The Masterwork in Music: Volume II, 1926 by Heinrich Schenker

Author:Heinrich Schenker [Schenker, Heinrich]
Language: eng
Format: epub
Publisher: Dover Publications
Published: 2014-10-13T02:00:00+00:00

{119} In bar 14 the flute takes over the g2, which proceeds to fjt2 in bar 16, thus concluding the sixth-progression. The level of diminution represented by the Foreground Graph thus shows that the voice that governs the sixth-progression gives up the last pair of notes, g2–f #, to another voice so that it can itself take responsibility for the reaching over.

If, by virtue of their common characteristics, one links the four-bar construction of bars 3–6 with the following three bars, bars 7–9 (which stand for a conceptual four-bar unit), then one gains a four-bar unit of higher order.11 A similar four-bar construction of higher order can be formed from bars 10–21, again on the basis of common characteristics. In the third two-bar unit of this group, bars 14–15, one might have expected the succession Et–D [in the bass], in conformity with the two previous two-bar units (cf. Figs, ic and id); but instead the neighbour note E♭ is expanded to El]–Ek This expansion paves the way for the still greater expansion of the fourth two-bar unit, which is increased to six bars. Both expansions were required of Mozart for reasons of synthesis, since not all had been accomplished at the end of the sixth-progression: in addition to re-establishing d2 it was necessary to apply the 5/4 anacrusis, without which a repeat of bars 3ff could not have taken place. Consider what bars 14–17 would have looked like without expansion:

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