CONSERVATORIO

“L. CHERUBINI” – FIRENZE

CORSO di METODOLOGIE DELL’ANALISI


A.A. 2020-21

LEZIONE 9






PRIMA PARTE
La teoria schenkeriana – V –
Strutture su larga scala e fasi del metodo analitico









SECONDA PARTE:
L’armonia funzionale – I
Funzioni principali e secondarie

1
 in the deep background structure of tonal works. These models share two
main characteristics of the chorale phrase in Example 3.1: the overall
harmonic shape of I–V–I and the descending linear progression in the upper
voice. The simple journey from tonic to dominant and back to tonic is
one found in virtually all tonal pieces, and Schenker’s suggested structures
PRIMA PARTE
all elaborate this Analisi schenkeriana: le strutture su larga scala
basic scheme in some way. Example 3.1 provides a clear

I livelli profondi delle strutture tonali, secondo la teoria schenkeriana, sono estremamente
semplici: è dall’elaborazione di queste strutture che nasce la complessità.
Example 3.1 Chorale phrase
Osservare il seguente esempio:

a) accordo di tonica
b) elaborazione dell’accordo di tonica con una successione lineare di terza
c) alla precedente successione lineare viene aggiunta una linea contrappuntistica al basso
d) il basilare contrappunto a due voci di c) viene ora elaborato con l’aggiunta delle voci
interne per ottenere una completa frase di corale; questa frase si fonda dunque
sull’accordo di tonica di SOL maggiore, sia contrappuntisticamente che
armonicamente.

Tutte le strutture profonde proposte da Schenker presentano, come precedentemente
ricordato, due caratteristiche principali:
- il disegno armonico complessivo I V I
- la successione lineare discendente nella voce superiore.
Notare come – nell’esempio precedente - l’accordo di dominante sia elaborato sia
melodicamente (il DO è una neighbor note) che armonicamente (l’armonia di sopratonica
funziona come armonia predominantica, “prepara” quindi il V).



Struttura fondamentale e armonia: prolungamenti del basso

Poiché, di norma, tra la tonica iniziale e la conclusione con V - I possono intercorrere altre
armonie, il percorso tonale di un brano potrebbe essere rappresentato così:

I – (X) – V – I

2
 motion from I to V is through an arpeggiation, as shown in Example 3.2b,
4
with Example 3.2c demonstrating a further elaboration of this pattern, in
5
which the resulting gaps are filled in to make a series of passing notes.
6
7
8 Schenker propone diverse possibilità di base per esprimere questo percorso, alcune delle
Example 3.2 Examples of I–V–I structures
quali sono le seguenti:
9
40111
1
2
3
44111



a) successione base
b) il modo più semplice di elaborare il movimento dal I al V è quello dell’arpeggio
c) ulteriore elaborazione del modello dell’arpeggio, con riempimento per grado congiunto
(note di passaggio) gli intervalli disgiunti dell’arpeggio
d) variante minore dell’esempio b); osservare come qui la nota centrale dell’arpeggio (MIb)
non sia armonizzata come primo rivolto dell’accordo di tonica, ma sia tonicizzata (ovvero
preceduta dal V/III)
e) altro comune disegno basilare, in cui la dominante è avvicinata dalla nota adiacente
inferiore (neighbor note), che rappresenta l’armonia di sottodominante.

