the work i 3 | Ma ee ae / merely to “einem Kiinstler,” without further specification of

|r Ff [ ws _ the artist’s identity. Vv

FREE COMPOSITION

From the writing of Harmonielehre until the end of his life, theorists and performers on an individual basis. Schenker died Schenker devoted himself primarily to his theoretical work, to in Vienna on January 22, 1935. editing masterworks, and to teaching musical interpretation to

For my beloved wife

Series Editor’s Acknowledgment 4 3 The Bass Arpeggiation in General (8§ 15-19) 14

Preface to the English Edition xi 4 Specific Characteristics of the Fundamental Structure

Preface to the Second German Edition KV (88 20-26) 15 Introduction to the English Edition XVii

Introduction xxi Chapter 3 The Forms of the Fundamental Structure 17 1 The Forms of the Fundamental Structure: General Re-

PARTI THE BACKGROUND marks (85 27-30) MW

2 The Possible Forms of the Fundamental Structure in the Chapter 1 The Background 3 Cases of 3, 5, and 8 (§§ 31-44) 19 |

1 The Concept of Background in General 3

2 The Background in Music 4 PART II THE MIDDLEGROUND

ground in Music 4 h T : :

3 The Fundamental Structure as the Content of the Back-

4 The Significance of the Fundamental Structure for Com- Chapter 1 The Middleground in General (8§ 45-52) 25

position, Instruction, and Performance 6; Chapter 2 Specific Characteristics of the Middleground:

Chapter 2 The Fundamental Structure 10 The First Level 29 1 The Fundamental Structure in General (§§ 1-3) 10 1 The Combination of Fundamental Line with Bass Arpeggi-

2 The Fundamental Line in General (§§ 4-14) 11 ation (8§ 53-86) 29 vii

viii FREE COMPOSITION a An Unprolonged Fundamental Line Combined with an 5 The Seventh (8§ 176-179) 63 Ascending Bass Arpeggiation I—V That Is Prolonged 6 The Syncopation (§§ 180-182) 65

by Contrapuntal-melodic Means 29

b Working-out and Consequences of the Contrapuntal Chapter 2 The Later Structural Levels 68 in the Case of 8, of 5 oran _ otUnprolonged A The Later Structural Levels in General 68 ceStructure The Combination Fundamental Line(§§ . . 183-185) .

. E 1 Prolongations of the Bass34 Arpeggiation (8§ 186-191) 68 de V—TI Conclusions . . 2atStructural Division (8 192) the First Level 36 3 Mixture (§ 193) 70 70 with Two Bass eggiations 34 B_ The Prolongations of the Later Levels in Particular 68

ne . 2 4 The b2 (88 194-195) (§§ 196-202)71 71

2 Division of the Fundamental Line (8§ 87-101) 36 -

a Division in the Case of 3 Note 36 . . wee . by 5 Interruption 5 The Neighboring

b Division by Interruption in the Case of 5 39 6 Linear Progressions (8§ 203-229) 73

eMixture Division by 8—5—1 in the40 Case of 8 40 G . » ession 73 3 (8§ 102-108) . Teena Linear P . 4 4 The Phrygian 3 in the Fundamental Line (§§ 104-105) 41. mony NEAT * VOBTESSIONS ; .d . Neighboring cThe The Ascent and Descent of Linear Progressions 75 5 The Note (8§ 106-112) 42 . . . . . Individual Linear Progressions 75 6 Linear Progressions (8§ 113-124) 43 . .

The Closure of Linear Progressions 77 a General 48 f The Combination of eTwo or More Linear P ions 78

. . . 7 Arpeggiation (§ 230) 82

b Descending Linear Progressions of the First Order 44 © ombinalion 0 0 OF More Mmear t TOBressions

The Ascending Linear Progression 45 . (§§ 231-232) 83 8 Reaching-over 78ceReaching-over Arpeggiation (8§ 125-128) 46 . . (§ 233) 83 .we 9 Motion from the Inner Voice (88 129-134) 47 . 9 Motion from theSubstitution Inner Voice (8§ 135-139) 49 a: (§ 235) 84 . 11 10 Unfolding 140-144) 50.(88 us 12 Exchange of Voices 11 Substitution (8§ (8§ 145-146) 51 .. 236-237) 84

. . 10 Unfolding (§ 234) 83

.. .. 13 Ascending Register Transfer (§ 238) 85 12 Ascending Register Transfer (§§ 147-150) 51 .. 14 Descending Register Transfer (§ 239) 85 13 Descending Transfer (§ 151) 52 15 Coupling (8§ 240-241) 85 14 CouplingRegister (88 152-154) 52 ping 15 The Combination of Different Types of Prolongations at .

the First Structural Level ( 155) 59 Chapter 3 Specific Foreground Events 87 1 Transference of the Forms of the Fundamental Structure

to Individual Harmonies (§§ 242~—243) 87

PART IIT THE FOREGROUND 2 Incomplete Transference of the Forms of the Fundamen-

. . tal Structure; Auxiliary Cadences (8§ 244-246 88

Chapter 1 The Concepts of Strict Counterpoint 55 3 Addition of a Root 6 247) 90

1 Perfect Consonances (§§ 156-164) 55 4 Chromatic Tones (8 248) 91

2 Imperfect Consonances (8§ 165-167) 60 5 Avoidance of Chromatic Steps (§ 249) 91 3 The Passing Tone at the Foreground Level (§§ 168-174) 61 6 Cross-relation (8 250) 92

4 The Change of Harmony 5—6 (§ 175) 63 7 Diminution (8§ 251-266) 93

CONTENTS ix

8 Cover Tones (§ 267) | 107 2 The Song Forms (8§ 308-310) 131 9 Obligatory Register (§§ 268-270) 107 3 Sonata Form (§§ 311-316) 133 10 Articulation (§§ 271-275) 108 4 Four-part Form (§ 317) 141 11 The Scale Degree (§§ 276-283) ili 5 Rondo Form (8§ 318-321) 141

6 Fugue (§ 322) Chapter 4 Meter and Rhythm 118 7 Variations (§ 323)143 144 1 Meter and Rhythm in General (§ 284) 118 2 Meter in Music (8§ 285-289) 118 Byilopue (§ 824) 145 3 Rhythm in Music (88 290-291) 122 Appendix 1 Contents of Figures (Works Arranged by

4 Antimetric Rhythmic Situations (§§ 292-300) 122 Composer) 149

Appendix 2 List of References to Figures 154 Chapter 5 Form 128 Appendix 8 Works of Heinrich Schenker 156 A Form in General (8§ 301-306) 128 Appendix 4 Omissions from the Original German Edition 158

B_ Form in Particular 130 Appendix ListTranslator of Terms 163 1 Undivided Form (8 307) 130 About5 the 165

®e9

Series Editor’s Acknowledgment

Ernst Oster died before the initial stages of the publication Preface to the English Edition. However, for the sake of compreof Free Composition had begun. As a result, many authorial hensiveness it was decided to provide these passages in an apresponsibilities for the production of the book had to be assumed pendix. John Rothgeb translated the deleted passages which by friends and colleagues whom we would like to thank for appear in Appendix 4. He checked the entire translation, and

their gracious and dedicated assistance. several footnotes have been added which bear his initials. In Gail Rehman, who checked the entire translation, was meticu- addition, he provided the biographical sketch of Schenker and

lous in proofreading, checking data, translating and preparing was a second proofreader for the entire text. copy for the example volume, and offering invaluable suggestions Gratitude is due the American Musicological Society for finan-

about all phases of production. cial support; its president, James Haar, and the chairman of While Ernst Oster restored some deletions made by Oswald the editorial committee, Martin Picker, gave enthusiastic enJonas in the second German edition, he retained others and ecouragement to the publication.

deleted some additional passages which he mentions in the Gerald Warfield Gratitude is due The Mannes College Music Theory Fund for financial support for the reprinted edition. x

Preface to the English Edition |

Almost half'a century has passed since the publication of this Schenker entitled Neue mustkalische Theorien und Phantabook shortly after Heinrich Schenker’s death in 1935. The politi- sien. The second volume of this comprehensive work was cal events of the subsequent years naturally made it impossible Kontrapunkt, whose two parts appeared in 1910 and 1922, for Schenker’s ideas to become widely known in Europe;** to and the third is the present volume, Der freie Satz.) In

this day they find relatively little recognition there, even in Harmonielehre,** Schenker laid the foundation for the German-speaking countries. In contrast to this, interest in harmonic aspect of his theory. But the specific voice-leading Schenker has been growing at an ever-increasing pace in the aspect of the theory was a considerably later development that United States. More and more colleges and universities are of- begins rather suddenly in 1919. The first publication to reflect fering courses devoted to Schenker’s theories, his name appears this was his analysis of Beethoven’s Sonata op. 101,** which almost regularly in the programs of musical conventions, and, contains the first rudimentary examples of “graphic” notation, especially during the past decade, the number of “Schenker- that is, of specifically linear reductions. During the ensuing oriented” or more or less “Schenker-influenced” books has in- 15 years of Schenker’s life, the development of the concept of

creased to a remarkable degree. voice-leading progressed with astonishing rapidity and bril-

In view of this situation, it is astonishing that of Schenker’s liance; the present volume forms the culmination of this process, major works only one has been available in English up to now: for it is here that the idea of voice-leading receives its most his Harmonielehre, originally published in 1906. (This book is detailed and precise formulation. Since voice-leading is the chief actually volume one of a larger, three-volume work which #2. Harmony (University of Chicago Press and M.LT. Press). See Appendix *1. He was Jewish and his works were suppressed by the National-Socialist 3: “Works of Heinrich Schenker.” (Oster)

government. (Oster) *3. See Appendix 3: “Works of Heinrich Schenker.”” (Oster) xi

xii FREE COMPOSITION subject of Der freie Satz, the reading of this volume requires provements, and additions, the general effect often remains that

at least a rudimentary understanding of Schenker’s earlier of spoken language with its inevitable omissions and poorly ideas. The English-speaking reader has, as noted, the translation chosen words. On the other hand, this very same spoken quality of Harmony. In addition, its editor, Oswald Jonas, has provided produces a poetic, sometimes almost rhapsodic, quality in the

an excellent introduction and a profuse number of footnotes German original. To make sure that the thought was always that relate the material of this book to Schenker’s later works. understandable, it became necessary for me to paraphrase in But the unfortunate fact remains that, with the exception of a few places, and in two instances (see ‘“Reaching-over,” at a few isolated essays and analyses, none of these later works § 134, and “Sonata Form,” at § 316) substantial editorial comhas been published in English or, for that matter, in any lan- mentary seemed the best way to make the material clear.

guage other than German. The almost unavoidable result is The difficulties of style and language make the translator’s that much that has been said and written about Schenker shows task an arduous one, for he must follow the original as closely an incomplete understanding and, consequently, distortion of as possible lest the meaning be in the slightest degree modified.

his original thoughts. It is to be hoped that the appearance of But faithfulness to Schenker’s concise style results in an Enthe present translation, by making Schenker’s most important glish that the reader will occasionally find awkward. In these ideas accessible to a wider musical public, will at least partly instances I must ask the reader’s indulgence and direct his atten-

remedy this situation. tion to the thought rather than to its elegant expression.

Translating this important contribution to music theory has The most conspicuous problem which the book presents to presented some rather special problems. The first of these arises the translator is its title: there is no English equivalent for from the sheer breadth of Schenker’s thought, which ranged Der freie Satz. The literal translation “Free Composition” might over all the aspects of music and attempted to elucidate them give the misleading impression that the book is a treatise on in the most detailed and penetrating way. The intellectual de- free-style compositions such as fantasies. In order to preclude mands which Schenker makes of us come directly from the such misunderstanding, I decided to retain the original German scope and depth of this achievement. To help the reader meet as a subtitle; it is necessary, however, to indicate what Schenker these demands, I would like to offer some remarks about the meant by “freier Satz.” As Oswald Jonas points out in the

difficulties of language and style in the work and about the preface to the second German edition (p. xvi of this book),

translation itself. Schenker originally meant to publish the first version of Der Schenker was concerned about making the book as concise Freie Satz as the third volume (part VID) of his Kontrapunkt. as possible in order that it might not become unmanageably He intended to demonstrate that the voice-leading principles large. Therefore his comments on the musical examples and of strict counterpoint (der strenge Satz) also underlie the voicehis definitions of terms are often quite brief—sometimes too leading events of actual “free” compositions, that is, of music brief to be understood. I could do little to remedy this other written in freier Satz. (The emphasis is on Satz, meaning contrathan to make occasional editorial insertions or a footnote. puntal, or voice-leading, structure.) In freier Satz, the original The way in which the book was written down makes for an- “strict” laws of counterpoint are extended and prolonged, not other difficulty. Schenker dictated the greater part of his later just through freer treatment, but particularly through the comworks to his wife, who transcribed them from shorthand into posing-out process (Auskomponierung) and the inclusion of ordinary script. Though Schenker then made corrections, im- other aspects of music, notably harmony. So, too, the present,

PREFACE TO THE ENGLISH EDITION xiii final version of Der freie Satz deals essentially with voice-lead- Schenker’s cross-references to other parts of the text and ing: this remains the primary viewpoint even in chapters that to figures are differentiated from those of the editors by the concern themselves with other aspects of music such as diminu- following system of brackets: (Schenker), [Jonas], . My

tion, rhythm, and, most remarkably, form. own editorial insertions are also set off by < >’s. The least of the difficulties encountered was to decide on En- In closing, I would like to turn from matters of text and glish equivalents for Schenker’s terms. Thanks to the work translation in order to share some of my experiences of this of Allen Forte and Felix Salzer, most of these terms have al- work with its future readers. A very practical suggestion to ready found generally accepted English equivalents. My bilin- the uninitiated reader might be that he adopt a somewhat unu-

gual list, which appears in Appendix 5, includes these equiva- sual procedure and not begin at the beginning. The opening ,

lents and supplies yet a few new ones. part, ‘The Background,’ assumes a more than superficial

It remains for me to say a few words about my editorial knowledge of the whole of Schenker’s system; without this procedures. The text is based mainly on the second German knowledge this part would probably remain largely meaningedition (ed. Oswald Jonas, Vienna, 1956), but the first edition less. The reader should instead begin with the section on diminu(Vienna, 1935) was also consulted. From the first edition I have tion (88 251 ff.), a very good introduction to Schenker’s way of

| reinstated a few short passages and, above all, the headings thinking, and continue through the next three sections (up to of the individual smaller sections. I have also corrected the § 275). Next, he should study part III, “The Foreground,” in many important misprints, such as wrong pitch-names and other its entirety; skipping, however, the difficult section on linear

| musical symbols, and errors in references. Finally, I have cor- progressions (8§ 203 to 229). At this point, he will be ready to rected a few misengravings which I overlooked when helping tackle the opening part—“The Background.” Of course, reread-

to prepare the example volume in 1956. ings and continued use of the example volume in reference to In his editorial preface Oswald Jonas mentions briefly that particular compositions will lead to an ever greater understandhe omitted a number of passages that have no bearing on the ing of the work. musical content of the work. These passages were almost exclu- As an aid to studying this book I would strongly advise the sively taken from Schenker’s introduction and the first chapter, reader to have at hand Schenker’s Five Graphic Music “The Background.” (The introduction and first chapter in the Analyses.**> This publication shows, as no other work from original edition give the impression of being a collection of more Schenker’s late period does, the complete picture of all the struc-

or less unrelated remarks and aphorisms; it is impossible to tural levels. (This was, unfortunately, not possible for Schenker determine whether this material was given its final, published in the present work, for reasons of space limitation.) Der freie

form by Schenker himself or by an editor.) I felt it best to Satz makes frequent reference to the Five Graphic Analyses omit several additional passages of a very general, sometimes and the five compositions it contains. semiphilosophical nature here; these omissions are not expressly In conclusion I would very much like to extend my thanks indicated. The few deletions in later parts of the book, made to several friends and associates for their helpful efforts: Allen

either by Jonas or by me, are mentioned in footnotes.** Forte helped the work move forward in many ways; Charles Burkhart made several helpful suggestions; Carl Schachter *4, All deletions have, in fact, been reinstated in Appendix 4. For an explana-

tion, see “Series Editor’s Acknowledgment,” p. vii. *5. See Appendix 3: “Works of Heinrich Schenker.” (Oster).

FREE COMPOSITION

showed unflagging interest in the work and gave it his critical must thank the Robert Owen Lehman Foundation for a grant attention; Oswald Jonas made necessary diplomatic overtures of funds which enabled me to undertake this translation. on behalf of the work; Gail Rehman spent many hours in the

huge undertaking of preparing the final typescript; finally I New York, 1977 Ernst Oster

Preface to the Second German Edition My concepts present, for the first time, a genuine theory of tonal language.

Free Composition

This book, here published in a new form, first appeared in 1935, other of Schenker’s major writings. For example, the germinal

only a few months after the death of its author. It is deeply thoughts of his Harmonielehre, published in 1906, had already to be regretted that Heinrich Schenker was not granted to see appeared in 1895 in the brochure ‘Der Geist der musikalischen this crowning achievement of his most productive life in print. Technik” (‘The Spirit of Musical Technique’), and important We can take comfort only in the fact that his death spared ideas for his monograph Beethovens Neunte Sinfonie (1912) him from what might well have been a dire fate in the storm can be found in a 1901 newspaper article (Wiener Abendpost) of the years that followed. The controversy surrounding Schenk- entitled “Beethoven-Retouche” (“Retouching Beethoven’).

er’s work is not at an end, but the number of those who are A complete history of Der freie Satz cannot, of course, be convinced of the truth of his teaching steadily increases. The presented here. This belongs to the biography of Schenker, time of indifference—when one might merely have overlooked which sooner or later must be written.*? Sketches, thoughts

his work without saying yes or no to it—is over. quickly jotted down on thousands of little pieces of paper, as If I speak of this book as the crowning achievement of Schenk- well as more or less integrated discussions, even in fair copy, er’s work, this phrase must also describe the book’s conception are lying in the folders which were left after his death.** The and the attainment of its final form. For twenty years it occupied earliest version of the book was begun in 1915. It gives us Schenker’s mind and musical thought, from initial ideas to several attempts to write down the entire work in a more or less +2, A brief survey by this editor of the development of Schenker’s theories definitive form. Even the final manuscript is full of numerous can be found in the Introduction to the English edition of Harmony. (Jonas) changes, revisions, and significant improvements.*! This slow _ “8. These folders, along with a great deal of other unpublished material,

process toward final formulation can also be seen in several veoaeio 2 ane oes Owns Gn essai ¥ stitor fs expecially 1 ne *1. The editor had opportunity to examine the manuscript through the kind- his careful revision of the example volume. (Jonas) xv

xvi FREE COMPOSITION evidence that Schenker first thought of the book as a continua- volume. These are intended expressly for the teacher, as instruc-

tion of his work on counterpoint: “free composition,” section tional material.” VII of the theory of counterpoint. Here he meant to show how May the work now fulfill the wish of its author in this new the laws of strict counterpoint continued to operate in free com- edition!

position. Even at this point, Schenker speaks of the ‘“‘composing- .

out” of the scale degree and of “horizontalization.” The concept Because Schenker himself could not supervise the printing

of the “fundamental line” already appears, first as “melodic of his work and because publication was brought about as line,” then as “line,” graphically indicated by vertical arrows quickly as possible (perhaps out of false piety ), the for m of over the relevant notes of the example. In a later version there the first edition, unfortunately, left something to be desired. is a special section on “piano style” (Klaviersatz), and also a Aside from an unusually large number of misprints, both in

section devoted to thoroughbass. the text and the example volume, the layout itself was highly

The various later stages in the development of his theories questionable. Its failure to present an organized picture to the found their expression in a series of publications—Der Tonwille Ye only served to make a difficult work even more difficult. and Jahrbiicher—which appeared in the nineteen-twenties. In Here, then, lay the editor's task: to present the text in a fashion them Schenker refers to his definitive, concluding work, even that is, above all, clearer to the eye. In the course of this enthough it was yet to appear. Thus, one must regard Der freie deavor some stylistic changes proved necessary. An additional Satzas the definitive form, indeed the codification of Schenker’s number of references and cross-references were also provided, concepts. The clarification and formulation of the theory pur- which should aid the reader in comprehending the work. The

sued and possessed its creator like a demon. He felt that it references added by the editor are enclosed in brackets. The — was his mission to present this concept of the masterworks editor also felt himself justified in omitting certain passages to the world, to reveal the laws of art which he saw fulfilled which have no bearing on the musical content. mm the works of the great masters ane in them alone—accord- Finally, the editor would like to express his gratitude both the to his no in th rm 1dem sed Non eodem modo (always to the Austrian Ministry of Education and to the president of

1 901 Me te the fo way - ath lean Al the Academy for Music and the Performing Arts, Professor

Schenker rote to ena tricnd ond me © “ro te Vi i Dr. Hans Sittner. Their active support made it possible for the

im , s © per, rorita vionn, editor to carry out his tasks in Vienna and for him to arouse

? ° Schenker.

Now, as I said, to the Tyrol, and then further climbing, climbing and maintain an interest in Schenker’s teachings during’ this to the peaks of II? (Freier Satz)!” And later (July 1928), again . a ; " . g a

to Violin, documenting the practical purpose of the work: ‘Der time by giving a course at the Academy in the work of Heinrich Sreie Satz, which I am busy putting into final form, will include,

in addition to the text, a great many examples in a separate Vienna, 1955 Oswald Jonas

Introduction to the English Edition

It is entirely appropriate that the English translation of Heinrich No one was better qualified to undertake the definitive trans- | Schenker’s Der freie Satz be published in the United States, lation of Der freie Satz than Ernst Oster. His entire life was since it is here that Schenker’s ideas have gained widest accep- devoted to Schenker, to understanding his writings in as much

tance and have been broadly disseminated. depth as possible, to applying the analytical procedures to a The tradition of instruction in Schenker’s theory in the United large number of compositions, and to teaching.**

States began with Hans Weisse (1892-1940), who initiated From 1938 Oster was the sole custodian of most of the courses at the Mannes School of Music in New York after his Schenker Nachlass, a large collection of unpublished analytical arrival from Vienna in 1931. In Vienna he had taught several and other material, including the manuscript of an earlier veryoung Americans, notably William J. Mitchell (1906-1971), who sion of Der freie Satz, which had been given to him by Mrs.

later became an eminent scholar and professor at Columbia Schenker in Vienna in order to save it from destruction by the University. The tradition continued with Felix Salzer (b. 1904) invading German forces. Access to these documents enabled at the Mannes School, a student of Schenker and Weisse, with Oster to understand Schenker’s work methods and creative

Oswald Jonas (1897-1978), a student of Schenker, at Roosevelt |

College in Chicago, and with Ernst Oster (1909-1977), a student *1, Some of Oster’s own excellent contributions include “The Dramiatic Charof Jonas, who taught in his private studio in New York for a acter of the Egmont Overture,” Musicology, vol. 2, no. 3, 1949; “Chopin’s Fannumber of years before being appointed to the faculties of the tasie-Impromptu; op. 66: A Tribute to Beethoven,” Musicology, vol. 1, no. 4, New England Conservatory of Music and the Mannes College 1947; “Register and the Large Scale Connection” and “An Analysis of Mozart’s

xvii ;

. Stand 0 . ry u s . an . "8 Menuetto, K.355” republished in Yeston, Maury, ed., Readings in Schenker

of Music. In a growing number of institutions of higher learning Analysis and Other Approaches, Yale University Press, New Haven,

in the United States the tradition continues today. 1977,

xviii FREE COMPOSITION | processes in a special way not available to anyone else. Thus, lifetime, instruction in music theory almost completely disreit is not surprising that the English language translation of garded the traditional disciplines of species counterpoint (after Der freie Satz is more lucid than the original German in a Fux) and figured bass (for which Schenker cites C.P.E. Bach). number of instances. Moreover, a number of mistakes that per- “This false theory” to which he refers in his introduction is sisted through the second German edition were corrected, as not specifically identified. However, he probably had in mind

well as errors in the volume of musical examples. the German theorists of the early part of the 19th century, The publication history of Der freie Satz is rather unusual. A.B. Marx (1795-1866) and Gottfried Weber (1779-1839) among It was brought out posthumously (as indicated in Oswald Jo- them, and the most influential theorist in Vienna, Simon Sechter nas’s Preface to the Second German Edition), so that Schenker (1788-1867). And surely he would have included Hugo Riemann did not have the opportunity to correct proofs and to make (1849-1919), whose Rameau-influenced theory of harmony domichanges in the manner ordinarily available to an author. Respon- nated instruction in German music institutions at the time sibility for the first edition was assumed by Schenker’s students, Schenker completed Der freie Satz (and beyond). Schenker felt, Oswald Jonas and Moritz Violin. The volume was hastily pre- justifiably so, that the traditional disciplines of species counter-

pared for publication, with the unfortunate consequences de- point and figured bass had demonstrated their worth in that scribed by Jonas in his Preface. Again, the English translation they had been studied seriously by composers who had produced

will prove to be superior to both German editions in clarity as a large repertory of culturally significant and highly valued

well as in format. musical works. Brahms was the last of these, and, typically,

The modern-day English language reader may be somewhat Schenker dedicated his 1912 study of Beethoven’s Ninth Sympuzzled, or perhaps even offended, by the polemical and quasi- phony to the memory of that composer, “the last master of philosophical material in Schenker’s introduction and elsewhere, German composition.” Thus, Schenker’s view of the musical most of which was deleted from the second edition, but restored situation from the time he reached manhood to his death in to the English translation in an appendix. In part, this material 1935 was very pessimistic. is typical of many other German language authors of an older The other factor involved in Schenker’s view of the musical period; in part, it is characteristic of Schenker, and must be situation was the reception accorded his writings. With the explaced in proper perspective. Almost none of the material bears ception of the Ninth Symphony study mentioned above, his work . substantive relation to the musical concepts that he developed was ignored by all but a few musicians—what Jonas has called

during his lifetime and, from that standpoint, can be disre- “a conspiracy of silence.”” He was able to make a living as a garded; it is, however, part of the man and his work. The ex- pianist—and a very highly regarded one—in Vienna, accompatreme German nationalism which is evident in other portions nying well-known singers and participating in chamber music of Schenker’s published writings is not very apparent in Der concerts. He also wrote newspaper critiques and, most imporSreie Satz. Schenker’s political views would certainly have tant, gave lessons in piano, counterpoint, thorough-bass, and changed radically had he lived to witness the 19388 Anschluss analysis in his private studio. However, he was excluded from

of Austria and its aftermath. _ the higher academic circles to which he should have had access.

Schenker’s polemics against the musical establishment must Hence, his bitterness against the musical establishment can be also be understood in the context of the time and with respect seen to have had a personal as well as a purely musical-intellecto the way in which his work was received. During Schenker’s tual basis.

