Becoming Heinrich Schenker by Robert P. Morgan

Author:Robert P. Morgan [Morgan]
Language: eng
Format: epub
Publisher: Cambridge University Press
Published: 2014-06-23T16:00:00+00:00

Example 7.12 Mendelssohn: “Lied ohne Worte,” op. 67 no. 6: reduction

(Schenker 1921–24/2004–05, issue 10, figure 1, p. 30/150.1)

The Urlinie notes and bass arpeggiations in the second layer, however, are differentiated by stemmed half notes. Also important motivically at this level is the leap of a sixth from b1 to g♯2 (the second note being part of the Urlinie). It rises initially from a middle voice following the opening configuration (indicated with a dotted slur at level two), and returns at the reprise of that level after the inner-voice b1 again emerges, this time defining the middle section as goal of the preceding linear progression f♯2–b1 (mm. 27–60). Thereafter it rises again to g♯2, this time with a filled-in slur. Slurs are also used in connection with this motive at level three, as well as to connect the main prolongations of both bottom graphs. Further elaborations appear in the bottom layer, below which Stufen are indicated; and an Urlinie-Tafel provides additional information about more foreground events. In this analysis, then, a multilayered graph leads from a background with two primary outer voices, through two aligned middleground layers to the piece’s foreground. Yet the Urlinie remains a composite, without being reduced to a single triad in E major.

We have saved for last perhaps the most forward-looking feature of the Tonwille analyses: their treatment of relatively unstable developmental and transitional sections. Even the earlier volumes have more comprehensive graphs for these, which reduce their pitch events to a single, section-defining prolongation. Looser in construction and lacking the readily divisible formal segments and obvious harmonic connections stressed in traditional analysis, they provide an ideal means for demonstrating the advantages of Schenker’s new approach. The sketch of the development section of the first movement of Mozart’s K 310 in Tonwille 2, one of the earliest analyses (see Example 7.13), thus forms a sort of prolongational synopsis that integrates the section’s Urlinie segments from the movement’s Urlinie-Tafel into a single contrapuntal structure.

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