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 Auskomponierung

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 Auskomponierung

! Composing-Out

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 Auskomponierung

! Composing-Out

! Expansion of the fundamental structure

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 Auskomponierung

! Composing-Out

! Expansion of the fundamental structure

! Common ways in which they may be expanded, varied,and transformed

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Topics in this Presentation

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Topics in this Presentation

! Initial Ascent ( Anstieg)

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Topics in this Presentation

! Initial Ascent ( Anstieg)! Unfolding ( Ausfaltung)

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Topics in this Presentation

! Initial Ascent ( Anstieg)! Unfolding ( Ausfaltung)! Motion into an Inner Voice!

Motion from an Inner Voice

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Topics in this Presentation

! Initial Ascent ( Anstieg)! Unfolding ( Ausfaltung)! Motion into an Inner Voice!

Motion from an Inner Voice!  Voice Exchange

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Topics in this Presentation

! Initial Ascent ( Anstieg)! Unfolding ( Ausfaltung)! Motion into an Inner Voice!

Motion from an Inner Voice!  Voice Exchange! Register Shifts

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Topics in this Presentation

! Initial Ascent ( Anstieg)! Unfolding ( Ausfaltung)! Motion into an Inner Voice!

Motion from an Inner Voice!  Voice Exchange! Register Shifts

! Register Transfer

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Topics in this Presentation

! Initial Ascent ( Anstieg)! Unfolding ( Ausfaltung)! Motion into an Inner Voice!

Motion from an Inner Voice!  Voice Exchange! Register Shifts

! Register Transfer! Coupling

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Topics in this Presentation

! Initial Ascent ( Anstieg)! Unfolding ( Ausfaltung)! Motion into an Inner Voice!

Motion from an Inner Voice!  Voice Exchange! Register Shifts

! Register Transfer! Coupling!

Superposition

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Topics in this Presentation

! Initial Ascent ( Anstieg)! Unfolding ( Ausfaltung)! Motion into an Inner Voice!

Motion from an Inner Voice!  Voice Exchange! Register Shifts

! Register Transfer! Coupling!

Superposition! Reaching Over (Uebergreifen)

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Topics in this Presentation

! Initial Ascent ( Anstieg)! Unfolding ( Ausfaltung)! Motion into an Inner Voice!

Motion from an Inner Voice!  Voice Exchange! Register Shifts

! Register Transfer! Coupling!

Superposition! Reaching Over (Uebergreifen)! Cover Tone (Deckton)

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Topics in this Presentation

! Initial Ascent ( Anstieg)! Unfolding ( Ausfaltung)! Motion into an Inner Voice!

Motion from an Inner Voice!  Voice Exchange! Register Shifts

! Register Transfer! Coupling!

Superposition! Reaching Over (Uebergreifen)! Cover Tone (Deckton)

!  Altered Scale Degrees

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Initial Ascent

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Initial Ascent

! German: Anstieg

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Initial Ascent

! German: Anstieg

!  A rising linear progression that leads to the first or primary  tone of the fundamental progression

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Initial Ascent

! German: Anstieg

!  A rising linear progression that leads to the first or primary  tone of the fundamental progression

! Rises through the tones of the tonic triad from the root to the3rd or 5th.

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Initial Ascent

! German: Anstieg

!  A rising linear progression that leads to the first or primary  tone of the fundamental progression

! Rises through the tones of the tonic triad from the root to the3rd or 5th.

! Represents a delay in the arrival of the primary tone.

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! The first note of the urlinie is ^3—the "C" in measure 3.

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! The first note of the urlinie is ^3—the "C" in measure 3.! ^3 is supported by I in the bass.

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! The first note of the urlinie is ^3—the "C" in measure 3.! ^3 is supported by I in the bass.! The previous three measures provide an ascent to that first

 urlinie tone.

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!  A passing motion in both soprano and bass, immediately before the first urlinie tone, is part of the ascent.

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! To find the beginning of the ascent, examine the motion in the bass in the first three measures:

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! To find the beginning of the ascent, examine the motion in the bass in the first three measures:

! Starts on I

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! To find the beginning of the ascent, examine the motion in the bass in the first three measures:

! Starts on I! Moves through a passing harmony to I6

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!  An examination of the melodic line reveals that ^1 is prolonged via its upper and lower neighbors

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! Thus the tone on the initial downbeat — ^1 — instigates theinitial ascent.

Allegretto

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Allegretto

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! Foreground analysis:

Allegretto

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! Foreground analysis:! Tones of the initial ascent are given longer stems

Allegrettol

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! Foreground analysis:! Tones of the initial ascent are given longer stems! The neighbor tones prolonging the initial ^1 are

indicated with flags

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Allegrettol t

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Allegrettosempre legato

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! Foreground analysis:!  A consonant skip in the bass from I to I6 is indicated

 with a slur

Allegrettosempre legato

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! Foreground analysis:!  A consonant skip in the bass from I to I6 is indicated

 with a slur! The passing tone filling the CS is also indicated

Allegrettosempre legato

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! Foreground analysis:!  A consonant skip in the bass from I to I6 is indicated

 with a slur! The passing tone filling the CS is also indicated! The prolongation of I from measures 1 - 4 is indicated

Allegrettosempre legato

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Allegrettosempre legato

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! Foreground analysis:! Prolongation of the first tone of the initial ascent is

indicated with a dotted slur.

Allegrettosempre legato

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! Foreground analysis:! Prolongation of the first tone of the initial ascent is

indicated with a dotted slur.! The initial ascent itself is indicated with a slur. There is

no need to write "initial ascent" as a rule.

Allegrettosempre legato

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! Foreground analysis:! Neighboring bass motion into I is indicated with a flag

Allegrettosempre legato

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  %'

% %%   % &

) $$$$ % %   & %   & % % % & % %   & %&   & % % % &

# $$$$ % % % %% %' %' % % %%

& % % %'

% % %' % % % %

&

) $$$$

Ab:

%

I

%P%  %

 N

%* % % % %%  % N

%*

I

%

! Foreground analysis:! Neighboring bass motion into I is indicated with a flag! The tonic triad on the downbeat of m4 is given

somewhat less structural weight than the tonics at the

 beginning and end of the phrase.

Allegrettosempre legato

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 # $$$$ 

% % %  & %' % %  & (' % % % & % % %   %%

'% %

  %'

% %%   % &

) $$$$ % %   & %   & % % % & % %   & %&   & % % % &

# $$$$ % % % %% %' %' % % %%

& % % %'

% % %' % % % %

&

) $$$$

Ab:

%

I

%P%  %

 N

%* % % % %%  % N

%*

I

%

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Allegrettosempre legato

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 # $$$$ 

% % %  & %' % %  & (' % % % & % % %   %%

'% %

  %'

% %%   % &

) $$$$ % %   & %   & % % % & % %   & %&   & % % % &

# $$$$ % % % %% %' %' % % %%

& % % %'

% % %' % % % %

&

) $$$$

Ab:

%

I

%P%  %

 N

%* % % % %%  % N

%*

I

%

! Note the three b s in the first phrase:

! Dissonant neighbor in bar 1

Allegrettosempre legato

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 # $$$$ 

% % %  & %' % %  & (' % % % & % % %   %%

'% %

  %'

% %%   % &

) $$$$ % %   & %   & % % % & % %   & %&   & % % % &

# $$$$ % % % %% %' %' % % %%

& % % %'

% % %' % % % %

&

) $$$$

Ab:

%

I

%P%  %

 N

%* % % % %%  % N

%*

I

%

! Note the three b s in the first phrase:

! Dissonant neighbor in bar 1! Consonant neighbor in bar 2 (thus putting it a bit higher

structurally)

Allegrettosempre legato

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 # $$$$ 

% % %  & %' % %  & (' % % % & % % %   %%

'% %

  %'

% %%   % &

) $$$$ % %   & %   & % % % & % %   & %&   & % % % &

# $$$$ % % % %% %' %' % % %%

& % % %'

% % %' % % % %

&

) $$$$

Ab:

%

I

%P%  %

 N

%* % % % %%  % N

%*

I

%

! Note the three b s in the first phrase:

! Dissonant neighbor in bar 1! Consonant neighbor in bar 2 (thus putting it a bit higher

structurally)! Passing tone (initial ascent) to C 

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Allegrettosempre legato

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 # $$$$ 

% % %  & %' % %  & (' % % % & % % %   %%

'% %

  %'

% %%   % &

) $$$$ % %   & %   & % % % & % %   & %&   & % % % &

# $$$$ % % % %% %' %' % % %%

& % % %'

% % %' % % % %

&

) $$$$

Ab:

%

I

%P%  %

 N

%* % % % %%  % N

%*

I

%

! Second Phrase:! Note the brackets showing the many desending thirds

relationships

Allegrettosempre legato

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 # $$$$ 

% % %  & %' % %  & (' % % % & % % %   %%

'% %

  %'

% %%   % &

) $$$$ % %   & %   & % % % & % %   & %&   & % % % &

# $$$$ % % % %% %' %' % % %%

& % % %'

% % %' % % % %

&

) $$$$

Ab:

%

I

%P%  %

 N

%* % % % %%  % N

%*

I

%

! Second Phrase:! Note the brackets showing the many desending thirds

relationships

! Note the structural differences between 'c' in bar 6 and 'b ' in bar 7, although they're both dissonant passing tones

 $$ $Allegretto

sempre legato

%' ' % % &  '

 ' %   % &

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# $ 

% % %  & % %  & ( % % % % %% % % % % %) $$$$ % %   & %   & % % % & % %   & %&   & % % % &

# $$$$ % % % %% %' %' % % %%

& % % %' % % %' % % % %

&

) $$$$

Ab:

%

I

%P

%

 N

%*

% % % %% 

%

 N

%*

I

%

# $$$$ % % % 'initial ascent

%'% % %

P

%%

 ̂

&

) $$$$

Ab:   I

& % %

* N

%

I

&

 $$ $Allegretto

sempre legato

%' ' % % &  '

 ' %   % &

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# $ 

% % %  & % %  & ( % % % % %% % % % % %) $$$$ % %   & %   & % % % & % %   & %&   & % % % &

# $$$$ % % % %% %' %' % % %%

& % % %' % % %' % % % %

&

) $$$$

Ab:

%

I

%P

%

 N

%*

% % % %% 

%

 N

%*

I

%

# $$$$ % % % 'initial ascent

%'% % %

P

%%

 ̂

&

) $$$$

Ab:   I

& % %

* N

%

I

&

!  A second foreground analysis (removing most of the inner voices) helps to see the initial ascent more clearly.

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  # # #^ 

$%   $ # #

&$

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!  A middleground analysis removes everything except:

  # # #^ 

$%   $ # #

&$

^

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!  A middleground analysis removes everything except:! First urlinie tone

  # # #^ 

$%   $ # #

&$

^

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!  A middleground analysis removes everything except:! First urlinie tone

!  Bassbrechung (note how it supports the first tone of the initial ascent)

  # # #^ 

$%   $ # #

&$

^

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!  A middleground analysis removes everything except:! First urlinie tone

!  Bassbrechung (note how it supports the first tone of the initial ascent)

! Initial ascent

  # # #^ 

$%   $ # #

&$

^

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!  A middleground analysis removes everything except:! First urlinie tone

!  Bassbrechung (note how it supports the first tone of the initial ascent)

! Initial ascent

!  A few important bass motions figures (CS and N)

  # # #^ 

$%   $ # #

&$

^

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  # # #^ 

$%   $ # #

&$

^

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! NOTE: Typically the bassbrechung begins with the initial ascent, rather than the first primary tone of the urlinie.

  # # #^ 

$%   $ # #

&$

^

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! NOTE: Typically the bassbrechung begins with the initial ascent, rather than the first primary tone of the urlinie.

! The initial ascent is, after a prolongation of the primary urlinie tone, so it makessense that it is supported by the bassbrechung.

  # # #^ 

$%   $ # #

&$

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 Arpeggiated Ascent

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 Arpeggiated Ascent

! The anstieg need not be necessarily linear; it can also be anarpeggiation.