INTRODUCTION TO THE ENGLISH EDITION xix A thorough understanding of Schenker’s work requires many an educational means.” (p. xxiii) In this remarkable statement, years of serious study, not only because of the extent and com- which at first seems puzzling, Schenker dramatizes the signifiplexity of his writings, although that is, of course, an important cance of the graphs: They are not to be regarded merely as

factor, but also because of the time required to learn to con- pedagogical devices but rather as accurate representations of struct analytical graphs. It is therefore important to bear in the musical structures. mind that although Der freie Satz is Schenker’s final and sum- It is valuable, if not absolutely necessary, to learn to read mational work, it is not a textbook on analysis, but is organized the graphs. This is because a particular example almost always as a presentation of this theory in accord with the major concept contains information in graphic form that is not discussed in

that governed his approach to the study of tonal music, the the text. With experience the serious reader will learn to read concept of structural levels.*? It begins with the background and understand the graphs. A survey of the graphic symbols level (the fundamental structure), proceeds to the middleground may be of assistance, however, and the reader may wish to level with its prolongations of the fundamental structure, and return to this part of the introduction as he begins to study finally deals with the complexities of the foreground, or what the graphs. (Schenker, unfortunately, does not supply any explaSchenker characterizes as the later levels. Something like sixty nations.)

percent of the book is devoted to the foreground, a fact at Before undertaking this survey of Schenker’s graphic notavariance with the opinion one has sometimes heard to the effect tion it is essential to warn the reader that Schenker’s use of that Schenker was concerned only with background and middle- the various symbols is flexible. The normative usage is discussed

ground. below; a completely systematic interpretation, however, is not

The traditional way of learning how to do Schenkerian analy- possible, and any effort to do so would certainly be subject to sis has been to study with someone who studied with Schenker serious errors. It is also necessary to point out that there are or with a student of such a person. Only after much practical two basic kinds of graphs presented in the volume of examples, experience in constructing analytical graphs was reading of in addition to the examples which reproduce the composer's Schenker’s work undertaken. For the reader of Der freie Satz notation with few or no symbols added. The first of these may who does not have a background of direct instruction in Schenke- be characterized as “rhythmic.” In a graph of this kind Schenker

rian analysis, the advice given by Ernst Oster to begin with retains the basic durational values of the music, but enlarges the later sections of the book—for example, with the section them now and then to eliminate decorating notes (diminutions) on diminution—is certainly excellent. To that should be added which do not affect the basic voice-leading. An instance is figure the exhortation to study the graphs in the example volume very 54, 15. Comparing the second measure of Schenker’s example

carefully while reading the text. with the Bach score one finds that Schenker has omitted a turn,

The graphic methods that Schenker developed concurrently an anticipation, a trill, and a lower neighbor-note figure, thus with his powerful concepts of musical structure are unique in reducing a complicated rhythmic succession to quarter note folthe history of music theory and analysis. And he invested them lowed by half note. The second type of graph is the “structural”

with singular importance. He tells us that “. . . the graphic graph, in which some of the traditional durational note values representation is part of the actual composition, not merely are used to represent structural relations among the musical *2. Only one of his writings, the first volume of Kontrapunkt (Cantus Fir- components. It is the structural graph that is the subject of mus und Zweistimmiger Satz), 1910, can be regarded as a textbook. the following exposition.

xx FREE COMPOSITION In general, the larger note values, half and whole notes, be- a pair with the up stem of the other, or vice versa. One or long to the deeper structural levels, that is, to middleground both of the notes may have an additional stem (and flag). This and background. Beams and stems are used to connect compo- is the symbol for an unfolding, one of the most important types nents of the fundamental line and components of linear progres- of prolongations in free composition. sions at the middleground level. They are also used to connect In addition to these symbols, which belong to Schenker’s spethe main bass notes of a span of music. Slurs delineate structur- cial graphic system, he employs conventional symbols, such as ally cohesive motions involving two or more components (and figured bass, Roman numerals to specify scale degrees upon thus are similar to performance slurs in ordinary notation). The which harmonies are based (often at more than one level), nudoubly curved slur is used in the bass to show a motion from merals to show contrapuntal patterns, such as 10-10, and letters tonic to dominant via a secondary harmony such as supertonic designating form. Labels are frequently given to show the type or subdominant. Large parentheses are sometimes used (as in of prolongation in operation at a particular point, such as initial figure 12) to delimit passages that are in some way preparatory ascent, or to indicate contrapuntal function, such as neighbor

to the initial structural statement. or passing note. |

Usually, the half note with eighth-note flag: indicates a bass Finally, a symbol of which Schenker was very fond: the exclanote with special function, such as a third-divider. The large mation point. This graphic always marks an event that is unV marks a hiatus of some kind, such as a discontinuity in a usual in some very striking respect, one to which Schenker linear progression or a break in an otherwise stepwise bass wished to draw special attention. motion. The diagonal line serves a number of purposes, the Schenker’s work has been very influential, especially during most important of which are to show that a particular bass the past twenty years in the United States, as indicated at the note and a particular soprano note belong together even though beginning of this introduction. The general concept of structural they do not coincide temporally, and to indicate an octave dis- levels, which Schenker began to develop as early as the 1906

placement of a note. Harmonielehre, has attracted the serious attention not only

To designate components of the fundamental line, carets of scholars in music but also of scholars in other fields. Of above scale-degree numbers are used. If a succession of such these, structural linguistics is perhaps most prominently reprenumbers is enclosed in parentheses, it means that the succession sented, for it is clear that the modern notion of leveled strucreplicates the fundamental line but is not equivalent to it. The tures in language corresponds in a remarkable way to Schenkshort double thin barline above the upper staff is the symbol er’s concept of musical organization. for interruption of the progression of the fundamental line. A With the publication of the present volume, Schenker will long-range connection of some kind between unison-related or be able to address the English-speaking portion of the musical octave-related notes (for example, an octave coupling) is indi- world directly, thus permitting serious composers, performers,

cated by a dotted line, and dotted lines are rarely used for and scholars to judge for themselves the value of his work. any other purpose. Right brackets above the staff point to paral- It is hoped that the publication of the English translation of

lel fifths or octaves. Der freie Satz will be followed by English translations of simiOne frequently used graphic device requires special explana- larly high quality of Schenker’s other important writings.

tion: the beam connecting the down stem of the first note of Hamden, Ct., 1978 Allen Forte

Introduction But those who are like the master go forth, And beauty and sense appear in all they see. Hugo von Hofmannsthal: “The Death of Titian” To every thing there is a season, and a time to every purpose under the heaven. Ecclesiastes 3:1

The Lord hath made even both of them. ) The hearing ear, and the seeing eye,

Proverbs 20:12

For more than a century, a theory has been taught which claims In our day it seems that this betrayal is no longer acceptable.

to provide access to the art of music, but in fact does quite The flight from music which characterizes our time is in truth . the opposite. This false theory has obscured the musical disci- a flight from an erroneous method of instruction, one which pline of previous centuries—that is, strict counterpoint and true renders impossible an effective approach to art. thoroughbass. One might explain this break by looking to the In opposition to this theory, I here present a new concept, impatience of the generation which lived during the third decade ~ one inherent in the works of the great masters; indeed, it is of the nineteenth century: dazzled by the tremendous outburst the very secret and source of their being: the concept.of organic of genius which had come before them, they sought, as medioc- coherence. The following instructional plan provides a truly rity usually does, to cut the shortest possible path to genius. practical understanding of this concept. It is the only plan which This shortcut, a “practical” one, proved to be a failure, since corresponds exactly to the history and development of the mas-

it was essentially contrary to the historical background and terworks, and so is the only feasible sequence: instruction in artistic development of the great composers. It did not lead strict counterpoint (according to Fux-Schenker), in thoroughto the masters; indeed, it ultimately led away from them. bass (according to J.S. and C. P. BE. Bach), and in free composition xxi

xxii FREE COMPOSITION (Schenker). Free composition, finally, combines all the others, verified in the work itself, he must surely concede that the placing them in the service of the law of organic coherence masters did have a keen awareness of such relationships. as it is revealed in the fundamental structure (fundamental line Those who advocate the present courses of instruction explain and bass arpeggiation) in the background, the voice-leading that their teaching is an expedient, that it is designed especially transformations in the middleground, and ultimately in the ap- to lead the young and the moderately gifted to music. Even

pearance of the foreground. if this were true, we would still have to ask where, in what C. P.E. Bach wrote his treatise on thoroughbass when he real- books, in which institutions can we find a way to the true art ized, to his grief, that the discipline of thoroughbass might disap- of music, and not merely an expedient? Where does the student pear both in theory and in practice, because it was not really or the serious music-lover learn what is essential to a true fugue,

understood. His incomparably great work was motivated by a sonata, or symphony, what makes a true orchestration, what desire to do his utmost to save and clarify that discipline. Now produces a truly great performance, true in the sense of the the time has come for me—‘“To every thing there is a season,” truth of the great masters? Expediency can give us no answer. says the writer of Ecclesiastes—to proclaim the new concept This explanation is simply too weak. There is yet a further of organic coherence and thereby to give the fullest possible disgrace, for the so-called expedient could only have arisen expression to what the music of the masters was and must through ignorance of the true nature of strict counterpoint and

continue to be if we wish to keep it alive. thoroughbass.

But the advocates of these erroneous teachings withhold the After the publication of some of my earlier works (those which most important excuse: these theories have enabled many gener-

already reached toward a clearer presentation of the new con- ations of teachers and musicians to earn their livelihood. Art cept, especially the volumes of Der Tonwille and the three year- in its truth and beauty has been ignored, but the practicalities

books, Das Meisterwerk in der Musik), the objection was often of life have been assured, which made it easier to ascribe practi- : raised, “But did the masters also know about all this?” This cality to the teaching, whether honestly or dishonestly. These objection, intended to be a trap, only betrays a lack of education. persons now fear lest my new teaching undermine their exisThose who raised the question were unaware that the masters tence; they allege that its inherent difficulties make it unsuitable in fact knew nothing of that false theory which for more than for large-scale exploitation in the schools. No such danger would

a century has been taught and learned as the only practical exist, however, if teachers would devote themselves solely to one. Neither J.S. Bach, C.P.E. Bach, Haydn, Mozart, Beetho- one task, to training their students to hear music as the masters ven, Schubert, nor Mendelssohn knew any such concepts of conceived it. The schools cannot pretend to breed composers harmony, thoroughbass, or form. And Brahms would have none (much less geniuses), though certain vain and arrogant young

| of it! The objection can be answered very simply: the great people would like them to do precisely that. Such sowing and composers in their works have shown a mastery which evinces, reaping must be left to God. Only by the patient development both in preconception and in total recall, such a clear overall of a truly perceptive ear can one grow to understand the meancomprehension of the laws of art that they need say no more ing of what the masters learned and experienced. If a student, ‘to us; of necessity, every artistic act—indeed any action at all— under firm discipline, is brought to recognize and experience requires a preconception of inner relationships. Consequently, the laws of music, he will also grow to love them. He will pershould the reader find that what I say about a composition is ceive that the goal toward which he strives is so meaningful

INTRODUCTION xxiii and noble that it will compensate for the fact that he himself A firmly established tonality can guide even a large number may lack a genuine talent for composition. Thus my teaching, of chromatic phenomena securely back into the basic triad. in contrast to more rapid methods, slows the tempo of the educa- A performance, in serving background, middleground, and tional process. This not only leads the student to genuine knowl- foreground, can employ the greatest variety of color. Even the

edge, but also improves the morale of artistic activities in gen- richest and most varied resources of performance can be eral. Surely it is time to put a stop to the teaching of music taught—and learned—with great exactness. On the other hand, in condensed courses, as languages are taught for use in com- commitment to background, middleground, and foreground exmerce. It is also time that educational authorities cease to em- cludes all arbitrary personal interpretation. ploy textbooks which are designed only for the less ap able The musical examples which accompany this volume are not

student. In spite of all this, I would hope for a great increase . 7, ys

. . educational - wae . merely practical they have the same conviction in activity, for visual a aids; multiplicity of geniuses bypower nature and . itself . wes wae : se as the aspect of the printed composition (the foredemands also a. .multiplicity of nongeniuses. Even though itisispart . . aof the : a ground). That is, the graphic representation actual fundamentally only vanity which causes the average musician ys . means. Therefore 1s composition, not merely an educational toeople compose, we must be grateful that, through vanity itself, . f th ’ . Pa the are brought to dedicate themselves to art presentation of the examples required extreme care.

P ° There is no doubt that the great composers—in contrast to performers and listeners—experienced even their most ex-

APHORISMS tended works not as a sum total of measures or pages, but All that is organic, every relatedness belongs to God and as entities which could be heard and perceived as a whole.

remains His gift, even when man creates the work and perceives Music is always an art—in its composition, in its performance,

that it is organic. even in its history. Under no circumstances is it a science.

The whole of foreground, which men call chaos, God derives Since the linear progression, as I have described it, is one .

from His cosmos, the background. The eternal harmony of His of the main elements of voice-leading, music is accessible to

eternal Being is grounded in this relationship. all races and creeds alike. He who masters such progressions The astronomer knows that every system is part of a higher in a creative sense, or learns to master them, produces art which | system; the highest system of all is God himself, God the cre- is genuine and great.

ator. In its linear progressions and other comparable tonal events,

My concepts show that the art of music is much simpler than music mirrors the human soul in all its metamorphoses and present-day teachings would have it appear. However, the fact moods—“alles Vergangliche ist nur ein Gleichnis” (“what is that the simplicity does not lie on the surface makes it no less passing is only resemblance,’’ Goethe). How different is today’s simple. Every surface, seen for itself alone, is of necessity con- idol, the machine! It simulates the organic, yet since its parts

fusing and always complex. . *1. Since the task of revealing the world of the background in music fell Specifically, my concepts demonstrate the following: to me, I was not spared the difficulty of finding symbols for it. This required

. . . : many years. Furthermore, the engravers did not always demonstrate the neces-

| tally. (Schenker) ,

A firmly established linear progr ession can withstand even sary degree of understanding. For these reasons the illustrations in Der Tonthe most discordant friction of voices as they move contrapun- wille and in the Jahrbiicher do not always represent the definitive form.

xxiv FREE COMPOSITION are directed toward only a partial goal, a partial achievement, ple which manifests itself differently in different material. its totality is only an aggregate which has nothing in common Man lives his whole life in a state of tension. Rarely does

with the human soul. he experience fulfillment; art alone bestows on him fulfillment, Every organic being yearns for another organic being. And but only through s elec tion and condensation. ys ee art, which is organic, drives toward the organic human soul. If a differentiation is to be made between “classic” and “roHowever, in these times when man himself destroys his organic mantic, only the degree of tension and fulfillment should be nature, how is he to respond to organically developed art? considered. A classical work will exceed a romantic one in the

It is certain that almost half of mankind is unmusical, even neem ane extent Aa its version ane es tne sean y ae incapable of singing a folk tune—a sorry ratio, one which would Wamen', even to may © a short Work. snus Se we i ® be unthinkable in the case of language. How then can the ear Wand erer s Nachtlied ( Der du von dem Himmel bist ) is be expected to hear polyphony, which is fundamental to the classical in every way by virtue of the power and tension of linear progression? The musical person, however, is certainly its few scale-degrees which unify the entire text.

eapable of recognizing linear progressions and of learning to . wo.

use them. Therefore, let him apply himself to this task and The phenomenon of gents signifies a breath drawn from refrain from the “experiments” so popular today and, alas, so the unconscious, a breath which keeps the spirit ever young.

costly. It follows that he must also be taught the theory of The cultivation of genius is neither romantic nor “living in organic coherence; but this does not mean that the drafting the past.” Rather it is the cultivation of a contemporaneity that of extensive analytical sketches (Urlinie-Tafeln) is necessary, bridges time; It Is a strong belief in the absoluteness of art since this would be tantamount to a demand for creative and its masters. If, after centuries have passed, only one person

powers.*” is once more capable of hearing music in the spirit of its coherence, then even in this one person music will again be resurPhilosophers and aestheticians will be able to establish a gen- rected in its absoluteness. eral theory of music as an art only after they have absorbed my concepts.** Ultimately it will be possible to set forth the ‘And the Spirit of God moved upon the face of the waters.” highest principle which is common to all arts: the principle of But the Creative Will has not yet been extinguished. Its fire inner tension and its corresponding outward fulfillment, a princi- continues in the ideas which men of genius bring to fruition *2. Passage (A), omitted here, is supplied in Appendix 4: “Omissions from for the inspiration and elevation of mankind. In the hour when

the Original German Edition.” (Rothgeb) an idea is born, mankind is graced with delight. That rapturous

*3. Nietzsche complains (“The Will to Power,” 888): first hour in which the idea came to bless the world shall be

“What we lack in music is an aesthetic which would impose laws upon musi- hailed as ever young! Fortunate indeed are those who shared cians and give them a conscience; and as a result of this we lack a real contest their young days with the birth and youth of that idea. They

. concerning ‘principles.’ For as musicians we laugh at Herbart’s velleities just may justly proclaim the praise of their youth to their descenas heartily as we laugh at Schopenhauer’s. As a matter of fact, great difficulties dants!

present themselves here. We no longer know on what basis to found our concepts : Heinrich Schenk

of what is ‘exemplary,’ ‘masterly,’ ‘perfect.’ With the instincts of old loves emricn Schenker and old admiration we grope about in a realm of values, and we almost believe, *4, Fig. 37a in the example volume. (Schenker)

‘that is good which pleases us.’” (Schenker) +5. Passage (B), omitted here, is supplied in Appendix 4. (Rothgeb)

The Background

BLANK PAGE

Sometimes a most curious demand is made: that one should one can say that with every intent glance at the world we present experiences and perceptions without recourse to any theorize. To execute this, to plan it consciously, with selfkind of theoretical framework, leaving the student to establish knowledge, with freedom, and, to use a daring word—with his conviction as he will. But this demand cannot be fulfilled irony—requires a considerable degree of skill, particularly even by those who make it. For we never benefit from merely if the abstraction which we fear is to be harmless and if the looking at an object. Looking becomes considering, consider- empirical result which we hope to achieve is to be alive and

ing becomes reflecting, reflecting becomes connecting. Thus, useful. Goethe, Farbeniehre

Chapter 1 CCSD CEE EOCENE E ESSEC SSeS The Background

Section 1: The Concept of Background in General and present as background, middleground, and foreground applies also to the life of the idea within us.*!

The origin of every life, whether of nation, clan, or individual, In order to comprehend what lives and moves behind the becomes its destiny. Hegel defines destiny as “the manifestation phenomena of life, behind ideas in general and art in particular,

of the inborn, original predisposition of each individual.” we ourselves require a definite background, a soul predisposed The inner law of origin accompanies all development and is to accept the background. Such a soul, which constitutes a pecu-

ultimately part of the present. liar enhancement of nature in man—being almost more art than Origin, development, and present I call background, middle- nature—is given only to genius. ground, and foreground; their union expresses the oneness of The masses, however, lack the soul of genius. They are not

an individual, self-contained life. aware of background, they have no feeling for the future. Their In the secret perception of the interaction of origin, develop- lives are merely an eternally disordered foreground, a continument, and present, as well as in the cultivation of this awareness ous present without connection, unwinding chaotically in empty, until it becomes definite knowledge, lies what we call tradition: animal fashion. It is always the individual who creates and transthe conscious handing down, passing on of all relatedness which mits connection and coherence.**

flows together into the wholeness of life. Until now it was unknown that a background and middleTo the person who is vitally aware of such relatedness, an *1. Passage (C), omitted here, is supplied in Appendix 4: “Omissions from idea is also part of real life, be that idea religion, art, science, the Second German Edition.” (Rothgeb) law, the state. Therefore the principle of origin, development, *2. Passage (D), omitted here, is supplied in Appendix 4. (Rothgeb) 3

4 FREE COMPOSITION ground were also indispensable prerequisites to a musical work for the music of the future, into one as valid as was the period

of art. My work is the first to introduce that concept. a thousand years ago when men believed in gods and heroes and patiently created polyphony.

Section 2: The Background in Music The fate of the art of music is especially bound to the law of its origin. Polyphony, once discovered, has become indispens-

The history of music reveals that music really began and able for music. So the art irrevocably belongs only to those flourished in ecclesiastical, royal, and aristocratic circles. This who have ears capable of perceiving polyphony. This the historiis confirmed by the fact that music developed polyphony, which cal background of music reveals. must forever remain alien to the masses. For them music has

always been and remains only an accompaniment to dance, Section 3: The Fundamental Structure as the Content march, or song: at best, a kind of utilitarian art, if one ‘can of the Background in Music accept the inherent contradiction. A feeling for such music fills

head and heart, even those of the masses, but this feeling is The background in music is represented by a contrapuntal : not adequate to comprehend the true and lofty art of Bach, structure which I have designated the fundamental strucHandel, Haydn, Mozart, Beethoven. Indeed, it tends to lead ture: ** away from those concepts and responses which are essential

to music as an art. Although J.S. Bach in his Passions provides Fig. 1

the aurally “visible,” the greater portion of his art remains incomprehensible to the masses. Although Haydn offers them Fundamental line is the name which I have given to the his oratorios, the absolute music of his chamber works and upper voice of the fundamental structure. It unfolds a chord symphonies can never assume real importance in their lives. horizontally while the counterpointing lower voice effects an Mozart lets them view his operas, yet they will never compre- arpeggiation of this chord through the upper fifth. hend the distance which separates his great operatic art from Since it is a melodic succession of definite steps of a second, the operatic music of other composers. Beethoven jubilantly the fundamental line signifies motion, striving toward a goal, sings the praise of womanly fidelity in the visible Fidelio, and and ultimately the completion of this course. In this sense we in the Ninth Symphony, together with Schiller, he sings the perceive our own life-impulse in the motion of the fundamental “Hymn to Joy’—nevertheless, the masses will never have ac- line, a full analogy to our inner life. Similarly, the arpeggiation

cess to the rest of his art. of the bass signifies movement toward a specific goal, the upper But who can make the masses realize that, contrary to their fifth, and the completion of the course with the return to the impression, the highest art of the genius takes part in human fundamental tone. life as they themselves live it, and that this high art furthers The life of the fundamental line and the bass arpeggiation life and health just as milk and bread do, and can lead to Eros manifests itself not only in the first horizontal succession and in the way any sacrament does? It is useless, therefore, to look in the first arpeggiation; it also expands through the mzidto the masses for the support of art—an effort which is being *3, Fig. 1 shows a third-progression in the upper voice. The fundamental made everywhere today. Indeed, it is highly probable that this line may also show a fifth-progression or an octave-progression (Figs. 10 and

effort will prevent our time from developing into a background 11). (Oster)

THE BACKGROUND 5 dleground, through what I have called the voice-leading and is ever new. Thus we hear in the middleground and foreground transformation levels, prolongations, elaborations, and similar an almost dramatic course of events.

means, into the foreground. As the image of our life-motion, music can approach a state Whatever the manner in which the foreground unfolds, the of objectivity, never, of course, to the extent that it need abanfundamental structure of the background and the transforma- don its own specific nature as an art. Thus, it may almost evoke

tion levels of the middleground guarantee its organic life. pictures or seem to be endowed with speech; it may pursue The fundamental structure represents the totality. It is the its course by means of associations, references, and connectives; mark of unity and, since it is the only vantage point from which it may use repetitions of the same tonal succession to express to view that unity, prevents all false and distorted conceptions. different meanings; it may simulate expectation, preparation, In it resides the comprehensive perception, the resolution of surprise, disappointment, patience, impatience, and humor. Be-

all diversity into ultimate wholeness. cause these comparisons are of a biological nature, and are

Even a bouquet of flowers requires an ordering of some kind, generated organically, music is never comparable to mathemat-

lines which lead the eye to comprehend the whole in a brief ies or to architecture, but only to language, a kind of tonal glance. The ear requires guiding lines all the more, since it is, language.*5 in a sense, a younger organ than the eye.

I call the content of the fundamental line, counterpointed The fact that the fundamental line itself traverses a third, by the bass arpeggiation, diatony (Diatonie) ‘‘General-

bass” shows a chord which has the ready been illustrated in Figs. 38a-c; 39,3; 48,1; 62,1, 3, and effect of #IV’? in G major, and must have the V as its 7. Chromatic tones which occur as b2—2 in connection with continuation. In prolonging such a #IV one can avoid a blI—V™ or 4II—V@® have been illustrated in Figs. 31; 44,2; possible augmented second, c#—bdb, by using the major sec-

48,1; 54,8; 64,2; 74. ond ct—b} in its place. If in addition the diatonic cb is Various other uses of chromatic tones are shown in used (as is the case here), it forms the interval of a dimin-

ished octave in relation to the raised root C}.** Such a

Fig. 113 diminished octave can be used in a composing-out process

or in the realization of a figured bass, but does Ex. 1: .Here see, -a. chromatic tone arising as a mixture of .in . ;no. way . . ,;we it constitute an harmonic concept (Fig. 80,1; Harm. the third (b8—t3 or 48—#3) used in connection with any §§ 53 ff.)

harmony, as though that harmony were I. A mixture of “ this kind provides opportunity for prolongation. [In relation to Fig. 113,2 and 3, see also § 279, Fig. 131.] Ex. 2: Even so basic a degree-progression as I—ITI*—4V in

major, and the same progression in minor with [II*® and Section 5: Avoidance of Chromatic Steps V#, brings about a conflict of chromatic tones (Figs. 15, 1b,

2b and c, 3b and c; 20,2; 37b; 41,2; 76,3; 100, 3d).** § 249. Examples Ex. 3a: Here, in the case of V®~", the bass is arpeggiated a third upward, and this third is lowered so as to avoid the The prohibition of chromatic steps in strict counterpoint no diminished fifth. This procedure creates a major triad. When longer holds in free composition. However, since in free compothe chromatic tone has fulfilled its function for the prolon- sition direct chromatic successions are generally avoided (thus

gation of this major triad, it is revoked. In this way the affording the possibility of more abundant prolongations), the forthcoming seventh first appears as the fifth of such a prohibition is in a certain sense reestablished.

major triad [8 314]. Various means for the avoidance of direct chromatic steps

bass is arpeggiated a third upward. .

Ex. 3,b and c: A ninth appears first as a minor seventh if the are shown in

9 *5, Compare also Exx. 1~4 in the same section of C.P.E. Bach's work, which 43 I have completely paraphrased the first three sentences of this section. The

Ex. 3d: The point of departure hereis | ,.The third-arpeggiation show #IV"7 chords.

upward in the bass then gives rise to a seventh chord. This original reads: ‘In the composing-out of a chord which has the effect of #1V’,

is a very unusual kind of voice-leading. the augmented second is avoided by the use of the diatonic major second (8)— #7—#6~—~5 in its place. Thus a diminished octave arises if the diatonic seventh

*4, Compare also the comments on Beethoven’s op. 53, following the discus- is placed above the raised root #IV.” Schenker must surely have meant these

sion of Fig. 154,4 in $313. (Oster) figures and the diatonic seventh in relation to D, the V of G (Oster)

92 FREE COMPOSITION Fig. 114 justment of the 5b}. Ex. f shows an inversion of these proEx. 1: The examples confirm the freedom to use chromatic steps gressions: the upper voice leads to the root, the bass de-

in all voices. scends to the chromatic tone—this removes the chromatic lation of a neighboring note. This note can be supported— 107]. ; ; .

Ex. 2: The direct chromatic succession is avoided by the interpo- succession V'~* (cf. Figs. 39,2; 40,4; 82,2) [8 247 and Fig.

by a consonant passing tone or other means—or remain ©: 6: By means of an ascending and descending progression unsupported. Thus, in Ex. 2b the bass which supports the in the bass the chromatic step is avoided. The resulting neighboring note must be considered only a passing tone. harmony over Ab is not, however, to be considered a >.

Ex. 2d gives evidence of a very special aural awareness ; ; ;

(Figs. 7b; 71,2; 100,4a). All these examples illustrate that Ex. 7: Occasionally an enharmonic tone can introduce a chrothe issue is only the avoidance of direct chromatic steps; matic change. The insertion of an enharmonic situation pro-

no further significance is attached to the chords. vides opportunity for a small but beautiful prolongation: Ex. 3: The chromatic step can also be avoided by means of here one finds an allusion to what 1s to come. ; two neighboring notes (cf. Fig. 89,1). [Exx. 8-10: Here, too, the effect of a direct chromatic succession . is prevented by the insertion of enharmonic situations. |

Chromatic steps are frequently separated by means of linear | progressions (Ex. 4-6): Section 6: Cross-relation Ex. 4: The descending skip of a third makes it possible to achieve

the required chromatic alteration diatonically in the follow- § 250. Examples ing ascent (Fig. 102,5; compare also Beethoven, op. 57, 1st

mvt., mm. 217-20, ab-ah; also Chopin’s Etude op. 10 no. In contrast to strict counterpoint (see Kpié. J, II/2, § 28 and 12, mm. 23-27, in Five Graphic Analyses, where the upper Kpt. If, IlI/1, § 25), free composition permits a succession of voice leaps down a sixth and the chromatic tone e}° is chromatic tones which have no actual relationship, using them ~ reached only at the completion of the ascending sixth-pro- merely as mixtures or for various other purposes. gression).

