2203:
1321:"The scale-step is a higher and more abstract unit . At times it may even comprise several harmonies ; in other words: even if, under certain circumstances, a certain number of harmonies look like independent triads or seventh-chords, they may nonetheless add up, in their totality, to one single triad and they would have to be subsumed under the concept of this triad as a scale-step.
1188:
1180:
1172:
1706:
35:
and no attempt is made here to summarize it. Similarly, the entries below whenever possible link to other articles where the concepts are described with more details (in several cases, the name of the entry links to a specialized article), and the definitions are kept here to a minimum.
687:
being the harmonic aspect. The notion of the descending fundamental line belongs to the final version of
Schenkerian theory, from 1930 onwards; fundamental (or, better, "primal") lines in Schenker's earlier writings at times were ascending. The first note of the fundamental line is its
1815:
5, transl. J. Dubiel, Oxford
University Press, 2004, note 7: "The upper or lower fifth of a chord, presenting itself by leap in the service of a passing motion or neighbor note, I call an upper- or lower-fifth " (the last word is missing in Dubiel's
1508:: the intervals between the notes of the tonic triad form a tonal space that is filled with passing and neighbour notes, producing new triads and new tonal spaces, open for further elaborations until the surface of the work (the score) is reached.
1656:"The study of voice leading is the study of the principles that govern the progression of the component voices of a composition both separately and in combination. In the Schenkerian tradition, this study begins with strict species counterpoint."
545:). Schenker had also imagined a divider at the fourth (or lower fifth), but he apparently abandoned the concept after 1926, probably because the upper fourth does not belong to the divided triad. See also
1046:
Nonchord tone that passes, usually stepwise, from a chord tone directly above or below it (which frequently causes the NN to create dissonance with the chord) and resolves to the same chord tone. See
1217:
The process in tonal music through which a pitch, interval, or consonant triad is able to govern spans of music when not physically sounding. Schenker himself appears to have used the German term
1112:"No matter how far the composing-out may depart from its basic register , it nevertheless retains an urge to return to that register". This urge is often fulfilled, but not always.
858:
The complex sound consisting of the first five notes of the harmonic series, suggesting a model for the major triad. For a discussion of the meaning of this concept, see
1554:), either when a tone of the upper voice and one of the inner voice are interconnected, or when a similar connection takes place in a succession of several chords. See
2087:
478:
or coupling, but "the main thread of melodic activity remains with the displaced voice while the voice that does the displacing functions as a 'cover'".
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1719:
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1790:
1760:
1431:
Schenker uses the term "level" mainly in the expression "voice-leading level", denoting the successive levels through which the
1724:
1920:
1640:"A pattern that involves two and only two voices, a pattern in which the voices literally exchange their pitches." See also
2275:
2073:
2270:
2265:
1410:
1 and 2 (1921 and 1922) and that Furtwängler quoted in his paper "Heinrich
Schenker. Ein zeitgemäßes Problem" of 1947.
348:
of tonal musical pieces; the concept belongs to the final version of
Schenkerian theory, from 1930 onwards. See also
817:
1398:
Title of the influential book by Felix Salzer. The expression may derive from that of "long-distance hearing" (
474:"A tone of the inner voice which appears above the foreground diminution". It often results from an ascending
2220:
511:"The process by which an interval formed by notes of longer value is expressed in notes of smaller value".
938:
A passing note elaboration involving stepwise melodic motion in one direction between two harmonic tones.
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529:
Consonant subdivision of a consonant interval: the octave can be divided at the fifth (fifth-divider,
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Elaboration by which a descending inner voice is placed above the (descending) upper voice by a
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1295:) motion of one or several voices into a different octave (i.e. into a different register).
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1594:", rhythmic reduction or the score with which Schenker often began his analyses. See also
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can be literally translated as "composing-out"; the German word is coined on the model of
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Das Wesen des musikalischen
Kunstwerks: Eine Einführung in Die Lehre Heinrich Schenkers
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mainly to describe extensions of the laws of strict counterpoint to freer writing: see
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452:"The connection of two registers which lie an octave apart". It often results from a
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in music is represented by a contrapuntal structure which I have designated the
1439:. The expression "Structural level" appears to have been coined by Allen Forte.
547:
Schenkerian analysis: The arpeggiation of the bass and the divider at the fifth
456:
in which the transferred voice maintains a relation with its original register.
2167:
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1701:
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1811:
Heinrich
Schenker (1923). "Bach’s Little Prelude No. 3 in C Minor, BWV 999",
208:
683:, a stepwise descent from one of the triad notes to the tonic, with the
2065:
1550:
The transformation of a single chord into a horizontal succession (see
1263:. Successive reaching-over lines may produce an ascending motion. See
1863:
Schenker Guide: A Brief
Handbook and Website for Schenkerian Analysis
1967:
Allen Forte (1959). "Schenker's
Conception of Musical Structure",
2069:
606:. The term has been proposed by Forte & Gilbert. See also
1020:
Change of mode of the tonic (major to minor, minor to major).