Schenker chiama le armonie principali rappresentate nei diagrammi proposti sopra scale-
step (Stufen): rappresentano le armonie più importanti strutturalmente, quelle che
costituiscono i pilastri del brano.
Larger-scale structures 53
Esempio di elaborazione del basso:
1111 Example 3.3 Haydn, Piano Sonata in G major, Hob. XVI, No. 11, Presto
Haydn, Sonata in SOL Hob. XVI:11
2
3
4
5
6
7
8
9
1011
SOL: I I6 (IV) V I
1
2
3111 Example 3.4 shows a more complex bass prolongation based on the pattern
from Example 3.2d. The bass consists of an arpeggiation of I–III–V–I in the
4 Le strutture contrappuntistiche a due parti
5 minor, but each of the scale-steps receives considerably more elaboration
than in the previous piece of music.
6
La Bassbrechung, come si è detto, è sempre unita ad una linea superiore (Urlinie) nel costituire
7 In the first four measures the scale-step I is elaborated by its own complete
al struttura fondamentale, l’Ursatz. Le note della Urlinie presentano la testa bianca e il numero
harmonic unit of I–V–I. This is itself elaborated by a falling stepwise motion
8
che indica il grado della scala sormontato da un accento circonflesso
9 to the dominant in mm. 2–3. In a similar manner, the next scale step of
III is decorated in mm. 6–11 by a V–I–V–I harmonic unit that takes us
temporarily into E ♭ major. At the end of the example, the bracketed C
20111
1
2 indicates that the piece arrives back in the tonic in (m. 13), but the music
3 for this section is not included in the example.
4
5 Example 3.4 Haydn, Piano Sonata in C major, Hob. XVI, No. 10, Trio
3
6 Source: Based on the pattern suggested in Schenker 1977: Figure 26a
7
8
 Larger-scale structures 55
La versione più semplice dell’Ursatz prevede una discesa dal terzo grado della scala nella
Urline e la successione I – V – I nella Bassbrechung:
1111 Example 3.5 The Ursatz
2
3
4
5
6
7
8
9
1011
1 successione strutturale finale
2 dalla dominante alla tonica
3111
4
L’Ursatz si venne definendo in diversi anni, mentre Schenker sviluppava la sua teoria
5
analizzando un ampio numero di composizioni tonali. Punto di partenza fu l’osservazione che
6
l’armonia di tonica possiede
7 una dimensione maggiormente conclusiva quando presenta la
Notating the Ursatz
tonica in posizione melodica (piuttosto che la terza o la quinta). I repertori barocchi e classici
8
presentano un numero molto limitato di composizioni che non terminano con la successione
9 The Urlinie is highlighted in Schenkerian graphs by caretted numbers, which
archetipa 20111 correspond to the degrees of the scale of the home tonic. The notes of the
1 Urlinie are usually connected by stems and a heavy beam, as are the principal
^ ^
2 notes of the Bassbrechung.
2 -1 In addition, Roman numerals are used to label the
3 58 An
principal overview ofatSchenkerian
harmonies; this deep analysis
level they will always relate to the home
nel profilo melodico in corrispondenza della cadenza autentica.
4 tonic.
Tra le più comuni elaborazioni di questo archetipo:
5
Example 3.7 Different embellishments of a 2̂–1̂ ending

6
7
8
9 perspective it also aims to show how the music is drawn together by the
30111 Ursatz, how it can be understood as a unified whole. This goal is one shared
1 by more traditional approaches such as sonata form or motivic analysis, which
2 also attempt to show how a piece can be understood in terms of a single
3 principle or structure. Although the traditional emphasis on unity has been
4 criticized by some scholars as suppressing other (more) interesting aspects
5 of music, curiosity about the way in which a work is pulled together by its
6 internal logic is nevertheless an important part of the aesthetic of many of
7 the composers with whom Schenker is concerned.1
8
9
Closure and the descending line
40111
1 The Ursatz evolved over a number of years as Schenker developed his
2 theory by analyzing a large number of tonal works. The rationale behind
3 its final form is complex and involved, but it is worth briefly considering
44111 why Schenker settled on the descending line as the Urlinie. It is an important