Ex. 5: As Exx. a and b show, two descending third-progressions Fig. 115 make it possible to avoid the chromatic step represented by their boundary tones (§ 260). Exx. c-f show two simulta- Ex. 1: a) Extremely profound voice-leading! The relationships

neous third-progressions with the effect of VII—V (8 246): in the middleground make clear that eb} (the original while the lower of the two voices traverses the path to lies an octave lower) is only an embellishing chromatic the root of the chord which contains the chromatic tone, passing tone leading to d'. Therefore, the lesser value the upper proceeds to the chromatic tone itself. This is of this chromatic tone also lessens the tonicizing value

one of the most frequently employed means for avoiding of the chromatic tone Ft in the bass; the bass tone direct chromatic successions. Yet such a case must not be Fis there only on account of the eb!. Once eb! moves regarded as a cross-relation (§ 250). In Ex. e, a third voice to d} the Ft has no further purpose and F’h is again is expressly introduced in order to achieve the diatonic ad- desired, especially since only this tone can prepare

SPECIFIC FOREGROUND EVENTS 93 the” 7 in the next measure. That /'# does not move matie tone e}! in the lower voice. However, it would back to F’, is, however, quite understandable. It is have been impossible to present this chromatic tone instead preferable, according to C. P. E. Bach, to retain on the fourth eighth-note of the upper voice, since,

the fin the inner voice—here in the left hand—so as can be seen at N.B., eb? and /? are each to be that one has, as he says, “the interval (den Griff) retained for two full measures. In addition, an et? in the hand.” No actual relationship exists between already present on the fourth eighth-note of measure F< in the bass and /4 in the middle voice; hence these 2 would affect the eh? in measure 3 adversely. All tones cannot be regarded as a true succession. They of these considerations combine to make the eb? and do not therefore represent a cross-relation. Each of the e4 in measure 2 unrelated. Therefore, one cannot the two tones has its own origin; they do not belong speak of cross-relation in this instance either. to each other. The sixteenth-note figure of the right

hand (m. 23) seems to occupy the space of a third in Section 7: Diminution ** the foreground, whereas the actual harmonic situation § 251. Historical background; particulars concerning the con-

presents only a second: the space of a second would cept of diminution

not have permitted a composing-out in terms of the P

previous motive. We have already mentioned diminution, in the true sense b) In this example there are also no cross-relations. In of the term, in many places in the present work, but we have measures 2-4, c#* and Ch, fi and ft? are without not had occasion to discuss the concept historically.*” This sperelationship to each other; the auxiliary cadences here — Gia] chapter on diminution will supply such a discussion and (A—D, C—F) each start anew, that is, they have no should establish a secure foundation for the teaching and prac-

connection to what has gone before (Fig. 110). In tice of diminution.

measure 5 there is a mixture. _ _ Though music was destined to reach its culmination in the c) The upper voice composes out a diminished fifth based likeness of itself, without having recourse to outside associaupon IvV—V. The consonant passing tone (at ain the tions, it was at first dominated by the needs of the word, the bass) obviates any Close r elationship of g' in the inner march, the dance. The word alone was the generator of tone

voice and g in the bass to g# in the upper voice. successions. This condition prevailed during the prehistoric era kx.2: Occasionally the desire for a register transfer causes when music had no rationale; it continued even for a considera chromatic succession to be distributed between two able time into the historical ages of counterpoint, of monody, voices. Such a succession of chromatic tones cannot and of the newly found vocal forms which, without modification, be considered a cross-relation (cf. Jahrb. Hl, p. 32). were transferred to instruments. The chief representatives and

kx. 3: a) The fact that g# and g4 follow each other in rapid

succession has to do with the necessity of avoiding *6. The term diminution as used by Schenker means embellishment in a

the augmented second g—at. general, broad sense. qt has nothing to do with diminution meaning “repetition b) Here the auxiliary cadence counters the effect of a in smaller note values (i.e., the opposite of augmentation). See the third para-

: graph of this section and what follows it. (Oster)

cross-relation. *7. See part I, chapter 1, section 4; also 8826, 30, 46, 49-52, 83, 85,

d) The 6 of the 5—6 exchange here calls forth the chro- 116. (Schenker)

94 FREE COMPOSITION creators of this music were the Italians, who with natural Latin they never made German instrumental diminution their own, logic viewed music through the lens of words, and so found it despite the fact that this alone brought about a true art of

to be a carrier of outward reality. music, self-generating, and developing from its own laws. UltiMusic yearned for greater length, further extension in time, mately, however, the entire word-tone diminution of the Italian

greater expansion of content from within, as do all physical opera seria, and all of its later offshoots, collapsed. For the or spiritual beings that obey nature’s law of growth. But the diminution did not mirror the text, and, more important, its slower pace of the text hindered this. For a long time words lack of any organic inner relationship belied the truth of music—

and music were bounded by the same limits, even during the a fact which was not recognized at first. The art of absolute period when counterpoint achieved diatonicism and specific lin- diminution in Germany has amply demonstrated the opposite. ear progressions and so established the basic prerequisites for But the Italian musician could not follow the German example,

music as an art. But then the Italians began to embellish a and so he has had no choice—even to the present day—but to series of tones, and even individual tones. So they were able cling to the word-generated diminution of opera or, at best, to meet the inner needs of music, at least as far as was then to create program music, which deals, after all, with word, picpossible, and also to yield to their natural desire for beautiful ture, and idea. Incidentally, even the Italian program music singing. This process of embellishment they called diminution. had finally to yield to the German; the Italian musicians lacked No matter where and how embellishment was used, however, training in absolute diminution, which is the indispensable basis the word continued to generate music. Thus, the embellishments even for program music.

related only to the words, not to one another, with the result In only a single instance—that of Domenico Scarlatti—the that the embellishments lacked logic, proportion, and all else Italian spirit revealed a superb capability for absolute diminuwhich would have made them part of a true musical organism. tion. Yet even he, a friend of Handel and a composer greatly These embellishments often sprang less from musical impulse revered by the last master of German tonal art, Johannes than from the caprices of vanity, especially since no two singers Brahms—even he had neither successors in his native country

sang the same piece in the same way. nor any real recognition of his unique worth. We must, however, Nor could the instrumental music of that time advance far give this Italian genius his rightful place with those Germans from its vocal beginnings. The innate capabilities of the instru- who mastered the art of absolute diminution. ments, as well as the natural law of growth, called for an expan-

sion of the musical material. And indeed the instrumental dimi- The musical characteristics of the chorale—the achievement

nution tried to discover itself, as it were, in the fugue, the of Luther and the object of faithful Protestant cultivation— toccata, the ricercare, the cantata, the overture. But only dimi- kept the German musician from slipping into a practice of ornanution generated by the word was in the blood of the Italians mentation that was musically unfounded. In addition, the Gerand so they unconsciously gave it precedence.** As a result man climate was hardly conducive to the exercise of sheer vocal beauty. So the form and diminution of German organ music *8. Robert Haas, Aufiihrungspramis der Musik (Wildpark-Potsdam, 1931) —_ at first remained under the influence of the chorale. Gradually, deals extensively with the early Italian diminutional practice as well as with insofar as the organ permitted, this music ¢ ame to ac quire the

later German diminution. The work contains a great number of musical exam- . . . . .

ples.” (Schenker) freedom of absolute diminution, at least in those cases in which See also Ernest T. Ferand, Jmprovisation in Nine Centuries of Western the music did not serve the word. The Germans also tended

Music (Kiln, 1961). (Oster) to turn away from the word, overexplicit as it is; they did not

SPECIFIC FOREGROUND EVENTS 95 usually allow it to generate the music. This tendency expressed sents a definite composing-out of the D-major harmony in the

itself in a stronger predilection for instrumental music. Left form of an octave transfer, f#!—/#?,*!! followed by a closure, thus to itself, diminution had somehow to discover its own na- 3—2—1. The conduct of the bass line is just as definite as it ture. So it did, thanks to those composers of incomparable ge- composes out the arpeggiation I—V—I. Thus, an unmistakable

nius who gave it consummate organic unity.*® fundamental structure is present which supports the foreA choral setting by Hans Leo Hassler provides clarification: ground. Other settings of Hassler’s upper voice, such as those by J.S. Bach (in the edition of Erk-Smend nos. 122, 126, 127;

Fig. 116 in Breitkopf und Hartel—and Riemenschneider—nos. 21, 89,

345) offer only a superficial tribute to the lingering Phrygian One can easily recognize that this example is a setting of a system which musicians still believed in. In these settings, the text. The prosody of the original madrigal poem is faithfully Phrygian system was suggested, indeed almost required, by reflected, as one can see from the passages set off by breath- the final note. However, the latter is correctly understood as commas. These passages correspond to the individual lines of the third of the tonic chord in the major mode (as in Erk-Smend verse, including their respective upbeat syllables. The rhythmic nos. 74, 128, 124; Breitkopf nos. 74, 98, 80). It is precisely the ordering 2 < 3 in measures 1, 3, 9, and 11 is in accord with definiteness with which the major mode is achieved in the total the notational conventions of the time. Since a detailed contra- span that allows Hassler to use an incomplete full close, in puntally worked-out subdivision was lacking in the music, the which the hidden 1 is understood. notation itself implied, indeed required, a certain freedom in Despite the sparseness of tonal material in Hassler’s setting, performance; the apparent ordering 3 X 2 in measures 2, 4, 8, several bold events in the composing-out do arrest the attention.

and 10 derives from the inclusion of the upbeat.*!° Bold though they are, they are all musically cogent. Nevertheless the tonal structure is remarkably independent Measure 1: The a! normally required by the arpeggiation f#!—

of the word. As we know, Hassler’s moving melodyhere. was Yet laterit1isyeunderstood yee a se a'—d*—/f #” is missing from the

to be used a chorale; the and spiritthus of can J.S. be Bach wasinsoon to . . . to . , . ;as . opening chord, absent the motion

hover over this melody, in the several settings of it which this replaces 3 are , a', ; 1results ; : d?, The diminution the 6!, which master made. So the melody; .served secularofof and . ae . and from theboth composing-out theliturgical third in ascending de-

. scending directions: the Protestant faith. b\—c#?—d2—ct2—b! In the strictest sense of absolute music, Hassler’s setting ee texts. The chorale became, so to speak, a musical article of . ye

approaches perfection. In the foreground the upper voice pre- Measure 4: The setting of the passing tone /#! over the bass *9. Passage (M), omitted here, is supplied in Appendix 4. (Rothgeb) G(G®—") at the first structural level is ingenious. The pass*10. Fig. 116 contains an engraver’s error which it was impossible to correct. ing tone is made consonant by the bass tone B. Measure 4 of the composition has a repeat sign after the B-major harmony. Measure 5: As the upper voice is composed out within the A-

In the prima volta, which is omitted in the example, this chord appears as . “1s

whole notes, but as half notes in the seconda volta. Thus the prima volta, M major aay the bas 8 follows it in parallel tent hs. 2 together with the repetition of the upbeat to measure 1, comprises three half- easures O-o: e composing-out of the descending sixth d?— notes. This is the reason why Schenker included measure 4 among those mea- ft’. sures which show a 3 X 2 ordering. See §298 for further discussion of this

metrical scheme. (Oster) *11. Regarding the eventual transfer of /#? to f#!, see below. (Jonas)

96 FREE COMPOSITION Measures 9-10: In the composing-out of the descending fifth 116 illustrates the latter-day disastrous growth of chords in e*—q', c#? replaces the a' in measure 10, thus avoiding the exclusively vertical sense. These “chords” paralyze the conthe ill-sounding total interval of a seventh, e?—/#!. In mea- trapuntal flow of the bass as well as that of the inner voices— sure 10, in order to maintain the obligatory register, a de- it matters not whether this flow occurs by means of a composcending register transfer finally occurs in which S# is sitional technique such as that of Hassler or by means of the replaced as 3 by /#!, which was already prepared by the procedures of J.S. Bach, which are more elaborate melodically. Ft! in measure 8. § 252. Figurations and small notation The fact that the contrapuntal practice of that time restricted self to 5 and 6 chords throughout does not affect the above Indeed, all foreground is diminution. But even within the fore-

3 3 ground, figurations frequently appear which are based on previ-

explanation (Harm., note following § 88). Even in this early ous statements in the foreground. The occurrence of both statemusic, the fundamental structure has so much strength that ment and variant (figuration) at the foreground level—that is, we have no difficulty in recognizing the passing tones in the the presence of two structural levels within the foreground— middleground. Those passing tones which the earlier level shows creates the illusion that the variant belongs only to the fore-

as dissonances remain passing tones, even though the fore- ground statement, but in fact, through this statement it also

ground shows them as consonances. relates to the background and middleground.

Despite its origin in a text, this music, as art, is completely Nevertheless, in the masterworks it is often quite difficult pure. It is clear and organically unified, as absolute music al- to decipher such figurations, as the following examples illus-

ways is, in contrast to music generated by the word. During trate: the composing-out, it can even forgo repetitions which ordinarily

establish so-called motives. Of course, the brevity of the compo- Fig. 117

motivic patterns ge ; . . . , .most oa . The derivationconsideration: of both(§ from50). theitmiddleground is evident Nowwsto. the important is obvious that . .; ee . from the other illustrations. The first line shows a third-

sition as well as the vocal element might also tend to oppose Ex. 1: Statement and variant are presented under a) and b).

a composition such as that given departs in Fig. 116 doesthe not3. admit . . 2second, the ; ; . progression which from In chothe of embellishment in the Italian style. Moreover, when the => -diminuyas . . |introduced, . . 6—5embellishment suspension is added. TheLo.third line shows the rale text was was out of the question . . . tion in eighthembellishment notes, and so the upbeat also becomes because of the in such a case ae er an « 7words. eighthExtensive note. At a) the diminution appears in .sixteenths,

could. ys only to a “chorale prelude.”ofYet stronginto bond .. . . . lead prepared by the subdivision thethe J-upbeat £3,orwith to canonic repetition, whoseasorigin ultimatelynote. lay inInthe 1 . .this ... . ys we gs , b' appearing a neighboring theword, next line stood opposition to suchat a form free diminution—genuine 1 Ce, ae 4in 6} appears theofbeginning of the measure,

so that the diminutionee which is completely self-generated. Therefore, other : 7compos. . auxiliary harmony produces the effect of V’. The paths to genuine diminution had to be sought: just those which . . we . .

the great masters found. r=

ing-out continues within this harmony in the form of

The setting by Hugo Riemann appended at N.B. below Fig. J 44, two-voiced, with fifths on the afterbeats. Finally,

SPECIFIC FOREGROUND EVENTS 97 in the figuration at b), the two last thirty-second notes of unrelated to each other, the Germans succeeded in achieving the upbeat, c#? and b¢!, prepare the chromatically filled- strong, organic relationships of all kinds. These relationships in span from 0b! to e#!. Only by experiencing these relation- were, of course, favored by the organization of the pieces themships can a performance of the figuration shown at b) really selves, in which the bass was also fashioned in a contrapuntal-

succeed. melodic manner, that is, displaying its own prolongations, linear progressions, couplings, and the like.

When statement and variant return, as for example in ante- There follow examples of parallelism as the motivating force cedent and consequent settings or in the parts of a song form, of such relationships:

e uni . in, N e op. . , , .

the figurations become ever more richly elaborated. In this way

they evince a process of growth like that of an organism, which Fig. 118

oso 3 Soe rad of the whole or as a fourth-progression at b) [§ 197 in regard to Fig.

and complete statements. For measures 16-28, where the 76, 10.] |

fourth measure of the group which begins with measure Ex. 2: Here the deceptive intervals arise out of the necessity 13 is ingeniously expanded, see § 297, next-to-last para- to change from quarter notes to eighth notes in order to graph; with reference to the development section, see § 314. increase the rhythmic movement How ingeniously The fundamental structure and the first level know no repeat he finds his way, in measures 460-584, back to the bb-minor

sign. vheresore, repentSuch ser inrepetitions ee ound aiet eae harmony, us to misjudge the" form. maynot consist not only : and so is able to begin with the initial arpeggiation! of first sections based on the division 38—3 :| or 5—2 +] but also (rigs. 18 and 202, 6)

. sentions en46,2; aT 48,1; ota i49,2 “. i(110,b1); Compare ; 40,1 and 9; 68. Figs. 26; § 304. The definitive close of a composition The actual performance of repeats is indispensable for estab- The middleground and background also determine the definilishing correct balance within the form. Hence it is not merely tive close of a composition. With the arrival of 1 the work is up to the performer whether or not he wants to play them. at an end. Whatever follows this can only be a reinforcement

Nor should they be considered as an external matter which, of the close—a coda—no matter what its extent or purpose at best, may serve to impress a section more strongly on the may be (8 24; Figs. 73,4; 109c).*¢ *5. See footnote to §47. (Oster *3. This letter is generally thought to be a forgery by Rochlitz. However, *6, If recent musical oroduets have almost no end or seem to find no end, the content and the manner of expression point toward the possibility that it it is because they do not derive from a fundamental structure and hence do

may record words spoken by Mozart. (Jonas) not arrive at a genuine 1; without this 1 a work is bound to give the effect of

*4. G. Jenner, Johannes Brahms. (Oster) incompleteness. (Schenker)

130 FREE COMPOSITION Therefore, those closing sections which, for reasons of obliga- theories of form. I very much hope that this explanation will

tory register, hark back to the third or fifth, must also fall be regarded as the true interpretation of the words of the mas- |

[88 267, 315]. mind and ear!

into the category of coda. See Beethoven, op. 57, first movement ters quoted in § 301. May it also be absorbed by every creative

However, within the confines of a book which for the first § 305. The background also clarifies some forms found in older time seeks to present the concept of organic coherence, the

music theory of form as a manifestation of the fundamental design must not claim as much space as it would ordinarily find in a Only a consideration of the background makes it possible separate treatise on form, complete with entire works as illusto recognize a form such as that of Handel’s Suite No. 2in F trations. It is precisely because I derive the forms from the Major. This suite does not consist of four movements, but only background and middleground that I have the advantage of two, each preceded by an introduction. Thus, the main move- brevity in presentation. However briefly I express myself, I ments are the Allegro and the Fugue, since the two introductory am happy to offer, at least in this manner, the “Essay on a pieces exhibit no true fundamental line. Although the short New Theory of Form” (‘Versuch einer neuen Formenlehre’”’) Allegro would seem almost too brief to constitute a main move- which I have promised for decades. I have no doubt that the ment, the density of its voice-leading gives musical ears so much new theory of form will eventually triumph, just as will the to hear that much time seems to elapse in the listening. Re- concept of organic coherence itself. garded as a merely mechanical finger exercise, the piece would

of course be too slight; if one truly understands it, one can B. FORM IN PARTICULAR speak here of a Handelian “heavenly brevity,” to alter Schu-

mann’s remark about the “heavenly length” of Schubert’s C- Section 1: Undivided Form Major Symphony.*’

§ 307. Undivided form § 306. Innovational aspect of this explanation of form

| The undivided progression of the fundamental line generates

All forms appear in the ultimate foreground; but all of them undivided form. Repetitions indicated by :|, or those written have their origin in, and derive from, the background. This is out in full, constitute neither an interruption of the fundamental ' the innovational aspect of my explanation of forms, which is line nor, consequently, a division of the form [8 33].

to follow in the next sections. Previously in this book I have |

. repeatedly referred to form as the ultimate manifestation of Fig. 152 :

. that structural coherence which grows out of background, mid-

dleground, and foreground; ** but I here reiterate in order to Ex. 1: All the rhythmic, prosodic events brought about by the _ stress the difference between this new theory and all previous setting of the text, as well as all the characteristic features

analyses. (Oster) 1 (ef. Fig. 40,2). 8

*7, Schenker planned to publish the entire suite in another set of graphic of the piano part, fall within the undivided progression 3—

*8, See 8§ 25, 26, 29, 33, 40, 94, 99, 101, 103, 111, ete. (Schenker) Ex. 2: The undivided form 3—1 serves as the setting for each

FORM 131

four-line stanza. The song has four stanzas; in spite of Exx. 1-5 present independent pieces in undivided form. But the alteration in the fourth stanza it must be considered undivided forms also occur as parts of larger entities. For in-

a strophic song. Particularly beautiful is the fourth-progyres- stance, the example shown in Fig. 40,7 is undivided, due to

sion in the inner voice. | the large arpeggiation which leads to 3—2—1; but it represents Ex. 3: This is, despite the repetition, an undivided form (ef. only the first part of a three-part song form. Similarly, the

Fig. 49,2). second movement of Beethoven’s Sonata op. 110 (Jahrb. J, pp. peated, the form must be understood as undivided, as 5— g s 1; the motion of the inner voice is noteworthy in this respect. fminor: I— VI —I Similarly in Fig. 39,3 a three-part form is not to be under- ; stood: not a—b—c (Harm. § 5). Compare Figs. 40,8 and Within the first part, however, there is an undivided fifth-pro9; 103, 6. gression, c?—f', akin to that in Fig. 152,4 (one must disregard _

“ . . . . uae —(Nbn)—5

Ex. 4: Although the four measures expressing the 5 are re- 181-82) presents in its entirety a three-part form:

Ex. 5: Despite the altered third stanza and a mixture in the the repetition signs). fourth stanza, this song is written in strophic form. Here

text and music are ingeniously bound together by means Section 2: The Song Forms of the octave-progression, 8—1. The poetic meter is delight-

fully treated within the 3/8 time, especially the first sylla- § 308. General bles in measures 6 and 12, and the syllable “Lenz” on the

fourth sixteenth in measure 13.*® Coherence in language does not arise from a single syllable,

Obviously, preludes are the main province of the undivided a single word, or even from a single sentence; despite t he Corre: form: Figs. 40,3; 43, example to b); 64,1: 73,2; 76,6; 136,2-5. spondence of words and things, every coherent relationship in

language depends upon a meaning hidden in a background. Such

Ex. 6: In the absence of a fundamental line and a completed meaning achieves no fulfillment with mere beginnings. Simiarpegpiation I—V—I, the example does not manifest a self- larly, music finds no coherence in a ‘motive’ in the usual sense contained, undivided form. This composed-out I—V can only . Thus, I reject those definitions of song form which take be understood as a prelude, in the strictest sense, to a piece the motive as their starting point and emphasize manipulation

in c minor. of the motive by means of repetition, variation, extension, fragEx. 7: A fundamental line and V#*—I in the bass are also lacking mentation, or dissolution. I also reject those explanations which

here; the uncertainty which rises about the tonality (see are based upon phrases, phrase-groups, periods, double periods,

° N.B.) almost prevents us from calling this Mazurka a com- themes, antecedents, and consequents. My theory replaces all pleted composition. (This peculiarity was pointed out by of these with specific concepts of form which, from the outset,

Schumann.) are based upon the content of the whole and of the individual parts; that is, the differences in prolongations lead to differences

*9. The singer’s failure to perceive the unity of text and music too often in form. results in an incorrect rendition of the first line—as if a self-contained thought These prolongations in no way determine the actual length

were completed at the end of it. (Schenker) of compositions; consequently, the customary distinction be-

132 FREE COMPOSITION tween large and small song forms must be discarded [§ 318]. § 310. Three-part song form Of course, the prolongations are fulfilled by diminution, as I have shown in my earlier explanations. Obviously, we do meet Many paths lead to the three-part form A,—B—Ag. repetitions, but, in contrast to the motivic repetitions in the (a) Occasionally the bass arpeggiation I—~V—I alone suffices conventional theory of form, those which I describe are usually to establish a ternary form, even when an undivided fundahidden. Such repetitions make possible far-reaching extensions mental line is repeated, as in Fig. 75. The fifth-progression

and the organic connections of distant points. An expansion bi\—e! descends twice without division, in both the first of content is also furthered by the play between registers of - _and third parts; in the middle section the single broad proa particular instrument or of the orchestra. But the fundamental longation of V provides a counterbalance to these linear

significance of the particular prolongation is always of para- progressions. mount importance; at the outset, the prolongation assigns to (b) Division plays the most important role in three-part form each part its task with great exactness. The composer is thus also, even though at the first level it brings binary characspared the anguish of aimlessness, of happenstance, and of a teristics to the fore, as a consequence of 3—2 || 3—3—i continual search for the means to go on [88 88, 254, and 264]. or 5—3 )) 5—i. 1. A simple expansion of V*, as, for example, in Fig. 7a,

§ 309. Two-part song form can constitute the middle section. Here the content of

Two-part form evolves most naturally from the division 3— the expansion is the ingenious parallelism e*— at » which

$337, 8-3)5~i, or 888-1. This has nothing to do is like an echo of the e°— di? forming the 3—2 of the with the extent of the piece, which may be short, as in Figs. first part. [This parallelism extends even to the descend22a and 76,2; or, as the result of more elaborate repetition, ing third-p rogression di—ct—Bt in mm. 38-39. ] Bee-

more extended, as in Fig. 12. thoven s indication Sonata quasi una Fantasia” is very Even within larger forms which derive from the first or second fitting, since the three-part song form of the first move-

level, a two-part form may appear at a later level. ment is unusual, whereas the last movement, in sonataallegro form (Fig. 40,4), reasserts the character of a

Fig. 40,6: Although a three-part form is here established by “sonata.” .

the mixture b3—43(Trio)—b8, the first part itself, with its . . . 2

interruption 3—2 | $—3—i, displays two-part form. 2. A thoroughgoing amplification of y even more effecFig. 110,b3: This example also belongs to a larger three-part tively produces a three-part form, as in Figs. 22b; 76,3; form, A,—B(Trio)—A,. However, this A, section is based 109e, 3. In the illustration for a) of Fig. 48, two waltzes

upon an interruption that gives it two-part form, a fact are combined to make a three-part form. which the daring ascending arpeggiation to 3 does not alter. 3. The process of “securing’’ a seventh whose purpose is Fig. 187,1: This example is taken from a waltz whose three- to cancel the leading tone to the dominant can give rise

part form is based upon a mixture (Ct®—Db®—Ct*). to a three-part form, as in Fig. 46,1. Its first part is a combination of two two-part forms: 4. A retransition necessary because of an unusual begin-

35 | 3 9-7 3—5- 7 | 3-9-7 ning, such as the II—V—I in Fig. 53,3, can bring about ay ! | Ay (mm. 1-32) and a, | Ap (mm. 33- a three-part form.

FORM 133

, (c) Mixture also may produce a three-part form, as can be over in the B part is amazing in its breadth and power.

seen in Figs. 30a and b; 40,6. How imaginatively the neighboring-note harmony IIs is

(d) A neighboring note can also give rise to three-part form, expanded in measures 22-41, how striking the figurations as in Figs. 7b; 40,1; 42,1 and 2; 85. The outward appearance in measures 41-53! In the A, section the first small threeis of no consequence: the individual parts may be connected part form returns in an abbreviated version. The abundance with one another; they may be set off by : ||, as often occurs of neighboring notes in all sections is almost bewildering; in longer works, or the middle section may be given the but they have different roles to play in the formal structure,

special designation “Trio.” and only with an awareness of these differences can we

Further examples: |

relate the parts to the whole with definition and clarity.

Fig. 153 Section 3: Sonata Form

Ex. 1: Here we see a very extended three-part form, boldly § 311. Preliminary derived from a neighboring note, yet unfolding in a single

broad sweep. Here, as in the presentation of the song forms, it is necessary Ex. 2: In contrast to the neighboring-note settings at the first to discard the concepts and terminology of conventional theory. level (Fig. 32,3 and 5), the neighboring note here does not These all involve the ‘‘motive’’ and are therefore most imprecise appear in the fundamental line. Instead, the I—VI—I suce- . It does not matter that so many designations are offered cession of the bass creates the effect of a neighboring note for the prolongation of the primary tone of the fundamental and sets an actual neighboring note in the inner voice into line (“first theme,” “main theme,” “first theme-group,” and

motion [Fig. 130,4]. See also Figs. 39,1 and 88a. such); what matters is that none of these designations answers

. the essential question, not one explains why the first prolonga-

Alsa within the larger i orms themselves, three-part forms tion takes just this particular course and no other. Conventional can be created by subdivision at later levels, as in Fig. 20,4 theory simply does not know how to read diminutions; it as-

within a B section reinforcement, for here B, with its additional voice-leading events also appears on I.

Section 4: Four-part Form Section 5: Rondo Form § 317. Four-part form § 318. The concept of rondo form

Four-part form is given too little attention in theory. It is : most often considered to be a sort of sonata form, in some When two three-part song forms are so combined that the way altered or mutilated. In actuality, the four-part form is last part of the first three-part form simultaneously becomes just as independent as the two- or three-part forms. It is found the first part of the second three-part form, a five-part form especially in the slow movements of sonatas, chamber works, arises: A,—B—A,—-C— Az, which, after an old dance, is called

or symphonies, and its content reads: A,—B,:A,—B3. “rondo.” Thus, this ive part ordering derives from a duple orThe unity of this form, too, is guaranteed only by the funda- dering in the background (cf. § 287 and Fig. 138). mental line and the bass arpeggiation. B, rests upon V, or is This principle, the combining of three-part forms, also makes

at least moving toward it, whereas B, is based on the I. it possible to connect more than two such forms; for instance, The slow movements of the following piano sonatas by Bee- the combining of three three-part forms gives rise to a seven-

, thoven exemplify this form: part rondo. The form can appear in both slow and fast moveIn op. 2 no. 1, A, has the structure of a small song form, ments; it can be brief or extended without necessitating the B, shows the fifth-progression g?—c! over V, and B, shows differentiation “small” or “large” (8 308). the same fifth-progression over [.

