The Masterwork in Music: Volume I, 1925 (Dover Books on Music and Music History) by Schenker Heinrich & Kramer Richard & Siegel Hedi

Author:Schenker, Heinrich & Kramer, Richard & Siegel, Hedi [Schenker, Heinrich]
Language: eng
Format: epub
Publisher: Dover Publications
Published: 2014-10-13T04:00:00+00:00

are avoided by assigning f1 ( ) {102} to V (see ‘Elucidations’, Fig. 4c). Thus the passing note f1 is transformed into an accented passing note [Wechselnote ], 6–5. The paths of the bass converge on the octave-coupling d-D (on the contribution of this technique to synthesis in the works of the masters, see Meisterwerk 1, p .69/p .36).2 This octave-coupling also lies behind the use of a higher register for the [initial] dominant divider; the V in the lower register (the root A) is thereby reserved for the task of dividing the octave in the bass and preparing for the final D.

The prolongation in Fig. 1c shows further progress. The (b♮ )1 ) in bar 5 would have formed a dissonance with the dominant divider (a) of bar 4; therefore in bars 4–6 this divider is itself further divided by its own upper fifth (e), which then makes the consonant. (The descending arpeggiation of the dividing dominant triad, a-e-c♯ , thus answers the foregoing ascending arpeggiation of the tonic triad, d-f-a.) The divider e also necessitates the transformation of the diatonic (b♭ 1 in Figs, 1a and 1b ) into b♭ ]1 , and the resultant major sixth gives the fourth-progression ( ) a so-called ‘Dorian’ character (see Harmonielehre, p.jo/p.55 ). Yet what this example shows us best is the real meaning of an allegedly Dorian feature of this kind: it can arise – as it does here – from a simple arpeggiation of the dividing dominant triad! The unfolding at is nothing more than a neighbour-note figure applied to the third [of V] (see Kontrapunkt II, p .251/p.261 ; ‘Elucidations’, Fig. 7), accompanied by 7–6–5 (the ) and 8–7.

The Foreground Graph shows the motive that characterizes the diminution in the treble. 3 It is a descending sixth-progression, comprising the fourth-progression d2 -a! and the third-progression a1 –f1 . The number of notes in this third-progression, however, is increased by the addition of a neighbour note; thus it represents another fourth-progression (see the two brackets in bar 1). The initial note of the first fourth-progression, d2 , enters on a weak semiquaver. This requires the succeeding progression to behave likewise; thus the neighbour note b♭ 1 appears on the second semiquaver of the second crotchet. An augmentation is needed, however, if the second fourth-progression is not to move at the same semiquaver pace. As contributors to the augmentation, the third and fourth semiquavers of the second crotchet represent mere fillers, yet they are assigned the task of avoiding, by contrary motion, the fifths that would have arisen when the voices are inverted in bar 2 and across bars 41 5. An imitation of this filler is contained within the mordent at the a1 that begins the third crotchet.

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