yearning of Chopin’s prelude, their closing gesture is essentially the same. 4

This idea of similarity and variety is central to Schenker’s fascination with
tonal music: in the words of the motto introduced in Chapter 1, “always
the same but not in the same way.” The Chopin is also a dramatic example
 64 An overview of Schenkerian analysis
60 An overview of Schenkerian analysis
which the Kopfton (the initial note of the Urlinie) might be approached,
Esempio di una breve frase basata sull’Ursatz (osservare con attenzione la notazione
analitica):
shown in Example Example 3.13. 3.9 A Both short of phrasethese basedfirst-level
on the middleground
Ursatz elaborations
create an overall arch-like shape by ascending to the Kopfton either by step
or by leap. If, as Schenker suggests, arrival on 1̂resolves the tension introduced
by the Kopfton of 3̂ or 5̂, initial ascents and arpeggiations are a way of delaying
the introduction of this tension in the first place.
Example 3.13a shows a stepwise approach to the Kopfton, which Schenke-
rians call an initial ascent (Ansteig). In this case the initial ascent is to 3̂,
from which the Urlinie then descends as usual. An initial ascent might also
rise from 1̂ or 3̂ to 5̂. Example 3.13b, on the other hand, is an example of
an initial arpeggiation, which skips up through the pitches of the tonic
chord to the Kopfton—in this case 5̂.
The opening of Schubert’s “Wanderer’s Nachtlied” shown in Example
3.14 is a good example of an initial ascent. The vocal line rises to 3̂ over
the first three measures by means of a third progression. The initial ascent,
marked with stems and a slur, is a first-level middleground feature as it
directly prolongs the initial 3̂ of the Urlinie but it is elaborated in various
ways in the foreground. The underlying pattern is of a series of reaching-
Nota: la prima nota della Urlinie (Kopfton) è raggiunta tramite un movimento lineare
over gestures marked by flagged stems in Example 3.14a, and these are further
ascendente di terza.
elaborated by rising third progressions that fillLarger-scale in the gaps. structures The basic harmonic 61
In the very ascent is I–V–I, but this is embellished by meansis of
support for the initialVarianti della Urlinie short example in Example 3.9, the 2̂–1̂ of the Urlinie the final
Example a neighbor
3.10 Descents note
perfect to
fromVcadence
at ˆ
3̂ , 5the and ˆ
ofbeginning
8 phrase.ofAlthough
the m. 2 (chord this can II),also which be the is case
reached in a longer
1111
2 by means of aextract, descending the descent skip throughof the Urlinie E astoVI1̂ in andthe the first measure. V–I does not
accompanying
3 The initial arpeggiation
necessarily have into Example
be right 3.15
at the is
end elaborated
of the piece. more Oneextensively.
example might be
The arpeggiation coda is markedwhich by acan series of after
unfoldings as descent
the melody in elaborating
the
♭
4 sections, occur the final onto 1̂,
right hand keeps returning to thean inneronvoice A , but this does not detract
A ♭ in m. 14. Notice how
5 and emphasizing arrival the tonic.
6 from the clear sense of upwards progress to the
7 the bass line switches from providing harmonic support to the right hand
8 neighbor notes in m. 1 to being the Larger-scale main melody Larger-scale partstructures
structures at61 the end 61 of m.3.

9 This passage includes a small-scale descent from the Kopfton of 5̂ to 1̂ in

1111 Example 3.10
1111 Example In the
3.10from
Descents case 3̂ , of
Descents an 8ˆUrlinie
5ˆ and
from 3̂ , 5ˆ and descending
8ˆ from 3̂ (as in Example 3.9), this means
1011 2 m. 16. This is a good example ^ of what Schenker’s model can tell us about
2 that most of the music in a given piece is taken up with expanding the
Chiaramente, the
i shape
tipi di of a
Urlinie piece che of music.
hanno From
il o the
l’ perspective
come Kopfton, of thepresentano Ursatz, it takes
1 3 3 initial 3̂ in various ways and elaborating the gap between I and almeno V. As shown
2 teoricamente più opportunità di elaborazione armonica e contrappuntistica tra I e V.
4 4
Unsupported in Example
stretch 3.9b the first elaboration in this phrase is a rising third up to