A, —B, : Ao-—Bz

§ 319. The individual parts

op.2no.8 :E I [8—4III—IV—#IV—V : I —1*" Some commentary on the individual parts:

op. 7 >C 1 —bVI—IV—V :I —I A,: If A, is to return several times (not only remaining in motion

op. 10 no. 1: AbI —(II*)—V :f —I but also having the ability to counterbalance sections of

op. 22 > Ebr —Ve" :I —I strong contrast), it must in itself not be overburdened with op. 31 no. 2: BbI —V ‘I —I too much inner tension—whether at a slow or fast tempo. Apart from this consideration, any type of composing-out

See also the Andante in the Fourth Symphony of Brahms. is possible; the two- or three-part song form lends itself Like the two-part form, the four-part form has two major most suitably. The very nature of the three-part song forms sections with similar content. However, the four-part form on which the rondo is based (8 318) causes the A, and A, brings more emphasis to the B, part in that it more strongly to appear always in the main tonality. works out the motion to V, as well as the V itself. Thus in B,: Since the contrasting sections B,, B,, C, and D are basically middle sections of three-part song forms, they are to be *17, Corrected in accord with earlier notes by Schenker. (Oster) composed in the ways set forth in § 310.

142 FREE COMPOSITION Fig. 155 and A, differed from the main tonality. Later composers, more concerned with the organic coherence of the whole, tended to As in these examples, B, usually begins after A, has come base their rondos on the three-part song form and hence mainto a full close. Such a clear-cut beginning of B, does not tained the A section in the main tonality. Only within a larger always supply the V immediately: often the V is reached passing motion did they occasionally allow an A section to apby way of auxiliary cadences, as in Fig. 155, 1. Thus B, pear in a different (illusory) key. This liberty creates the effect encompasses the motion both to and from V, including the of a developmental section, but such a passage, strictly speakillusory key which V expresses in the foreground. There ing, belongs to a particular contrasting section, te a C or D. ean, however, also be a transition from A, to B,, as for Thus in Beethoven's Rondo op. 129 (Fig. 102,2), the illusory

example in the Rondo of Beethoven's op. 2 no. 3. keys are subordinate to the higher concept of a motion-fromC: Frequently this part also begins independently, after a com- the-inner-voice, which leads to the neighboring note, the backplete close of A,. It makes no difference whether it is based ground tone that gives rise to the contrasting section. In Fig. upon IIL or upo n TV. as in the Rondo from Beethoven’s 155»8 @ rather astonishing example of such a liberty is seen.

: . .3 f t Fig. 155, 1].**§ - . o ;

, . «as The bass reveals. two cadences; this precludes a return to the

op. 2 no. 3 [or makes use of a mixture as in Fig. 155,1] main tonality at the points designated by the asterisks. The

§ 320. Liberties in the rondo form form here approaches that of the freest rondos of C, P. E. Bach.

Occasionally the repetition of the contrasting section B, fol-

The dance in which the rondo form has its origin consisted WS immediately upon C; that is, A; is omitted between C and of the actual rondeau (refrain) as the main section and interpo- Bz: Such a free treatment is sometimes confused with a developlated couplets, contrasting sections which signalled the en- ent Section as It would be found in sonata form (cf. Mozart,

trance of new pairs of dancers. When the rondo became an Piano Quartet mm G Minor). ; ;

art form, it held for a long time to its basic principle, as though Possible abbreviations of the A, or A, sections, or their apit were still to be used for dancing. Hence the refrain always Pe@rances in embellished form, in no way negate the rondo appeared in the same tonality. With the progressive develop- form.

ment of the art of prolongation, and particularly the art of oo

improvisation, it became possible for C.P.E. Bach, for example, § 321. Distinction between the rondo and other forms

to vary the key of the A section in his rondos so that not only — ; : the keys of the contrasting sections but also those of the A, The significant difference between the r ondo and the sonata form lies in the fact that the latter involves a forward thrust

*18, In the first edition of this book, Fig. 155,2 appeared as Fig. 155,3. The 2 . . +e

original Fig. 152,2 showed a broad analysis of the Large from Beethoven’s to V ‘where an interruption in the sense of the structural divi Sonata op. 2 no. 2, which Schenker interpreted as being written in a nine-part sion occurs—§ 312; this motion is not present in the rondo. rondo form, plus coda (mm. 1, 9, 13, 21, 32, 40, 44, 50, 68). This interpretation The consequence and effect of this thrust was discussed in § 313.

is so obviously misconceived that the editor of the second German edition omitted F tly. i th tf the b tion bel . to the example; and I did not feel that it should be reinstated. It can be assumed requen yma ree-par orm, the D section belonging

from Schenker’s earlier notes on this movement that this analysis might well A, is read as a B, section, and the real form, A, (a,-—b—ap)—

not have been his final thought about the matter. (Oster) B—A,, is thought to be a rondo. Such a misunderstanding is

FORM 143

due to a confusion of levels. This also accounts for the fact Fig. 156

that so many larger pieces such as nocturnes, novellettes, and intermezzi are sometimes considered to be “small” rondos, when Ex. 1: One can hear this fugue correctly only if one keeps in

they really are three-part forms into whose A, section a small mind the indicated relationships which the fundamental line

three-part form has been built. and the bass arpeggiation establish. Let us compare this A simple juxtaposition of B, or C has a better effect than a with Riemann’s explanation in his Katechismus der Fugenwell-intentioned but obviously contrived bridge from A, to B, komposition. Riemann calls so many events ‘complete and or from A, to B., as, for example, in the Rondo in £b Major incomplete forms of the inversion,” or answers of the subby Hummel. Here the desire to go beyond his means forces ject “with various modifications” (e.g., in mm, 8-9, 18-15, the composer to accentuate the very sectionalization whicn he 17~19, 18-20, 21-23). But in the light of the relationships clearly wished to avoid—and the bridges remain very superficial. mentioned above, all of these events have a far different How gratifying it is, in contrast, to find the parts so frankly intention than merely to provide “answers” to the theme. set off from one another in Mozart’s a-minor Rondo! Even Mo- The various specific goals of the composition have such zart, the same master who was capable of handling the rondo an obvious prominence that any existing relationships to form with the most abundant freedom, was content to use such the “subject” must become less conspicuous. In no fugue a simple form. [See also the rondos in Beethoven’s op. 7 and can such relationships be defined by rule. 22.]

Only this type of fugal writing belongs to the realm of art;

Section 6: Fugue in contrast to it stands the fugal composition which follows a

rigid plan of entries. Often it is just such mechanically assem-

bled fugues which the unschooled ear finds easiest to assimilate,

§ 322. The content of the fugue since they indulge in orgies of readily recognizable repetition, with their entrances almost rattling in the ear [§ 254].

Growing out of imitation, the fugue became the first unified Despite the fact that each one exhibits a different design, form of larger dimensions. The fifth-relation between the first the fugues of J.S. Bach are genuine fugues in the strictest three entries (subject, answer, subject) provided the form with sense; they are always determined by the subject, by its dimendirection and stability. Once it had gained some power, this sions and harmonic content, and are controlled by a fundamental

principle penetrated the other parts of the fugue and helped structure. )

to make it possible for the fugue to come under the control Handel followed perhaps even more hidden fugal paths than of the fundamental structure, of fundamental line and bass did Bach. Although his fugues are monuments to a freedom arpeggiation. Just this relationship to middleground and back- which seems to scorn all organic bonds, each one nevertheless ground enabled the master composers to treat the entrances fulfills a fundamental structure. I am reserving an example and imitative content of the foreground in very free fashion. of Handel’s fugal technique—the Fugue of the Suite no. 2 in

MT). 92,1].

I refer the reader to the examples of fugue in Der Tonwille F'Major—for a new series of graphic analyses (Urlinie-Tafeln); and in the Jahrbiicher [“Das Organische der Fuge,” Jahrb. it can only be presented in a detailed picture [see § 218, Fig.

144 FREE COMPOSITION Haydn and Mozart were unable to maintain the high state used for centuries, was employed by Beethoven even in his of fugal art reached in the works of Bach and Handel. Neither op. 111 and op. 127. did Beethoven achieve it, despite the Fugue in op. 106, whose An ordering into groups, usually coupled with an increase bass progression is briefly indicated in Ex. 2 of Fig. 156, and of motion and an alternation of major and minor, was also famildespite the Fugue in op. 110, which is bound up with an Adagio iar to the older masters. For example, in Handel’s Chaconne movement. Mendelssohn comprehended very well how freely in G Major, variations 1-8 show an increase of motion, 9-16 Bach and Handel treated the fugue, and consequently he decon- are in minor with an increase in motion, 17-21 are in major, densed, as it were, and demechanized the entrances in his with variation 17 repeating variation 7. See also Mozart’s Afugues. On the other hand, he distributed the entrances too Major Sonata.**® lavishly, which made them lose significance. Only Brahms again Brahms devised a new way of connecting one variation to

comes closer to Bach. another by means of hidden organic relationships between the An applied fugal technique, consisting of a play of the first diminutions. This I have pointed out in my discussion of the entries only, is to be found in various situations. In older forms Handel Variations, op. 24, in Der Tonwille 8/9. «Compare also

it is often encountered in suites, at the beginning of a gigue, the Haydn Variations, op. 56.> and also at the beginning of shorter preludes. In classical music The use of a more extended song form as a variation-theme there are examples in Beethoven’s Quartet op. 59 no. 3, last often made it possible for the masters to create a piece of considmovement, in the Trio of his Fifth Symphony, and even in a erable length by embellishing the theme only two or three times. transitional passage in the last movement of Mozart’s Jupiter Such a piece might be an independent composition—for example,

Symphony. Haydn’s Andante in F’ Minor —or a part of a sonata Without improvisational gift, that is, without the ability to or symphony—for example, the Adagio of Beethoven’s Ninth connect the composition to the middleground and background, Symphony. Young composers would be well advised to continue

no good fugue can ever be written. to use this form.

In addition to variations on a theme in undivided form (as

. ... in Bach’s ‘Aria variata” or the Goldberg Varia-

Section 7: Variations tions) there are the earlier forms, the passacaglia and the chaoye conne. In the passacaglia (Fig. 20,1), the bass usually begins § 323. Variations alone, as if it were a fugue subject. Variations follow over this

The theme of a set of variations can have an undivided form— same bass, which, however, does not exclude the possibility : om | , that the bass theme can also appear in the upper parts, as it

as in Fig. 152,4—a two-part form, or a three-part form as in does in the Bach c-minor Passacaglia or in the Finale of

| Brahms’s Haydn Variations, op. 56. The fact that the bass begins

Fig. 157 alone distinguishes the passacaglia from the so-called basso ostinato, exemplified in Handel’s Saw/ and some of his organ

A set of variations can be unified most naturally by means concertos; the ‘‘Crucifixus” in Bach’s 0-minor Mass; the “Zum of a gradual increase in the motion, that is, progressing from larger to ever smaller note values. This technique, although *19. Passage (Q), omitted here, is supplied in Appendix 4. (Rothgeb)

FORM 145

Schluss” of Brahms’s Neue Liebeslieder, op. 65. To a certain of the five-part form, which leaves the essential nature of the extent the basso ostinato is an applied passacaglia technique, rondo untouched.

just as there is an applied fugal technique. Individual movements within older forms such as the suite Conversely, in the chaconne a short theme, designed to sup- or the concerto frequently offer more difficulties to the underport a large number of variations, is usually given to the so- standing than, for example, a sonata movement by Beethoven. prano. In the brevity of its theme and the profusion of its varia- The principles of voice-leading and especially those of linear tions the chaconne is related to the passacaglia, which accounts progressions are, of course, the same in both; but in older music for the frequent confusion of these two forms in the older litera- the foreground diminutions, which conform more closely to ture. The difference between them lies in the role played by strict counterpoint, render insight more difficult . Also, bass and soprano. Nevertheless, in the Finale of Brahms’s despite the unparalleled mastery of their voice-leading, the linFourth Symphony, the stating of the theme first in the upper ear progressions themselves are not as sweeping or determinaregister should not deceive us with regard to its inherent bass tive of form as those in the works of the later masters. This, character—hence the passacaglia form. Indeed, the theme be- too, is related to the continuous strictness of the diminutions. gins its journey toward the bass with the very first variation Although the dances are, of course, written in two- or three(Violin I), continuing in the second variation (Violas) until in part song form, doubts may occasionally arise as to the exact variation 4 it is anchored in the bass. Similarly, the last move- identity of their form. For example: is the Allemande in the ment of Handel’s Suite No. 7 in G Minor rightly bears the title E-Major French Suite of Bach (Fig. 76,4), which shows 8—1 ‘“Passacaille,” despite the appearance of the theme in the so- with a neighboring note to 5, a three-part or a two-part form? prano. The difference between passacaglia and chaconne per- The sparse tonal material does not permit a three-part form

) haps lies in the fact that the chaconne tends toward songlike to evolve in any definitive way. diminutions, while the passacaglia tends to emphasize a pro- In most cases the older masters organize longer movements

longed bass arpeggiation. according to the arpeggiation I—V—I, with an extended prolongation of V. This, however, does not give rise to a three-part

§ 324. Epilogue form; much rather the effect is of illusory keys spread out around a neighboring note of V:

It should be the task of music history to trace the paths

along which form, as I have presented it here, has developed. . The key to form lies, in some hidden way, in the number of Fig. 158 parts. Just as 2, 3, 4, and 5 differ from one another, so do the forms derived from these numbers differ in their inner nature ‘ef. Fig. 76,9 and § 197).

and significance. Strangely, in agreement with the principle of Similarly, in the sonatas of C.P.E. Bach, the forward thrust the number 5 which I mentioned in my Harmony (§ 11), the from 3 to 2, or from 5 to 3, is so brief that no inner need number five also represents the limit in the world of form. The arises for the kind of development that characterizes the sonatas : above-mentioned seven-part rondo (§ 318) is only an extension of a later period.

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Appendixes

BLANK PAGE

A Co Works Arrange 0 ppendix 1

ntents of Figures (Works Arranged by Composer)

Bach, C. P.E. Concerto for Violin and Orchestra in E Major, lst mvt... . . 95,a7; 119, 16a

ae English Suite in D Minor, Sarabande..................... 1441

Arioso con Variazioni (1747) © «sos eee ee eteV.............-... ns 12RD Fantasia (Prachudium) “Fiir Kenner und Liebhaber” I, Sonata 122,3NB roon ; in A Minor... .-- sees s cece e ee. 128,40 Generalbass II/1, §17a,b..........++++001++++++++97,2NB French Suite in E Major,

veralbase I/1. § ve. 103. 3b Allemande.............. 76,4; 95,cl; 106,1; 109,d1; 123,5; 125,3

Reeer a UL 800 LITE As French Suite in E Major, Courante .................. 47,3; 87,lb Generalbass III/2, $45 cece cece rrreteereee + 9Bya4 French Suite in E Major, Sarabande. ................. 54,15; 62,9

Generalbass III/2. 67D. ee eee ees 981 French Suite in E Major, Gavotte................... 95,a8; 125,2

Generalbass I11/2, § 14 Deb be eee nee. 1 96,2 French Suite in E Major, Gigue................0.2.22+... 87,4 Generalbass VI/1, §10b..............2002--2++++. 114,5e >

, un Fugue in C Minor, unfinished. ...................22-2.. 99,1

Generalbass VI/2, § 2... 000. -ceccecceeceevceeeeess 114,5f Italian Concerto, Ist mvt... 2... 26... ee eee eee es - 88,05 158

Generalbass VII/1, § 13 Wd? Italian Concerto, 3rd mvt................... ee et100,3g; ee ee ee133,3; ew es133,4 16,8

Sun ts§2d.. , . Mass in B00.0 Minor, . 0... alan 20...; Generalbass, VII/2, 2.2... 0.0... eee eeGloria... ee ee es 115,8e

Generalbass IX/2, §la........0c cece ee cece eee ees ss 98,3¢ Ouverture (Suite) in F Major, Menuet............... . 82,5e; 138,1 Six Sonatas for the “Essay on the True Art of Playing Keyboard sain a 1, Ist Menuet. Se ee ee ee ee eee ee ee ew ee ee 132,2 Instruments”: Sonata II, Adagio... ...........-2++.2.. 109,06 assacaglia in C Minor... .. 2. eee eee eee ee eee es 20,1 -Schemelli, “Auf, auf! Die rechte Zeit”. ..................--100,4b

“Brich entzwei, mein armes Herze”.............. 184,4 Bach, J.S. -Schemelli, “Mein Jesu, was-Schemelli, vor Seelen Weh”...............114,5d

Aria variata..................... 50,1; 82,5; 112,1; 125, 4; 152,4 -Schemelli, “Gott, wie gross ist”? ..............0.06.22+.. 103,2a Brandenburg Concerto No. 5, Ist mvt. ......... . 102,7; 103,1; 119,17 Six Little Preludes, No. 2in C Minor.................... 124,2b Brandenburg Concerto No. 5, 2nd mvt. ........ . 41,3; 54,10; 60; 76,9 Sonata No. 3 for Violin Solo, Largo...................... 182,3 Brandenburg Concerto No. 5, 3rd mvt. ................... 105,1 St. John Passion, no. 7,

Chromatic Fantasy and Fugue ..............020++e00++- 20,2 Chorale: “O grosse Lieb’” ..........0-2....0200.20+.2.- 115,3b 149

150 FREE COMPOSITION

St. John Passion, no. 27, Sonata op. 13, Qnd mvt. .........2.0002.000000-.2.. L551] Chorale: “Ach grosser Kénig”..............0.-+02--.2... 125,1 Sonata op. 14 no. 1, Ist mvt... 2... 2. ee ee ee ee ee ew 126

St. John Passion, no. 67, Sonata op. 14 no. 2, Ist mvt. ........ . 47,2; 114,6; 122,1; 132,1; 154,6 Chorus: “Ruht wohl”... 2.0.0... 02 eee ee ee ee ee ee es 100,38 Sonata op. 22, Ist mvt...............0...0..2.2.2..2... 113,3d St. Matthew Passion, no. 1, lst Chorus ................... 114,4 Sonata op. 22, Srd mvt. .............2...... 45; 82,2; 134,8

St Matthew Passion, no. 3, Sonata op. 22, 4th mvt. ................2..... 140,3; 146,2 Chorale: “Herzliebster Jesu” .............2..-2222222-.. 83,3 Sonata op. 26, Ist mvt. . 56,1lc; 71,2; 85; 105,3; 110,a5; 119,18; 120,5 St. Matthew Passion, no. 16, Sonata op. 26, 2nd mvt..................... 110,e3; 128,6a Chorale: “Ich bin’s, ich sollte biissen”. . . . 22,a; 49,3; 62,12; 81,1; 124,la Sonata op. 26, Srd mvt... . 0.0.0... ee eee eee ee ee es 40,6

St. Matthew Passion, no. 58, Sonata op. 27 no. 2, Ist mvt. ......... 7,a; 54,3; 56, 1b; 76,7; 77; 149,4

Chorale: “Wie wunderbarlich”............. 114,1b; 114,5a; 115, 3a Sonata op. 27 no. 2, 2nd mvt. ................... 110,b3; 128,8d

St. Matthew Passion, no. 66, Sonata op. 27 no. 2, 3rd mvt. ............. 40,4; 104,3; 140,1; 140,2 Recitative: “Erbarme’ es Gott” ..............-222.-.2.4.. 103,2b Sonata op. 28, Ist mvt. ............ 6l,a; 103,5b; 110,e1; 148,4 Toccata in F# Minor... 0... 0... ee ee eee ee OS] Sonata op. 28, 4th mvt...................2....... 124,1¢

Twelve Little Preludes, No. 1 in C Major................ 43, forb Sonata op. 31 no. 1, 3rd mvt. .. 2... ee ee ee ee» 98, 3b Twelve Little Preludes, No. 3in C Minor ............. . 82,4; 152,6 Sonata op. 31 no. 2, 2nd mvt................20226022 108,2 Twelve Little Preludes, No.6 in D Minor................. 114,2a Sonata op. 31 no. 2, 3rd mvt... 2... 2. ee ee ee ee ee ee es 1041

WTC I, Prelude in C Major. .... . 49,1; 62,5; 95,e3; 115, la; 118,1; 133,2 Sonata op. 49 no. 2, 2nd mvt...............200008022222. 91,3

WTC I, Prelude in C Minor ................2.2+2+-+... 95,04 Sonata op. 53, Rondo...................... 98,5; 119,19b

WTC I, Fugue in C Minor....................... 102,5; 132,7 Sonata op. 57, Ist mvt... . . 54,8; 114,8; 119,20; 129,1; 142,2; 154,4 WTC I, Fugue in C# Major... ......... 02.2.0 00-0 ee ee ee 133,1 Sonata op. 57, Qnd mvt... .......2.00 0.002 ee ee » 40,8; 129,2

WTC I, Fugue in C# Minor..................... 103,3a; 149,8a Sonata op. 81a, Ist mvt.............. . 62,4; 119,7; 124, 4; 125,5

WTC I, Fugue in D Minor........................ 53,5; 156,1 Sonata op. 8la, Srd mvt............0 0000002222... L15,3d WTC I, Fugue in Eb Minor... ...........-22-22226+6.. 109,€5 Sonata op. 90, Ist mvt. ................. 98,4; 109,al; 146,1 WTC I, Fugue in E Minor ........................ 58,2; 91,2 Sonata op. 101, Ist mvt... 2... ee ee ee ee ee es 95, D3 Sonata op. 101, Qnd mvt... . 0.2.0... eee ee ee ee ew ee 123,2 Sonata op. 101, Srd mvt... .....0.....0.2.00028+2.2.2. + 149,8b

Sonata op. 106, Athmvt. 2... ee ee ee ee ee es 156,2 Beethoven Sonata op. 109, Ist mvt.................... . 89,1; 90; 117,2 Bagatelle op. 119 no. lL... ........2..0-220+20e0024.2.. 100,3h Sonata op. 109, Srd mvt. ........00.00.20 0002 eee ee 101,38 Concerto for Piano and Orchestra op. 58, No. 4 in G Major, lst mvt. 65,4 Sonata op. 111, Ist mvt... 2 ee ee ee ee. 62,18

Concerto for Piano and Orchestra op. 58, No. 4 in G Major, 3rd mvt. . 151 Sonata for Piano and Violin op. 24, 2nd mvt................ 100,6b

Concerto for Violin and Orchestra op. 61, 3rd mvt... ..........114,7 Sonata for Piano and Violin op. 30 no. 2, 2nd mvt. ........... 128,2a Leonore Overture No. 3................ 62,2; 109,a2; 120,1; 149,7 Sonata for Piano and Violoncello op. 69, Ist mvt. . . . 109,e2; 128,5a; 135,2

Octet, op. 103, Andante ................202-2-2..2.. 119,19a String Quartet op. 59 no. 1, Ist mvt. ..................... 65,1 Piano Trio op. 1 no. 1, 3rd mvt...............2++2-+.2.. 128,7e String Quartet op. 59 no. 2, 2nd mvt. ................... 128,9a

Rondo a capriccio, op. 129. 102,2; 110,cl; 114,9; 120,2; 134,6; 142,1; 149,6 String Quartet op. 59 no. 2, 4th mvt. .................... 149,5

Sonata op. 2 no. 2, Ist mvt. ..........2.2. 00002 eee ee es 100,5 String Quartet op. 59 no. 3, lst mvt. ................ 148,2; 148,3

Sonata op. 2 no.2, 4thmvt..................... 100,3d; 121,1 String Quartet op.74................04+2+.4... 128,5b; 146,4 Sonata op. 2 no. 3, Ist mvt. ...........2 200 e ee eee eee 154,2 String Quartet op. 135, 2nd mvt. ...................... 111Lal Sonata op. 7, 4th mvt... 2... ee ee ee ee ees 11,2 Symphony I, 2nd mvt. ........0..0..0 0200002 eee eee ee ee 103,7

Sonata op. 10 no. 1, Ist mvt. ..................... 154,3; 154,7 Symphony Il, Ist mvt... 0.2... 20.00.0000 00 0 ee eee ee ee ee 100,26

Sonata op. 10 no. 2, Ist mvt... ...........-.-622+2+.2.-... 101,4 Symphony II, 3rd mvt. ...............020.00022222+. 114,2€

Sonata op. 10 no. 2, 3rd mvt... .................. 62,11; 100,4a Symphony III, lst mvt. . . 62,3; 62,10; 100, 4c; 102,3; 110,a2; 115,2; 124, 1b

Sonata op. 10 no. 3, 2nd mvt... 2... ee ee ee ee ee es 39,2 Symphony III, 2nd mvt... 2.0... 0.020200. 2.000022 eee ee es 109,€ Sonata op. 10 no. 3, 3rd mvt. .. 2.6... ee ee ee ee ee ee ee» 105,4 Symphony Ill, 3rd mvt.................. 63,1; 87,3c; 95,a3; 108, 4 Sonata op. 10 no. 3, 4th mvt... 6... 0.0.0.0 2.000 eee ee ee» 155,2 Symphony III, 4th mvt. ................. 62,7; 62,8; 114,3; 134,7

CONTENTS OF FIGURES (WORKS ARRANGED BY COMPOSER) 151 Symphony V, 2nd mvt... 0.0... 20000 ee ee ee ee es ALQ Etude op. 10no.5........... 00000 c ee eee eee ee eee es 1312 Symphony V, 3rd mvt...........................A4l, 1; 146,5 Etude op. 10 no. 8 . 7,b; 54,1; 54,5; 62,6; 73,4; 120,3; 128, 7d; 143, 1; 148,5

Symphony VI, Ist mvt. .................... 119,8; 124,7; 154,5 Etude op. 10 no. 10.......... 0.000. ee ee ee ees 140,5 Symphony VII, 3rd mvt.......................... 37,b; 146,6 Etude op. 25no.1 2... 2.0.0... eee eee eee ee ee « 40,10; 53,4 Symphony VII, 4th mvt. ...................0220208.... 113,6 Etude op. 25 no.2...........00000..2--2-2... 106,3b; 120,4 Symphony VIII, lst mvt. 2.2... ee ee ee ee ee ees LO Etude op. 25no.5 2.20... 0.00. eee ee ee eee eee LLL bQ Symphony IX, 3rd mvt...................-0622.222... 103,3¢ Etude op. 25 no. 11. . . . 76,3; 100,2a; 100, 3c; 100,6a; 106, 2b; 107; 128,6b Symphony IX, 4th mvt., “Ode to Joy” ................... 109,e3 Impromptu op. 36... 0... 2. ee ee ee ee eee ee es 128, 5€

Symphony VII, Ist mvt. ..........0.. 2.000000. 0 eee eee es 743 Etude op. 10 no. 12............... 12,a; 73,1; 83,1; 114,10; 119,14

Variations, 13, on a Theme by Dittersdorf, Var.] ............ 123,1b Mazurka op. 17 no. 1l.................. 76,5; 83,2; 103,3d; 119,11 Mazurka op. 17 no. 2.............. 0200000024222 22.. 106,20

Mazurka op. 17 no.3.. 2... ee 65,2; ee eee ee114,5e es 30,8 Brahms Mazurka op. 17 no. 4.................2+4+. + 63,2; A German Requiem... .. 1... 66. eee ee eee ee. 127,2 Mazurka op. 24no.1 ............ 91,4; 119,21; 128, 9d; 137,2; 145,2

Intermezzo op. 76 no.7 2... 1... ee ee ee ee ee OLS Mazurka op. 24no.2...........0..2..0002.4... 128,20; 128, 4

Intermezzo op. 117 no.1............ 200000000 eee eee » 146,3 Mazurka op. 24no.3..................... 40,7; 128,3a; 128,9e Intermezzo op. 118 no.1................0.20028022.2.. 110,d8 Mazurka op. 24no.4...........0...-000220044.. 59,4: 128, 8b Intermezzo op. 119 no.1................000000000.4. 4 87,3d Mazurka op. 30no.1..........0 00000 eee eee eee eee ss 65,8

Sonata for. Piano and Violoncello op. 99, Ist mvt. ............110,d2 Mazurka op. 30no.2........ 0.0.00 e eee eee eee eee es 1527 Songs: “Auf dem Kirchhofe,” op. 105 no. 4.................. 63,3 Mazurka op. 30 no. 3......... 2.2... 0.0.00. eee ee ee es 128, 2b “Madchenlied,” op. 107 no.5. 2... 6... ee ee ee es 1522 Mazurka op. 30 no. 4................000002220.2.. 53,3; 54,6 “Wie bist du, meine Kénigin,” op. 32no.9............. 152,5 Mazurka op. 33no.1........... 2.0... 000002 eee eee ee s 128 11