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 Arpeggiated Ascent

! The anstieg need not be necessarily linear; it can also be anarpeggiation.

! Thus the "arpeggiated ascent" in which an arpeggiation through the tones of the tonic triad leads to the first tone of the urlinie.

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 Arpeggiated Ascent

! The anstieg need not be necessarily linear; it can also be anarpeggiation.

! Thus the "arpeggiated ascent" in which an arpeggiation through the tones of the tonic triad leads to the first tone of the urlinie.

! The specific length and nature of the arpeggiation may vary,

depending on the starting tone, and on whether ^3 or ^5 is the goal.

Mozart: Piano Sonata K. 309

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 ( )

# ##$ $ #  ### %

 # # % # #

&

# # % # #&# # % ## # ####### ### # # ### ## # $

($ $

#  ### %  #### #### ######## ######## ) ( %# # #

$

Mozart: Piano Sonata K. 309

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! There is a descending line from ^5 - ^1 in the melody.

 ( )

# ##$ $ #  ### %

 # # % # #

&

# # % # #&# # % ## # ####### ### # # ### ## # $

($ $

#  ### %  #### #### ######## ######## ) ( %# # #

$

Mozart: Piano Sonata K. 309

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 ( )

# ##$ $ #  ### %

 # # % # #

&

# # % # #&# # % ## # ####### ### # # ### ## # $

($ $

#  ### %  #### #### ######## ######## ) ( %# # #

$

Mozart: Piano Sonata K. 309

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! The previous two measures arpeggiate the tonic triad on the way to the 'G' in measure 3.

 ( )

# ##$ $ #  ### %

 # # % # #

&

# # % # #&# # % ## # ####### ### # # ### ## # $

($ $

#  ### %  #### #### ######## ######## ) ( %# # #

$

Mozart: Piano Sonata K. 309

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 ( )#

# #$ $ # ###%

 

# # % # #&# # % # #&# # % ## # ####### ### #

## #

# ## # $

($ $

# ###%  #### #### ######## ######## ) ( % # # #$

  # # #3rd

#&##

10

#

# #10

## # #10

#

5-prg.

10

# # #  # #3rd

# # #3rd

# # ## # #(

TI

$ # # ##

I6 

# #* 

# #* #6

#

int

ii6 

#*

*#

D

##

V6 

#

T

I

#$

Mozart: Piano Sonata K. 309

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! Note the opening grace notes in the score, which are thenmirrored by the arpeggiated ascent.

 ( )#

# #$ $ # ###%

 

# # % # #&# # % # #&# # % ## # ####### ### #

## #

# ## # $

($ $

# ###%  #### #### ######## ######## ) ( % # # #$

  # # #3rd

#&##

10

#

# #10

## # #10

#

5-prg.

10

# # #  # #3rd

# # #3rd

# # ## # #(

TI

$ # # ##

I6 

# #* 

# #* #6

#

int

ii6 

#*

*#

D

##

V6 

#

T

I

#$

Mozart: Piano Sonata K. 309

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 ( )#

# #$ $ # ###%

 

# # % # #&# # % # #&# # % ## # ####### ### #

## #

# ## # $

($ $

# ###%  #### #### ######## ######## ) ( % # # #$

  # # #3rd

#&##

10

#

# #10

## # #10

#

5-prg.

10

# # #  # #3rd

# # #3rd

# # ## # #(

TI

$ # # ##

I6 

# #* 

# #* #6

#

int

ii6 

#*

*#

D

##

V6 

#

T

I

#$

Mozart: Piano Sonata K. 309

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! Oswald Jonas: "How marvelous the arpeggiation in the righthand's grace-note figure, which finds its continuation as though in a great arc!"

 ( )#

# #$ $ # ###%

 

# # % # #&# # % # #&# # % ## # ####### ### #

## #

# ## # $

($ $

# ###%  #### #### ######## ######## ) ( % # # #$

  # # #3rd

#&##

10

#

# #10

## # #10

#

5-prg.

10

# # #  # #3rd

# # #3rd

# # ## # #(

TI

$ # # ##

I6 

# #* 

# #* #6

#

int

ii6 

#*

*#

D

##

V6  5 

#

T

I

#$

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Mozart: Piano Sonata K. 309

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 ( )#

# #$ $ # ###%

 

# # % # #&# # % # #&# # % ## # ####### ### #

## #

# ## # $

($ $

# ###%  #### #### ######## ######## ) ( % # # #$

  # # #3rd

#&##

10

#

# #10

## # #10

#

5-prg.

10

# # #  # #3rd

# # #3rd

# # ## # #(

TI

$ # # ##

I6 

# #* 

# #* #6

#

intii6 

#*

*#

D

##

V6  5 

#

TI

#$

Mozart: Piano Sonata K. 309

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! The 5-prg. is not composed of the tones you mightinstinctively expect.

 ( )#

# #$ $ # ###%

 

# # % # #&# # % # #&# # % ## # ####### ### #

## #

# ## # $

($ $

# ###%  #### #### ######## ######## ) ( % # # #$

  # # #3rd

#&##

10

#

# #10

## # #10

#

5-prg.

10

# # #  # #3rd

# # #3rd

# # ## # #(

TI

$ # # ##

I6 

# #* 

# #* #6

#

intii6 

#*

*#

D

##

V6  5 

#

TI

#$

Mozart: Piano Sonata K. 309

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! The 5-prg. is not composed of the tones you mightinstinctively expect.! The first ^5 is prolonged

 ( )#

# #$ $ # ###%

 

# # % # #&# # % # #&# # % ## # ####### ### #

## #

# ## # $

($ $

# ###%  #### #### ######## ######## ) ( % # # #$

  # # #3rd

#&##

10

#

# #10

## # #10

#

5-prg.

10

# # #  # #3rd

# # #3rd

# # ## # #(

TI

$ # # ##

I6 

# #* 

# #* #6

#

intii6 

#*

*#

D

##

V6  5 

#

TI

#$

Mozart: Piano Sonata K. 309

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! The 5-prg. is not composed of the tones you mightinstinctively expect.! The first ^5 is prolonged

!  As is the ^4

 ( )#

# #$ $ # ###%

 

# # % # #&# # % # #&# # % ## # ####### ### #

## #

# ## # $

($ $

# ###%  #### #### ######## ######## ) ( % # # #$

  # # #3rd

#&##

10

#

# #10

## # #10

#

5-prg.

10

# # #  # #3rd

# # #3rd

# # ## # #(

TI

$ # # ##

I6 

# #* 

# #* #6

#

intii6 

#*

*#

D

##

V6  5 

#

TI

#$

Mozart: Piano Sonata K. 309

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 ( )

# ##$ $ # ###%

 

# # % # #&# # % # #&# # % ## # ####### ### ## #

## ## # $

($ $

# ###%  #### #### ######## ######## ) ( % # # #$

  # # #3rd#&##

10

#

# #10

## # #10

#

5-prg.

10

# # #  # #3rd

# # #3rd

# # ## # #(

TI

$ # # ##

I6 

# #* 

# #* #6

#

intii6 

#*

*#

D

##

V6  5 

#

TI

#$

Mozart: Piano Sonata K. 309

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! Thus an inner-voice 3-prg. is also heard.

 ( )

# ##$ $ # ###%

 

# # % # #&# # % # #&# # % ## # ####### ### ## #

## ## # $

($ $

# ###%  #### #### ######## ######## ) ( % # # #$

  # # #3rd#&##

10

#

# #10

## # #10

#

5-prg.

10

# # #  # #3rd

# # #3rd

# # ## # #(

TI

$ # # ##

I6 

# #* 

# #* #6

#

intii6 

#*

*#

D

##

V6  5 

#

TI

#$

Mozart: Piano Sonata K. 309

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! Thus an inner-voice 3-prg. is also heard.! That's reduplicated in other inner-voice motions

 ( )

# ##$ $ # ###%

 

# # % # #&# # % # #&# # % ## # ####### ### ## #

## ## # $

($ $

# ###%  #### #### ######## ######## ) ( % # # #$

  # # #3rd#&##

10

#

# #10

## # #10

#

5-prg.

10

# # #  # #3rd

# # #3rd

# # ## # #(

TI

$ # # ##

I6 

# #* 

# #* #6

#

intii6 

#*

*#

D

##

V6  5 

#

TI

#$

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Initial Ascent

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Initial Ascent

!

It's possible for both the scalar and arpeggiated aspects of theinitial ascent to be combined.

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Initial Ascent

!

It's possible for both the scalar and arpeggiated aspects of theinitial ascent to be combined.

! The motion is essentially an arpeggiation, but one of the thirds is filled with a passing tone, creating a stepwise motion within the larger arpeggiation.

Mozart: Piano Concerto, K. 453 III

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Mozart: Piano Concerto, K. 453 III

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! The first primary tone of the urlinie is 'B' in measure 4

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Mozart: Piano Concerto, K. 453 III

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! The first primary tone of the urlinie is 'B' in measure 4! This example includes two primary tones, ^3 and ^2

! Note: the selection is analyzed within a larger context, so we can assume that the remainder of the urlinie occurs

 later.

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! The tones of the initial ascent are marked with longer stems.

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! The tones of the initial ascent are marked with longer stems.! The F# in bar 2 is not  part of the initial ascent, given that is

 part of an overall prolongation of the initial tonic.

  

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! The descending 5-prg. can be found in double-periodconstructions.

  

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! The descending 5-prg. can be found in double-periodconstructions.! The first tone of the 5-prg. is a fundamental ^2

  

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! The descending 5-prg. can be found in double-periodconstructions.! The first tone of the 5-prg. is a fundamental ^2! The descent establishes V as a momentary tonic.

  

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! Middleground analysis shows us the initial ascent and thedescending 5-prg. more clearly.

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! Middleground analysis shows us the initial ascent and thedescending 5-prg. more clearly.

! The diagonal lines connect the fundamental bass tones with the tones of the urlinie.

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Unfolding

U f ldi

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Unfolding

! German: ausfaltung

U f ldi

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Unfolding

! German: ausfaltung

! Two or more voices may be related through stepwisemotions, leaps, or both in combination.

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U f ldi

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Unfolding

! German: ausfaltung

! Two or more voices may be related through stepwisemotions, leaps, or both in combination.

! Generally speaking an unfolding takes a pair of intervals and linearizes them—i.e., treats the notes as a polyphonicstructure. That linearization should be understood asoccurring at a higher level of structure.

!  Arpeggiation differs from unfolding in that it does not implya polyphonic linearization at a higher level of structure.

Schubert: Impromptu, Op. 142# '

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Schubert: Impromptu, Op. 142# '

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! In bar 1, the D-B  motion forms a third.

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Schubert: Impromptu, Op. 142# &' $

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! In bar 1, the D-B  motion forms a third.

! In bar 2, the A-E   motion forms a diminished fifth.

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Schubert: Impromptu, Op. 142# $ $ $ &' $ $ $ $ $

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! In bar 1, the D-B  motion forms a third.

! In bar 2, the A-E   motion forms a diminished fifth.

! The resolution of the diminished fifth occurs in the next bar(although the lower note must be left implied.)

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! In bar 3, D in the soprano becomes dissonant to the bass on thesecond beat.

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Schubert: Impromptu, Op. 142# $ $ $ &' $ $ $ $ $ $ $ $ $

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! In bar 3, D in the soprano becomes dissonant to the bass on thesecond beat.

!  Although the melodic motion in the (notated) soprano is D-G,!  we hear a resolution strongly to C—note the tenor motion.

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Schubert: Impromptu, Op. 142# $ $ $ &' $ $ $ $ $ $ $ $ $

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! In bar 3, D in the soprano becomes dissonant to the bass on thesecond beat.

!  Although the melodic motion in the (notated) soprano is D-G,!  we hear a resolution strongly to C—note the tenor motion.! The D-G interval unfolds, finally resolving in bar 3.

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The unfolding symbol connects the two notes of the original interval with a diagonal beam, allowing us to follow the "unfolding" polyphony more easily.

Overall it probably isn't necessary in such a simple example—stemming alone shows theunfolding motion quite adequately.