3111 5 5 the 3̂ that expands the initial tonic. 3̂ is then elaborated by an upper neigh-
6 6 Example 3.13 Initial ascent and initial arpeggiation
Kopfton raggiunto tramite arpeggio o ascesa iniziale (Anstieg)
4 7
One of the criteria
7
bor note for that
deciding is supported
which Kopfton in theis bass mostbyappropriate
a neighborisnote the approach to the
5 8 extent
8 to whichdominant,
the notes which of the Urliniecreatesare a few beats of subdominant
contrapuntally and harmonically harmony. In a full-
6 9 9
supported by thelength
bass.exampleIn the descent from a from real piece 5ˆ in its of most
music,basic eachform of these aligned simple elaborations
7 1011 1011 could themselves be subject
over I–V–I, the 4ˆ is not supported by the bass. The span between 5ˆ and 3̂
to further expansions, stretching the Ursatz out
8 1 1 across a whole piece.64 64 64 An An overview
overview of Schenkerian analysis
is2 therefore sometimes referred to as the An “unsupported
overview ofstretch”
of Schenkerian Schenkerian analysis
(Leerlauf).
analysis
2 Unsupported stretch
9 3111 For
Unsupported stretch
3111an analysis showing a descent from 5ˆ, contrapuntal support for this
which which
which the the Kopfton
the
Kopfton Kopfton (the (the
(the
initial initial
notenote
initial note
of the ofofUrlinie)
the
theUrlinie)
Urlinie)
might might
might bebeappro
be approach app
20111 4 4 One of theOne Variants
criteria
of thefor deciding
criteria of for the
which
deciding Urlinie
Kopfton shown
which is Kopfton
mostin appropriate
Example
is most 3.13. is the
Both
appropriate of
is these
the first-level middleground elabo
stretch is therefore important if it shown is to shown beExample
in convincing.
in Example 3.13. ThisBoth
3.13.
Both ofrequirement
theseof these
first-levelfirst-level middleground
middleground elaboratioela
1 5 5 extent to which extentthe notes of
to which thethe notesUrlinie
of theare Urlinie
create
contrapuntally
create
createan are an
overall
and harmonically
ancontrapuntally
overall
overall
arch-likearch-like
and
arch-like shape shape
harmonically
shape
bywhereasby
bythe
ascendingascending
ascending to the totoKopfton
the Kopfton
theshown
Kopfton
either either
eithe
by s
2 6 means that, in
6 supported supported The
by the bass. descent
practice, descentsfrom 3̂ is
from onlyˆ 3̂
or by
one
are of
the
leap.ˆ three
If,
most
as
basic
Schenker
common forms
suggests,
ofarrival Urlinie,
on 1̂resolves
as the tension intr
byInthethebass.descentIn thefrom descent
or 5
by in
or its
by
from
leap. most
leap.
If,5as in basic
If, as
its
Schenker form
Schenker
most aligned
basic
suggests, suggests,
form aligned
arrival arrival
on on
1̂resolves 1̂resolves
the the
tension tension
introduc in
7 properly
7 supportedin ˆ Example
descents 3.10. from The 8ˆ are Bassbrechung
by verythe rare remains
indeed.
of 3̂ or ˆ5̂,and the
initial same
ascents in each case, but the
3 over I–V–I, the 4 is not ˆ
supported
over I–V–I, the 4 is not supported by the bass.by
by thebyKopfton The
the span
Kopfton
the bass. between
of The
3̂ or span or 5 5̂,
5̂, initial
between 3̂
initial
ascents ˆ ascents
5 and and 3̂ arpeggiations are a way of delayd
and
and arpeggiations
arpeggiations are
area way
a way of o
8 8 is thereforeis sometimes referred to as the the
the
“unsupported
thetointroduction introduction
introduction stretch” of
of this
this
(Leerlauf).
of this stretch” tension
tension
tension (Leerlauf). in
in
in the first the place.
thefirst firstplace.
place.