Symphony I, Ist mvt. ©... 1... 1 ee ee eee eee es 121,8a Mazurka op. 33 no.4..................... 74,2; 119,12; 128, 3b Symphony I, 2nd mvt..... 2.2... 2.1.2.2... eee. 88,a5 124,3 Mazurka op. 41 no.2.........0. 0.00000. e eee ee ee eee ee el Symphony I, 3rd mvt... ................... - 69,7; 138,4; 147,3 Nocturne op. 9 no.2..................-22... 84; 88,b; 122,2 Symphony II, Ist mvt. 2... eee ee es 1472 Nocturne op. 15 no.1... 0.2... 0... 0. cee ee ee ee eee es 40,5 Symphony III, Ist mvt. .................. 111,d3; 119, 16b; 146,7 Nocturne op. 15no.2..................... 54,7; 54,11b; 117,1 Symphony III, 2nd mvt... .. 2.22... ee ee ee eee ee 128,9b Nocturne op. 27 no. 1... 2.0.0.0... eee eee eee ee es 1873 Symphony IV, Ist mvt... . 2.2... 0... 2.22. eee ee eee ee BL2 Polonaise op. 26no.1................... 44,2; 80,2; 99,2; 113, 3c

Symphony IV, 2nd mvt..........0.....0. 00000000202. LID, 15 Polonaise op. 40 no.1.............. 40,1; 54,13; 56,2e; 112,3; 113,4 Variations on a Theme by Handel, op. 24, Fugue. . . . 87, 1a; 110,d1; 134;5 Polonaise op. 40 no.2.......0 0.0.00 ee ee ee ee eee ee B42

Variations on a Theme by Paganini, op. 35, Var.5............. 59,3 Polonaise op. 71... 0... ee ee ee ee es 98,2

Waltz op. 39 no. 1... 2... ee ee ee » 49,2; 110, b1 Prélude op. 28 no.2.... 2.2... 20.0000 cee ee ee ee eee ee es 110,83 Waltz op. 39 no.2.................22.2.00224.2 +. 46,1; 106, 2a Prélude op. 28 no.3.......0. 0.00000. eee ee eee ee ee ee ee 16,2

Waltz op. 39 no. 3 2... eee eee ee ee M4] Prélude op. 28 no.6....... 0.0... 000. ee eee eee ee ee es 148.6

Waltz op. 39 no. 4.. 2.20.0... 0.0.2 eee eee es » 96,4; 128,7e Prélude op. 28 no. 14....... 0.000.000.0000 eee ee eee ss 100,36

Waltz op. 39no.9... 2.2... 0... ee ee eee ee ee ee ee es 105,5 Scherzo op. 31.................. 12,b; 57,2; 102,6; 119,13; 143,2

Sonata op. 35, 4th mvt. 2.0... ............+2....57,]1; 145,1 Chopin Waltz op. 42... 0... Waltz 0. op.ee64no.2......... eee eee ee es 140,6 0.0... 0.2.2 002004.. 124,6b; 137,1 Ballade op. 23 ..................... 64,2; 121,3b; 128,9c; 153, 1 Ballade op. 47........0..... 00000200 eee eee es » 64,3; 119,10 Clementi

Bolero op. 19.............. 000002 ee eee ee es LIM, a2; 113, 1b ; ;

Etude op. 10no.1.. 0.00.0... 0000 eee ee eee eee es 130,45 153,2 Préludes et Exercices...................... 40,3; 76,6; 136, 1-5

Etude op. 10 no.2.. 0.0.2... 0000 ee eee ee ee eee eee AQ] . tude op. 10no.3..............02-2... 4. . 65,5; 138,5; 153,3 Ctliger

Etude op. 10 no. 4.......... 0.000: ee ee ee ee ee eee ee es 65,3 Chorale: “Fréhlich soll mein Herze springen” wee ee ee ee eee LIS, 1b

; VII

152 FREE COMPOSITION Des Prez, Josquin .. 1.0.0... 0.00000 eee eee ee ee ees . D412 Songs Without Words, No. 12 in F# Minor ....... . 106,3c; 108,3; 112,2

Words, No. 30 in A Major .................. 1491 Handel Symphony in A Minor, Songs Ist Without mvt......................... 147,4

Cantate con strumenti, no. 16: Recitative................... 56,1

Chaconne in G Major... ......0.0. 0.00000 ce eee eee ee ee » 87,3b

Concerto grosso op. 6 no. 6............2.00 0000 eee eee es 102,4 Mozart Concerto grosso op.6 no.7...........02. 0000 eee ee eee « 110,86 The Abduction from the Seraglio, Overture..........'......100,3e Six Fugues, No.6 in C Minor ............. 000 eee eee ee es BG,2 Concerto for Piano and Orchestra, K. 488.................. 101,5

Suites de Pieces, 2nd collection: Fantasy in C Minor, K. 475...................... 101,2; 128,7a No. 1 in Bb Major, Prélude...................... 56,2g; 73,2 Fantasy in D Minor, K. 397 ...................... 82,3; 124,6a Suites de Pieces, 2nd collection: The Magic Flute ............... 0.00000 eee eee ees « 109,02

No. 1 in Bb Major, Aria con variazioni............... 54,14; 103,6 Piano Trio in E Major, K.542 .....................2... 128,8a Suite No. 2 in F Major, lst Adagio. .......... 54,4; 65,6; 95,a6; 118,2 Requiem... 1... 0... 0. . ee ee ee eee ee ee es 1271 Suite No. 2 in F Major, Allegro................... 92,2; 93; 100,1 Rondo in A Minor, K. 511 ........................... 155,4 Suite No. 2 in F Major, Fugue........0..........202000024. 9B] Rondo in D Major, K. 485.................. 114,2d; 128,1; 155,3 Suite No. 3 in D Minor, Prélude ........................ 641 Sonata in A Major, K. 331, lst mvt., Messiah, “The People That Walked in Darkness”............. 128,7b Theme ..................4.. 72,3; 87,5; 95,b4; 132,6; 141; 157 Sonata in A Major, K. 331, lst mvt., Variations. ......... 123,la; 140,4

Hassler, Hans Leo | Sonata in A Major, K. 331, 2nd mvt.............. . 20,4; 35,1; 95,3 in A Major, K. 331, 3rd mvt. ......... . 35,2; 138,2; 139; 149,3 Lustgarten, No.l. ..........0..2. 0.000002 eee eee eee es LIB,Sonata IO . Minor, K. 310, Ist mvt. ..................... 95,c2 nataSoin. A

Lustgarten, No. 24 ......... 2.000000 ecw eee eee eee ee ee « LIG Sonata in A Minor, K. 310, 3rd mvt. ............-..... . 8%1;97,2 Sonata in Bb Major, K. 333, 3rd mvt... ...............54,)1a; 141

Haydn Sonata in C Major, K. 279, Ist mvt. ...............2--... 141

Andante con variazioni in F Minor............... 48,1; 91,1; 147,1 Sonata in C Major, K. 545, Ist mvt............... 47,1; 88,c; 124,5a

Capriccio in G Major .......0.0....... 02000 ee eee eee es 1021 Sonata in C Major, K. 545, 2nd mvt. .................... 104,2b “Chorale St. Antonii”............0....0.2.02-42. . 42,2; 138,3 Sonata in D Major, K. 576, 3rd mvt..................6..2.. 54,9

Fantasy in C.Major.............0.0 0000 ce eee eeee ees 136,6 String Quartet in C Major, K. 465 ....................... 99,3 Piano Trio in E Major ...........0..... 2.0000 e eee eee » 109, €1 String Quintet in C Major, K.515....................... 193,4 Sonata in Bb Major (Hob. 41)...................2...... 119,2 Symphony in C Major, K. 551, 2nd mvt. .................. 1442 Sonata in E Major (Hob. 31).................0.22066.2.. 95,b5 Symphony in C Major, K. 551, 3rd mvt. .................. 128,7f Sonata in Eb Major (Hob. 49)... /.... . 62,1; 65,7; 103,5a; 108,1; 114,5b Symphony in D Major, K. 385, Ist mvt................ 119,5; 134,3 Sonata in Eb Major (Hob. 52)............ . 56,2h; 96,3; 101,1; 113,1la Symphony in D Major, K. 385, 2nd mvt. ....... . 124,5b; 128,2d; 148,1

Sonata in G Major (Hob. 40)...................... 119,1; 123,3 Symphony in D Major, K. 385, 4th mvt. .................. 119,6 String Quartet op. 76 no. 3, 2nd mvt., “Emperor Hymn”. 39,3; 119,3; 120,6 Symphony in Eb Major, K. 543, Ist mvt. .................... 94

String Quartet op. 76 no.4................0002+0022. 119,4 Symphony in G Minor, K. 550, Ist mvt. ................... 89,3 Symphony No. 92 in G Major (“Oxford”), 2nd mvt.............. 50,3 Symphony No. 94 in G Major (“Surprise”), Ist mvt............ 110,e2 Paganini Symphony No. 104 in D Major, Ist mvt. ......... 95,d3; 95,e5; 110,al Symphony No. 104 in D Major, 2nd mvt......... . 73,3; 106,3a; 124,2a Theme with Variations... . 0.0.0.0... 0.000 eee eee ee ee es 40,9

Symphony No. 104 in D Major, 4th mvt. ................. 114,2b

Scarlatti, Domenico

Mendelssohn Sonata in C Major (L. 104, K..159)................... 93,b2; 97,3

Midsummer Night’s Dream, Overture.................... 119,9 Sonata in D Major (L. 212, K. 458). ...............2..2..... 53,1 Midsummer Night’s Dream, Wedding March................. 89,4 Sonata in G Major (L. 124, K. 260) ...................... 132,4

CONTENTS OF FIGURES (WORKS ARRANGED BY COMPOSER) 153

Schubert Schumann

Divertissement 4 la Hongroise, op. 54...............2...... 89,2 Etudes symphoniques, op. 13... 0.0.0.0... 0c eee eee ee ees 50,2 Impromptu op. 90 no.3............-222----+-.. 100,3f; 110,b2 “In der Nacht,” Fantasiestiicke, op. 12 .................... 80,1

Piano Quintet (“Trout”), op. 114 .............--2--2242.4.. 109,b Songs: “Aus meinen Trdnen spriessen” (Dichterliebe, no. 2)....... . 22,b Sonata in A Minor, op. 42, lst mvt. ........ 2.20000. eee eee es OS,6 “Im wunderschénen Monat Mai” (Dichterliebe, no. 1) ..... 110,c2

Sonata in C Minor, 4th mvt..............2.02220000e.. 134,9 “Wenn ich in deine Augen seh’ ” (Dichterliebe, no. 4)... ... 152,1 Songs: “Auf dem Flusse” (Winterreise, no. 7)................. 40,2 String Quartet in A Major, op. 41 no.3...................110,e4 “Der Schiffer” (D. 694)... 2.0.0.0... 0.0000 ce ee ee ee es BIL Studies after Paganini, op. 3no.1 ..................2.2.2... 58,3 “Die Allmacht,” op. 79 no. 2.............2.222.2.... 98,3a Strauss, Johann

Die Stadt” (Sc hohasinitia-penain no. It) 103,4 The Blue Danube, Waltz No. 1....................... 43, fora Gretchen am Spinnrade” 118)................. 111,bl Blue ZNO. Danube. 3 159.3 “Wanderers Nachtlied,” op. (D. 4no.3.................. 3%,a e pineThe Manube, S 6 Waltz ee ee eeNo. ee ee 152,

String Quartet in A Minor, lst mvt. 86 Tales from the Vienna Woods, Waltz No. 1.................. 97,4

String Quartet in A Minor, 2nd mvt. ................... 128,10b

Symphony in B Minor, Ist mvt. ............. . 56,2 109,e4; 128, 8c Strauss, Josef

Symphony in B Minor, 2nd mvt... ..............++..- 128,10 Dorfschwalben aus Osterreich, op. 164, Waltz No.1............ 20,3

Valses nobles, op. 77 no. 1... 2. ee ee ee ee es 46,2

Valses nobles, op. 77 no.5 2... 2... ee ee ee ee ee ee ee « 106, 2d Valses nobles, op. 77 no. 10......... 0.000000 ee eee eee ee ee « 68 Wolf, Hugo

Waltz op.9 no. 2.... 2... 0... ce ee ee ee ee ee ee ee 8OZb “Das Stdandchen” ............ 0000 e eee eee ee ss 100,60

Appendix 2

ist of F Li esReferenc to Figures

Fig. Fig. Fig. Fig.

Ta § 92, 118, 126, 310 39,3 §248 277, 307 46,2 §2438, 260, 302 56,2e §245

Tb § 141, 142, 249, 268, 310 40,1 8170, 212, 245, 302, 310 47,1 §812, 318, 314 59,4 §227

12 § 107, 309 40,3 § 230, 307 47,2 §282 318, 314 61 § 287, 288

13 § 126, 303 40,4 § 218, 235, 249, 310, 312, 47,3 § 268, 280 62,1 §215, 248, 314 20,1 § 285, 248, 323 318, 314 48,1 § 289, 248, 268, 280, 302 62,2 §215, 283, 255, 260 20,2 §170, 243, 248 260 40,6 § 230, 243, 309, 310 49,1 §268 62,3 §189, 215, 248 314

20,3 §260 40,7 § 287, 307 49,2 §197, 268, 302, 307 62,4 §215, 255, 314 | 20,4. §170, 243, 310 40,8 §307 58,2 §225 62,7 §248 22a §197, 204 40,9 §1638, 302, 307 58,3 $194, 234, 246, 260, 310 62,8 §246

22b §117, 197, 211, 310 40,10 §168, 2838 58,5 §232 62,9 §169 80a ~—-§ 197, 208, 310 41,2 §168, 248 54,1 §297 62,11 §189, 314 30b §164, 213, 230, 310 41,3 §154, 218, 243 54,2 §245 63,3 §107

35,1 §170, 302, 310 42,1 §248, 283, 310 54,3 §216, 243 64,1 §246, 260, 307 35,2 §170, 243, 247, 279, 310 42,2 §170, 192, 208, 211, 260, 54,8 § 248 280 64,2c §248

37a § 64, 148, 164, 280, 243, 282, 287, 310 54,10 § 283 64,3 §233

280, 309 43a §248, 310 54, lla § 280 65,1 $280

37 b § 154, 248 43 b § 248, 307 54, 11b § 286 65,2 $180

39,1 §8310 44,2 §64, 164, 194, 248 54,13 §170, 245, 260 65,6 §232 39,2 §89, 233, 243 245, 246, 45 § 260 54,15 §161, 233 68 § 230, 235, 302

249, 312, 3138 46,1 §8310 56,1le § 228, 279 71,2 §249 154

Fig. Fig. Fig. Fig.

LIST OF REFERENCES TO FIGURES 155

72,3 §2138, 290 91,5 §295 109¢ §193 124, 5a § 313 73,2 8307 92,1 $322 109 e, 2 § 235, 260, 273 124, 5b § 297, 313

73,3 §192, 208, 245, 307, 310 92,2 § 248, 245 109 e, 3 § 272, 310 124, 6b § 282, 286

73,4 § 44, 216, 2438, 304 93 § 244 109 e, 5 § 260 124,7 § 297, 314 76,2 § 234, 239, 280, 309 95d,3 § 260 110b, 1 § 302 125,83 § 207

75 § 267, 310 95b, 4 § 226, 337 110 a, 1 § 245 125,1 §197 76,3 § 208, 239, 247, 248, 310 95e,4 §216 110 b, 3 § 258, 308, 309 128, 9d § 286

76,4 § 243, 280 96,4 § 230, 233, 280 110 e, 3 § 303, 309 130,4 $8310

76,6 § 230,99,2 307 §243 99,1 §222 112,4 §279132,1 131,2§§ 288 296 76,7 §282 113, 1b § 246 76,9 §189100, 100,2b 2a§§239 247114, 118,3 §279 182,41 8§105 80,1 §248 la § 246 188, 288 81,2 § 230, 247, 280, 286 100, 3d § 248 114, 2b § 212 134,8 § 206

82,1 § 282, 313 100, 4a § 249 114, 5¢ § 246 136, 2-5 § 307 82,2 § 249, 282, 283, 310 100,5 §314 114, 5e § 246 137,1 § 288, 309 82,3 § 238 100, 6a § 239, 247 114,6 §314 138, 3 8 288, 297 82,4 §215 102, 2 § 282, 320 115,2 83813 141 § 286, 289 82,5 § 280, 287 102,5 § 247, 249 116 § 298 142,1 §197 82,5¢e § 245, 258 102,7 §258 117,1 8164 142,2 §197 83,2 §258 103, 1 § 230, 243 119,3 $124, 259 146,5 § 297 83,3 §150, 238, 261 108, 5a § 144 119,5 §282 147,1 §298 85 § 279 103, 5b § 144 119,7 8260, 314 147, 3 § 235, 279, 289

87,5 § 248, 290 103,6 §307 119,12 § 273 148,1 § 260 88,4a §310 104,1 § 230 119, 15 8 260, 303 149,6 § 256 88,4b § 243 104, 2b § 296 119,19 § 296 152,1 §813 88,4c¢ §150 104,3 § 218, 243 119, 21 § 286 152,3 §318 89,1 §228, 249 105,3 8279 120,3 § 258 152,6 898, 99 89,2 § 248 106, 2d § 247 120,6 § 124, 259, 277, 280, 286 154,3 899 89,4 8258,260 3038 106, 3¢ 249 § 247 122,1 §313 154,4§189 §99 90 § 243, 107 § 247, 123, la § 162 154,5 91,4 §258 109 a, 1 § 204, 304 123,5 8 282, 288 158 8 189

Appendix 3

Works of Heinrich Schenker’

The following is a list of Schenker’s major publications, both in the J.S. Bach. Chromatische Phantasie und Fuge, Erléuterungoriginal German as well as in English editions and translations. The sausgabe. Vienna: Universal Edition, 1909. * Newly revised edition

German publications marked with an asterisk are in print. by Oswald Jonas. Vienna: Universal Edition, 1970. * Beethovens neunte Sinfonie. Vienna: Universal Edition, 1912.

Bin Beitrag zur Ornamentik. Vienna: Universal Edition, 1904. Erléuterungsausgabe der letzten fiinf Sonaten Beethovens. Vienna: * New and enlarged edition, 1908. (See also under English transla- Universal Edition.

tions.) Op. 109, published 1913.

Neue mustkalische Theorien und Phantasten. Op. 110, published 1914. Vol. I: Harmonielehre. Stuttgart: Cotta, 1906. (See also under Op. 111, published 1915.

English translations.) Op. 101, published 1920.

Vol. II, Part I: Kontrapunkt £ Vienna: Universal Edition, 1910. (Op. 106 was never published.) Part Il: Kontrapunkt I. Vienna: Universal Edition, 1922. * New edition of Op. 101, 109, 110, 111, revised by Oswald Jonas. Vol. Ill: Der freie Satz. Vienna: Universal Edition, 1935. * Second Vienna: Universal Edition, 1970-71. edition, edited and revised by Oswald Jonas. Vienna: Universal Der Tonwille, 10 issues. Vienna: A. Gutmann Verlag, 1921-24.

Edition, 1956. * Beethovens fiinfte Sinfonie (reprinted from Der Tonwille). Vienna: Universal Edition. (See also under English translations.)

+1, A complete, comprehensive, carefully annotated list of Schenker’s writ- Das Meisterwerk tn der Musik. Minchen: Drei Masken Verlag. ings is to be found in David Beach, “A Schenker Bibliography” (Journal of Jahrbuch 1, published 1926. Music Theory 3, no. 1 [1969]: 2-26; a revised edition has been published in Jahrbuch I, published 1926. Readings in Schenker Analysis, ed. Maury Yeston [New Haven: Yale Univer- Jahrbuch IIT, published 1930. sity Press, 1977]). This bibliography also includes the most important books, * Photographic reprint in one volume. Hildesheim: Georg Olms

monographs, and articles by other authors. Verlag, 1974. (See also under English translations.) 156

WORKS OF HEINRICH SCHENKER 157 Fiinf Urlinie-Tafeln. New York: David Mannes School, and Vienna: cello” (from Das Meisterwerk in der Musik, vol. 2). Translated Universal Edition, 1932. (See also under English editions.) by Hedi Siegel. In The Music Forum, vol. 2. New York: Columbia * Brahms, Oktaven und Quinten. Vienna: Universal Edition, 1934. University Press, 1970.

eas : 1975.

(See also under English editions.) Beethoven, Complete Piano Sonatas. Reprint of the edition of 1921~ 23, with an introduction by Carl Schachter. New York: Dover,

Editions of Music “Beethoven, Fifth Symphony, First Movement.” Translated by Elliott

we Forbes. I t , Fifth h N itical . 1902 New York: Norton, 1971. . ; “Brahms, Octaves and Fifths.” Translated and annotated by Thomas

* Ph. Em. Bach, Klavierwerke (selections). Vienna: Universal Edition, ones n Bee hoven, Fifth Symphony (Norton Critical Scores)

Beethoven, K. laviersonaten. Nach den Autograp hen und Eirst- Mast. In The Music Forum, vol. 5. New York: Columbia University

drucken rekonstruiert eon Heinrich Schenker. Vienna: Univer- Press. 1979

sal Edition, ar by Edwin R V; -Unj 1 Editi “A Contribution to the Study of Ornamentation.” Translated by Hedi New edition, revised by win ate » Vienna. Univers ition, Siegel. In The Music Forum, vol. 4. New York: Columbia Univer-

1947. (See also under English editions.) sity Press, 1976

Beets *, ak Sonata Op mae No. Onn eo ith an introduction by Five Graphic Music Analyses. Photographic reprint of Fuinf Urlinie-

ehenker. Vienna. wniversal Mamon, ° Tafeln, with an introduction by Felix Salzer. New York: Dover, 1969.

English Editions and Translations Harmony. Edited and annotated by Oswald Jonas. Translated by Elisabeth Mann Borgese. Chicago: University of Chicago Press, 1954;

*J.S. Bach, The Largo from Sonata No. 3 for Unaccompanied Violin” (paperback edition) Boston: M.I.T. Press, 1973. (from Das Meisterwerk in der Musik, vol. 1). Translated by John “Organic Structure in Sonata Form” (from Das Meisterwerk in der Rothgeb. In The Music Forum, vol. 4. New York: Columbia Uni- Musik, vol. 2). Translated by Orin Grossman. Journal of Music

versity Press, 1976. Theory (1968). Reprinted in Readings in Schenker Analysis, ed.

“J.S. Bach, The Sarabande of Suite No. 3 for Unaccompanied Violon- Maury Yeston. New Haven: Yale University Press, 1977.

Appendix 4

iginal German Edition Edit Omissions from the Original Translated by John Rothgeb

A large portion of the text translated here was already omitted from dialects that vary with landscape, mountain, valley, town, and village. the second German edition. A few additional passages included here Their ear does not reach down to the root; their memory seldom extends

were excised by Ernst Oster in his translation. past grandfather. It is the same in music: a mode of thinking based These excerpts exhibit all of the difficulties of language alluded to on the roots of tone (ein Tonwurzelhaftes Denken) is given only to by Oster in his preface. And one particular source of difficulty, the the genius. The others write fugues, sonatas, symphonies, and so forth, use of metaphor, causes unusually severe problems for translation. as though in careless dialects whose degenerate condition (Abfall von Moreover, certain words such as Wurzel (root) and Zusammenhang der Wurzel) is plain to see. (coherence, inner connection) are used repeatedly with subtle changes Nebular spirals solidify and become stars. Music, born from the

in meaning or emphasis; in such cases, different English words are original irrational state as if from a nebular spiral, and made ever used to render a single German word, and there is necessarily some more dense with diminution, grew into a star in the heavens of the loss of meaning. This is partially compensated by the inclusion in pa- spirit. But how strange it is: mankind is more interested in the most rentheses, where appropriate, of the original German expression. Some distant star in the firmament than in music, the star of the spirit’s especially elliptical passages required a few words of explanation; foot- heaven! May the light of that noble star shine on! It surely is captured

notes have been added for this purpose. and protected in my eyes, but what will happen when my eyes have Special thanks are due to Professor Juergen Thym for his careful closed for good? | reading of the manuscript and for his valuable suggestions concerning For the adherent of my doctrines an endless field of study opens

some unusually problematical passages. up. He sees the ostensibly old creation of our masters anew, as if at

158

the moment of its birth; he feels as the author of the Bible must have A felt on being allowed to hail God’s creation with the first words of

Only an artist in language invents words in a way that truly reflects the most blessed wonderment, the most ecstatic tremor. their roots.*! The masses then transmute the artist’s words in countless Although favored by God, the genius is nevertheless removed by the material in which he works. The non-genius, however, *1, Nur ein Sprachschépfer erfindet Worte wirklich wurzelhaft. Wurzel is twice removed—by the material, and also by genius itself. The non(root) and its derivative wurzelhaft (rootlike; of or pertaining to a root) are genius misses the complexity of genius; the genius appears too sirhple

used in various metaphorical senses in this passage and elsewhere. to him. The non-genius feels himself obliged to transcend the genius.

OMISSIONS FROM THE ORIGINAL GERMAN EDITION 159 Only the genius is connected with God, not the people. For this of elite in place of the obsolete feudal order, with the great experience

reason it is necessary to strip the masses of their halo.*? of society and its great metamorphoses” (Coudenhove-Kalergi)—so The geniuses of art are its saints, so to speak. Of course in art, as “art for everyone is not art” (E.J. Schindler, the painter, in his diary).

in the church, the number of saints is very small. High art cannot be attained if it strives to fulfill common ends. But The leveling force to which average people are subject is never im- it is not the declining human species that has chosen to allow art to

) posed upon them by political or, in a broader sense, spiritual dictators; die: on the contrary, art, because misunderstood and unattained, has it is, rather, like an infection which passes from one average person left the human species behind. But those who have been thus left

to another. behind by art call themselves modern!

Imitation is no substitute for evolution. Culture, tradition, the discipline of genius—these terms are all synon-

In epochs deprived of genius there is much lamenting of the “irre- ymous; they all have to do with the phenomenon of genius. Civilization, trievably lost” gift of genius. But did the people ever truly possess however, relinquishes the support of the genius in every respect. When this gift? The possession was only illusory, and so is the loss. A history a generation begins to want a new culture, when it attacks tradition

of mankind that tells this truth has yet to be written. and the discipline of genius, it contradicts the true essence of culture. It is said that each generation understands the works of the genius

in a different way. I say: mo generation understands them; but each Just as there are economics conferences which are intended to com-

generation misunderstands them in a different way. bat the decline of the world economy, there should be also world conferThose who come and go without having understood the world or ences for the economics of the spirit, whose duty would be to combat themselves revolt mechanically against their forbears in order to gain decline in the spiritual domain. In consideration of the petty jealousy space for living. They condemn their fathers as reactionary, and con- which would inevitably arise, it would be advisable to follow the pracsider only themselves the true progressives. It is futile, however, to tice of politics—to have, behind the official politicians of the spiritual,

B spirit securely.

try to escape from the genius with such a cheap device!** unofficial operatives who understand how to conduct affairs of the If I am dedicated in heart and mind to the greatest masters of my C art, how can I be considered eccentric or reactionary? Here we shall be concerned only with the way this principle manifests

itself in art. Thus, for example, it is not only the historical drama Concerning the law of large numbers: two, four, or eight people whose special environment must come across to the audience: every can easily be brought together by games, if necessary also by intellec- drama presents a content whose meaning truly reveals itself to the tual entertainment. Art can bring together as many as two or three audience only if they perceive the fundamental (Wurzelha/ft) signifithousand people. But to assemble and entertain 50,000 people—this cance of the inner connections which find expression in it according ean be accomplished only by bullfights, cock fights, massacres, po- to background, middleground, and foreground. Whenever we lose even groms: in short, a brutal ranting and raving, a demented and chaotic the background of a drama, we possess the drama no more, as is

outcry. Art is incapable of uniting such large numbers. the case, for example, with Greek drama. It is the same in art as in politics. Just as “freedom” for all is no The background in painting is visible; it requires neither justification longer true freedom—it is merely a utopian dream to “reconcile the nor explanation. ideal form of the liberalism, which really wanted only a new selection D *2. Entgottung der Masse tut daher Not.