However, unfolding can occur over longer passages, and in such cases the diagonal beamcan prove useful, especially in a dense analysis with many different polyphonic voices to cover.

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+ ## $, $- $ $, $, $, $, $, $  

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Unfolding Patterns

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 becomes# ##

or 

# ## # #

 becomes# ## or # # # # ##

$ becomes

# # ## # # # ## #

Unfolding Patterns

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! These are some patterns that can be associated withunfoldings.

 

 becomes# ##

or 

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 becomes# ## or # # # # ##

$ becomes

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Motion into an Inner Voice

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Motion into an Inner Voice

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Motion into an Inner Voice

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Motion into an Inner Voice

! Frequently a melody will move from an established top-voice tone into an inner voice through a linear progression

! This is referred to as motion into an inner voice.

Motion into an Inner Voice

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Motion into an Inner Voice

! Frequently a melody will move from an established top-voice tone into an inner voice through a linear progression

! This is referred to as motion into an inner voice.

!

It's an extremely frequent compositional technique used toexpand a top voice

Motion into an Inner Voice

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Motion into an Inner Voice

! Frequently a melody will move from an established top-voice tone into an inner voice through a linear progression

! This is referred to as motion into an inner voice.

!

It's an extremely frequent compositional technique used toexpand a top voice

! It's also common in the bass voice, where rising linear progressions can move from the structural bass line into the tenor register.

Motion into an Inner Voice

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Motion into an Inner Voice

! Frequently a melody will move from an established top-voice tone into an inner voice through a linear progression

! This is referred to as motion into an inner voice.

!

It's an extremely frequent compositional technique used toexpand a top voice

! It's also common in the bass voice, where rising linear progressions can move from the structural bass line into the tenor register.

! It can occur on various levels of structure

Motion into an Inner Voice

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Motion into an Inner Voice

! Frequently a melody will move from an established top-voice tone into an inner voice through a linear progression

! This is referred to as motion into an inner voice.

!

It's an extremely frequent compositional technique used toexpand a top voice

! It's also common in the bass voice, where rising linear progressions can move from the structural bass line into the tenor register.

! It can occur on various levels of structure

! It can serve to create an independent section within a largerform.

Schubert: Impromptu Op. 90 No. 3

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  #$%%%%%%%%%%%#

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Schubert: Impromptu Op. 90 No. 3

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! The primary structural melody is ^3-^2! Supported by I-V in the bass

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Schubert: Impromptu Op. 90 No. 3

$ & & $ &

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!  An inner-voice melody of ^3-^2-^1 can be heard atrhythmically important locations (downbeats of measures 1,3, and 4)

  # %%%%%%%%%%%# %%%%%# %%%%% # %%%%%%%%%%%#$%%%%% %%%%%% #$% %%%%%% %%%%#%% %#%% %#%% %#%% % #&% %%%%# %%%%%#

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Schubert: Impromptu Op. 90 No. 3

$ & & $ &

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!  An inner-voice melody of ^3-^2-^1 can be heard atrhythmically important locations (downbeats of measures 1,3, and 4)! Supported by I-ii63-V7-I

  # %%%%%%%%%%%# %%%%%# %%%%% # %%%%%%%%%%%#$%%%%% %%%%%% #$% %%%%%% %%%%#%% %#%% %#%% %#%% % #&% %%%%# %%%%%#

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Schubert: Impromptu Op. 90 No. 3

$ & & $ $ & &  

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! ^2 of that inner-voice melody gives rise to a descending 5- prg. from ^2 to ^5

  # %%%%%%%%%%%# %%%%%# %%%%% # %%%%%%%%%%%#$%%%%% %%%%%% # % %%%%%% %%%%#%% %#%% %#%% %#%% % #&% %%%%# %%%%%# %%%%% 

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Schubert: Impromptu Op. 90 No. 3

$ & & $ $ & &  

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  # %%%%%%%%%%%# %%%%%# %%%%% # %%%%%%%%%%%#$%%%%% %%%%%% # % %%%%%% %%%%#%% %#%% %#%% %#%% % #&% %%%%# %%%%%# %%%%% 

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Schubert: Impromptu Op. 90 No. 3

  $ % % & % & % $ % % $ $ % & & % &  

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! Note that the first melodic motion of the melody

# %% %%%%% %%# %% %%# %% %% # %% %%%%% %%# % %%%% %%%%%% # % %%%%%% %%%%# % %#%% %#%% %#%% % # % %%%%# %% %%# %%%%% 

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Schubert: Impromptu Op. 90 No. 3

  $ % % & % & % $ % % $ $ % & & % &  

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! Note that the first melodic motion of the melody! Outlines the linear progression to come.

# %% %%%%% %%# %% %%# %% %% # %% %%%%% %%# % %%%% %%%%%% # % %%%%%% %%%%# % %#%% %#%% %#%% % # % %%%%# %% %%# %%%%% 

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& & $$

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Schubert: Impromptu Op. 90 No. 3

  $ % % & % & % $ % % $ $ % & & % &  

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! Note that the first melodic motion of the melody! Outlines the linear progression to come.! This is inverted at the end of the phrase

# %% %%%%% %%# %% %%# %% %% # %% %%%%% %%# % %%%% %%%%%% # % %%%%%% %%%%# % %#%% %#%% %#%% % # % %%%%# %% %%# %%%%% 

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Schubert: Impromptu Op. 90 No. 3

  $ % % & % & % $ % % $ $ % % & & % &   %

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# %% %%%%% %%# %% %%# %% %% # %% %%%%% %%# % %%%% %%%%%% # % %%%%%% %%%%# % %# % %#%% %#%% % # % %%%%# %% %%# %% %% 

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Schubert: Impromptu Op. 90 No. 3

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!  We haven't seen a beam used in an inner voice before

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Schubert: Impromptu Op. 90 No. 3

  $ % % & % & % $ %%% % %%% $ % % $ % % % % % & & %%% &   %

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!  We haven't seen a beam used in an inner voice before! The tenor is outlining an inversion of the basic linear

 progression (in both inner and outer voices) whichcharacterizes so much of this phrase

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Schubert: Impromptu Op. 90 No. 3

  $ % % & % & % $ %%% % %%% $ % % $ % % % % % & & %%% &   %

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!  We haven't seen a beam used in an inner voice before! The tenor is outlining an inversion of the basic linear

 progression (in both inner and outer voices) whichcharacterizes so much of this phrase

! The beam helps to give it prominence

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Schubert: Impromptu Op. 90 No. 3

  $ % % & % & % $ %%% % %%% $ % % $ % % % % % & & %%% &   %

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# %% %%%%% %%# %% %%# %% %% # % % % %# % % %% %%% %% # % % %%%% % %%# % %# % %#% %#%% % # % %%%%# % %# %% %% 

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Schubert: Impromptu Op. 90 No. 3

  $ %%% % %%% & %%% & %%% $ %%% % %%% $ % % $ % % % % % % & % & %%% &   %%%

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! Personally I think there's another echo of that basic linear progression in an inner voice, although this analysis (from the text) doesn't reveal it.

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Schubert: Impromptu Op. 90 No. 3

  $ %%% % %%% & %%% & %%% $ %%% % %%% $ % % $ % % % % % % & % & %%% &   %%%

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! Personally I think there's another echo of that basic linear progression in an inner voice, although this analysis (from the text) doesn't reveal it.

! My 'echo' is B-flat, C-natural, D-flat, which supports the tenor-voice progression at the upper sixth.

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Motion from an Inner Voice

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Motion from an Inner Voice

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! It's possible for a rising inner-voice linear progression to

move out of that inner voice and regain a structural top-voice tone

Motion from an Inner Voice

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! It's possible for a rising inner-voice linear progression to

move out of that inner voice and regain a structural top-voice tone

! That's especially true after a motion into an inner voice—itcan then happen that a rising motion will return the inner- voice melody back to the main, structural voice.

Beethoven: Sonata, Op. 81a

 ### $$  % % % % % $   % % % %% % %

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Beethoven: Sonata, Op. 81a

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! The opening IV6 is prolonged:

 

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Beethoven: Sonata, Op. 81a

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! The opening IV6 is prolonged:!  A linear intervallic progression moves from IV6 to V43

 

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Beethoven: Sonata, Op. 81a

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! The opening IV6 is prolonged:!  A linear intervallic progression moves from IV6 to V43! From the V43 to V7 an ascending 5-prg. returns to the

 A-flat, which is the neighbor of structural tone G.

 

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Beethoven: Sonata, Op. 81a

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! The opening IV6 is prolonged:!  A linear intervallic progression moves from IV6 to V43! From the V43 to V7 an ascending 5-prg. returns to the

 A-flat, which is the neighbor of structural tone G.!  A-flat is further prolonged by a neighbor of its own.

 

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% %% % % % % $   % % % %% % %Beethoven: Sonata, Op. 81a

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Beethoven: Sonata, Op. 81a

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!

The crossed lines in bar 3 indicate a voice exchange

 ### $$ 

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Beethoven: Sonata, Op. 81a

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!

The crossed lines in bar 3 indicate a voice exchange! The single line in bar 3 connects the F in the bass to the sixth

 that resolves the seventh on the downbeat.

 ### $$ 

% %% %% %% % % $   % % % %% % %

Beethoven: Sonata, Op. 81a

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Beethoven: Sonata, Op. 81a

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!

Note the descending fifths motion outlined in the bass

 Voice Exchange

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 Voice Exchange

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!  Voice exchange is a familiar and a common technique

 Voice Exchange

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!  Voice exchange is a familiar and a common technique! It can be used to prolong single chords, or can also create

more elaborate prolongations via intervening harmonies

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!

 A pair of voice exchanges (creating a linear intervallic progression)expand the initial root-position tonic to a first-inversion chord

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!

 A pair of voice exchanges (creating a linear intervallic progression)expand the initial root-position tonic to a first-inversion chord!  Another voice exchange expands the supertonic 43 to a root-

 position IV 

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!

 A pair of voice exchanges (creating a linear intervallic progression)expand the initial root-position tonic to a first-inversion chord!  Another voice exchange expands the supertonic 43 to a root-

 position IV ! The voice exchange is filled with a passing harmony

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 Adding the middleground analysis reveals that the ii43 was aharmonic "detour" on the way from I to IV 

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!

 Adding the middleground analysis reveals that the ii43 was aharmonic "detour" on the way from I to IV 

! The middleground also clarifies the main structural tone as^3, with the passage as a whole acting as a prolongation of that tone via an inner-voice 3-prg.

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 Voice Exchange

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! In a chromaticized voice exchange, one or both of the tones ofa voice exchange may be altered chromatically.

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!

 A descending 6-prg. features a chromaticized voice exchange which serves to embellish the 5th tone of the linear progression.

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!

Middleground analysis reveals that the D-flat (prolonged by the chromaticized voice exchange) is the upper neighbor toC-natural, which is the primary structural tone (although notindicated as such in this excerpt.)

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Register Shifts

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! Motion to a higher or lower register is a very commonelaboration and/or transformation of a structural line

Register Shifts

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! Motion to a higher or lower register is a very commonelaboration and/or transformation of a structural line

! This can occur in various ways, such as:

Register Shifts

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! Motion to a higher or lower register is a very commonelaboration and/or transformation of a structural line

! This can occur in various ways, such as:

! Octave displacement

Register Shifts

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! Motion to a higher or lower register is a very commonelaboration and/or transformation of a structural line

! This can occur in various ways, such as:

! Octave displacement

! Inversion of an interval (i.e., falling 2nd to rising 7th)

Register Shifts

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! Motion to a higher or lower register is a very commonelaboration and/or transformation of a structural line

! This can occur in various ways, such as:

! Octave displacement

! Inversion of an interval (i.e., falling 2nd to rising 7th)

! Change in the relative position of two voices

Register Shifts

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Register Shifts

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!

Register Transfer

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Register Shifts

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!

Register Transfer! Can be descending or ascending

! Simple change of register in the primary line

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Note that the vocal part is given priority as the source of the primary structural line—after all, this is usually how we hearan art song.