4 La teoria schenkeriana identifica due modi comuni per introdurre la nota che funziona come
9 therefore sometimes referred as the “unsupported
9 For an analysis showing a descent from ˆExample
5 , Example
Example
contrapuntal
For an analysis showing a descent from 5ˆ, contrapuntal support for this 3.13a 3.13a
shows
support shows
shows
afor aa
stepwise stepwise
thisstepwise
approach approach
approach to thetotothe
theKopfton,
Kopfton,Kopfton,
which which
which
Schen Sc
5 Kopftone della Urlinie:
20111 20111 rians rians
rians
call call
an an
initial initial
initial
ascent ascent
ascent
(Ansteig).(Ansteig).
(Ansteig).In In
thisIn this
this
case case
case
the the
the
initialinitial
initial
ascent ascent
ascen
is to
stretch is stretch
therefore is important if it is to ifbeit convincing.
therefore important is to be convincing. This requirement This requirement
6 1 raggiungimento per grado congiunto ascendente (Anstieg)
a) 1 means that, in practice, descents from 3̂from from
from
which whichthe the
Urlinie Urlinie
Urlinie
then then
then
descends descends
descendsas asas
usual. usual.
usual.
An AnAn initial
initial initial
ascent ascent
ascent
might mig m
a
2 means that, in practice, descentsarefrom the 3̂most are the common most whereas
common whereas
7 b) descent
2 begins from a
raggiungimento per arpeggio ascendente (dal
properly supported different
descents from ˆ head
8 arefrom rise tone
rise
rise
from
very 8ˆrare from
from
1̂ (or
or 1̂
3̂
o dal
indeed. Kopfton).
or
to 3̂
5̂.to
to 5̂.
5̂.
Example
al ). These
Example
Example 3.13b, diatonic
3.13b,
3.13b,
on on
the on the
the
other other
other
hand, hand,
hand,
is an is an
is an
exampleexam
ex
3 3 properly supported descents anareinitial
an
an initial very
initial rare indeed.which
arpeggiation,
arpeggiation,
arpeggiation, which
which skips skips
up chords
skips upupthrough
through through
the the thepitches
pitches pitches
of the ofofth
tot
8 4 structures all ultimately represent contrapuntal realizations of the tonic
4 chord chordto the
chord to Kopfton—in
the Kopfton—in
Kopfton—in this thiscase
this case 5̂.
case5̂.5̂.
9 5 shown at the end of each descent, filling The The
out opening
opening
theofspace Schubert’s
between
of Schubert’s
Schubert’s “Wanderer’s
the notes
“Wanderer’s Nachtlied” shown
Nachtlied” in Exam
shown
5 The of “Wanderer’s Nachtlied” 5 shown ininE
30111 6 from6 the tonic with passing notes. The (X)
3.143.14 3.14 marked
is a goodis a good in
example the
example
example bass
of anof parts
ofinitial
an initial
an between
ascent.
initial The The
ascent.
ascent. vocal line line
Thevocal
vocal rises torises
linerises 3̂to
o
1 7 the 7descent
initial begins and from
Idescent the
beginsafinal
different
from V aindicatehead tone
different thethat
head (or first
first
the Kopfton).
this
three
tone is
three
(or Thesebyone
where
measures measures
Kopfton). diatonic
means
by
These would
of
means a expect
third
diatonicof a progression.
third The
progression. initial
The asce
initi
the first measures by means of a third progression. The initial
8 8structures all ultimately represent contrapuntal realizations of stems
the
2 harmonic elaborations.
structures Clearlyrepresent
all ultimately the Urliniemarked marked
contrapuntal
marked withwith
that stems
have
realizations
with 5̂ tonic
and
stems aand
orand chords
of8̂slur,
as
the is a is
aa tonic
slur,
their
slur, first-level
isKopfton
aa first-level
chords middleground
first-level middleground
middleground featurefeaturas
feat
 64 An overview of Schenkerian analysis

