Glossary of Schenkerian analysis-Cedar Herald Index

This is a glossary of Schenkerian analysis, a method of musical analysis of tonal music based on the theories of Heinrich Schenker (1868–1935). The method is discussed in the concerned article and no attempt is made here to summarize it. Similarly, the entries below whenever possible link to other articles where the concepts are described with more details (in several cases, the name of the entry links to a specialized article), and the definitions are kept here to a minimum.

A

Anstieg

See Initial ascent. Arpeggiation () Elementary elaboration of a harmony. See also Bass arpeggiation; First-order arpeggiation; Unfolding. Ausfaltung See Unfolding. Auskomponierung See Prolongation. Außensatz See Fundamental structure.

Glossary of Schenkerian analysis

B

Background () The structural level of the fundamental structure. See also Middelground and Foreground. Bass arpeggiation () Bass pattern I-V-I forming the harmonic content of the background of tonal musical pieces; the concept belongs to the final version of Schenkerian theory, from 1930 onwards. See also Schenkerian analysis: The arpeggiation of the bass. Bassbrechung See Bass arpeggiation. Brechung See Arpeggiation.

Glossary of Schenkerian analysis

C

Chord of nature

See Klang. Composing out See Prolongation. Compound melody See Unfolding. Coupling () "The connection of two registers which lie an octave apart". It often results from a register transfer in which the transferred voice maintains a relation with its original register. Cover tone () "A tone of the inner voice which appears above the foreground diminution". It often results from an ascending register transfer or coupling, but "the main thread of melodic activity remains with the displaced voice while the voice that does the displacing functions as a 'cover'".

Glossary of Schenkerian analysis

D

Deckton

See Cover tone. Diminution "The process by which an interval formed by notes of longer value is expressed in notes of smaller value". Divider () Consonant subdivision of a consonant interval: the octave can be divided at the fifth (fifth-divider, ) and the fifth can be divided at the third (third-teiler, ). Schenker had also imagined a divider at the fourth (or lower fifth), but he apparently abandoned the concept after 1926, probably because the upper fourth does not belong to the divided triad. See also Schenkerian analysis: The arpeggiation of the bass and the divider at the fifth.

E

Elaboration

See Prolongation

F

Fernhören

See Structural hearing. First-order arpeggiation Arpeggiated motion leading to the primary tone of the fundamental line. The term has been proposed by Forte & Gilbert. See also Schenkerian analysis: Initial ascent, initial arpeggiation. Foreground () See Structural level. Free Composition () Title of the American translation of Schenker's Der freie SatzFundamental line () The melodic aspect of the fundamental structure, a stepwise descent from one of the triad notes to the tonic, with the bass arpeggiation being the harmonic aspect. The notion of the descending fundamental line belongs to the final version of Schenkerian theory, from 1930 onwards; fundamental (or, better, "primal") lines in Schenker's earlier writings at times were ascending. The first note of the fundamental line is its primary tone. See also Schenkerian analysis: The fundamental line.Fundamental structure () "The background in music is represented by a contrapuntal structure which I have designated the fundamental structure". It consists in the fundamental line counterpointed by the bass arpeggiation, together forming a counterpoint of the outer lines ().

HHeadnote See Primary tone.Hintergrund

See Background. Höherlegung See Register transfer

I

Initial arpeggiation

See First-order arpeggiation. Initial ascent () Ascending motion leading to the primary tone of the fundamental line.

K

Klang

The complex sound consisting of the first five notes of the harmonic series, suggesting a model for the major triad. For a discussion of the meaning of this concept, see Klang (music). Kopfton See Primary note. Koppelung See Coupling.

L

Level

See Structural level. Linear progression ( or Zug) A passing note elaboration involving stepwise melodic motion in one direction between two harmonic tones.