*3,. . . mit solchem billigen Kniff auch dem Genie entlaufen zu wollen! Whenever and wherever such heroes are lacking, the masses can To invoke “progress” does not compensate for the absence of genius. never become a true nation (Volk). It is only through individuals, and

160 FREE COMPOSITION according to the law of origin, development, and present, that the Therefore, the person whose tonal sense is not sufficiently mature

masses can be forged into a nation. to bind tones together into linear progressions and to derive from Technological creativity is chiefly concerned with the expansion of them further linear progressions, clearly lacks musical vision and the

man’s habitat and spatial existence, or with establishing surface con- love that procreates. Only living love composes, makes possible linear nections between distant points. All such creation yields only surface, progressions and coherence—not metaphysics, so often invoked in the

only foreground. present time, or the much touted “objectivity”; these, in particular,

E have neither creativity nor breeding warmth. Included in the elevation of the spirit to the fundamental structure H )

is an uplifting, of an almost religious char acter » to God and to the Just this passion for flying over ** drives people to revolt against Senluses through whom he wor ks—an uplifting, in the literal sense, nature. Nature hews to landscapes as rubrics according to which she to the kind of coherence which is found only in God and the Senses. arranges and attunes her creations. But modern man thinks he can Between fundamental structure and for eground there is manifested ignore the differentiations of landscapes simply because he is able to a rapport much like that ever-present, interactional rapport which con- fly over them. There is no doubt, however, that nature, like art, will nects God to creation and Creation to Go d. Fundamental structure win out. Just as nature will always place elephants and crocodiles, and foreground represent, in terms of this rapport, the celestial and for example, where she can provide their life’s necessities, so she will

the terrestrial in music. place a Beethoven—if indeed ever again—among the German people!

F There is but one grammar of the linear progressions—the one deJust as life is an uninterrupted process of energy transformation, scribed here in connection with the theory of coherence in music. It so the voice-leading strata represent an energy transformation in the sufficed for the masters; therefore those without knowledge or capabili-

life which originates in the fundamental structure. ties felt it necessary to seek newer forms of coherence. But I repeat

here what I have often said before: the fact that all of the masterworks

G manifest identical laws of coherence in no way precludes a diversity With limited spiritual vision, composition is no more possible than in essential nature among the masters.**

speech. Certainly both can be undertaken with just such a handicap, I

but the results will show it.

The most basic necessities of life by themselves foster a certain Today this is recognized even by the most noted conductors. expansion of the power of thinking. Men must learn how to communi- J cate with each other so that with a joint effort they can wrest from nature, society, and state such benefits as are necessary to survival. Until now, all theory had to founder on the foreground, because This common effort necessarily must be infused with coherence theory selected and read only from the foreground, using it as the (Zusammenhang), even with love; and as a result, a modicum of eoher- only source of phenomena to be considered.** The sorry state of theory,

hee uawe 3 certain degree of love enter into men’s spirit and their *4. Die Lei denschaft des Ueber-fliegens. | |

, . *§. That is, the masters achieved variety and newness without seeking funda-

By contrast, music, as art, has no practical benefit to offer. Thus mentally new principles of coherence. there is no external stimulus for expansion of the powers of musical *§. The verb scheitern (founder) also means to fail, and it is used in both

creativity and music’s artistic means. The expansion of creative vision, senses here: first, a theory that looks only at the foreground will not be able

then, must spring from within itself, only from the special form of to see past it; and secondly, such a theory will be unable even to interpret

coherence that is proper to it, and the special love intrinsic to it. the foreground correctly.

OMISSIONS FROM THE ORIGINAL GERMAN EDITION 161 whose arrogance and pretentiousness match its erroneous content, eal art. On the contrary, one thing should be made explicit: Italian is most accurately characterized by the fact that it labels a true musical music, always bound to words, must be appraised as merely a prelimihearing process as “musical research” (Musikforschung); what is com- nary step toward the German, just as in previous epochs the period monly called musical research, however, has nothing to do with music. of irrationality, the first contrapuntal attempts, and the first paths How sad that such a perverse way of thinking finds a place even in of Italian diminution, etc., signified preliminary stages of development,

Germany, where the greatest music-geniuses practiced their art! never equally valid states. (May the writers of music history at last If the Italians object that German music is “philosophical” —perhaps recognize this distinction and put it to use in their treatises!) This is they will also describe by way of thinking as philosophy—we need in no way negated by the simultaneous existence of such various stages

not pay it any heed; for they use music only for texts and for the of artistic advancement, of a preliminary stage alongside the most folk song, opera, and so forth. Music from the sidestreets and for advanced. In nature, different stages of evolution are found not only the sidestreets, so to speak. To be sure, the sun shines on their streets; in succession but also contemporaneously. Isn’t the simultaneous exis-

but if the streets beneath other skies enjoy less sunshine, the music tence of the genius and the average person exactly such a contempoof genius is as sun to those who dwell in them—a sun which illuminates raneity? (See Fig. 13.) However, in the last analysis, the standard for

and warms their souls, bathes their chambers in golden light, and judging evolutionary plateaux derives from art as pure idea. Whoever

even makes the landscape sunny! has once perceived the essence of a pure idea—whoever has fathomed Theory today has sunk so low that it hearkens to the mouths of its secrets—knows that such an idea remains ever the same, ever indechildren, accepting their utterances as artistically valid revelations, structible, as an element of an eternal order. Even if, after millenia, instead of passing on to children the lessons and principles that have such an idea should finally desert mankind and vanish from the forebeen derived from the masterworks. It even attempts to teach a kind ground of life—that foreground which we like to call chaos—it still of collective art, and approaches musical creativity, which was, is, and partakes of God’s cosmos, the background of all creation whence it will remain truly the gift of the few, with a purely mechanical way originated. of thinking. Theory courses today have become literally hobby courses Therefore let all men, be they philosophers or not, cease to ruminate

for unmusical children. on the meaning of life, to lament life’s ostensible meaninglessness.

How can men hope to stumble upon the true meaning of life when,

K constrained by mortal organs, they must see immediately the end for

Our era was the first to try to manufacture national musical lan- each beginning, the fulfillment of each promise, the reward for each guages—a political hunger—somewhat in the way that industries are good deed, and the punishment for each crime in order to comprehend

founded on the basis of so-called autarky. or even form a notion of the concepts of beginning and end. The “chaos’”’

L of the foreground belongs with the universal order of the background; it is one with it. All of the brief time spans of the foreground’s chaos At best, the course of culture moves in curves, something like this: fall into the endless time continuum of the universe; let us finally

= aie .. _ “sted in the work of Heinrich Schenker. He had come upon

e i | an | ~ WSe..Ze. _Schenker’s annotated editions (Erlduterungsausgaben) of the se 8&©8©666—6™CMCM «CO sOOferreed incalculably more to the serious musician than did any

- — s . 4 = _ other theorist. That Oster first approached Schenker’s work =. «6 | joe | i | -+—s meen: as a musician and theorist. For, despite his formidable

, ee = _ ™ fF _s—vinced that musical analysis must be more than an intellectual

mS \ | ~—™—_séactivity, that the analyst—like the performer—must attempt

~ \ a ee 7 an artistic recreation of the work. And he believed that Schenk_ Pe — —==~—_ser’s approach has as much to offer the practical musician—com/ 2 _—--"._—‘} _| lO €§€—C—Ci=sST? _ ¢y) TT ae et CDEn “A -©Gane | Em OD ~*~.t—SY «i eee Bn“ =}? ______lh. _~ 44 #4 I pine 4+ 4 —_—_ tA -—_f4¢_ 4P—____l

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— —— = we fl

i ——— pe oo=1-cresc. S‘_ FI _— (J ——) eS(arpeé:) Qe (a:) f-1#®§__y

AAA fet.b Pe 5-6Ree 6) (40 oan) AA A (ascent) ‘3 3 3 2 1 :Se(}oO a‘Sn7 eeKeke ae ee) ‘2 J) . ‘2 — ea st pss Se!

a) (ascent) 3 b) (ascent) 5 C) (ascent) & d ) (ascent) ) |— 1b — i.4ee. eee| Ee eee || y, 4b >=ae\ |a(io. SStm: 2 |GW NSOK) 9 EE a: 4| A SOee«_4 A/ ES

SN t a)A 1 (3) S) (=n.n.) A (4) (5 a (3) ; r JPref —Re~tircyR= her

10 eo 1.4) A ee i =e =

Chopin, 25 no. 1, mm. 1-8 ( (antiparallels) nyEtude Carop.(8-(8)8—-(8) — 8) (§=

§- 8) 8 I VI , g) 3 2 I (div.) ——_—— IV—— (pt)-

f) e._|-4 | te BS2:a)ie(cf. Fig. 53, 4) wih @&A/S EE ee) . eeeWN eee Se. . 8 - 5 - 8) Mgd.. ~————A 3 sv (Fgd. I—————- ( ) mmu?-vI - Wm - v)

A SED “GE BE GE ee ee eee ee ee CO Es| eee 4ASS ——— Fheee || A SS | SS5} SR 2| at=—— ES | A ERNE

crim?) np Gov oD ¢é I v1) b)oy 12. (3) (=n-n.) 2 (=3-prg.) 3 3 et \ FF Tw a -. ws FT | ia @f VT | @a Fa - wf ~—yI A

. ES... ae A. an EE DE... Ee de BS"ee, _4peeeeeeeees {.. WEE eee“ | | || (=I IW(3) — v’1) (4)5 (=arpeg.) (4) ) (Tye . Tes 71 oO 2)

SS eaGe ) oe =. a.a eS ee Wee ata ti“i

J se EE, a | a a es Se hE eee | e

— cyl yo Y— Ro—_ Re—pee

ee

1,? be2 =feet ¢ Satter

aAa ansasnee

Figs. 41 fcont.}-42

Beetho Fifth Sym., 3rd mvt. A 1 ven» 7 : 26 m 6. 60 72 2nd mvt., mm. | ff. (escent) 5 (See aA.) a scent) (S| woe b2 eS ooey eeli LeU (ascent) 0 ee 62.) , . £. « e "ae So a CE A A BO : X14 . , LS fA Ps Ca Passe ae, a — re re 3 fs | ft P VP s— (s— -8 ) -8 (8 8) ww LIAR he ane - Uae ae wl =I8EEE 7 2 04 Pee Of Cdawe C ,CC™C~™~CCCC YO Dy A, Aes TT. WAR) EE OP a ES RRs PPVS

AASV A 8 - > ~ 2-4 41 7

(8- noeeeeeeeeess —10 Iv“4 - 8)-v* 6 53 Ab major: | ———————______

. Schubert, Sonata op. mm.

J.S. Bach, WIC J, Fugue in D Minor (cf. Fig. 156,1) meer Soman ee Se, Wet ave, mm. 232-237 |

- (subject) (st cpt) —“Fe-0V) 6 a A G Fizae ‘ > = We

ep UR PALS bes t = > — ew te Pp

(answer) ~~ "77 7~---------------°7°7°7"

d minor: = I (vi____fg-_ =] IV Il Vv |vI-————-\, 1 sf P| P| 7. -——d 2

m. 10 11 . . — oo ye tH oy oh SS oe [eS 8= cece — OP A A a | | 5A 2ARe a a Zp + — + ee ete Ort 5— (43) -5 Y 5-(1) 6 -5 Chopin, Etude op. 10 no. 8

Chopin, Polonaise op. 40 no. 2, mm. 11 ff.

I - WW (.§) 34°f\eA215, ] ] ] ] 4 ] mn) ] fT Se 4 —_———— NN Ts PeSE I Menem a |FS , | OT TTT ge) Oe, OEE 7 AO A Yk Te = ES S|

Beethoven, Son. op. 27 no. 2, Ist mvt., mm. 55 ff.

(=8 hey 6 5 4 38 2 1) Handel, Suite No. 2 in F Major, Ist Adagio, mm. 6-8

eg ee Ser Ro? 3I (IV— og. 568 6-5 Pi II v43mi)&uUu-vVv - I “2 6 ~2

,

Ny 4 Po. —_ oS — ——— —_

4g = »—“ —— "a {+ —-— |} |} 9 —o§ ——_f —_ Yt }—> —_+—%

5f) een}ean] eaea ]J

Fig. 54 [cont.]

Chopin, Etude op. 10 no. 8, mm. 29 ff.

, EO AAAA A SS A; eeORO SN | | EE cc AesOS TSeS SL AT TS SSTS ASA AN SYST A SUNY

. "ro2 48) AS 7 Gs Op: Te. « Hs 15 72 Ye TO . 1 2 3 - 4 5 - 6 1_———————————___—_——- 10 . 7

; m=m——m”?7*ro"-™--"———."...Y".] a eS SE .. AF OO OT

EOE p.t. —bn.n.) aS ae * ae as Sa / aeset _| OO ee. (4n.n.— EEeEeEeeEeEeeeeeeeeeEeEOEOEOeeeee_

m 66 10 gee 75 80 ee 8 f) (eo) df |T_T @ id J MZ sa~~ ba |=es ’ SS TO_aS] A tTh PSE— BEAS Pe Pe Tl ee

Beethoven, Sonata op. 81a, Ist mvt., Development

ye eS et te SQ J A 7 -6-5, 10- -8 7h4 DG56 Eb major: V 5 6 m 40 55 «61

Oo TES a i eS An ee —_ be oH —hos pit hha Pty aol ©eGlei —+ Ane nepe-lho"l eee eee Sethat Lor Oo2

Fyre ee 5- -7 id

(n.n.)

7C0F ,

OE A Ee: a A | Vv (-m1¢) ——___ 2) =r 4azeee m. 117 120 a . | yp oe —T ig ae) S ——, PhSettee Ppi ee _ a" Sa oe es Bnd Se > J.S. Bach, WIC J, Prelude in C Major, mm. 24 ff. Chopin, Etude op. 10 no. 8

en oO ]._ — or (AE ( Ph Yo 0, fe 2 a ‘S04) —| =—_ ; WS = &: ) Aay7=‘RR =eS|

Beethoven, Third Symphony,

Beethoven, Third Symphony, 4th mvt. 4th mvt., mm. any

FT eNO OTT OS |Oe S| Gk 7 a A, TS RT CS——=__ Violin II ig (third —-—— root) ——_—_— b —_—5 aA

ts

tO i. ee 2 a) b) ; :>¥a|:

| ————___________—__v (-ivm) ——— Vv’ I I-IV —- V——!I HVviI

4 ———#3 , ?ee: FCO SS eee eer OO OS sc i . oO((W@W"._ T__..._ 2, —-—-., TT OEE_ o—DT >bEeee =p Ee.—._.._..__..____]] eee 2Se 8 ———._ 7

be 6 —_—__—45

Chopin, Ballade op. 23 d) ee aDT Ea Wr —— ES OS re oe ro _ ea 2 Ne NT 5 ee NS NEE WEI y | 0 —T Pf a = . ava “ E : | ad 3 -_ * ~? 8(?) g minor: IT ———V——-—_-_- fo OP

oe 6 - 5

—f-.——$—$$——— +} Sv Se —_ 5 oe | ot, 1 —_, 2 2 So EZ OT >=~N’™>-’-”"—" 1

eo TN OOna24deOOA CTO eon -ono”.":"7#er’'-'""..~--”-uz2’..”0—_—__—_ | 4} Pt ———_ te __L_

7- (8) -6 7 - 6—_ 7 —$Y 67 {|———_—_ Beethoven, Piano Conc. No.m. 4, Ist mvt. m. 290 Chopin, Etude20 op. 10 no. 3 e —_— 17 18 19 ° -_—~ . — A ee err TO me A A2At)A3A2 A 4s Piano —— — 5 (-8--=—-~_ ie: 1 nthe £87 id thd J dre rat, eo SS Je A Sh A 7 ete |. SF aw Fle OT oT Lo TF 5 a 0 eS eT OTT—T*kK&EE E_—1_«—#_#£j2nno..0O0O22-22-—2—2—?——]] Pe _ Caa 2thNNT ete SOI __ 7. to a0 ono TT Cr — —

Ctarinet = re) — | ~—F = ia id o : 4Vv (arpeggiation) | 6 5I vV———__ 6|I al/._)aw —| eT, @ 4* A or | sa i~~ a| Ge aaa aT @«= «7| A5 a| A PN | | |LT

N57 EE ET 5 NS _ A Ce iS Se I ee "pg ot St ee *

Handel, Suite No. 2 in F Major, Ist Adagio, m. 8 —

OOF OT === E—ETT—KZTTT—ODFE>—= ee ee ae I TT ——.o— —

- | Po 5 -_ _ | s

oF=LS ee | >_> —_ 64AS —NE ——p— 1. Fo ne Oo aoO ao oo A rE A | ES 1 LS

~,_8 py -D | (3-prg.)

§

74 a) — b) (!)p gd fn ’ |g eee oot Fh > FOR t Pee beg 7rp ee 8tf? Ee fe z —"_ OOO

Figs. 65 [cont.}-67

Haydn, Sonata in Eb Major (Hob. 49), Ist mvt., Development, mm. 109 ff.

hb 171 \ ——? ——~? att Se le a rt) -— TN a

8 ds hn FFA | ED NNN o . OS | AS A | Oy tt rr Ft tT Sea aa — A)?, aee Te a Sey | ge 46yySd SS fp — Ey ey a Pap —}— FP — | eek,Cieeiek 1 en 2 | 1a) eOeBy (o) 2)Te| Chopin, Mazurka op. 30 no. 1, final measures :

!

FE NE A TS AS SL A A A A a 7 SS |

ae Se|SSA A >} , era oe HeraT 7 —s| ——* a7OEne oeFy Hh| SE a | Tes

4 t—} 7 1 3 +Too PA A pad dg Og gp ps dg OTT aaa | Retr Keepy A] PRE se |

A3A 2 A 1 2 a) b) C) (n.n.) 1 ee ee Es es a 67Keep — : me ‘ A 0 or a oe 7 | > SE EE SE ES ee ONS oo See Se Mes rF EF RE e

A |S |

(NB 5 - B!) (5 8 - 5) 6— eo H , — 7 " sa Se 2+—y| heA 2pa,_2an :2 Beethoven, Sonata op. 26, Ist mvt., Theme

p Peo ti P P 5- ( )—- 6( ; ) 6 43 8 — b7

2 NE © | S A | A SS | a Pe * |_Ae GRRE “4 een

Ab major: [——————_____ - 00 ~< y————]1

ae —— Ab major

(=Eb major: I¥————-—_——____ II V__ (#V) - VI ]] V - I) Vv - I

12 i a A 1 9 3 m. aePt17 18TN}a cess, ph) —_} er Nev! é A 2 5— 4 43 63) 2 1 1PQ c 5 / 2 ee ee ee eee f = 1 | 8 SL ee a SE =I : 12 ANS Wiles 6 - 6- 6 - > & | 2 ar | a ed

Figs. 72-74

Mozart, Sonata in A Major, K. 331, Ist mvt., Theme

i sds oONS SS oas>S —---—"”"—"”—"—_ oT

— ZS —- —- yg @ ey, —_

FC ED | FP ——— s 0 ra — Jp ees? f=z. |(4-prg.) b ; ; — 7 as i As | — 6 ee eee 16 65 ; ; pe yO

Chopin, Etude op. 10 no. 12, mm. 11-18 Handel, Prélude (Suites de pieces, 2nd collection, No. 1), mm. 1-35 A

‘ _—————____— ; = A 04 *—— [jf ——_ 9

Pp t — ——h —— —— oot Chel. Fn ed

1-Az = At e f P i

m.(=2 (63) 3 4 5 _36 a 8$m 9 16 w3wr_ 37 3jp $3 | —— || ses ae |})|

Haydn, Symphony No. 104 in D Major, 2nd mvt.

a gs eG Re a (81- b= ag)

(et—@a 4=.~— te Lo Kes eee oe = ‘een ‘ id eT — SI i r} AL 5 7 RN Tt v= aa I (B — Ax) 4tOf) (a— ____ft_ ~» -—---’’’VnV’-’--——_"“"“MMCM€#W#'##9_ 2” 55> ——=E—=E EE Ee

|

|

|

(= 3 ~ 2 2 2=4 ‘ = d- ) b . e — —

Beethoven, Seventh Symphony, Ist mvt., mm. 370 ff.

So "=et Sr m 1-8, 17 18 19 21 57 f\ y (cover tones) = ™ m5 Se a ©

(8 hz he) Ker CY Se ea oS Oe hn eee eo o_O eee aA ee ooo ot SS ooo oor el EE OSS] Ai- B- Ag ) Chopin, Mazurka op. 41 no. 2

mz: FHS TO #$:$€TVTsox#"0"."CO-c"xC.TM-.-Nnn-.’-—-----”"—"-.".”--"TME TE OO OS

fd i a a

A

8” 20> RE CAE ST EE ON MEANS NINA SRN NA RE RE BAT OST or oT

(rep. mm. 9-16) 21-56

LO ooo ee ooo OOOO?#2”””g« wl OO OO .-nv”v”vP--—-———_— oor

(a1 - -~ ag)

Fig. 76 Chopin, Prélude op. m285 8no. 3 14 18 20 10/11}] A AoA A A A A A AA 3 (mn3) 2 1A 3 mnA3) A, 2. 1 5A (inAA 5) 4 8 A 2 1 A A AA 3 28 3 (nn) 3 2 1 FSSSFEO typ tt8eyieBlade wo |+ | é jl ae ee tt D+ a NE

oF? Lo be | Le as He FP J 7 hie mT heSo ’| C }& | Ty NRNS ; — ea 2..A fee IR eee poe — OT FeNACAan[7d ey? a oe ys BT ws hg. A ay)aMee aewwe a. a! a ———_ Fo wwe OOO ee nes (fifth-progressiOn) ae 8 _ by ~~ 8 progr: )

7, ,g. i2.. vs VTS FG Te 7 ijI XK kaF ,.@ SS ES IThg O*e"e]

PS OW F-AWAT’”’‘”7{vV. 100 Pr rt

Schumann, “In der Nacht,” Fantasiestiicke, op. 12

hi DP" —_o — D}-CONrT---20wwWWO”— —_._(NOuU FF? OT HOT..:2nnuo-"-’-.-”"_.-u_C(OVWDOU0aL__

aa

53 -_ee 6 -- 53 46“4

3 2 2 a a ns a oe —— S b) C) gua 088)

Figs. 80 /cont.}-81

m. 25 28 82

! al ee es

Chopin, Polonaise op. 26 no. 1 (see Fig. 44,2)

2ws. J.S.a Bach, Chorale: bin’s, biissen” a er (St. Matt. “Ich P., no. 16),ichm.sollte 7 (11)

° Ae Ther: ie i ACE ‘ Ream AS) TS | 1 do ee A 2 i a) P| daa ooo ae te 1 Tenor 8_ ee)Ta| . o-}=-- 1 Bass-@— , 1,-_..--~2TtWf VT ol LA OT _-_-—_T

AT 2 Se A a || cc 5 5 5-6-5 (5) eee ath oi | ff Ts. ot EES Fi SO OOD ee ee EE, eo 2 Meee hs = (w) |=eae) \#s-ce 4 ~4—s3 8 - aa #9 - 8

aoe ee ae |

m. 8 10 15 2p40» = Q eo eo 7a 9 =e = = ba ea A aS a i 3 oO TT, a CT Fo OE 0 | oe | 1 8 tr iO ie| RY ee fF tL eS OE et , am = SOO LO roof ife [fT t-t ——— Fo =e ee EE SEF | larpegeiation {_________———— ————- JY |_——— Vu“ —-

Brahms, Fourth Symphony, Ist mvt., mm. 1-19

(octave-progression)

SS OEE CS DY SE ee >_>? IHx'™'Nn--n0nW"cvwo"T.-uA0844—0wm—@™.#*#7.-"0W'..-V----....”.""—"@—-” X{/Txe” 2?” © LL i)

ViolinaI a)2(«4 4 m)ee b) (dese.rg.tr.) mT mm me ee 77 —_— : aiP2eee a SE Cs er Vr * se. A BE...

eo oe| Sear | SSS eo aes caer eo

Th Os eo em TSE OOOO———_——— —eED/C Nr'l™™"--@29D]>]>]@€@#ov.v7".-.-0-.0..oS DEM See Oe

Sn Ps i |6|n i |i: CS © 6 i = =~. ee eee eee | —]—__ y______#7___} L-Uev 1 I—_—__ V- ll Vv 1

ae oo 2 ee far __ +-— 8 sO eeeee oo2oe RL OT SOT FC orto eH... 1 PH — O”nR 2es rT Oo

Fig. 82

Mozart, Sonata in A Minor, K. 310, 3rd mvt., mm. 127 ff.

A (4) A . YP a I TY V I f5 a.ca_—— woe | To EE | A\2— aSos - ca ace = FP (8 bVI bsIl___ ay b HiT v) ag 3C—O y ‘ 4. m. 13 15ag 17 22ee 82 84 ‘ Se he ore A2 tAb) 4 3 2 t 5fase a) aA 3 ae ee a a Oe 8 oe aS) a LH es a) ee A | Se eee” ‘ is |, on ES nh) —_ _ a aoe ann eeHh RZ = © wy ?* ,

PE eee —OO DE ._.n_ Le )/“/"VD’vV.-T"-*""..l-—- oo —_ a

Beethoven, Sonata op. 22, 3rd mvt., Ist part

1

’ 2 See) oe) eee | ee eee... Ee eee. ee RO? —_— 0 _.—_ ooeee... aaa eed OeesOF i. To 1? O.070-029"#41—4rNKN°N™™™”}TpmO- SS 1 _____? 2 aL O————:3-r”->sUKv0=——

VA\e ge UP I Ff —| NX_ So

f nn

Mozart, Fantasy in D Minor, K. 397

f) a) (3-prg.) b) . — (rg.-ov.) (0 CAE CE EE CE | A Pe,» NR SE NS, Yl Pan” SET (cf. Fig. 152, 6) m 20 & 35 48 200 27 382 8683 8% — 85 42 43 J.S. Bach, Twelve Little Preludes, No. 3 (BWV 999)

sy > $ “2 pe —

MB:5 - 7-5 #3 vis— ~ #8

d minor:V32—___=#3

J.S. Bach, Aria variata (BWV 989), Theme, mm. 9-12

a THéQnnvr-’r.’”.—"nunwvw-"-"”"””."”"”"—-—-.”—-—-—-—-—-—_ 1. ESS EEE TES EE —_—=x«. to a. so --_ ee _a-_ a _@ o_o 4o DES rn F) 0a) ) eel =) =e— Oe_ rn ae 4 a= D.=“——

I- cons. -V I V I (div.)

(8 - 7)

a4 (=] ——____________ IV\ pt. v) b ag

' ) ir = ) Aa es 2 tr 86FPESbr: 21574, 1 eo Fe rr tet a eth arti eee oe ee 18 4 oO -}—————_ t+ 9 —p—H A A SN SE A NW 7 A A | 1}

0 8aeSS OS EE Sl gp EET Meer Ct Ft (10 10 - 10) 10

JS. Bach, io Cone. in E Ma). J.S. Bach, French Suite in E Major, Gavotte (cf. Fig 125, 1)

5- -5 Ct Vey Ft

a Citi 1——— 5 6 _7 Sh 9 m8 3 (leads) pict) Sq a © (F\ ‘tev =" N bt oe \ Jnt ET a | I Sa —1-@L an a. eT oe afeae| eS al@)[= b) Fourth-progressions D. Scarlatti, Son. in C Major (L. 104, K. 159) Beethoven, Sonata op. 101, Ist mvt., mm. 3-4

es nA ——tTP ott —id —— aa V (+) ° ad y 10ths) (lower 10ths) (lower C(lower —____——_—— G¢——— A 10ths) EE

a a ee = 4 q NS —| p ¥ —t YE ro ie [ek —4 “> ° f y _—f {————___——______V

Mozart, Son. in A Major, K. 331, Ist mvt., mm. 17-18

, J, (upper 10ths) 4 +S / \ .Ooo 2 @TE2 EOE ) , (upper oe) — gr it ee *+_e—— a EE i+ —o;_"|—_l__} Cy ——_e__# _~~¢—e te — IE ty ee a? oH — ae ee

= ea 1) - -‘6110 -C10 - 1010leads «IV &__ : 10 10 10 64 §3 —_—_—___——

1 ——_ IV YY —_— I

Fig. 95 [cont.]

m. 8 9 12 13 A 16A9 10 11 12 ) 10 LL 12

.s

Haydn, Sonata in E Major (Hob. 31), 3rd mvt.