which the Kopfton (the initial note of the Urlinie) might be approached,
shown in Example 3.13. Both of these first-level middleground elaborations
Queste elaborazioni riguardano
create an overall arch-likeil shape
middleground,
by ascending to e creano un either
the Kopfton disegno generale ad arco. Se,
by step
or by leap. If, as Schenker suggests, arrival on 1̂resolves
come afferma Schenker, l’arrivo conclusivo sul the tension introduced
risolve la tensione introdotta dalla nota che
by the Kopfton of 3̂ or 5̂, initial ascents and arpeggiations are a way of delaying
funge da Kopfton, la fase iniziale di raggiungimento della stessa può essere interpretata come
the introduction of this tension in the first place.
un modo di dilazionare l’introduzione di questa tensione.
Example 3.13a shows a stepwise approach to the Kopfton, which Schenke-
rians call an initial ascent (Ansteig). In this case the initial ascent is to 3̂,
from which the Urlinie then Fasi del metodo analitico
descends as usual. An initial ascent might also
rise from 1̂ or 3̂ to 5̂. Example 3.13b, on the other hand, is an example of
Sono due le an procedure analitiche
initial arpeggiation, which che
skips costituiscono il cuore
up through the pitches of thedell’analisi
tonic schenkeriana:
chord to the Kopfton—in this case 5̂.
identificare le unità armoniche (dagli accordi alle successioni su larga scala) e esaminare il
The opening
modo in cui queste unità ofarmoniche
Schubert’s “Wanderer’s
sono realizzate Nachtlied” shown in Example
contrappuntisticamente in unità lineari
3.14 is a good example of an initial ascent. The vocal line rises to 3̂ over
che scaturiscono da combinazioni di arpeggi, neighbor note e successioni lineari. Queste
the first three measures by means of a third progression. The initial ascent,
procedure risultano complicate innanzi tutto dai molteplici livelli su cui opera l’analisi e poi
marked with stems and a slur, is a first-level middleground feature as it
dal fatto che i livelli
directly profondi
prolongs della
the initial musica
3̂ of consistono
the Urlinie in un piccolo
but it is elaborated in variousnumero di strutture
fondamentali come Ursatz.
ways in the foreground. The underlying pattern is of a series of reaching-
over gestures marked by flagged stems in Example 3.14a, and these are further
elaborated by rising third progressions that fill in the gaps. The basic harmonic
FASE 1: ANALISI ARMONICA DEL FOREGROUND
La notazione support for theschenkeriana
analitica initial ascent is privilegia
I–V–I, but this is embellished
l’aspetto by della
lineare means of
musica tonale, ma la
a neighbor note 88 to V Getting started on an analysis
at the beginning of m. 2 (chord II), which is reached
comprensione della struttura armonica è di vitale importanza. L’analisi armonica deve essere
by means of a descending skipHaydn,
through E as VI in
Example 4.1 Piano Sonata in the first measure.
G major, Hob. XVI, No. 39, first movement
svolta sulla partitura, indicando la cifratura degli accordi sotto il pentagramma inferiore.
The initial arpeggiation in Example 3.15 is elaborated more extensively.
Esempio (Haydn, Sonata in SOL Hob. XVI:39, primo movimento):
The arpeggiation is marked by a series of unfoldings as the melody in the
right hand keeps returning to an inner voice A ♭, but this does not detract
from the clear sense of upwards progress to the A ♭ in m. 14. Notice how
the bass line switches from providing harmonic support to the right hand
neighbor notes in m. 1 to being the main melody part at the end of m.3.
This passage includes a small-scale descent from the Kopfton of 5̂ to 1̂ in
m. 16. This is a good example of what Schenker’s model can tell us about
the shape of a piece of music. From the perspective of the Ursatz, it takes