 

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The vocal line begins in a higher register

 

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The vocal line begins in a higher register! Then it shifts to a lower register via stepwise and arpeggiated

motion.

 

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The vocal line begins in a higher register! Then it shifts to a lower register via stepwise and arpeggiated

motion.! It pauses briefly on a lower neighbor

 

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 A second subphrase returns to the higher register! This subphrase reclaims the lower-register ^3!  And completes the primary motion to ^1

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Motivic associations help to reinforce the sense of registerchange

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Motivic associations help to reinforce the sense of registerchange! The opening octave leap in the piano prepares the

forthcoming register descent

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Register transfer may occur

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!

Register transfer may occur!  by means of a single leap through an interval

) ) ) ) ) ) ) ) ) ) )+   %' % % % % % % % % % % % % % %% %% %

 %

%% ,3̂

%% % % ,

# %' % % % % ,

% % ,2̂

%

,

+  

i

,% % %' % ,

V

%

7 i

,%

Schubert: "Gute Nacht"  # $

Fremd bin

% %ich

%ein

%'ge- zo

%'- - gen,

%   % %'fremd zieh'

% %  '

ich

%(wie - der aus.

% % % % %

  ' % % % % % % % % % % % % % % %% %'

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!

Register transfer may occur!  by means of a single leap through an interval! or by means of an elaborated motion, such as an

arpeggiation and/or scalar passage

) ) ) ) ) ) ) ) ) ) )+   %' % % % % % % % % % % % % % %% %% %

  % %% ,3̂

%% % % ,

# %' % % % % ,

% % ,2̂

%

,

+  

i

,% % %' % ,

V

%

7 i

,%

Register Shifts

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Register Shifts

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!

Register Transfer via an Inverted Interval

Register Shifts

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!

Register Transfer via an Inverted Interval! Can be descending or ascending

Register Shifts

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!

Register Transfer via an Inverted Interval! Can be descending or ascending

! 2nds become 7ths, etc.

Mozart: Variations on "Lisson Dormait"

$ $ $ &'$ $ $

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 # $%

$ $$ $ $

( ) $ * $ $ $ $ $

Mozart: Variations on "Lisson Dormait"

$ $ $ &'$ $ $

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!

This theme is used by Mozart for a charming set of variations

 # $%

$ $$ $ $

( ) $ * $ $ $ $ $

Mozart: Variations on "Lisson Dormait"

 # $% $ $ $ $ $ $ &'$ $ $ $ $

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( ) $ * $ $ $ $ $

# $% $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $-

( )$

* . # // $

Mozart: Variations on "Lisson Dormait"

 # $% $ $ $ $ $ $ &'$ $ $ $ $

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!

This shows Variation II superimposed on the theme.

( ) $ * $ $ $ $ $

# $% $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $-

( )$

* . # // $

Mozart: Variations on "Lisson Dormait"

5^

4^

 3^

 

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   #  $  % $

Mozart: Variations on "Lisson Dormait"

5^

4^

 3^

 

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!

Foreground:

   #  $  % $

Mozart: Variations on "Lisson Dormait"

5^

4^

 3^

 

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!

Foreground:! The variation begins with a rise from a lower to higher

G, matching the original theme.

   #  $  % $

Mozart: Variations on "Lisson Dormait"

5^

4^

 3^

 

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! Foreground:! The variation begins with a rise from a lower to higher

G, matching the original theme.! In the variation the descending line ^5-^4-^3 is inverted,

so ^4 winds up a 7th above ^5.

   #  $  % $

Register Shifts

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Register Shifts

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! Coupling

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Register Shifts

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! Coupling

! Occurs when a single pitch, such as the primary tone of the Urlinie, is transferred between different registers anoctave apart.

! In coupling, the transfer of register usually occurs more than once, and embraces connective motions within theoctave transfers.

! Typically this enables an alternation of registers: one

 becomes the primary register, while the other plays asupportive role.

Mozart: Sonata, K. 311: III

 4

$%$ $ $ $' ( $%$ $ $ $' ( $% $%$ $ $ $%$ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $$ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $

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) * $ $ $ $ $ $ $ $ $ $17 22

 # $ $%$ $ $ $' ( $%$ $ $ $' ( $% $%$ $ $ $%$ $ $ 

$ $ $ $

 

$ $ $ $ $ $ $ $ $ $ $+$   $ $ $

) $ 

* $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $$$ $ $ $ $ $ $ $ $ $ $

$

Mozart: Sonata, K. 311: III

 4

$%$ $ $ $' ( $%$ $ $ $' ( $% $%$ $ $ $%$ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $$ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $

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! Form: 3PSF! The repeat of Part I, and the whole of Part II, have been

omitted for clarity.

) * $ $ $ $ $ $ $ $ $ $17 22

 # $ $%$ $ $ $' ( $%$ $ $ $' ( $% $%$ $ $ $%$ $ $ 

$ $ $ $

 

$ $ $ $ $ $ $ $ $ $ $+$   $ $ $

) $ 

* $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $$$ $ $ $ $ $ $ $ $ $ $

$

Mozart: Sonata, K. 311: III

1

4

5-prg.

8

17

20

23

2̂ 1̂

24

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  #   # #p g

$  $  #   #  % # # #&

i

 

V

#

i

 ' 

6

 

ii6 

V6 

'#

 

i

#

Mozart: Sonata, K. 311: III

1

4

5-prg.

8

17

20

23

2̂ 1̂

24

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! Begins with an arpeggiation from ^3 to ^3 over a tonicharmony.

  #   # #p g

$  $  #   #  % # # #&

i

 

V

#

i

 ' 

6

 

ii6 

V6 

'#

 

i

#

Mozart: Sonata, K. 311: III

1

4

5-prg.

8

17

20

23

2̂ 1̂

24

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! Begins with an arpeggiation from ^3 to ^3 over a tonicharmony.

! The first phrase, ending at bar 8, ends with a closure on thedominant.

  #   # # $  $  #   #  % # # #&

i

 

V

#

i

 ' 

6

 

ii6 

V6 

'#

 

i

#

Mozart: Sonata, K. 311: III

1

4

5-prg.

8

17

20

23

2̂ 1̂

24

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! Begins with an arpeggiation from ^3 to ^3 over a tonicharmony.

! The first phrase, ending at bar 8, ends with a closure on thedominant.! Note the 5-prg. that helps to establish closure on V.

  #   # # $  $  #   #  % # # #&

i

 

V

#

i

 ' 

6

 

ii6 

V6 

'#

 

i

#

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Mozart: Sonata, K. 311: III

1

4

5-prg.

8

17

20

23

2̂ 1̂

24

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! In the closing phrase (Part III of the 3PSF), the initialcoupling is repeated

  #   # # $  $  #   #  % # # #&

i

 

V

#

i

 ' 

6

 

ii6 

V6 

'#

 

i

#

Mozart: Sonata, K. 311: III

1

4

5-prg.

8

17

20

23

2̂ 1̂

24

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! In the closing phrase (Part III of the 3PSF), the initialcoupling is repeated

! The closing phrase returns to the original  register

  #   # # $  $  #   #  % # # #&

i

 

V

#

i

 ' 

6

 

ii6 

V6 

'#

 

i

#

Mozart: Sonata, K. 311: III

1

4

5-prg.

8

17

20

23

2̂ 1̂

24

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! In the closing phrase (Part III of the 3PSF), the initialcoupling is repeated

! The closing phrase returns to the original  register! The phrase is completed downwards from there

  #   # # $  $  #   #  % # # #&

i

 

V

#

i

 ' 

6

 

ii6 

V6 

'#

 

i

#

Mozart: Sonata, K. 311: III

1

4

5-prg.

8

17

20

23

2̂ 1̂

24

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  #   # # $  $  #   #  % # # #&

i

 

V

#

i

 ' 

6

 

ii6 

V6 

'#

 

i

#

Mozart: Sonata, K. 311: III

1

4

5-prg.

8

17

20

23

2̂ 1̂

24

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!  A detail:

  #   # # $  $  #   #  % # # #&

i

 

V

#

i

 ' 

6

 

ii6 

V6 

'#

 

i

#

Mozart: Sonata, K. 311: III

1

4

5-prg.

8

17

20

23

2̂ 1̂

24

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!  A detail:! Note that the dominant in bars 5-8 is not analyzed as a

dividing dominant, but is instead structural.

  #   # # $  $  #   #  % # # #&

i

 

V

#

i

 ' 

6

 

ii6 

V6 

'#

 

i

#

Mozart: Sonata, K. 311: III

1

4

5-prg.

8

17

20

23

2̂ 1̂

24

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!  A detail:! Note that the dominant in bars 5-8 is not analyzed as a

dividing dominant, but is instead structural.! Remember that this is not the antecedent of a period, but

Part I of a 3PSF.

  #   # # $  $  #   #  % # # #&

i

 

V

#

i

 ' 

6

 

ii6 

V6 

'#

 

i

#

Mozart: Sonata, K. 311: III

1

4

5-prg.

8

17

20

23

2̂ 1̂

24

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  #   # # $  $  #   #  % # # #&

i

 

V

#

i

 ' 

6

 

ii6 

V6 

'#

 

i

#

Mozart: Sonata, K. 311: III

1

4

5-prg.

8

17

20

23

2̂ 1̂

24

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!  Another detail:

  #   # # $  $  #   #  % # # #&

i

 

V

#

i

 ' 

6

 

ii6 

V6 

'#

 

i

#

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Mozart: Sonata, K. 311: III

1

4

5-prg.

8

17

20

23

2̂ 1̂

24

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  #   # # $  $  #   #  % # # #&

i

 

V

#

i

 ' 

6

 

ii6 

V6 

'#

 

i

#

Mozart: Sonata, K. 311: III

1

4

5-prg.

8

17

20

23

2̂ 1̂

24

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!  Yet another detail:

  #   # # $  $  #   #  % # # #&

i

 

V

#

i

 ' 

6

 

ii6 

V6 

'#

 

i

#

Mozart: Sonata, K. 311: III

1

4

5-prg.

8

17

20

23

2̂ 1̂

24

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!  Yet another detail:! It's very tempting to analyze the a-minor 6/4 chord at

 bar 21 as V 

  #   # # $  $  #   #  % # # #&

i

 

V

#

i

 ' 

6

 

ii6 

V6 

'#

 

i

#

Mozart: Sonata, K. 311: III

1

4

5-prg.

8

17

20

23

2̂ 1̂

24

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!  Yet another detail:! It's very tempting to analyze the a-minor 6/4 chord at

 bar 21 as V ! Bars 20 - 23 seem very dominant-like, prolonged by

neighbor tones and a consonant skip.

  #   # # $  $  #   #  % # # #&

i

 

V

#

i

 ' 

6

 

ii6 

V6 

'#

 

i

#

Mozart: Sonata, K. 311: III

1

4

5-prg.

8

17

20

23

2̂ 1̂

24

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  #   # # $  $  #   #  % # # #&

i

 

V

#

i

 ' 

6

 

ii6 

V6 

'#

 

i

#

Mozart: Sonata, K. 311: III

1

4

5-prg.

8

17

20

23

2̂ 1̂

24

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! Tempting, yes—but not correct.

  #   # # $  $  #   #  % # # #&

i

 

V

#

i

 ' 

6

 

ii6 

V6 

'#

 

i

#

Mozart: Sonata, K. 311: III

1

4

5-prg.

8

17

20

23

2̂ 1̂

24

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! Tempting, yes—but not correct.! The almighty chord function rears its head and insists

 that the original analysis is correct.

  #   # # $  $  #   #  % # # #&

i

 

V

#

i

 ' 

6

 

ii6 

V6 

'#

 

i

#

Register Shifts

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Register Shifts

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!

Superposition

Register Shifts

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!

Superposition! One or more inner-voice tones are shifted above the

 principal top-voice line.

Mozart: Sonata K. 332: I

 # $ 

% & % & % & & & & ' & & &

( & & & & & & & & & & & & & & & & & & & & & & & & &

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$ ' '6

# $ & &   &) %   %  &*& & &

cresc.