St Sts =S=

A) ——e7 SS 8 ___________ 1 _i—_*_2__ 9 _._ o_o —_§ = \—2—_—s th

Cn So —-.—-ow— SS een 3 6 (leads) 5 - 6 (leads) °¢ F %) (leads) ‘“, *

LD TENN DL hE eT >”0.0.0-7>~>D>”ox”V’0.".---7I EO ——_ 9 —— SS Lee ONI OT OO eee |. >0u-1-'*——@@—]”"-.-vrz”7#4#0vcTcT""—vT.N

5el (4-0-0 (6-prg.) eee 3) : f) ¥y ie-asped) (upper 10ths) TSA | oe | Parallel sixths: Ke =. Se ONS o—=—=n ee... _ oO =a 1 (leads)

Figs. 95 /cont.}+-97

Haydn, Symphony No. 104 in D Major, Ist mvt., Allegro, mm. 1-8

ee(=|;Oeeeeee —— Oe )

FY} > (leads) ——____________*____ 7? —

a Oe

Eo a

MS Ist .mvt., Development, mm. 53-54 (leads) a (leads) >) ?/| to | F—1 A eS SSS "7 (lower 6ths) (lower 6ths) 6

C.P.E. Bach, Generalbass III/2, § 14 Haydn, Sonata in Eb Major (Hob. 52),

3=—2 2 Sy dS ie 4 —o— = a Se a 7 leads) |oy a 0 eo Se ts 1 d e fem pe ooo oe ==>: es ff Sd OP: ES 7 a aS a | Sa sae eee | oeS | 5 6 7 8 Jo eee Ny y #8 G———___________€

Brahms, Waltz op. 39 no. 4, mm. 1-8 , , | oe —? or ? F—vXo Ot oo EF 5-6 6-6- 6-6 -6

hl Fea : —____ | pCO | A | SS SS | A | — ——____!' To | — o_O L Ve... ——— . 8 6(*)53 6re 58 7( =2)6 i_>——— &) Mozart, Sonata in A Minor,

3rd mvt., mm. 147 ff. C.P.E. Bach, b

(8 7654 3 2 4) Generalbass IN/1, $17 a, D. Scarlatti, Sonata in C Major (L. 104, K. 159) 27/ eon oe roi — a)SS b) oe 3 ym 4_(3-prg.) m.I 25 (Gpre.) 22 eT 2 2 i eo fe 2 o_o Te Jt ro 5 ieee ee ee ee ee ee

4. a . _ 4 eS easé:"2ea g°¢se é a. « Ds hs OE ET ,pp _ 7 28 Or G 5 > 2 ps ae se Te er ee a at fF oR —_ _.a - :z = i a (*) 2 ie

Figs. 97 /cont.}-98

J. Strauss, Tales from the Vienna Woods, Waltz No. 1,

98 Sse ee

.f_= 3a (4-prg.) tt ia sa&SaD:eee ,—_ ‘2 4 i | ys > sss _ ei),—_¥_ fi be Ss8ea SOOO De. SS A | yi NT LS SP {=| | ee OF a espth 2 | eee fey m_{ tee) er - | J | ) ae aaaee eewee EE77Ht 8 - 8 = 1 8 6 (7)- 5 & 8 - 1 (4-prg.)

Fig. 99

1q) (+prg)) mm (upper 10ths) b) (leads) ~ 1213 Cc) ,A)| ™m78 ho gtmm. TT16-17 DD TTB— Dp: a ,4

OT ee Oe 3 (n.n.) 3 2 1

J.S. Bach, Fugue in C Minor, unfinished (BWV 906)

AN, Se | Ps ee ee ha at Ss.tc oT 99 (upper 3rds) (5-prg.) (5-prg.) aT So Seo OO .£§#qn220202=@0-0-—-—=2 E020 Oo ) Le he (a) (ower 6ths) l be b oe be b oye TT _ .---— —OEOoo Toe EO FS }HOTOT.._|:(-- OI TD LNT OT (leads)

_—— (4-pre.)

Oa SS ES | a eS Se SS —. aes | aa nnaeaneNTR Rr esecsrnacenatll SEA 1 (5-prg.) (lower 6ths) written [8 va

m. A 4 5(rg.-OVv.) 6 vi 8an‘_ It 15 16 ws, f) ; _— 3 ba Xi Hid gr SL a a o_o — pe Wan / i S.CT -oOoO---—2ZBQEa>?”7 = 7] -_-__.,. a a a a 2s as EE Ee | el Zi .|_“*XNVWr.-™— }——t1

7~_eae eats? ee |—a SOOe DOS SE SS Oe eee SOF Pe S00eee OSs. 3SSSere be lex SS a SSba SS SSee SO A 72a| /| f rrr MN [oerr |

Chopin, Polonaise op. 26 no. 1, Meno mosso

ete — ——— eS s—>OOoH™X|".\..— eo oe 9 —_ ~”™__0°.NNoN0OoO0N0NwNWREOEODe"FwewewoeyTEYq@oOoooao ee

| 6 - 6 - 6 10 - 10 - 10 (10) (8-prg.) yas—_ | |—_——_________—_— pb hiv “Vv - I (1 — ‘ave? ye yp

eT 41 OS OO "—wWwWVx.*x.o"._ 8-1 i 073 __ 9 OSS ___ he eS HH

Gare) (6-prg.) f) (Ge ° ° ge fie Gje vie fie gle TS 2 ee ae eS a oS oe a os a 7 Ey Co ae me ee A O_O ee os a a Mozart, String Quartet, K. 465, lst mvt., Adagio

Nae OT EEoTE—OOE=ET>E OTT EET OTE OO TT Oo ba oT tae oE—>e=£_—EQT OU m- — | _ Celt ST

p08 : yon

per || eh mS ooo O>”"7D7 = J a a ss EE SS a as FO ea rd | ee SS SS A A ZS 7 7 a a ry {Te 91 gst tgs regs gs| (=) (6-prg.) lard TTS eee ey)

2 ae a, eS OI a

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Fig. 100

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Beethoven, Second Symphony, Ist mvt., Coda, mm. 326-340

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J.S. Bach, Chorus: “Ruht wohl” (St John P., no. 67), mm. 1 ff. ; . * Chopin, Prélude op. 28 no. 14, mm. 10-11

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Fig. 100 /cont.]

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Mozart, Overture, Andante (The Abduction from the Seraglio) Schubert, Impromptu in G Major, op. 90 no. 3, mm. 155 (78) ff.

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32

J.S. Bach, h) m3rd 1——4 Italian Concerto, mvt. f\5, 7aaiiiate " A—‘ ~~ Beethoven, Bagatelle op. 119 no. 11

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Beethoven, Sonata op. 10 no. 2, 3rd mvt. (=F major: | —__—__—_ VI * YY ——_____—__v ——___ I)

(cf. Fig. 62,11) S.DieBach-Schemelli, ; . 11) m. 32 62 638 69 Auf,J. auf! rechte Zeit” (69 Songs, no.

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Beethoven, Sonata op. 2 no. 2, Ist mvt.

m. 4 A 122 180 148 156 161 | 202 214

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a cc I

Chopin, Etude op. 25 no. 11 (cf. Figs. 76,3;100,2¢ and 107) tes. 200 foontF

m. 23 40 46 48 50 52 53. 53 55 57

2 — (n.n.) - < Beethoven, Violin Sonata op. 24, 2nd mvt.

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Hugo Wolf, “Das Stindchen” (Gedichte von Eichendorff) Haydn, Sonata in Eb Major (Hob. 52),

eile Fantasy in C Minor, K. #7, m. 26 Beethoven, Sonata op. 109, 3rd mvt., Var. 2, mm. 9 ff.

—_a _* ~ Ss aneSaSS ESfers OS| ET ES> SO7 A ASe BO GS Ge ——— Sees 2’4TTAdagio aaimean SS Ee Se SE ee Ge —— Ft ° Oo ey “> m. 15 18 24 25 31 41 51 54 55 4 Stresses sssssse snes cases tees eee eee eee (5-prg.)

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|

P ’ m. 99 109 f) | J ae ~~ —

Fig. 102 /cont.]

3- (n.n.) -3 '

m. 142 162 214 240 252 2 (Rondo | Theme) Theme Theme f\ ¥1TTORO © @ a@ ? KO s =—— Ke. sj ‘ . SE ees rt eS Wana Va ME Coo GOS—oaoaS EE PE Beethoven, Rondo a capriccio, op. 129

( Rondo ) Rondo

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Beethoven, Third Symphony, Ist mvt.

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Handel, Conc. grosso op. 6 no. 6, Allegro ma non troppo J.S. Bach, ae I, Fugue in C Minor, mm. 5 ff.

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Chopin, Scherzo in Db Major, op. 31

m. 9 41 49 116 117 265 460 482 490 496 516 531 535 540 592 624 632 A 708

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Db major: (=VI) I- by 5- 6 -I nv i tym. 81 35 39 50 58 68 71 J.S. Bach, Brandenburg Concerto No. 5, Ist mvt.

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Beethoven, Sonata in D Minor, op. 31 no. 2, 2nd mvt., mm. 98 ff.

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Beethoven, Symphony, 4th mvt., “Ode to Joy” 3 ——Ninth 2 | 3-———_—————— 2A 1

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407 DT Oo (th ooo OS eS TET TT ES

a? Fs I - i8§t-tVv-- I

SpE | ee(=3 eS Ss ee | 2 1) Ap > 9 eee?

Figs. 109 /cont.+-110

C.P.E. Bach, Six Sonatas for the Essay on the True Art of Playing Keyboard Instruments: Sonata II, 2nd mvt., last m.

e)f)6 SS ——~uay | TT beOCT, J | nePSee|| ee —_

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VI

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i osae bo i 8 at to (=Bb major: [6 ——_______ WV ———____._ J]

Brahms, Intermezzo op. 118 no. 1

Brahms, Handel Var., op. 24, Fugue Brahms, Cello Sonata op. 99, Ist mvt. < 2 1 os

—_————— > —_——_____—_—__> (=I Vv 1) F major; | ————_____ 8 (=a minor: I#3__ yi__ J)

for e) (=a minor: III V 19)

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D major: |——— (div) —___ major; 9 [[—————— (=A major; lS———________V I(=EGmaj, ; 18——__ y____}}) malonES —s—CSV CF} SCO*'d

Dp | ee , | gt = 6 hb" — oe ee a Ee EF p+ ———t fs m. 56 60 62 68 oa

a noven, ————— Sonatai elalteieietala op. 26,eee2nd mm. 1 ff. i TT , — ——mvt., >

Ab major: (=Eb major: II (——————_____ — (Vv) — I IV- -v —- J) )

eS I Iv iI

|th9re TP i tH

Figs. 110 /cont.+-111

Schumann, Quartet op. 41 no. 3, Ist mvt. _eeeeee. 42 eet ~ Ss ~. .| Allegro molto mod., mm. 1-4 }And. cae e vay a «ee5espr. a een Td __. esoT a esTTT ahss Scene SaaaeneN EEN.

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Figs. 117 [cont.}+-119

Beethoven, Sonata op. 109, lst mvt., mm. 9-10 and 12-13

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Handel, Suite No. 2 in F Major, Ist Adagio

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4th mvt. 10 10 10 oe 10 10te10=10=

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gpP ew tO EE BB He Oe St

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. : > mm. 62 ff.

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. 168 FF.

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Fig. 119 /cont.]

r _ ‘ ms . Qi: mm. 66 ff. (*) f) = GS aa—== a a Al 2 -. La

Chopin, Ballade in Ab Major, op. 47

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Chopin, Scherzo in Db Major, op. 31

( ) I- I- ( ) Pr = ah a Vis I

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Fig. 119 /cont.] .

C F NS m1 - 2 11 - 12 387 - 39 77 33PCA 08. =

Chopin, Etude op. 10 no. 12

or—FF SS oeSD @ hall e Peee (Doo ) s ehme Tre) = vV——_—__! Iv ——————_ I

Brahms, 2nd mvt. , 152) m.Fourth 1 m.Symphony, 5

f) 4 Horn b) Min. I, Clar. fe YY 6 y NN]

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mm. 8 ff.

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J.S. Bach, Violin Concerto in E Major, Ist mvt., m. 23 Brahms, Third Symphony, lst mvt.

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Beethoven, op.431 53, Rondo it h 17 23-33 b) mm. 403Sonata ff. mm. ff. 20 5m.o.i fan) peor tte $6 5 “AodA

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Chopin, Mazurka in G Minor, op. 24 no. 1

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Chopin, Etude op. 10 no. 8, mm. 43 ff.

._ bh Oe ee? he eS TB S>—Ww?_ Be oer oe tor

ee

ob f= — _¢ ¢ = rCD a 2 2 mc Ps Se =A eaa— 7rs7 aa— A ——— Se ee a FS ~ite 9 —— = re) o=‘©

Chopin, Etude op. 25 no. 2, mm. 1 ff. (n.n.)

5 ee NB

be o oeI ig eeeoI so II V RP SS mW a a en Go oe FC TO ee CeO ed Se Secs So ey [ie ee Se = >So —_ tHe SS SS 7 Sy a a. ah “Pp —* et i ee a ee ) 7 Foe m. 1 2 3 4 12 12 13 14 6 16 Beethoven, Sonata op. 26, Ist mvt., Var. 1, mm. 1-8 and 14 a 1%

/) y a ee ** * *

Haydn, “Emperor Hymn” (Qt. op. 76 no. 3) (ef. Figs. 39,3; 119,3)

A1 A Ab) A m.1-2 8 i) 10Ya Wuw— 12 64a) * * * i * a 4 3 2 [—\ eee he ae 7.Oe *2043, 5 8 FO ..-..._ oO OTT = 42 oa 60—_ Far. OOO oooETT —__—— idoce a OO Oe CLP PPP US ia (div.) P (n.n.) P | -j&_ 6 I Vv I

(I II Vv) I

|

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Beethoven, Sonata op. 2 no. 2, 4th mvt., mm. 139 ff. Figs. 121-122

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WY 4

Beethoven, op. 7, 4th mvt. | m. 62 63 64 mm.Sonata 154 ff.

|e eSee| en Se ee | AtSAs! Hg es 26hs a ae OS lg 2219! = bene sati al

o fo ote PP ELL eee 8

Vv («V - I) V Sip | ———_—_——————————_——_ V I

Brahms, First Symphony, Ist mvt., mm. 11 ff.

a: a 37 jag ae He b el 2 .= s tee ~\ ee ee ee se en (nS A SY [oe 4

3 Flute —_

=. Y —eee *) —— i es es(+= SS ‘Pn 7 A PP —3e—a)_ EE (ll al1eea a ee

gi a a gb he Ok Cs ne 2 (se bz bd 7 é te ” | A Cs S ep? £ ogé ————evenmenenmene 7

Chopin, Ballade in G Minor, op. 23, mm.°58 ff. i

a enma —~ ‘N Pp ee i Se o3 =: er fer =SS? yA eee {ieg 7? >} OOOO

Pi —}—_}—_}—_,_+— Pt Nh pe ee ee ro | {+--+ > Beethoven, Sonata op. 14 no. 2, Ist mvt. (cf. Fig. 47,2) iis

O_o Oe ee cor a . y .a,a aCe y yee, 7 —___oLe

42D iS A Ye a ot | —___3—_ sO TFTPTLCXo0r.x.-x+W? > ESF

Oe eee eo oe OO02-02.00.—0—— SEE

| LsA= Ey

ao 2aFEESNE ,SE4eeA ESES 2.(x ™ aw ON NA AO MO. ANoar ME A —_ | eg er re6 ot gt ot st fe op 1 i es es Dp 8 | rr

Figs. 122 /cont.}-123

Chopin, Nocturne op. 9 no. 2, mm. 4-5

(n.n.)

A A ES SS SEE ES AS SS SN v—_4+-__=__-3 I

32D” Sonata 5, Ist mvt., m. 6 A SN A A ete >

C.P.E. Bach, Arioso con Variazioni (1747), Var. 7 (Nagels Archiv, no. 65) “Fiir Kenner und Liebhaber” I,

|ta? Pon ne)Oe —hp |— tt 2ftee(54 ey—@ ee eeoeAre2 = =o —ge ——

ee ed ee ee ee ee +e}: @A9 ee “9A 9»A|» 94 |... 1Ge QO a eee SeSSEEO at A ________ 7 i A =A A A A6 |»nd CT LSS Se

A ee

c a ——_ Por pp pr SR | : (3 2

eee b) a : — = 4 4a |co—h 23_$o-% a——— eg—_Oe Fe Se Se ee ee | a — r5e-8 to) = i + St ———— QB Mozart, Sonata in A Major, K. 331, lst mvt., Var. 3 Beethoven, 13 Variations on a Theme by Dittersdorf, Var. 1

/Z== == == ee 4 4 0 SS OS (6 -— 8) Vv

. ; Beethoven, Sonata op. 101, J.S. Bach, Fantasia (Praeludium) 2 2nd mvt., mm. 58-59

in A fib— Minor ~P———}— (BWV 922) rs Ce Cc) et ee ee

“eg _ ee SS "=e i ayd a a a As | y 4 Je Dr 8 c_.(4#wNT"l-Y}]—_|_ ————T

i _ o _ ¥en ge Oe a

(10 -————-10 6—_——_—-6) (6———-———- 6 10 —— 10)

ne ee a7

3 —) ee —-~| {) ¥ — epee a . eet | fe te te og| —ee+ —,eeLr

Figs. 123 [cont. +124

Haydn, Sonata in G Major (Hob. 40), Ist mvt., mm. 1 ff. (a )

(e+ 9 [8 So SS9a9ananaqa2 ESSE em Lt

(= 5 4 3 2) # 4 QO ~ « a) | by

(ascent)

Mozart, String Quintet, K. 515, 4th mvt., mm. 1 ff.

SS Se O_o 8 er es * oS | a>

SA a es | es

5Nt ee rs (rg.-ov.) --"" —e mee —

; oS b) , A ” f_ th, Sf. —, OO OTT — a A A | AD” A P| OS A Pe eT SE 2! on 2 SE ) or ee EE 424A oS = © — a { yy * 2 ores Fp —_ + a es8aEE 27: J.S. Bach, French Suite in E Major, Allemande, mm. 5-8 oo eee eee

OO. EE a -AN[7NTWATAj7——-"@@-”,_—/—/—— Fr

r=q > wT ; I oe Vv 8 by gay 8 ee disci

J.S. Bach, Chorale: “Ich16) bin’s,Beethoven, ich sollte biissen” . (St. Matt. P., no. Third Symphony, Ist mvt. .

, O——eeeaaaaa eee

f) |. TT be ,|‘ OE be , s TTT A.OT c) f)_ 4 Q 8é 7 Loo Oe SIE Sher (a a TY Lk OO oo TTT OO Si | a Pas - 7 aio | SG \S ¥ Oe

Beethoven, Sonata op. 28, 4th mvt., mm. 75-77

Fig. 124 /cont.]

2afftptso—a) (3 — 2) ae Pe Ny SS ae — 2 eee NE oi oeSo EII Tty *e 0 TD o_O1 _ee SeeS O_oee—,...w. Haydn, Symphony No. 104 in D Major, 2nd mvt., mm. 1-4

DOeeSST TL —— O_o OO T_T IT |! OO (unf) —_L

)re Jota yap, Pees bpdeteed te R eh te tt Pos ie pe ‘Ee mnt ———}-——_} nen wee “® 2 5 ee eS ES a a = ee aeea ty | aoea J.S. Bach, Six Little Preludes, No. 2 (BWV 934), mm. 21 ff. Brahms, First Symphony, 2nd mvt. A

A (n.n.) 3 *) ¢ ja) b i | a eeaaIeee SSaa—_—_ ee ee eea ee PD er ee er

6S 4 a SS A, Beethoven, Sonata op. 81a, Ist mvt., Adagio

Sf, —_—_—_—_—_—

Cert a _—~ _ \_ -_T axece _@i B® 2” | ED§)} a ge Oe eS > a Se

’— _———_ CA) EP ESEEE A OF b

Figs. 124 /cont.}+-125

. 47 48 m. 29 30 31 32 33 m. 41 42 m T“34..UC~:;W or m. rs | 51

0 A Ve Ppt th ot See

ly 2RS@ (enl.) dSN>I (enl.) d ds (de)| NSGNSS KK aeESSO——rrNHa, 7 ASASE TT NT 2_}h__ © A 9 A ES ON YA 7 A AS” TT SE © A 7 SS SONS

DTT

2EEE ——— OSE a -oON.-.-—— YE —f esTT ___|} ES EE "od SSeg A |. A [oe Alto Ae lems . A . ; Se pd “ s S, ea rd Oe eS Se A Ss ee ee ee , OO. CEO Bass fe i i CO trSe TO Tr I-NWV'"-"."....—_—?= a Oaoh —.___ Brahms, A German Requiem, 1st chorus, mm. 19 ff.

_

Soprano [fpeg-P ——__|- 9} ——__ t-te — —oo FES

Oc SS RNA OSAEsSN a aSSa A SSTSANS ae SE A AETa FS / a =a NN - ey— Saas a

Tenor oy OT CO OS ———_ Por a SS SS a SS Se Ss a Raa,OD ——_—_——_. Cy —eE SO —F=7>q."."—"”" TTI ES Se- - - - - - lig sind, die da Leid tra - gen,

. ws —-si (A ot “_—— en I

Mozart, Rondo in D Major, K. 485 (Facsimile Edition, U.E. no. 7004), mm. 14-16

> Ae 5) SS RY 2 SS A A |_| _q@ Ss | 4g &4x4-™ £— - Ts NS __ yg

° St

2a) b) Caeeseseea ee oeep oeSa cr ea eece Csa Se ees ee

Fig. 128 [cont.]

Beethoven, Violin Sonata op. 30 no. 2,

2nd mvt., mm. 33 ff. Chopin, Mazurka op. 30 no. 3, mm. 9 ff.

f) risoluto wet — (A i 72 eet OO od Oe _ EC O I ET e r a ri 2 2, a SS A SS A NN A A SO SD ON A = = Ga a ee ae a

a ew ra mm. 79 ff.

St —— SV... FHFOTO 8 ae = ee aoea we tT 98 —SS ’7 |_| _@e_a_*a 2A—_ er 8 4SS OO o_O _ ee

eS ee an on oe

Chopin, Mazurka op. 24 no. 2

Mozart, Symphony in D Major, K. 385, 2nd mvt., mm. 1 ff.

d), Violin I

A: AE YL TS SE A nonce me NN GENES SN EN SO | 59 *_| ST + +SS ——_ | EeSO, a te SS AS A NS#9 OAS ||

pP fp Chopin, Mazurka op. 24 no. 3, mm. 10 ff. :

4 “_ —_ tT) ° “me aa = ay OCR ve— =~ : 2) a Fe SA fan fF te 2 eee ey : D=—_ pf +] } -—— f—~ 1 , # ]

"20 OT i! Ai, es PO At So) A a. l Rh Pert I ee ee ee aC LI et ae te ee a 8 at S.nVUM _™ — SE td eee eee Nase SS Sea este Sass seaaas Saaae ene e aS ese sf dolce ——. dolce —~—_™ “olciss. per - den - do - si

Chopin, Mazurka op. 33 no. 4, mm. 5 ff. (ef. Fig. 119,12) | b)

Ce — eg ee eee Ee TOTO OE—ETETeETEToo ee oo EEF

f) ° CT a i a 4 oe . ee apo Ee pe le

Fig. 128 /cont.] . Chopin, Mazurka op. 24 no. 2, middle section > | 4, m. 7 8 m ™ 7 aN not: Lr 22 © °C A ST ce TS A CS | AY Oh A RA cA A A MY A A yo | A b-p4—1 | 8g — a es oe es es ee ee ee ft EE EE 5 ;n»= ae tg ig an | Shag 5. aa a FTO aeeeFH a Se Ca. ace ;; OSS ots515 —_>—____ 9-8 + #4 | 96aH —_—_—_ 9. ?——_ aA

bp pF

Spa a a | , J eee 11 BO ae a —— : eSfp ?er —A Se pF . ome 1 2 Hf 3 / , é 7 $$ or~oOOOD 130 [df es i ht)—— i i ls a i? 4 3 —— eee 2 1 0)sr eee&&:~ TTT aso eoeo — — — em

Oe

Figs. 129-130

Beethoven, Sonata op. 57, Ist mvt., mm. 61-62

7b —-t+}————4 Xs Oe | 2nd mvt, mm. 86 ff. / apNS “ee0 [|ES ff OS —®..__—_|—* TT] 2 —— OS TS TS PS8 A { Wh

Nw 7] ie 2 — (a 7 —

A A A A T- vVI—-——- -I V I

OO OO TD (Toro _uézr’nvv0vn-—-TT — se ED EET OOD Ee Oooo ee Ooo SO LOSI oe DEO So oorOuO02-2.82 OOOO OE OO TT |——_—_—_—_- | ——__——— IV Vv I

]|-——____——- | —_______ | ——__—__—__

Chopin, Etude op. 10 no. 1

3 3 (app. to nn.) $ 3 nt - | so =a mae rt eee OeHO eeaeeae ee AOS ee}—a Oe = i ES A | Si a =se 1Ss Ae m.-9 —317 25 44cn. = =45/46 49 72 app.47to48 n.n.

cy o/s — es eee | a | -e):; eS 3? OO OO Ooo TE PE oe = a es > —u9unwu“wN“0w0-’"-"""‘184 [pe SS =< — fr OLA a p+} —s a t,o eedt

a4 b) 7 ag)

._—_ qt _V) I - Vv - I (il

=D major: | ———_8 —=————_7)___ py 6 v6 ST

3a) m 8 10 b ) Y — a ee a — ~~ fr ——i— J.S. Bach, Sonata No. 3 for Violin Solo, Largo

A —— g rE oe pO

6) —t af *—_ ——* 3 -— H —o o_o =I Wy egminsGIvV ——_____ v - 1) -1 of y I ut y

45—-g—j —~ (ed ¢ 4) A ih | yn) Fon gj | | | peepee i — — —— 1% eg ote 2 a a es a f)—e——_ Zta ora

Scarlatti, Sonata in G Major (L. 124, K. 260), mm. 4-6 5a) b)

ae | Se —.

}——_ —__f 9 ffi & ft1 Attiv - th 2rf* )y ST [f/f [| [ pee ei ot eeSonata OO oT ——S eT .lst. mvt. ES Net in A Major,ES K. 331, 6

COE ES 7 ES GE SS PO 7 SS | 7S es Se es See |

Il — {4-3 nn oy I

i (cf. Fig. 157)

Lae ve

oe

a ee ee 5 - 6) rs = 2 = 2

Figs. 132 /cont.}-134 ) J.S. Bach, W7C J, Fugue in C Minor . oo, 7m 1 2 8 In major: in minor: . me

2m a So = A! 1 'o-__.. eo : I (Iv @ VvIea id P 1r,‘vet id Pr v-n-v-I - vyPr - 1t I,

—_ dT oe OT s—auonoNtnNw*rt.w..T oT" 7 _? so S$#Ho]

G0 en ed es a 2 SS ES OS ES VS 9 OS | SS YS SS LORS SEE, TN, WOES SONNE |

) > > P-

+e 8 F884 8S 8 gy |} Se }———— ee e

6bL; A A A2— A bA—— 77 A =3= 1 3 2 2 1 }aet i —RD a Pe da — qT | SE SS ee TS Te tO re 8 6ee Ae: — g 3 he #5

Figs. 136 /cont.}-137

Haydn, Fantasy in C Major, mm. 88 ff.

— ——} —}—_|-@—_| |} | Fe} | — oH _ _ _ — —_} _} + —}—— | 4 ee ee ea tt

SS eee DE (COTE Ly eg ooO---——, - OmhMTu+vTVC'—'-#—--""Y’"" oO ooo OTE i =ee~an"-’—-—OTTETETOEOe_ OO OO § ¥—¥————— eee

1 2 3 4 5 6 7 8, 1 2 3 4 5 6 qT 8

Chopin, Waltz op. 64 no. 2, mm. 33 ff.

AA

st > eto te38hy m= te} eo eeetes) nt —_ | —*—_ £m ee em leel Oohte BO oh ee OOO Oe EOE a 1S eT a 2Seee SL aoo CSEEE“. SS a cS»EOE—E >A = CO 7 CO CS 92 ON; Sb)TT GGate RR To eee ee SS A a Oe a a ee a _ Sa SS Se Si Vee er aa TTE*—>—i&a—E—E—LeT

( ) tT— Ww yy? vt___ 3s () jee...,. yg _ i =‘yt |

2WeF>PS een a SS G nk 4, ry”) wr)esa Se ry

1 2—(n.n.)}— 3 4 5 6 7-—5 8 5—> py}, — +, — nn ee ee Ge “-# ~

Chopin, Mazurka in G Minor, op. 24 no. 1, mm. 33 ff.