FASE 2: PREPARAZIONE DELLA PARTITURA E IDENTIFICAZIONE DELLE ELABORAZIONI
DI SUPERFICIE
Example 3.13 Initial ascent and initial arpeggiation
La seconda fase è essenzialmente preparatoria: serve a maturare chiarezza circa la ‘superficie’
della musica, per evitare errori nel proseguimento dell’analisi.
La prima parte di questa fase consiste nel preparare una versione ‘spogliata’ della partitura su
cui annotare l’analisi:
1) eliminare la notazione ritmica e le stanghette di battuta, lasciando una serie di teste
nere delle note, senza gambo: ciò serve a predisporre spazio per la notazione analitica;
88 Getting started on an analysis
2) rimuovere consecutivamente le note ripetute.
Example 4.1 Haydn, Piano Sonata in G major, Hob. XVI, No. 39, first movement
La seconda parte di questa fase consiste nell’identificare le elaborazioni di superficie. Per ora
può bastare identificare i gruppi di note consecutive che elaborano singoli accordi.

6
Si può notare come nell’esempio le prime tre note costituiscano elaborazione dell’armonia di
tonica, mentre poi ci siano neighbor notes che elaborano l’armonia di dominante. È vitale
imparare a relazionare correttamente le elaborazioni alle armonie cui si riferiscono.

FASE 3: ANALISI DEL LIVELLO MIDDLEGROUND
È questa la fase in cui più propriamente inizia l’analisi. Servono flessibilità ed anche creatività
per andare continuamente avanti e indietro fra i livelli foreground e middleground, con uno
sguardo in avanti verso la struttura fondamentale che rappresenterà il punto di arrivo
dell’analisi.
In sintesi: individuare disegni lineari su larga scala che si correlano ad analoghe unità
armoniche. Nell’esempio tratto da Haydn, vi è una sola unità armonica (I – V – I).
• Una prima ipotesi (Fase 3 a) si basa sulla individuazione di due elaborazioni: una
neighbor note nella voce superiore (SOL-LA-SOL) e una figura simile nella voce interna
(SI-DO-SI). Qui, entrambe le note (LA, DO) sono supportate dall’armonia di dominante
nella seconda metà della battuta.
• Una seconda ipotesi porta però a rivolgere lo sguardo al SOL posto sul battere della
prima misura e a considerare come esso possa essere relazionato con l’iniziale nota SI:
88 Getting started on an analysis
le prime quattro note possono allora essere comprese come elaborazione dell’iniziale
nota SI, prima con Example 4.1 Haydn, Piano Sonata in G major, Hob. XVI, No. 39, first movement
una successione lineare ascendente (Anstieg) e poi con un salto
consonante discendente sulla nota SOL:

La seconda ipotesi è da considerarsi migliore per due motivi: innanzi tutto riguarda l’intero
passaggio, poi è conforme alla Urlinie che prende avvio dal terzo grado della scala. Questa
lettura ci conduce infine a valutare in modo più corretto il disegno di terza discendente: le
prime quattro note ora possono essere comprese come elaborazione della nota iniziale SI.
7
 88 Getting started on an analysis
FASE 4: ANALISI DEL BACKGROUND
Example 4.1 Haydn, Piano Sonata in G major, Hob. XVI, No. 39, first movement
Questa fase riguarda la decisione finale sull’Ursatz. In questo breve esempio estrarre l’Ursatz è
semplice, ma il principio è comunque lo stesso anche nell’analisi di brani interi.

Riepilogo operazioni

FASE 1:
• individuare le armonie e cifrare correttamente gli accordi
• in presenza di modulazioni, identificare gli accordi in base alla tonalità locale;
nell’ultima fase dell’analisi le modulazioni saranno reinterpretate come tonicizzazioni
(un passaggio in minore nel contesto di DO maggiore, ad esempio, sarà mostrato come
tonicizzazione del III).

8
 FASE 2:
Preparazione della partitura:
• rappresentare ogni nota con una testa nera senza gambo
• rimuovere le stanghette di battuta
• rimuovere consecutivamente note ripetute o frasi quando appropriato.
Elaborazioni del foreground:
• identificare ogni elaborazione diretta delle armonie del foreground con legature ed
etichette appropriate:
- arpeggio (Arp.)
- successioni lineari (3za-lin., 4ta-lin., etc.)
- neighbor notes (N)

• riscrivere melodie composte e particolari figurazioni del basso come accordi
• identificare ogni altro elemento del foreground che non rientra nelle precedenti
categorie, come – ad esempio – note di passaggio cromatiche o ritardi.