39:
1895:, Oswald Jonas ed., Elisabeth Mann Borgese transl., p. 139.
537:) and the fifth can be divided at the third (third-teiler,
2062:", Schenkerian pages of Luciane Beduschi and Nicolas Meeùs
608:
Schenkerian analysis: Initial ascent, initial arpeggiation
344:
Bass pattern I-V-I forming the harmonic content of the
735:, together forming a counterpoint of the outer lines (
2044:", trilingual vocabulary (German, English, French),
350:Schenkerian analysis: The arpeggiation of the bass
1956:Ton und Wort: Aufsätze und Vorträge 1918 bis 1954
655:Title of the American translation of Schenker's
1909:Introduction to the Theory of Heinrich Schenker
1386:Introduction to the Theory of Heinrich Schenker
1265:List of Schenker's references to reaching over
224:Elementary elaboration of a harmony. See also
2081:
1168:. One of the three notes of the tonic triad,
1127:The use of "Fundamental" as a translation of
8:
1934:Structural Hearing. Tonal Coherence in Music
31:(1868–1935). The method is discussed in the
1139:has been questioned. For more details, see
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2074:
2066:
1596:Schenkerian analysis: Schenkerian notation
694:Schenkerian analysis: The fundamental line
1945:English translation, 2004, p. 22, 77, 82.
1194:Schenkerian analysis:The fundamental line
27:of tonal music based on the theories of
1783:An Introduction to Schenkerian Analysis
1753:An Introduction to Schenkerian Analysis
1735:
1374:Term used by John Rothgeb to translate
2042:Vocabulaire de l'analyse schenkérienne
1504:One of the most general principles of
7:
1642:Schenkerian analysis: Voice exchange
1989:Forte & Gilbert (1982), p. 110.
1958:, Wiesbaden: Brockhaus, p. 198-204.
1825:Forte & Gilbert (1982), p. 153.
1998:Forte & Gilbert (1982), p. 41.
1720:Glossary of jazz and popular music
1141:Fundamental structure: Terminology
598:Arpeggiated motion leading to the
14:
1915:). Transl. John Rothgeb, p. 138.
1223:Prolongation in Heinrich Schenker
2201:
1980:Heinrich Schenker (1979), § 140.
1882:Heinrich Schenker (1979), § 268.
1772:Heinrich Schenker (1979), § 267.
1742:Heinrich Schenker (1979), § 152.
1704:
1186:
1178:
1170:
833:Ascending motion leading to the
1843:Heinrich Schenker (1979), p. 4.
1725:Glossary of musical terminology
1560:Schenkerian analysis: Unfolding
1852:Heinrich Schenker (1979), §28.
1802:Forte and Gilbert (1982), p.7.
1:
2022:Glossary of Schenkerian Terms
1212:), Composing-out, Elaboration
1122:Primal line, Primal structure
1954:Wilhelm Furtwängler (1954).
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2032:Schenker-Analysis Glossary
1781:Forte and Gilbert (1982).
1751:Forte and Gilbert (1982).
679:The melodic aspect of the
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1936:. New York, Boni, 2 vols.
1891:Heinrich Schenker (1954)
1834:Heinrich Schenker (1979).
1406:), that Schenker used in
810:First-order arpeggiation
593:First-order arpeggiation
230:First-order arpeggiation
1969:Journal of Music Theory
1861:Pankhurst, Tom (2008).
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2012:SchenkerGUIDE glossary
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2016:SchenkerGuide.com
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1287:) or descending (
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1256:
1255:
1253:
1249:
1245:
1244:Reaching over
1237:
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1228:
1224:
1220:
1216:
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1195:
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1126:
1125:
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1105:obligate Lage
1102:
1098:
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1082:
1081:Obligate Lage
1074:
1070:
1069:
1068:
1067:
1066:
1058:
1053:
1049:
1048:Neighbor tone
1045:
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860:Klang (music)
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836:
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695:
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631:
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579:
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408:Composing out
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68:
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58:
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53:
51:
48:
47:
37:
34:
30:
26:
22:
21:
2246:
2233:
2226:
2221:Counterpoint
2219:
2153:Prolongation
2148:Primary tone
2057:
2049:
2045:
2035:
2025:
2015:
1994:
1985:
1976:
1968:
1963:
1955:
1950:
1941:
1933:
1928:
1912:
1908:
1900:
1892:
1887:
1878:
1862:
1857:
1848:
1839:
1830:
1821:
1813:Der Tonwille
1812:
1807:
1798:
1782:
1777:
1768:
1752:
1747:
1738:
1712:Music portal
1682:
1681:
1680:
1661:
1660:
1659:
1648:
1647:
1623:
1622:
1603:
1602:
1601:
1591:
1584:Urlinietafel
1583:
1582:
1581:
1567:
1566:
1565:
1552:Arpeggiation
1533:
1532:
1518:
1517:
1516:
1496:
1495:
1482:Tieferlegung
1481:
1480:
1479:
1465:
1464:
1463:
1444:
1443:
1442:
1414:
1413:
1408:Der Tonwille
1407:
1392:
1391:
1385:
1376:
1357:
1356:
1342:
1341:
1340:
1326:
1325:
1324:
1304:
1303:
1293:Tieferlegung
1271:
1270:
1242:
1241:
1231:Ausarbeitung
1230:
1226:
1219:Prolongation
1218:
1202:Prolongation
1200:
1199:
1149:Primary tone
1147:
1146:
1128:
1121:
1120:
1095:
1094:
1080:
1079:
1078:
1063:
1062:
1029:
1028:
1003:
1002:
997:Middelground
988:
987:
986:
972:
971:
970:
949:Middleground
948:
947:
946:
930:
917:
916:
903:
902:
883:
882:
881:
876:Primary note
867:
866:
865:
850:
849:
835:primary tone
816:
815:
802:
801:
783:
782:
781:
767:
766:
765:
760:Primary tone
752:
751:
724:
719:
700:
699:
690:primary tone
662:
661:
656:
637:
636:
635:
615:Foreground (
614:
613:
600:primary tone
592:
591:
577:
576:
575:
566:Prolongation
558:
557:
515:
514:
503:
502:
488:
487:
486:
461:Cover tone (
460:
459:
435:
434:
421:
420:
415:Prolongation
407:
406:
393:
392:
382:Arpeggiation
373:
372:
371:
358:Bassbrechung
357:
356:
355:
337:Bassbrechung
327:
326:
317:Middelground
294:Background (
293:
292:
273:
272:
271:
266:Prolongation
257:
256:
255:
241:
240:
239:
209:Arpeggiation
207:
206:
192:
191:
190:
179:
18:glossary of
17:
15:
2178:Tonal space
2058:Übergreifen
2036:McMaster.ca
1662:Vordergrund
1633:Stimmtausch
1558:. See also
1519:Übergreifen
1498:Tonal space
1343:Stimmtausch
1285:Höherlegung
1279:Ascending (
1252:Übergreifen
1050:. See also
989:Mittelgrund
957:Mittelgrund
784:Höherlegung
768:Hintergrund
692:. See also
648:freier Satz
621:Vordergrund
559:Elaboration
535:Quintteiler
315:. See also
300:Hintergrund
2260:Categories
2168:Scale-step
2113:Diminution
1921:0582282276
1785:, p. 223.
1731:References
1670:Foreground
1543:Ausfaltung
1453:Scale step
1437:foreground
1306:Scale-step
776:Background
720:background
543:Terzteiler
505:Diminution
497:Cover tone
346:background
321:Foreground
242:Ausfaltung
16:This is a
2183:Unfolding
2050:ulaval.ca
1535:Unfolding
1404:Fernhören
1367:Schichten
1039:Nebennote
884:Koppelung
741:Außensatz
578:Fernhören
516:Divider (
445:Koppelung
429:Unfolding
274:Außensatz
250:Unfolding
234:Unfolding
2247:Glossary
2034:", from
2024:", from
2014:", from
1971:3, p. 4.
1907:(1982).
1698:See also
1556:Coupling
1013:Mischung
973:Mischung
892:Coupling
753:Headnote
437:Coupling
374:Brechung
217:Brechung
43:Contents
2235:Harmony
2048:, from
1893:Harmony
1592:Urlinie
1568:Urlinie
1474:Divider
1424:Schicht
1377:Schicht
1327:Schicht
1157:Kopfton
1133:Urlinie
1005:Mixture
981:Mixture
868:Kopfton
837:of the
826:Anstieg
672:Urlinie
602:of the
489:Deckton
467:Deckton
311:of the
193:Anstieg
1919:
1869:
1789:
1759:
1629:German
1604:Ursatz
1539:German
1466:Teiler
1420:German
1400:German
1363:German
1359:Strata
1310:German
1289:German
1281:German
1248:German
1206:German
1192:. See
1153:German
1137:Ursatz
1101:German
1035:German
1009:German
953:German
923:German
822:German
737:German
710:Ursatz
706:German
668:German
644:German
617:German
539:German
531:German
522:Teiler
518:German
463:German
441:German
333:German
296:German
213:German
2128:Klang
1445:Stufe
1380:(see
1314:Stufe
904:Level
852:Klang
717:"The
401:Klang
2046:GDRM
1917:ISBN
1867:ISBN
1787:ISBN
1757:ISBN
1689:See
1668:See
1610:See
1574:See
1525:See
1488:See
1472:See
1451:See
1349:See
1333:See
1087:See
1071:See
995:See
979:See
964:See
909:See
890:See
874:See
808:See
790:See
774:See
758:See
628:See
584:See
564:See
495:See
427:See
413:See
399:See
380:See
364:See
319:and
307:The
280:See
264:See
248:See
199:See
1683:Zug
1184:or
1135:or
1131:in
1129:Ur-
931:Zug
929:or
2262::
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1541::
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670::
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211:(
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187:A
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170:Y
165:X
160:W
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130:Q
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120:O
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105:L
100:K
95:J
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80:G
75:F
70:E
65:D
60:C
55:B
50:A
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