&   & & & 

& & & & & & & & & &'

($

+ &&

&& &

 

&)

&&

& &' &

&'

& &'

Mozart: Sonata K. 332: I

 # $ 

% & % & % & & & & ' & & &

( & & & & & & & & & & & & & & & & & & & & & & & & &

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! The RH melody is remarkably free, moving quickly upwards

 to an upper register, then descending downwards via seriesof leaps to ^1 on the downbeat of bar 7.

$ ' '6

# $ & &   &) %   %  &*& & &

cresc.

&   & & & 

& & & & & & & & & &'

($

+ &&

&& &

 

&)

&&

& &' &

&'

& &'

Mozart: Sonata K. 332: I

 # $ 

% & % & % & & & & ' & & &

( & & & & & & & & & & & & & & & & & & & & & & & & &

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! The RH melody is remarkably free, moving quickly upwards

 to an upper register, then descending downwards via seriesof leaps to ^1 on the downbeat of bar 7.

! Bars 7–12 echo the motion

$ ' '6

# $ & &   &) %   %  &*& & &

cresc.

&   & & & 

& & & & & & & & & &'

($

+ &&

&& &

 

&)

&&

& &' &

&'

& &'

Mozart: Sonata K. 332: I

x

   

3rd

3rd

4

#     

3^

% N#x'

3rd

   

9

3^

%#

2^

 

12

1^

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  # # # # # # # # $ # # # # # # # # $ # # ### ## $ #  # $#& 

I

# ## ## ## #

I

$ # # #

V

# #

I

$ # # 

# #'ii

#

V

$

I

$

Mozart: Sonata K. 332: I

x

   

3rd

3rd

4

#     

3^

% N#x'

3rd

   

9

3^

%#

2^

 

12

1^

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! RH begins with an upward arpeggiated fifth

  # # # # # # # # $ # # # # # # # # $ # # ### ## $ #  # $#& 

I

# ## ## ## #

I

$ # # #

V

# #

I

$ # # 

# #'ii

#

V

$

I

$

Mozart: Sonata K. 332: I

x

#   

3rd

3rd

4

#     

3^

% N# #x'

3rd

   

9

3^

%# #

2^

 

12

1^

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! RH begins with an upward arpeggiated fifth!  Answered by an arpeggiation of an incomplete V42 (vii43?),

ending in a change of direction.

  # # # # # # # $ # # # # # # # $ # # ## ## $ #  # $#& 

I

# ## ## ## #

I

$ # # #

V

# #

I

$ # # 

# #'ii

#

V

$

I

$

Mozart: Sonata K. 332: I

x

#   

3rd

3rd

4

#     

3^

% N# #x'

3rd

   

9

3^

%# #

2^

 

12

1^

Page 260: 06 Techniques Melodic Prolongation

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  # # # # # # # $ # # # # # # # $ # # ## ## $ #  # $#& 

I

# ## ## ## #

I

$ # # #

V

# #

I

$ # # 

# #'ii

#

V

$

I

$

Mozart: Sonata K. 332: I

x

#   

3rd

3rd

4

#     

3^

% N# #x'

3rd

   

9

3^

%# #

2^

 

 

12

1^

Page 261: 06 Techniques Melodic Prolongation

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!  A descending 3-prg. is revealed in bars 2–5.

  # # # # # # # $ # # # # # # # $ # # ## ## $ # # $#& 

I

# ## ## ## #

I

$ # # #

V

# #

I

$ # # 

# #'ii

#

V

$

I

$

Mozart: Sonata K. 332: I

x

#   

3rd

3rd

4

#     

3^

% N# #x'

3rd

   

9

3^

%# #

2^

 

 

12

1^

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!  A descending 3-prg. is revealed in bars 2–5.! (I'm not sure why the authors of our text identified it as

"3rd" instead of "3-prg." It's very probably because the3rd in the innermost voice (G-E) is the superposition, and the 3rd C-A is in the lower register.)

  # # # # # # # $ # # # # # # # $ # # ## ## $ # # $#& 

I

# ## ## ## #

I

$ # # #

V

# #

I

$ # # 

# #'ii

#

V

$

I

$

Mozart: Sonata K. 332: I

x

#   

3rd

3rd

4

#     

3^

% N# #x'

3rd

   

9

3^

%# #

2^

 

 

12

1^

Page 263: 06 Techniques Melodic Prolongation

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  # # # # # # # $ # # # # # # # $ # # ## ## $ # # $#& 

I

# ## ## ## #

I

$ # # #

V

# #

I

$ # # 

# #'ii

#

V

$

I

$

Mozart: Sonata K. 332: I

x

#   

3rd

3rd

4

#     

3^

% N# #x'

3rd

   

9

3^

%# #

2^

 

 

12

1^

Page 264: 06 Techniques Melodic Prolongation

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! The melodic line could have been like this:

  # # # # # # # $ # # # # # # # $ # # ## ## $ # # $#& 

I

# ## ## ## #

I

$ # # #

V

# #

I

$ # # 

# #'ii

#

V

$

I

$

Mozart: Sonata K. 332: I

x

#   

3rd

3rd

4

#     

3^

% N# #x'

3rd

   

9

3^

%# #

2^

 

 

12

1^

Page 265: 06 Techniques Melodic Prolongation

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! The melodic line could have been like this:!  A descending 3rd in bar 2

  # # # # # # # $ # # # # # # # $ # # ## ## $ # # $#& 

I

# ## ## ## #

I

$ # # #

V

# #

I

$ # # 

# #'ii

#

V

$

I

$

Mozart: Sonata K. 332: I

x

#   

3rd

3rd

4

#     

3^

% N# #x'

3rd

   

9

3^

%# #

2^

 

 

12

1^

Page 266: 06 Techniques Melodic Prolongation

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! The melodic line could have been like this:!  A descending 3rd in bar 2! Echoed by a sequential descending 3rd in bar 3

  # # # # # # # $ # # # # # # # $ # # ## ## $ # # $#& 

I

# ## ## ## #

I

$ # # #

V

# #

I

$ # # 

# #'ii

#

V

$

I

$

Mozart: Sonata K. 332: I

x

#   

3rd

3rd

4

#     

3^

% N# #x'

3rd

   

9

3^

%# #

2^

 

 

12

1^

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! The melodic line could have been like this:!  A descending 3rd in bar 2! Echoed by a sequential descending 3rd in bar 3!  And yet another one in bar 4

  # # # # # # # $ # # # # # # # $ # # ## ## $ # # $#& 

I

# ## ## ## #

I

$ # # #

V

# #

I

$ # # 

# #'ii

#

V

$

I

$

Mozart: Sonata K. 332: I

x

#   

3rd

3rd

4

#     

3^

% N# #x'

3rd

   

9

3^

%# #

2^

 

 

12

1^

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! The melodic line could have been like this:!  A descending 3rd in bar 2! Echoed by a sequential descending 3rd in bar 3!  And yet another one in bar 4! Resolving in bar 5

  # # # # # # # $ # # # # # # # $ # # ## ## $ # # $#& 

I

# ## ## ## #

I

$ # # #

V

# #

I

$ # # 

# #'ii

#

V

$

I

$

Mozart: Sonata K. 332: I

x

#   

3rd

3rd

4

#     

3^

% N# #x'

3rd

   

9

3^

%# #

2^

 

 

12

1^

Page 269: 06 Techniques Melodic Prolongation

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  # # # # # # # $ # # # # # # # $ # # ## ## $ # # $#& 

I

# ## ## ## #

I

$ # # #

V

# #

I

$ # # 

# #'ii

#

V

$

I

$

Mozart: Sonata K. 332: I

x

#   

3rd

3rd

4

#     

3^

% N# #x'

3rd

   

9

3^

%# #

2^

 

 

12

1^

Page 270: 06 Techniques Melodic Prolongation

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! This would have created an trio of unfolding intervals:

  # # # # # # # $ # # # # # # # $ # # ## ## $ # # $#& 

I

# ## ## ## #

I

$ # # #

V

# #

I

$ # # 

# #'ii

#

V

$

I

$

Mozart: Sonata K. 332: I

x

#   

3rd

3rd

4

#     

3^

% N# #x'

3rd

   

9

3^

%# #

2^

 

 

12

1^

Page 271: 06 Techniques Melodic Prolongation

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! This would have created an trio of unfolding intervals:! F-C in bar 1

  # # # # # # # $ # # # # # # # $ # # ## ## $ # # $#& 

I

# ## ## ## #

I

$ # # #

V

# #

I

$ # # 

# #'ii

#

V

$

I

$

Mozart: Sonata K. 332: I

x

#   

3rd

3rd

4

#     

3^

% N# #x'

3rd

   

9

3^

%# #

2^

 

 

12

1^

Page 272: 06 Techniques Melodic Prolongation

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! This would have created an trio of unfolding intervals:! F-C in bar 1

! B -E in bars 3-4

  # # # # # # # $ # # # # # # # $ # # ## ## $ # # $#& 

I

# ## ## ## #

I

$ # # #

V

# #

I

$ # # 

# #'ii

#

V

$

I

$

Mozart: Sonata K. 332: I

x

# #   

3rd

3rd

4

#     

3^

% N# #x'

3rd

   

9

3^

#%# ##

2^

 # 

12

1^

Page 273: 06 Techniques Melodic Prolongation

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! This would have created an trio of unfolding intervals:! F-C in bar 1

! B -E in bars 3-4

!  A-F in bar 5

  # # # # # # $ # # # # # # # $ # # ## $ # $#& 

I

# ## ## ## #

I

$ # # #

V

# #

I

$ # # 

# #'ii

#

V

$

I

$

Mozart: Sonata K. 332: I

x

# #   

3rd

3rd

4

#     

3^

% N# #x'

3rd

   

9

3^

#%# ##

2^

 # 

12

1^

Page 274: 06 Techniques Melodic Prolongation

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  # # # # # # $ # # # # # # # $ # # ## $ # $#& 

I

# ## ## ## #

I

$ # # #

V

# #

I

$ # # 

# #'ii

#

V

$

I

$

Mozart: Sonata K. 332: I

x

# #   

3rd

3rd

4

#     

3^

% N# #x'

3rd

   

9

3^

#%# ##

2^

 # 

12

1^

Page 275: 06 Techniques Melodic Prolongation

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! However, the interplay of register in the melody results in the

inner-tones E and F being in a higher register

  # # # # # # $ # # # # # # # $ # # ## $ # $#& 

I

# ## ## ## #

I

$ # # #

V

# #

I

$ # # 

# #'ii

#

V

$

I

$

Mozart: Sonata K. 332: I

x

# #   

3rd

3rd

4

#     

3^

% N# #x'

3rd

   

9

3^

#%# ##

2^

 # 

12

1^

Page 276: 06 Techniques Melodic Prolongation

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! However, the interplay of register in the melody results in the

inner-tones E and F being in a higher register! Therefore, these are superposed above the guiding 3-prg.

in the main line.