Ah to—_to=} ot Tre ETTftOETT—=—E_=_IO p-2 as gs eg Ses aeLs =

1 2©eo 3 ee 4 1ese 2 8 4 3Or, __ Se 5I TTT — — TO TT =HE oeae T= 7fee en oe 9$sotft eee oHtet Os NSBef A a ff ALPO SS Ve oe See tot — ee HEae HHeT ——t ( +— I— ( rm (¢ J} vi Chopin, Nocturne in C# Minor, op. 27 no. 1, mm. 29 ff. (Pid: mosso)

eT SK 0 SN OT) UN > 7 SO A A | A Se ME ROS MN CA SO A A 7

a

4 cane ES] — ee Se ee eee AA.

Fig. 138

,A— 2

14) 3 , 3 Tl 3 2A1A = eo _— od — o@& : & e& oy OlEE(= nn.) > A aree ce meron ES eS ees ee3Ss2 Ss 1 eee |

J.S. Bach, Ouverture (Suite) in F Major, Menuet (BWV 820)

. Seo So eet =cai (8I-ee. 7) P P oe

De n2-—-—-.0”9.-nNo-"0w-..ivvm Iie OT EagOAdrNrNnn-....—

—_— wow ; oO _— = =

be a oea ooo ot ae ar iMs ooteseaOa oa © otiSONS a oa a || 90 Da} A a a9 fT |a—

3? f ¢ PF ° 4 — SF & 123,123

1. 7 16 17 18 {) 4 es (A > Peea aaeea

Op ra eT tT eT ee Ect oo SU A A A OS Be AS

he D—} ——_ + | # qt + Ht Ht Hr ES —— ee (cf. Fig. 82,5c)

¢ r—f Pre s RF f

(=I Iv ———II | I IV (II) v) 5 ————- 6

4 a ee .zWzY—>ewwWwNwW_—™—=—=2c9"9=—s—>’—vvr0wv.0”200222-2_2_ EEE

| ees |

1 eee 8, 1 2 3 4 5 6 2 £ 2 gd Yo, Jd dt eve 2] : fh) ut, Oe =— I=O—_] _ f\ os _-— —_7_— —_ —_ —_ ;eer Le oO —————S . Mozart, Sonata in A Major, K. 331, 3rd mvt., Coda

"4os(ih | dO TCO |. | o o 6 eo = = |

™~ > — 8 f} __ om ; OS es A 7 a 0 Er tee eee 1 2 3 4 5, 1 2 3 4 5

Figs. 138 {cont.}-139

Haydn, “Chorale St. Antonii” (Hob. II: 46*) (cf. Fig. 42,2) s

3 _ 1 2 B+t4 B 1 2 83 4 +65 6 7 8 4 2 Bt4 5

AO Ota gt Ors OT Ore te tet or re SN Ee eg Se legit td tote te—teeleoe t=

*Yt Cae Poof l) Ld Te ee a 71 SS g i re re 2 ee ng or Spe aSe ESeeSS Soa rTee CO ee

ee eg ge oe1 eS SF aS Se ee ete ak 23,A5A

Brahms, First Symphony, 3rd mvt., mm. | ff.

iOO A A (=3 4 | 3 z 1 PHF aw as a

afF sessa i

d ite. F TET! a — z Z _ = Or oe __ - —_? To

2 SS NS SS TT SL A ST AS ST ees Mae Naa aenenna

S—

“u—_

Chopin, Etude op. 10 no. 3, mm. 1 ff.

‘) # ff f ' f ’ i ; i eS) SSS SS EL — ga a to

5 ( -3 - nn. -3 2 —___________})

Fe or qt 2 or SO Oe 7 Ak 6 o.—§".cr..nwxxeC--nN™-™"N"-™-— P= A A ——— a ce I NN eS NNO———— COS NNN

— — —_ — —

1 2A 3 4A5 6AqT 8 A A) ’ A es Te ~ es Se 1s

, T tT = rr r I - Vv - |

Mozart, Sonata in A Major, K. 331, 3rd mvt., mm. 25 ff.

A389 i= SS ee i or TJ -—

a) b) 1 1 ) =e w =htww Oh \——— 2Se 4G 140 7, ot Yr Pt )Ot . -_ | PS _ o i ee | A! . is -._ el OT eS Tsee rr 7 ey *) ls DE ET C0 a |S a eS So Ss Dp ls |

Fig. 140

f3

Dh ees ; 8h |

N90 LS ES eS | .; AS Se A SS Nee

TS CE ST7| 7SSD AT 7 | a?_a Nee 7 a Sseae Va

7

TS | cS SSS | CASA, 9 Sinan ga geen

SSF ES OS |S SS A Se A | A; A AN A eT

CACHE Ot A a m. _ 58 ' 59 43 S (a ,2ctCeeget —s—_s—_|—_-?-_I—Tr ~a — —— SE ss SSE Ss ES 0 - i. ee LA..4b..4ih.. 4h... rsa e ——_-—-—_——————

NOV SS AE A | ES SS A A SN 6 ONS ANN FA NS NS DOD NN SON 7

On A A a a a a a Examples:

Coc), | RN ONAND ND a | NS 7SOR FA OS |AA A RN 7 | Beethoven, Sonata op. 27 no. 2, 3rd mvt.

8 ik — 4 Orr — HO teet — — = 1| 2CNET! 1 Beeth Sonata op. 22, NEES 4th mvt 72-73 Sonata in A Major, K. ’331, 26 =ESE Ee & eethoven mm. > COS —} ft |} ——_2FtGORE - manana, amu pases =Mozart, Ist mvt., Var.. 5,vt., mm. 7-8

ay, 3 bee Lgeiele vers p i i a| er cs, .——wile] ht HHS “py: : ——— a ~848 , EE | a ee |

.f)0 ——> @ wi 2 3@ oo. [aT

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f) Oo7 Jib he od 7 NS S| | OY. CS ss? SAPor ptt

Ost — hd tH HH Chopin, Etude op. 10 no. 10, mm. 1-2 Chopin, Waltz op. 42, mm. 9-10

N37 @ BONY SE EE SE NS SN — — — — g ‘ —

6

d), 5 le er ee ln) $$

Figs. 141-143

m1234 eT ETT EEE 8S OSS ST oo ooST OoOnE OO EE a TT OTOE eTSOO CE ETS = 7 ootSSss eeYA eS" ie SS Sa| ht}? OOO ASV SL ©Oe NSee A OS OF

I f—Fe ae eaaNEES ears aa Mozart, Sonata in A Major, K. 331, Ist mvt., Theme (cf. Figs. 87,5; 72,3)

f) ef

a: he he J bd bd bd bd f) we ~~ —_ — ~~ ~~ — — I gp ooo o——O ST vizio “TT TePOaOoEd CN I oo EEE ET: SEROO rT ? a tt 8 oo eer ool ETE—=—ZD MRT IZ_~COC_o LLL

ly Ey bp P_—

oy $$ $$} 5} + +} oo OO ol LWW EEE EC Fo a 17 —+-——J — TL pe— Hr 117 a ——— —H a — — EE Ses So — > a

;TOOT 1 : 2:78 es 4 ?:OO).:__ 6 !: 6: 7 ?ST 8 TT ,!:1a ES eS for: Po —}— ae oo ot a oo eo htSonata op. 57, Ist mvt. 7 TE A 1 7 SS a SA! os oe Beethoven,

“ 2 m. aye 204EE 206A208 210 Ae 209 SS Se

oo ez —qtaZz—NsaXZZ"[ OL Tt? _oo" eT? 57 ee a et a| 4 ytiNG, Lt--° ke eT he eee ce 9 oe 8 “eg ES DO esto oe ee * 8 ee a St Sr ee V1 FS;

Lea a. aT J.S. Bach, English Suite in D Minor, Sarabande, mm. 20 ff. 3

2De b er f)\ sViolin y Pa 6L = seeeo roo Eo®@®e.”._ Mozart, Symphony in C Major, K. 551, 2nd mvt., mm. 67-68

Yr TTT eee a eo eee ee ele — ee} 4 lin pte eee ee ee SS Se ee ee SS ee eee ee EELS ———E— 2 2:2--- +aaanann-.-—”"7nnn—?>—FV--’”’”-. .-..'../"w~”xYVxv.2022]/_ Tre

Vic. + Cb. |

y OS TE[SO yp ar .Oe Eh SS ee——. eo ee ED eee o— eee 2a m. 5 6 7 8 m. z 8 oo = =: ES : a ci SS” RS a a oS Tee —e rr CU eel oe | tee | oT tgbd = ‘ ; . : 4 . ° 22 aeome? oT /-——-— | i oes i .ss _| ee DP — yi =e s/h o— | pH uf V

1bt __ m.He— 13 142)15 ) ES 2 fe} HE ° 1| 7ee NE ee SE NS HS ——— SS NAS hep — he 4 EO ee oo . SD eg ee Ep “=p ere oe 7) 4 a —_ GB @ —_— —_— —_FP_E he He A_— tee fz f ig Re 5 _idl 6 Wotan eee Tee ier nnn ae = _ SE ——T 4 2 jee Da 2 Ieg tooSe EEE EN T_T IZ EX_— Ee EEaO0O SS —— ve ee Se oa ooo SF Et Ff Mae DO | fF} = ? ; ae ae Pee eee be minor: 1 yon yj 4S’ ey Oe 24. _—— AS S.A Se SS MY Bees a Ss Vee ay As Chopin, Sonata in B! Minor, op. 35, 4th mvt. —.SEO KK oo _A APgs oe SS oF 2 Oar te9 ee (uo ee 18 ae ereA Pale a=YOK er OO Lt nis§eT) +t 4-1 O89) CO Te _ TTBI AA A TTPer YOFe A OP —,_ SO” —— Sade) — sr ead S 4’4Violin I a-_T «: ©OOOO ta: otTTT ee OO an Cta-aett =ry ‘Te al ey e, = = a a a Bo EE OO EY Te eTa ee802 ee es oe2ee lee ase eee tee ei esEo (aee a es ee Se es aSs es Siiiceesaas i) 2a2ee eese oTSc OT OOOO Mendelssohn, Symphony in A Minor, Ist mvt., mm. 181 a

EE in A el eS 6 a a 2 PoE OT ee ee oe ee eh

reer ee e e > Me Re Se ee 2 ‘ 0sOoy A1 FiAA eseT

GS fy 1 2 8 4 1 A SNA SE T_T ir SS Se a: PTSs ET at rrIFith 148 oFa eeffOe Ppp Flute I Violin I

——_—. ae P|Qnd Mozart, Symphony D Major, K. 385, \N@e eo. mm. 5 ff.2in(cf. OF CN we "208haA\ A A 1 SSmvt. PO AH HW” 2 1 Fig. 124,55) AR 7AA A C0 | PN A gh —f4$ 11-9} —_ HhNL th te ES a | 5 a | SO A A Oe On nO OAL La CT. A Co KYL? 1 a to= HF? TT or 7eet A TL A aAarr AS a. A TSSL ee SS SS OAaei

2 (!) ! { s s . . e a ‘2 CS =a. Ses ae a‘)a a

L—_____ — L__ 7 Or EE ES A | ee A

/) 4 ia) ood oz ; dee is te A a | Pose eg eg eee th eh Fh et te 4 ———- (expansion) ———_______ (upbeat) 1 2 3 4, 1 2 8 4 » 1 2 3 (expansion) - 4 (expansion), 1 (=1———-2 —_—- 3 ———- 4) , ASt~--OS ac: Zz 1)2 A OT OTTAY 7 9A _CTR... TF a SS | ava mlAF< eeDOO || a aODO 2. a SE 7 ATerAS A Se SY A Tl A

ys ’

A272 0 YO 7 Ome 7 eH PP — a Ot a tN NE

ELT Te rr re a aa a eam

a | ge te al Be0060-0 ee ewe”|_|Te Eoee LZ #7TR 61-0080 0 eat FT ory Os Pt et tT Et eer ot ee

f} > b

3 a SS et 8 ee

2 1 ( ) 2 ( —~ ) 3 4, 4 yee OF TE ETT OEere rr ier eee er TeTTT Oa ee ar es eeEOE NO eeETTE—ESET—E erhee erea be Piethe Tyo

Fig. 148 /cont.]

Beethoven, Quartet op. 59 no. 3, Ist mvt., Allegro vivace, mm. 1 ff.

Ll @je1 2eT oe s 3461

34) b) )1 ee ae 2 god, 1 2

Sa ee ee oe TT TT ———eOO—EEET Eee ee = Cores 5 CS ES ATT I NS kA SS eS Se=n Ses Annee! SE Loge eeOf TE T_T eeTele lOA! O_O C—t”—_ =e ST .NW-On"™ "tr" TT| (DMD . te ____ OT CaOSS H_.8«CANv-Nnw_LT ea I OTTTTTrTrr Beethoven, Quartet op. 59 no. 3, Ist mvt., mm. 150 ff. ‘

(a _ a9 ee | _@ seeenfo} oT soot ee he aaEH SS eS A__} a Cae SS

C) be eo ne 1 2 =38 = 4 ,-SSS — — 2 pocorn —. o> or OO OE —~— SSS LD Se eI ee oo E™_) OO Hh es ht ii es ht er ===en ES OTE Oe OB Te ——_ 8 ee tes

Pe = Se Ht = J SS ys z ae [_ *ST ST —r" Ne Ty,

Yr 2 lo | | | Jt | fo | feo J ht oo —."“ .—. A Sa SR ec Te ee 7 | AS = ok 7. SO Os 7

4fA)(=eSS 12 2@? 3 4) _—, ___+ yn {1. -—8vs Beethoven, Sonata op. 28, Ist mvt., mm. 52 ff.

1 2 3 4, 1 2 3 — (expansion)————————— 4 _ (expansion)

A 1)fa A 7bees KC: FC© 7 A {aes =: 7 A Csee 2 TS A LAS SN AS SY BE es eS ooVSS oeTAoeLSee eeSON eeSNeeNRSe ee

Sf on So ae So SS Scestettentaenmemeesan acs as sammpaeeenn e

5J A 3 Il .V A a Ia, ey ath | ee

1 2 3 4, 1 2 3 4, ( ) 41 2 3 4,

Chopin, Etude op. 10 no. 8, mm. 1 ff.

Figs. 148 /cont.}-149

{) 3—_——— 3 ee ee ee ee aCy ee ee ee 8 2=dt—_ or EO —_ = ZiA FA0A; ad s eeA _ON oo A ST |

Se eaeeeeaee———OOeOOOeaS SSS TOTS ee EE SS Oy Os RS |

6OQ 1 2 3 4 5 6 , 1 2 rr ———— ed 7 TO yt OO OOO NNeeOeon.. | __ _EK __ itr 9 IOE 4| _FST oo N= 77 Chopin, Prélude op. 28 no. 6, mm. 9 ff.

eo} S$ _-——__}--_ EE Ex: LEER

[oh NW. DT OS I[FNn”——”15(/“Hn-Nn’-’"--’"-.":v'-V[-....."”@_._)—S—™——O— eee ee ee

J.S. Bach, W7C J, Fugue in C# Minor, mm. 1 ff. (ef. Fig. 103,34) |

OS eee oo i ooo TT oer oe pr emily |, ~, °&4z,»f —-{ LW |_| | EE fg Ty LDL : we —S—— a GEE PO... M$ SE NN ee am i[Co -OO 42.bhSS — = 7 —yp CF *

b) m ao TE ae92 aes antr a Se an P|:EE:ees — rE ttt —: Beethoven, Sonata op. 101, 3rd mvt.

m. 123 : : : tr OF aa ee EE Ee Cee SO ne ee a a — a A a ee pr} — tg pp tt et ot OH Oe the “ae” of, a A NA A A A SN SS RNR SON Oa WE SN NNN UNS OOS NN NN GE mt EP L_@— jj .j Ig gg tg

| AT a Ts Te ns GSN Tt [—_t*°_ —_—— Os "2 0" ee es ee Sn A ee ———

m. 1 12 .

Figs. 150-152 a Beethoven, Eighth Symphony, Ist mvt.

yp{fp SE— _ $9 nf Ds ds 6aS| éoo. d— * ) 99g FT ey p= re i ft KS 00 0 9-0-0 Rondo NB (ascent) f) 4 Orch. |) Nk N > ee — fr irr Be OOD SE TF C—O ft |} — ha ee eee a oe ee ee Ser a Ne ie ie ie he} 4 tO a ROT TE TE Oe ee Ce Se TE ee Oh Kt ~—_ ag NY gg et gt i gt ll gl’ Sr Ln LA A) A 2, Se A eS = pr

Fe Ne ES RE AN SSOsOS (NO LS SS CS eSOO A ee ene Re 8eS ee—eoeEeeoeoee OTE —E—E—~—=>€{—ET TEEee MA 150Cr AAS, ANE eeAaAARNASE esaa\ WN es A| peSens Seen Scenes ee A A laasa se ee a — PC |p J rrp eg o_O ELLeO”COL_CO OOOO cs a A SAAS SL SA aA Ds ee SS NS SS NNN GN HENRI SH WE NNN Beethoven, Piano Concerto No. 4, 3rd mvt., mm. 1 ff.

wil’ » | Pel fe Peer ele] 7 = | — I\ a’ a L\ Ay nN 4 = a as > _._ Oe C2 Pee Pees Sarit bee:paa:aSatie i —Ng oO A ASaCS OD SAD NSE et yyosNN

eo

8 A A 2 1 ,N52 ee | yafeS|en eh ee eg| es

G major: [I¥V——____—l V—_—_____—_——__ II Vv I

m 1 4 5 8 9 12 18 (14 15 16

Schumann, “Wenn ich in deine Augen seh’ ” (Dichterliebe, no. 4)

Sy? SS®FD ZS) JS eS FPG7 YY &4 ££ gf. |e Ff “| Ke fq 7 Ka |UlUlUdr

A (A) A A 33 2 1 ee a ee ee ee he ETE ite... 98ot esOe TOSS oepeee? S898 OOee OES ra.Ul— ——— =| Oreeaeea aa Ai. “aSe ~ Doo NN, ns {jE (mt ~ yisats) x vrs}

Brahms, “Miadchenlied,” op. 107 no. 5

SSS, A A A A A eS ST A SS OS oS OS

ad 7)_____|__@ ee ees eee jo {T__—__; ao | —™ SO +| @e Are | FoCP’ — Fp} *—_|—_39, 9 _ ST

b minor: | ——_——_—_—_—_____————_n’n evooreowrr — I Vv I

AC 3- -2-A 1

J. Strauss, The Blue Danube, Waltz No. 3 A & l

Fig. 152 /cont.]

37, | To a eneneeeeeee —~ é |aT SSW.”.” a eoorapa es eS

\ 3) SS —erN™’”"V"”™—>—--—-“nwn”“”“”—-’. nO SOUS OO—=.—_n2, 2HVWNw™

A ( A A A A A 4, 5 ~5-) -4 3 2 1 SF9OR ESNSES NS i «7 NS SS SE =) A | = «|. |, a a| a a er) SS || I- — (pt. ——_ 1 —————————— VI

J.S. Bach, Aria variata (BWV 989) (cf. Fig. 82,5)

—}—— aon|} — —I- — eee 2B fe )eivB tr “ 1 ans( 5) =(vr

a 2 ee | .

Ai-B-Ay 2/— 3ee 2So? 1es a SG ro | f 3oe; So ee> L- ~VI- I - V - I Chopin, Etude op. 10 no, 1 (ef. Fig. 130,4) A A

7rep anna i > = G 7 A A A oA

Figs. 153 /cont.}-154

34) , ° (nn) —f}-E A ty ——_____. y . DN be SeesA ee =— uO Loy — 0 ea oS 8-7 ao Pag m.36 9—(n.n.)— 13 22 41 53 638 3 ed b) | nn) (rg-ov,) PL ——— OH. fen) ian) a, okt FT r , PS _ Lg OLae—o ||| 7 eit RRA ON SNS a: ii TT eo eS EO Oe OO OOS EO >. La NSO Ne)Oe a 80g! rtgr 0 “HO 6 roth— HO; ee RS a 2 7 re | aE eS 8——7 4 | _—— Chopin, Etude op. 10 no. 3

X

SSE > yi Se pa_ Se 2 SEE oh oS hehésF Oh Ye i = NS | (§) a P ee L__L_TT—E—EEEO ooo SE I A_.—--— rea Oe (=repetition)

” Mie i, -——_—_______— FS ee a; . as. ae en...

3 2 | ee pF a —— a oS gs ote PP tp #3 ag - 7

I— (!) -V- | ———————————_—__—_—_——_——_—_

Fed. () A ge 1 A J ST PS en o_O a ae ge 1 rz A © a SE A 6 A 6 h eo __*# > = ==—=> Sat HSE fe aa ereeaeee Lee I (div.)(43 TTTb8) St tw~*----lI— ee ee eee emer i — v -—

sO 6 =” m. 30 4y 56 105 158 A A A A A. 5 5 4 3 4 | € oe rr ee ahd =f | be op... .—_ oo ee OF o_o ee Opie bet Z -—P 48} a" 7 e| ; | Y x he e=— (Dev.) (Recap.) 5-6, 6 6 5, 5 - 6, G 6 5)

. =G major: V-——————-I__ Beethoven, Sonata op. 10 no. 1, Ist mvt. (see Fig. 154,7) ( )

-

ihe 8—— a +sal— EP | |. {Hh ah 0ne ——_ 0 ye 4.ve —~_V Fe)DS A EE CA)

IS EY 27 ee PFD = rs "Tt ¥ enn 0 OTe) CPy SS —— OS . \roy a Sp oe ee (arpeg.) y J ~ ——10 I ——— -V 7 A ( A) OA A A ‘ A 5 bss 4 3 2 (5—b) 1 )I aSS aS a oS — ee =O OE ~ —SS (n.n.) ba \ eo Fb So 1 oO NS 7 a = ~ A)I-Prur7—3m a a as 7 = eS sOI-h3— Ill—bs_yi (v4) b3 II —V2 «

Fgd. (=Eb major: VI. Cum UV Ke CdD

. ee

m. 1 17 23-86 44 51 60 61 —— 122 135 475 190

Beethoven, Sonata op. 57, lst mvt.

8” cea PORN aDA BD OTae S—— 7A a 7Ak tre... —F i i ea SS _ hes Ppai )__ 8RReeASsPA Oo EdOh _-_6—_ 7PN — aEea,SS esOS aOOS cn

‘CREE PE -_— Oe eeKe SNfa _ __... “—y— in fi —eo} b+RT hy>2=> rr_eeor” NS pe ae Se wm meee ee ee err (Exp. —————— —_ ————— Dev. ---—-—- Recap. .

S'S

A AW A i = A A A lp tt eh See 7 Sa: Soest

Fig. 154 /cont.]

= 7I IkII5Vv

SBE = ff2 aHEDeee reSee 7; Fe ,—SOSSSS—C‘“CCSSCP — es | b) aesoh ;ogfs) geei htPian b: a> )eS 2a?lid tg yd 4 re Se TS J ‘ ")1)1¥ |

5 a) 3 2 2 —_—__ooee. (=n.n.) 3 2 1 Beethoven, Sixth Symphony, lst mvt., Development (cf. Figs. 119,8 and 124,7)

OT al EEEEE¥KH-—eO_.._..20-----..--—’0W" sO =

m. 69 143 - 151, 175 - 197, 221 - 243, 261 269 271/272 275 279 282 _~ (asc.rg.tr. bb!~bb?) - - mT

0° SS ES RNS | SURES CAS WE) A8Es———n, £8 RE __ eS FCO CNAT PnEEEE SN} | A osNy NN P=2-0-_s TS

(8(3-prg.) Ty) N PK alls (n.n.) ey eo DE _">7(—— ees _ LY A AP 7 EE) SEooo (CSaANY. a SE: AA:7 Se ay Pp| — —Oe

eee |-Eoaqv__™"]"1.’”-’’-’"’"-— & —— —— OO Or OS .‘(O CS eee

A A Eee ates, A 6 3 2 weer = ( b ‘oe ‘ ye Z __— A é 2 an AS * i ee = oO ae a : i a eS eee eee SpE OOOOe_ OO Beethoven, Sonata op. 14 no. 2, Ist mvt., Development (cf. Fig. 47,2)

m. 64 68 14 73 84 86 90 91 92 93 99 101 104 105 106 107. 115 118 122

~ =2 ss, sm1)

f) ¥ _—_—~ 4 helo Gn ———~ — he | ™ tal 5 27 = ~— s es a oot HH ee eee ES ee SS eee eee ——— fy —— G

(see Fig. 114,6) rr (Recap.) ee ere be it, :;———_ ot en. 2C2 ne _ 630 1} + $684 7 a| AHO 7 Se ae |2896zoroe De ye

A ONS bh ee BO D>OD0W0vLT[|™m”-—" 5 = —eoO ~ “

G major: I Il VO =" ~S | Scene (arpeg.) pe (arpeg.) ee PF

s- (Ta tna n en nen en ene ene ne ene eee ene -(8 -

A A A A 72 aAee oo ‘S ra 0 3 _ es aS z

Figs. 154 /cont.}+-155

118 126 136 146a148 153 158 5 m.4 1063—_____ ——2

Beethoven, Sonata op. 10 no. 1, Ist mvt., Development (see Fig. 154,3)

(3-prg.: eb?-f?-8")

aeWa? 0 FTF SO SE ee esd ONaBiiI_SetTae i5(.n EE Dene 5

—~f 4. nEee = ~wbho = ee 2 > Cl 4 * =. > CMeetinatioataed fe se -—~ feo... 8 oo 8 ae a

6) OW ET as atoo 1ee 5 eS 5|D2 tS? i | Ao ha ED OS SOSeSo =

5 .I A 5moee ee (p.t.) aaae eee A A A A ,NS _——_ te pt et -|‘Fy 7 4 Sl ot G 7 PF |Treo Fe a fy _a_— ba th a+ {| we h-& => => wrt rr ee rr / AS: we ‘hg _-— Ba hw a. ‘uo

Exp. ———_~_—__— Dev.——_ —— Recap. m.3-— 1- 16—17— -28 29 37 41 43 44 48 50 51 (an) 3 —— (mixture) ——— (n.n.) 43 2 1

Beethoven, Sonata op. 13, 2nd mvt.

, 5ee iS=. ot hs ———— bs by = ig I - ( ) v— | | ——__________(hIv) II VI ( =VI-II vV— I)

A A 3 (n.n.) 3 (n.n.) f | a a | tee

Fig. 155 [cont]

m. 9 15 16 24 25 35 41 55 . WSnn Ca AE ee ee NN) foteSe ae nS . be heNTet —ED... ba~y $e erAe LO a . raa@£ Ko UJ [| Toe _— VS 4.4 ar" SE (a, OS PORE ~Co“Gs Sf, aTE SS ee POS NU Eei5-ee nySY a OS SALT NN OP OS6Se Tl T_T _ De SS eC BD OOD LSD Toe rr (BS 5 C eee Ai- B,- As- Cc m. 64 72 79 80 Beethoven, Sonata op. 10 no. 3, 4th mvt.

SS

re +7} | —|—-e— eH 78 Eh or Fee EE $$ =$ 8 hp tt rt | -_4e—_$-—4

A A A A 3 (n.n.) 3 2 1 ~@ y |117 i_ rres2ee PZ bo ol tt = a _ EE Ss ee 2 aoe cs FF 7 a oe a a PE MY AT

“Nv _ if iM - ~V - I

A 7ANS A5( A A A A $8 _ 4 3 2 1 (6 |eARO o oe SN, Pes SS Se a ; Ce SS © ccA| «.

Mozart, Rondo in A Minor, K. 511

I- VI - v- 18 f(y) - 1

Ay —————— By ——--——__ An ————————-_— C ——————___ A- Coda

(aj—b—ag) (a,— b—ag) (a4!) (ay—b — ag)

f moon ES oo oo to SRP fooESne 4 5 6et (subject) rR ee) (a.Se ) tr m. 3 5 6 8 9 12 13 15eee 16 eee 17 18 20 1A A —(n.n.)— aL cone ee erence ra Vid SS SS aS a a PO a J.S. Bach, W7C J, Fugue in D Minor (ef. Fig. 53,5)

2? (oo) ____,- a —"_"0.0"0n0"-"00WWv....-— 7G pO" ea he Se

(answer 7z ,oo Cy OS @ eES ON ON Z— ;tlo_o 2p NS SS

a a = =o 8 EFF oF OF? OH = th SE 1? 1 Hr YU 5o______ ~~ -o__L—_ sh?hateTterSneg es _ SE Oe i, A A aE, SS = er OS"ot . js je eH 2ne Sl ee a ne a as” Paeee Ee | 6 re He Se ree SS (a) 77 tte nen e eee eee (s.) . OSS So oD _L[F"#WNTVW“@w"h"IcIx_"..-.—_— ttt ij-_nvowN"”™>=_—_—