  # # # # # # $ # # # # # # # $ # # ## $ # $#& 

I

# ## ## ## #

I

$ # # #

V

# #

I

$ # # 

# #'ii

#

V

$

I

$

Mozart: Sonata K. 332: I

x

# #   

3rd

3rd

4

#     

3^

% N# #x'

3rd

   

9

3^

#%# ##

2^

 # 

12

1^

Page 277: 06 Techniques Melodic Prolongation

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  # # # # # # $ # # # # # # # $ # # ## $ # $#& 

I

# ## ## ## #

I

$ # # #

V

# #

I

$ # # 

# #'ii

#

V

$

I

$

Mozart: Sonata K. 332: I

x

# #   

3rd

3rd

4

#     

3^

% N# #x'

3rd

   

9

3^

#%# ##

2^

 # 

12

1^

Page 278: 06 Techniques Melodic Prolongation

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! So the unfoldings are actually like this:

  # # # # # # $ # # # # # # # $ # # ## $ # $#& 

I

# ## ## ## #

I

$ # # #

V

# #

I

$ # # 

# #'ii

#

V

$

I

$

Mozart: Sonata K. 332: I

x

# #   

3rd

3rd

4

#     

3^

% N# #x'

3rd

   

9

3^

#%# ##

2^

 # 

12

1^

Page 279: 06 Techniques Melodic Prolongation

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! So the unfoldings are actually like this:! F-C in bar 1

  # # # # # # $ # # # # # # # $ # # ## $ # $#& 

I

# ## ## ## #

I

$ # # #

V

# #

I

$ # # 

# #'ii

#

V

$

I

$

Mozart: Sonata K. 332: I

x

# #   

3rd

3rd

4

#     

3^

% N# #x'

3rd

   

9

3^

#%# ##

2^

 # 

12

1^

Page 280: 06 Techniques Melodic Prolongation

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! So the unfoldings are actually like this:! F-C in bar 1

! B -E in bars 3-4

  # # # # # # $ # # # # # # # $ # # ## $ # $#& 

I

# ## ## ## #

I

$ # # #

V

# #

I

$ # # 

# #'ii

#

V

$

I

$

Mozart: Sonata K. 332: I

  #

x

##

##

 

3rd

3rd

4

3^

$

% N####

x'

#

3rd

# #

9

3^

$#

%####

# ##

2^

$ #

 #

12

1^

$#

Page 281: 06 Techniques Melodic Prolongation

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! So the unfoldings are actually like this:! F-C in bar 1

! B -E in bars 3-4

! F-A in bar 5 (note it's a different direction)

I

# ## ## ## #

I

$ # # #

V

# #

I

$ # # 

# #'ii

#

V

$

I

$

Mozart: Sonata K. 332: I

  #

x

##

##

 

3rd

3rd

4

3^

$

% N####

x'

#

3rd

# #

9

3^

$#

%####

# ##

2^

$ #

 #

12

1^

$#

Page 282: 06 Techniques Melodic Prolongation

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I

# ## ## ## #

I

$ # # #

V

# #

I

$ # # 

# #'ii

#

V

$

I

$

Mozart: Sonata K. 332: I

  #

x

##

##

 

3rd

3rd

4

3^

$

% N####

x'

#

3rd

# #

9

3^

$#

%####

# ##

2^

$

 # #

12

1^

$#

Page 283: 06 Techniques Melodic Prolongation

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! Other features of this analysis:

I

# ## ## ## #

I

$ # # #

V

# #

I

$ # # 

# #'ii

#

V

$

I

$

Mozart: Sonata K. 332: I

  #

x

##

##

 

3rd

3rd

4

3^

$

% N####

x'

#

3rd

# #

9

3^

$#

%####

# ##

2^

$

 # #

12

1^

$#

Page 284: 06 Techniques Melodic Prolongation

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! Other features of this analysis:!  A descending 3-prg. in 5–7

I

# ## ## ## #

I

$ # # #

V

# #

I

$ # # 

# #'ii

#

V

$

I

$

Mozart: Sonata K. 332: I

  #

x

##

##

 

3rd

3rd

4

3^

$

% N####

x'

#

3rd

# #

9

3^

$#

%####

# ##

2^

$

 # #

12

1^

$#

Page 285: 06 Techniques Melodic Prolongation

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! Other features of this analysis:!  A descending 3-prg. in 5–7! is echoed by an ascending version in 6–8.

I

# ## ## ## #

I

$ # # #

V

# #

I

$ # # 

# #'ii

#

V

$

I

$

Mozart: Sonata K. 332: I

  #

x

# # # # 

3rd

3rd

4

3^

$% N### #

x'

#

3rd

# #

9

3^

$ #%#####

##

2^

$

 # #

12

1^

$##

Page 286: 06 Techniques Melodic Prolongation

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I

# # ## ## #

I

$ # # #

V

# #

I

$ # # 

# #'ii

#

V

$

I

$

Mozart: Sonata K. 332: I

  #

x

# # # # 

3rd

3rd

4

3^

$% N### #

x'

#

3rd

# #

9

3^

$ #%#####

##

2^

$

 # #

12

1^

$##

Page 287: 06 Techniques Melodic Prolongation

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! Other features of this analysis:

I

# # ## ## #

I

$ # # #

V

# #

I

$ # # 

# #'ii

#

V

$

I

$

Mozart: Sonata K. 332: I

  #

x

# # # # 

3rd

3rd

4

3^

$% N### #

x'

#

3rd

# #

9

3^

$ #%#####

##

2^

$

 # #

12

1^

$##

Page 288: 06 Techniques Melodic Prolongation

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! Other features of this analysis:! Those 3-prgs, of course, are echoed in the descent of the

 primary line

I

# # ## ## #

I

$ # # #

V

# #

I

$ # # 

# #'ii

#

V

$

I

$

Mozart: Sonata K. 332: I

  #

x

# # # # 

3rd

3rd

4

3^

$% N### #

x'

#

3rd

# #

9

3^

$ #%#####

##

2^

$

 # #

12

1^

$##

Page 289: 06 Techniques Melodic Prolongation

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I

# # ## ## #

I

$ # # #

V

# #

I

$ # # 

# #'ii

#

V

$

I

$

Mozart: Sonata K. 332: I

  #

x

# # # # 

3rd

3rd

4

3^

$% N### #

x'

#

3rd

# #

9

3^

$ #%#####

##

2^

$

 # #

12

1^

$## #

Page 290: 06 Techniques Melodic Prolongation

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! Other features of this analysis:

I

# # # ## #

I

$ # # #

V

# #

I

$ # # 

# #'ii

#

V

$

I

$

Mozart: Sonata K. 332: I

  #

x

# # # # 

3rd

3rd

4

3^

$% N#

## #

x'

#

3rd

# #

9

3^

$ #%#

####

##

2^

$

 # #

12

1^

$## #

Page 291: 06 Techniques Melodic Prolongation

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! Other features of this analysis:! The voice exchange in bar 9 is indicated by diagonal

 lines

I

# # # ## #

I

$ # # #

V

# #

I

$ # # 

# #'ii

#

V

$

I

$

Mozart: Sonata K. 332: I

  #

x

# # # # 

3rd

3rd

4

3^

$% N#

## #

x'

#

3rd

# #

9

3^

$ #%#

####

##

2^

$

 # #

12

1^

$## #

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! Other features of this analysis:! The voice exchange in bar 9 is indicated by diagonal

 lines! But the diagonal line in bar 10 connects the resolving 'C'

 to its bass note

I

# # # ## #

I

$ # # #

V

# #

I

$ # # 

# #'ii

#

V

$

I

$

Mozart: Sonata K. 332: I

  #

x

# # # # 

3rd

3rd

4

3^

$% N#

## #

x'

#

3rd

# #

9

3^

$ #%#

####

##

2^

$

 # #

12

1^

$## # #

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I

# # ## #

I

$ # # #

V

# #

I

$ # # 

# #'ii

#

V

$

I

$

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Mozart: Sonata K. 332: I

  #

x

# # # # 

3rd

3rd

4

3^

$% N#

## #

x'

#

3rd

# #

9

3^

$ #%#

####

##

2^

$

 # #

12

1^

$## # #

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! Other features of this analysis:!  A 3-prg. in bars 10–12 is elaborated by an interesting

register shift

I

# # ## #

I

$ # # #

V

# #

I

$ # # 

# #'ii

#

V

$

I

$

Mozart: Sonata K. 332: I

  #

x

# # # # 

3rd

3rd

4

3^

$% N#

## #

x'

#

3rd

# #

9

3^

$ #%#

####

##

2^

$

 # #

12

1^

$## # # #

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! Other features of this analysis:!  A 3-prg. in bars 10–12 is elaborated by an interesting

register shift! The direction of the shift is indicated with arrows

I

# # # #

I

$ # # #

V

# #

I

$ # # 

# #'ii

#

V

$

I

$

Mozart: Sonata K. 332: I

  #

x

# # # # 

3rd

3rd

4

3^

$% N#

## #

x'

#

3rd

# #

9

3^

$ #%#

####

##

2^

$

 # #

12

1^

$## # # #

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! Other features of this analysis:!  A 3-prg. in bars 10–12 is elaborated by an interesting

register shift! The direction of the shift is indicated with arrows! Note that it begins with a neighbor

I

# # # #

I

$ # # #

V

# #

I

$ # # 

# #'ii

#

V

$

I

$

Mozart: Sonata K. 332: I

  #

x

# # # # 

3rd

3rd

4

3^

$% N#

## #

x'

#

3rd

# #

9

3^

$ #%#

####

##

2^

$

 # #

12

1^

$## # # #

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I

# # # #

I

$ # # #

V

# #

I

$ # # 

# #'ii

#

V

$

I

$

Mozart: Sonata K. 332: I

  #

x

# # # # 

3rd

3rd

4

3^

$% N#

## #

x'

#

3rd

# #

9

3^

$ #%#

####

##

2^

$

 # #

12

1^

$## # # # #

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! That neighbor picks up the previously-begun but unfinished

figure in bars 5–6

I

# # #

I

$ # # #

V

# #

I

$ # # 

# #'ii

#

V

$

I

$

Mozart: Sonata K. 332: I

 #

x

# # # # # 

3rd

3rd

4

3^

$% N# # # #

x'

#

3rd

#  # 

# #

9

3^

$ #%#

#### #

#

2^

$ # #

12

1^

$## # # # #

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I

# # #

I

$ # # #

V

# #

I

$ # # 

# #'ii

#

V

$

I

$

Mozart: Sonata K. 332: I

 #

x

# # # # # 

3rd

3rd

4

3^

$% N# # # #

x'

#

3rd

#  # 

# #

9

3^

$ #%#

#### #

#

2^

$ # #

12

1^

$## # # # #

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! Other features of this analysis:

I

# # #

I

$ # # #

V

# #

I

$ # # 

# #'ii

#

V

$

I

$

Mozart: Sonata K. 332: I

 #

x

# # # # # 

3rd

3rd

4

3^

$% N# # # #

x'

#

3rd

#  # 

# #

9

3^

$ #%#

#### #

#

2^

$ # #

12

1^

$## # # # #

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! Other features of this analysis:!  A motivic fifth is indicated with brackets in bar 1

I

# # #

I

$ # # #

V

# #

I

$ # # 

# #'ii

#

V

$

I

$

Mozart: Sonata K. 332: I

 #

x

# # # # # 

3rd

3rd

4

3^

$% N# # # #

x'

#

3rd

#  # 

# #

9

3^

$ #%#

#### #

#

2^

$ # #

12

1^

$## # # # #

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! Other features of this analysis:!  A motivic fifth is indicated with brackets in bar 1!  And its inversion in bar 6

I

# # #

I

$ # # #

V

# #

I

$ # # 

# #'ii

#

V

$

I

$

Mozart: Sonata K. 332: I

 #

x

# # # # # 

3rd

3rd

4

3^

$% N# # # #

x'

#

3rd

#  # 

# #

9

3^

$ #%#

#### #

#

2^

$ # #

12

1^

$## # # # #

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! Other features of this analysis:!  A motivic fifth is indicated with brackets in bar 1!  And its inversion in bar 6

! (Note: I changed the text's label of "a" to "x" for overallconsistency with SFCM practice.)

I

# # #

I

$ # # #

V

# #

I

$ # # 

# #'ii

#

V

$

I

$

Register Shifts

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Register Shifts

! Reaching Over

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Register Shifts

! Reaching Over

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! German: Uebergreifen

Register Shifts

! Reaching Over

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! German: Uebergreifen

! Like superposition, it involves the transfer of inner-voice tones to a higher position.

Register Shifts

! Reaching Over

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! German: Uebergreifen

! Like superposition, it involves the transfer of inner-voice tones to a higher position.

! The idea here is a note (typically neighboring) whichdescends down to a main tone from above

Register Shifts

! Reaching Over

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! German: Uebergreifen

! Like superposition, it involves the transfer of inner-voice tones to a higher position.

! The idea here is a note (typically neighboring) whichdescends down to a main tone from above

! Typically, reaching over happens in sequential passagesrather than individual notes, although that can happen as

 well.

Reaching Over

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  #$ # #$ # #$ #

Reaching Over

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! The arpeggiation E-G-C (presumably elaborating the held

 tone C)

  #$ # #$ # #$ #

Reaching Over

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! The arpeggiation E-G-C (presumably elaborating the held

 tone C)! Each of the arpeggiated tones is preceded by its own

incomplete upper neighbor

  #$ # #$ # #$ #

Reaching Over

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! The arpeggiation E-G-C (presumably elaborating the held

 tone C)! Each of the arpeggiated tones is preceded by its own

incomplete upper neighbor! Thus the neighbors are "reaching over" the arpeggiated tones.

  #$ # #$ # #$ #

Reaching Over

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Reaching Over

! Schenker's own descriptions of uebergreifen in "Free

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Composition" border on the incoherent, and thus the technique has never been quite as thoroughly understood assome of the other ones.

Reaching Over

! Schenker's own descriptions of uebergreifen in "Free

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Composition" border on the incoherent, and thus the technique has never been quite as thoroughly understood assome of the other ones.

! Our own text's definition is of rather dubious clarity, in fact:

Reaching Over

! Schenker's own descriptions of uebergreifen in "Free

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Composition" border on the incoherent, and thus the technique has never been quite as thoroughly understood assome of the other ones.

! Our own text's definition is of rather dubious clarity, in fact:

! You might think of it as a technique by which a descending tone succession decorates and prolongs a single tone or expands a broader upward motion, such as an arpeggiation, an upper

 neighbor figure, or a rising linear progression.

Schubert: Sonata in B-flat, Op. Posth: II

 18

#$$$$

 

% &  & % & %% & && % & %cresc.

&  && &&  

( ( (&& && &&

&  & % &&

cresc.

&   & &   &&&& &   & &   &)

&   & %

*$$$$ &+ , &&

&+

- &+, &&

&+

- &+ , &&

&+

- &+, &&

&+

- &+ , &&

&+

- &+ , &&

&+

- &+ , &&

&+

- &+, &&

&+

-&+ ,  &&

&+

-&+,  &&

&+

-&+,  &&

&)

-

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Schubert: Sonata in B-flat, Op. Posth: II

 18

#$$$$

 

% &  & % & %% & && % & %cresc.

&  && &&  

( ( (&& && &&

&  & % &&

cresc.

&   & &   &&&& &   & &   &)

&   & %

*$$$$ &+ , &&

&+

- &+, &&

&+

- &+ , &&

&+

- &+, &&

&+

- &+ , &&

&+

- &+ , &&

&+

- &+ , &&

&+

- &+, &&

&+

-&+ ,  &&

&+

-&+,  &&

&+

-&+,  &&

&)

-

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! Harmonically the passage consists of a sustained tonic

Schubert: Sonata in B-flat, Op. Posth: II

 18

#$$$$

 

% &  & % & %% & && % & %cresc.

&  && &&  

( ( (&& && &&

&  & % &&

cresc.

&   & &   &&&& &   & &   &)

&   & %

*$$$$ &+ , &&

&+

- &+, &&

&+

- &+ , &&

&+

- &+, &&

&+

- &+ , &&

&+

- &+ , &&

&+

- &+ , &&

&+

- &+, &&

&+

-&+ ,  &&

&+

-&+,  &&

&+

-&+,  &&

&)

-

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! Harmonically the passage consists of a sustained tonic

!  Which leads to a prolonged dominant

Schubert: Sonata in B-flat, Op. Posth: II

 18 22 27

# $$$$ 

% &  & % & % & && % & %cresc.

&  & &  

( ( (& & & %

 

&  & % &&cresc.

&   & &   &&&& &   & &   & &   & %

* $$$$

&+,  &&

&+

-

&+ ,  &&

&+

-

&+,  &&

&+

-

&+,  &&

&+

-

&+ ,  &&

&+

-

&+ ,  &&

&+

-

&+,  &&

&+

-

&+,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&

-

3^

N

^3

+ +

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# $$$$ % & N

& & 

&+ %& #'&+ & &

+& &

+ & & & & &

* $$$$

 

%

 

%

 

%

 

%

Schubert: Sonata in B-flat, Op. Posth: II

 18 22 27

# $$$$ 

% &  & % & % & && % & %cresc.

&  & &  

( ( (& & & %

 

&  & % &&cresc.

&   & &   &&&& &   & &   & &   & %

* $$$$

&

+,  &&

&+

-

&

+ ,  &&

&+

-

&

+,  &&

&+

-

&

+,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&+

-

&

+,  &&

&+

-

&

+,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&

-

3^

N

^3

+ + +

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! The elaborations of the upper voice tonic are in three parts:

# $$$$ % & N

& & 

&+ %& #'&+ & &

+& & & & & & &

* $$$$

 

%

 

%

 

%

 

%

Schubert: Sonata in B-flat, Op. Posth: II

 18 22 27

# $$$$ 

% &  & % & % & && % & %cresc.

&  & &  

( ( (& & & %

 

&  & % &&cresc.

&   & &   &&&& &   & &   & &   & %

* $$$$

&

+,  &&

&+

-

&

+ ,  &&

&+

-

&

+,  &&

&+

-

&

+,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&+

-

&

+,  &&

&+

-

&

+,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&

-

3^

N

^3

+ + +

Page 324: 06 Techniques Melodic Prolongation

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! The elaborations of the upper voice tonic are in three parts:

! Bars 18–19: a motion from G# to F#

# $$$$ % & N

& & 

&+ %& #'&+ & &

+& & & & & & &

* $$$$

 

%

 

%

 

%

 

%

Schubert: Sonata in B-flat, Op. Posth: II

 18 22 27

# $$$$ 

% &  & % & % & && % & %cresc.

&  & &  

( ( (& & & %

 

&  & % &&cresc.

&   & &   &&&& &   & &   & &   & %

* $$$$

&

+,  &&

&+

-

&

+ ,  &&

&+

-

&

+,  &&

&+

-

&

+,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&+

-

&

+,  &&

&+

-

&

+,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&

-

3^

N

^3

+ + +

Page 325: 06 Techniques Melodic Prolongation

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! The elaborations of the upper voice tonic are in three parts:

! Bars 18–19: a motion from G# to F#! Bars 20–21: the line ascends to a neighboring A, which

resolves to G#

# $$$$ % & N

& & 

&+ %& #'&+ & &

+& & & & & & &

* $$$$

 

%

 

%

 

%

 

%

Schubert: Sonata in B-flat, Op. Posth: II

 18 22 27

# $$$$ 

% &  & % & % & && % & %cresc.

&  & &  

( ( (& & & %

 

&  & % &&cresc.

&   & &   &&&& &   & &   & &   & %

* $$$$

&

+,  &&

&+

-

&

+ ,  &&

&+

-

&

+,  &&

&+

-

&

+,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&+

-

&

+,  &&

&+

-

&

+,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&

-

3^

N

^3

+ + +

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! The elaborations of the upper voice tonic are in three parts:

! Bars 18–19: a motion from G# to F#! Bars 20–21: the line ascends to a neighboring A, which

resolves to G#! Bars 21–25: ascending 3-prg.

# $$$$ % & N

& & 

&+ %& #'&+ & &

+& & & & & & &

* $$$$

 

%

 

%

 

%

 

%

Schubert: Sonata in B-flat, Op. Posth: II

 18 22 27

# $$$$ 

% &  & % & % & && % & %cresc.

&  & &  

( ( (& & & %

 

&  & % &&cresc.

&   & &   &&&& &   & &   & &   & %

* $$$$

&

+,  &&

&+

-

&

+ ,  &&

&+

-

&

+,  &&

&+

-

&

+,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&+

-

&

+,  &&

&+

-

&

+,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&

-

3^

N

^3

+ + + +

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# $$$$ % & N

& & 

&+ %& #'&+ & & & & & & & & &

* $$$$

 

%

 

%

 

%

 

%

Schubert: Sonata in B-flat, Op. Posth: II

 18 22 27

# $$$$ 

% &  & % & % & && % & %cresc.

&  & &  

( ( (& & & %

 

&  & % &&cresc.

&   & &   &&&& &   & &   & &   & %

* $$$$

&

+,  &&

&+

-

&

+ ,  &&

&+

-

&

+,  &&

&+

-

&

+,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&+

-

&

+,  &&

&+

-

&

+,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&

-

3^

 N

^3

+ + + +

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! The uebergreifen are located 22–28, in the form of the neighbor

 tones that decorate:

# $$$$ % & & & 

&+ %& #'&+ & & & & & & & & &

* $$$$

 

%

 

%

 

%

 

%

Schubert: Sonata in B-flat, Op. Posth: II

 18 22 27

# $$$$ 

% &  & % & % & && % & %cresc.

&  & &  

( ( (& & & %

 

&  & % &&cresc.

&   & &   &&&& &   & &   & &   & %

* $$$$

&

+,  &&

&+

-

&

+ ,  &&

&+

-

&

+,  &&

&+

-

&

+,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&+

-

&

+,  &&

&+

-

&

+,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&

-

3^

 N

^3

+ + + + &

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! The uebergreifen are located 22–28, in the form of the neighbor

 tones that decorate:! The 3-prg. in 21–25

# $$$$ % & & & 

&+ %& #'&+ & & & & & & & &

* $$$$

 

%

 

%

 

%

 

%

Schubert: Sonata in B-flat, Op. Posth: II

 18 22 27

# $$$$ 

% &  & % & % & && % & %cresc.

&  & &  

( ( (& & & %

 

&  & % &&cresc.

&   & &   &&&& &   & &   & &   & %

* $$$$

&

+,  &&

&+

-

&

+ ,  &&

&+

-

&

+,  &&

&+

-

&

+,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&+

-

&

+,  &&

&+

-

&

+,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&

-

3^

 N

^3

+ + + + &

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! The uebergreifen are located 22–28, in the form of the neighbor

 tones that decorate:! The 3-prg. in 21–25! The V arpeggiation in 25–28

# $$$$ % & & & 

&+ %& #'&+ & & & & & & & &

* $$$$

 

%

 

%

 

%

 

%

Schubert: Sonata in B-flat, Op. Posth: II

 18 22 27

# $$$$ 

% &  & % & % & && % & %cresc.

&  & &  

( ( (& & & %

 

&  & % &&cresc.

&   & &   &&&& &   & &   & &   & %

* $$$$

&

+,  &&

&+

-

&

+ ,  &&

&+

-

&

+,  &&

&+

-

&

+,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&+

-

&

+,  &&

&+

-

&

+,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&

-

3^

 N

^3

+ + + + + &

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# $$$$ % & & & 

&+ %& #'& & & & & & & & &

* $$$$

 

%

 

%

 

%

 

%

Schubert: Sonata in B-flat, Op. Posth: II

 18 22 27

# $$$$ 

% &  & % & % & && % & %cresc.

&  & &  

( ( (& & & %

 

&  & % &&cresc.

&   & &   &&&& &   & &   & &   & %

* $$$$

&

+,  &&

&+

-

&

+ ,  &&

&+

-

&

+,  &&

&+

-

&

+,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&+

-

&

+,  &&

&+

-

&

+,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&

-

3^

 N

^3

+ + + + + &

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! The text points out that the uebergreifen are tones superposed

from an inner voice, which is shown in the analysis witharrows.

# $$$$ % & & & 

&+ %& #'& & & & & & & & &

* $$$$

 

%

 

%

 

%

 

%

Schubert: Sonata in B-flat, Op. Posth: II

 18 22 27

# $$$$ 

% &  & % & % & && % & %cresc.

&  & &  

( ( (& & & %

 

&  & % &&cresc.

&   & &   &&&& &   & &   & &   & %

* $$$$

&

+,  &&

&+

-

&

+ ,  &&

&+

-

&

+,  &&

&+

-

&

+,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&+

-

&

+,  &&

&+

-

&

+,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&

-

3^

 N

^3

+ + + + + &

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! The text points out that the uebergreifen are tones superposed

from an inner voice, which is shown in the analysis witharrows.! I'm fine with all of those except for the first.

# $$$$ % & & & 

&+ %& #'& & & & & & & & &

* $$$$

 

%

 

%

 

%

 

%

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Schubert: Sonata in B-flat, Op. Posth: II

 18 22 27

# $$$$ 

% &  & % & % & && % & %cresc.

&  & &  

( ( (& & & %

 

&  & % &&cresc.

&   & &   &&&& &   & &   & &   & %

* $$$$

&

+,  &&

&+

-

&

+ ,  &&

&+

-

&

+,  &&

&+

-

&

+,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&+

-

&

+,  &&

&+

-

&

+,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&

-

$3^

 N

^3

+ + + + + &

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! In bars 23 and 25–27 clearly the uebergreifen is located in an

inner-voice melodic tone.

# $$ $ % & & & 

&+ %& #'& & & & & & & & &

* $$$$

 

%

 

%

 

%

 

%

Schubert: Sonata in B-flat, Op. Posth: II

 18 22 27

# $$$$ 

% &  & % & % & && % & %cresc.

&  & &  

( ( (& & & %

 

&  & % &&cresc.

&   & &   &&&& &   & &   & &   & %

* $$$$

&

+,  &&

&+

-

&

+ ,  &&

&+

-

&

+,  &&

&+

-

&

+,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&+

-

&

+,  &&

&+

-

&

+,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&

-

$3^

 N

^3

+ + + + + &

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! In bars 23 and 25–27 clearly the uebergreifen is located in an

inner-voice melodic tone.! But that isn't true of bar 21, the first uebergreifen

# $$ $ % & & & 

&+ %& #'& & & & & & & & &

* $$$$

 

%

 

%

 

%

 

%

Schubert: Sonata in B-flat, Op. Posth: II

 18 22 27

# $$$$ 

% &  & % & % & && % & %cresc.

&  & &  

( ( (& & & %

 

&  & % &&cresc.

&   & &   &&&& &   & &   & &   & %

* $$$$ &+,  &&

&+

- &+ ,  &&

&+

- &+,  &&

&+

- &+,  &&

&+

- &+ ,  &&

&+

- &+ ,  &&

&+

- &+,  &&

&+

- &+,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&

-

$ $3^

 N

^3

+ + + + +&

+ &

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# $ $ % & & & 

& %& #'& & & & & & & &

* $$$$

 

%

 

%

 

%

 

%

Schubert: Sonata in B-flat, Op. Posth: II

 18 22 27

# $$$$ 

% &  & % & % & && % & %cresc.

&  & &  

( ( (& & & %

 

&  & % &&cresc.

&   & &   &&&& &   & &   & &   & %

* $$$$ &+,  &&

&+

- &+ ,  &&

&+

- &+,  &&

&+

- &+,  &&

&+

- &+ ,  &&

&+

- &+ ,  &&

&+

- &+,  &&

&+

- &+,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&

-

$ $3^

 N

^3

+ + + + +&

+ &

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! It's of course possible to postulate the inner-voice uebergreifen 

 tone from the accompaniment figure in the tenor, but that'srather maddeningly inconsistent.

# $ $ % & & & 

& %& #'& & & & & & & &

* $$$$

 

%

 

%

 

%

 

%

Schubert: Sonata in B-flat, Op. Posth: II

 18 22 27

# $$$$ 

% &  & % & % & && % & %cresc.

&  & &  

( ( (& & & %

 

&  & % &&cresc.

&   & &   &&&& &   & &   & &   & %

* $$$$ &+,  &&

&+

- &+ ,  &&

&+

- &+,  &&

&+

- &+,  &&

&+

- &+ ,  &&

&+

- &+ ,  &&

&+

- &+,  &&

&+

- &+,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&

-

$ $3^

 N

^3

+ + + + +&

+ &

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# $ $ % & & & 

& %& #'& & & & & & & &

* $$$$

 

%

 

%

 

%

 

%

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Schubert: Sonata in B-flat, Op. Posth: II

 18 22 27

# $$$$ 

% &  & % & % & && % & %cresc.

&  & &  

( ( (& & & %

 

&  & % &&cresc.

&   & &   &&&& &   & &   & &   & %

* $$$$ &+,  &&

&+

- &+ ,  &&

&+

- &+,  &&

&+

- &+,  &&

&+

- &+ ,  &&

&+

- &+ ,  &&

&+

- &+,  &&

&+

- &+,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&

-

$ $3^

 N

^3

+ + + + +& &

+ &

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# $ $ % & & & 

& %& #'& & & & & & &

* $$$$

 

%

 

%

 

%

 

%

Schubert: Sonata in B-flat, Op. Posth: II

 18 22 27

# $$$$ 

% &  & % & % & && % & %cresc.

&  & &  

( ( (& & & %

 

&  & % &&cresc.

&   & &   &&&& &   & &   & &   & %

* $$$$ &+,  &&

&+

- &+ ,  &&

&+

- &+,  &&

&+

- &+,  &&

&+

- &+ ,  &&

&+

- &+ ,  &&

&+

- &+,  &&

&+

- &+,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&

-

$ $3^

 N

^3

+ + + + +& &

+ &

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! So I have made a small change in the text's analysis, which

 was to put parentheses around the B-natural, which gives it the status of an implied tone.

# $ $ % & & & 

& %& #'& & & & & & &

* $$$$

 

%

 

%

 

%

 

%

Schubert: Sonata in B-flat, Op. Posth: II

 18 22 27

# $$$$ 

% &  & % & % & && % & %cresc.

&  & &  

( ( (& & & %

 

&  & % &&cresc.

&   & &   &&&& &   & &   & &   & %

* $$$$ &+,  &&

&+

- &+ ,  &&

&+

- &+,  &&

&+

- &+,  &&

&+

- &+ ,  &&

&+

- &+ ,  &&

&+

- &+,  &&

&+

- &+,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&

-

$ $$

3^

 N

^3

+ + + + &+& &

+ &

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# $ % & & & 

& %& #'& & & & & &

* $$$$

 

%

 

%

 

%

 

%

Schubert: Sonata in B-flat, Op. Posth: II

 18 22 27

# $$$$ 

% &  & % & % & && % & %cresc.

&  & &  

( ( (& & & %

 

&  & % &&cresc.

&   & &   &&&& &   & &   & &   & %

* $$$$ &+,  &&

&+

- &+ ,  &&

&+

- &+,  &&

&+

- &+,  &&

&+

- &+ ,  &&

&+

- &+ ,  &&

&+

- &+,  &&

&+

- &+,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&

-

$ $$

3^

 N

^3

+ + + + &+& &

+ &

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! I would classify this as belonging on the very outside edge of

 what's permissible in regards to "salting" the analysis to make the underlying idea workable.

# $ % & & & 

& %& #'& & & & & &

* $$$$

 

%

 

%

 

%

 

%

Schubert: Sonata in B-flat, Op. Posth: II

 18 22 27

# $$$$ 

% &  & % & % & && % & %cresc.

&  & &  

( ( (& & & %

 

&  & % &&cresc.

&   & &   &&&& &   & &   & &   & %

* $$$$ &+,  &&

&+

- &+ ,  &&

&+

- &+,  &&

&+

- &+,  &&

&+

- &+ ,  &&

&+

- &+ ,  &&

&+

- &+,  &&

&+

- &+,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&+

-

&

+ ,  &&

&

-

$$$$

3^

 N

^3

+ + + + &+& &

+ &

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! I would classify this as belonging on the very outside edge of

 what's permissible in regards to "salting" the analysis to make the underlying idea workable.!  All of the rest of the uebergreifen in the example are

unmistakable.

# % & & & 

& %& #'& & & & & &

* $$$$

 

%

 

%

 

%

 

%

Register Shifts

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Register Shifts

! Cover Tone

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Register Shifts

! Cover Tone

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! German: Deckton

Register Shifts

! Cover Tone

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! German: Deckton

! Unlike the uebergreifen, a cover tone is pretty easy tounderstand.

Register Shifts

! Cover Tone

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! German: Deckton

! Unlike the uebergreifen, a cover tone is pretty easy tounderstand.

!  An inner-voice tone is superposed above the top-voice line, and there it stays for a while, in the manner of a discant  (or soprano pedal ) tone.

Schubert: Moment Musical, Op. 94 No. 2

 82

#$$$$%%  

& & %'%

  % % % 

% % % % % % %

 % % % %   % % %   % % %   % % %

($$

$$ %  

&

% )  

%*

%  %%

%   % % )  % %%

%

%   % % %  % % )  

% %% %  % % %  % % %  

% % %86

$ $ &  ' )   % % % )   % % % )   %   %   % % % )   %  

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#$ $ %%   & & , %*  % % %   % % % %   % % %   % % % %   % % %   % %

($$$$ %

 

& & 

%%*

%%   %% %% %%   %% %% % %   %% %% %%   %% %% %% %%   %% %% %%   %% %%%%

  %%

%%% )   %  

Schubert: Moment Musical, Op. 94 No. 2

 82

#$$$$%%  

& & %'%

  % % % 

% % % % % % %

 % % % %   % % %   % % %   % % %

($$

$$ %  

&

% )  

%*

%  %%

%   % % )  % %%

%

%   % % %  % % )  

% %% %  % % %  % % %  

% % %86

$ $ &  ' )   % % % )   % % % )   %   %   % % % )   %  

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! Note that there is a pedal point in an inner voice, beginning

at bar 82 and extending through bar 86.

#$ $ %%   & & , %*  % % %   % % % %   % % %   % % % %   % % %   % %

($$$$ %

 

& & 

%%*

%%   %% %% %%   %% %% % %   %% %% %%   %% %% %% %%   %% %% %%   %% %%%%

  %%

%%% )   %  

Schubert: Moment Musical, Op. 94 No. 2

 82

#$$$$%%  

& & %'%

  % % % 

% % % % % % %

 % % % %   % % %   % % %   % % %

($$

$$ %  

&

% )  

%*

%  %%

%   % % )  % %%

%

%   % % %  % % )  

% %% %  % % %  % % %  

% % %86

$ $ &  ' )   % % % )   % % % )   %   %   % % % )   %  

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! Note that there is a pedal point in an inner voice, beginning

at bar 82 and extending through bar 86.! That pedal point becomes a soprano discant, or pedal point,

starting in bar 86.

#$ $ %%   & & , %*  % % %   % % % %   % % %   % % % %   % % %   % %

($$$$ %

 

& & 

%%*

%%   %% %% %%   %% %% % %   %% %% %%   %% %% %% %%   %% %% %%   %% %%%%

  %%

%%% )   %  

Schubert: Moment Musical, Op. 94 No. 2

 82

86

#$$$$

1^

%& & && &&& & &

' &&' & &

' & && & & & & &

&

1^

%

($$$$ & &&

& && &' &' & &' && & & & & & & & &

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I I V 7 I

Schubert: Moment Musical, Op. 94 No. 2

 82

86

#$$$$

1^

%& & && &&& & &

' &&' & &

' & && & & & & &

&

1^

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($$$$ & &&

& && &' &' & &' && & & & & & & & &

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! The (partial) foreground analysis clearly shows the cover tone 

in the soprano, notated with the dotted slur indicating a prolonged tone.

I I V 7 I

Schubert: Moment Musical, Op. 94 No. 2

 82

86

#$$$$

1^

%& & && &&& & &

' &&' & &

' & && & & & & &

&

1^

%

($$$$ & &&

& && &' &' & &' && & & & & & & & &

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! The (partial) foreground analysis clearly shows the cover tone 

in the soprano, notated with the dotted slur indicating a prolonged tone.! (Note: it would be possible to employ the same kind of

notation for the tenor voice in bars 82–86.)

I I V 7 I

 Altered Scale Degrees

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 Altered Scale Degrees

! Both ^2 and ^3 can be altered even when they're primary tones.

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 Altered Scale Degrees

! Both ^2 and ^3 can be altered even when they're primary tones.

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! ^2 is typically lowered and becomes the Phrygian II , (a.k.a. the Neapolitan Sixth.)

 Altered Scale Degrees

! Both ^2 and ^3 can be altered even when they're primary tones.

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! ^2 is typically lowered and becomes the Phrygian II , (a.k.a. the Neapolitan Sixth.)

! ^3 is typically raised in minor keys—this could produce the Picardy Third if used in a final cadence, but shifts betweenmajor and minor tonic triads are not limited to the final tonic.

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