FASE 3:
• identificare unità lineari e armoniche su larga scala, avendo ben presente le seguenti
considerazioni:
- Schenker sottolinea come il fluire melodico cresca di importanza mano a mano che
ci si avvicina al livello di superficie. Le linee contrappuntistiche dovrebbero
muoversi prevalentemente per grado congiunto ed essere più semplici e piane
possibili;
- i disegni lineari convincenti hanno un chiaro supporto contrappuntistico e
armonico;
- le decisioni su quali note abbiano più importanza strutturale dovrebbero rendere
conto della loro preminenza melodica e metrica.
Notazione analitica:
• usare gambi e tratti orizzontali per mostrare le elaborazioni su larga scala e
etichettarle correttamente
• marcare le elaborazioni del middleground usando una combinazione di gambi, flags
bandiere e legature
• usare gambi rivolti inferiormente nel basso per indicare le fondamentali delle
principali armonie
• marcare le unità armoniche con legature al di sotto dei numeri romani; le successioni
dal I al V possono essere mostrate con una legatura che raggiunge il V da sopra e da
sotto
• usare le legature per congiungere i principali arpeggi nel basso (I – V, V – I) e quindi
segnalare le elaborazioni di queste note
• usare le legature tratteggiate, dove necessario, per mostrare quando due unità lineari
del foreground sono elaborazioni della stessa nota (o se due note sono a distanza
d’ottava)
• usare tratti orizzontali, gambi e linee diagonali per rappresentare dispiegamento
(unfolding) e scambio delle voci (voice exchange) che coinvolgono movimenti fra
differenti voci
• usare legature o frecce tratteggiate per rappresentare il trasferimento di registro.

9
 A four-stage method 101
A four-st
A four-stage method 101
1111 method 101 A four-stage method 101 A four-stage
method method 101
A four-stage
A four-stage method 101 A four-stage method A
101four-stage 101
Stage 1111 four summary
11112 Stage four summary
1111 2 four summary
1 1111 1111 2 31111 Stage • 3 Identify a convincing Urlinie descent and Bassbrechung:
Stage four summary Stage four summary
StageStage four 2summary
four summary 2 Stage 2 four summary 3 Stage 42 fourFASE 4: summary • Identify a convincing Urlinie descent and Bassbrechung:
• 4 – The
Identify Urlinie must
a convincing descend
Urlinie descent diatonically to 1̂ by step from one of three
and Bassbrechung:
• Identify a convincing
33
Urlinie descent and
3
• • Identify
Identify
Bassbrechung:
4 • 53 Urlinie
• Identificare una convincente Urlinie discendente e la Bassbrechung
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• 44
Identify a convincing Urlinie descent 4 Theand 64 descend diatonically
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5
– The Urlinie must descend diatonically to 1̂ by from one of three
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-55 descend
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1011 degrees
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11 Unica eccezione è l’interruzione (Unterbrechung), che occorre solo dopo
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Explore standard elaborations
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contrapuntally. in the the Urs
mustbebeproperly 6
properly must be
supported
sua nota sia poi appropriatamente supportata dal punto di vista armonico e
must supported properly
harmonically
harmonically must supportedbe
andand supported
harmonically
contrapuntally.
contrapuntally. harmonically
and contrapuntally. and contrapuntally.
must bemust be
55 properly
properly supported supported 5 harmonically
harmonically and5contrapuntally.
5 and contrapuntally.
• 6
Explore level the middleground
possibility level(i.e.standard
of directly elaborations
middleground prolonging
(i.e. theof
directly notes
the of the
Ursatz
prolonging in Urlinie
the and of
first-
notes
• • Explore the
Explore the possibility • 7 of standard
possibility Explore
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elaborations
elaborations the of ofpossibility
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the Ursatz of
of the Ursatz in the first- standard
elaborations
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•
• Explore Explore the66possibility
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elaborations of the 6 Ursatz 6of the thecontrappuntistico.
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the first-
middleground such as initial ascent or interruption. These are detailed
levelmiddleground
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(i.e. middleground
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77(i.e. directly
middleground (i.e. directly
prolonging7 prolonging
the notes
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7notes
the
9 asas of theand
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ascent
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aredetailed or interruption.
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Bassbrechung),
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initial or
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8interruption.
middleground, come l’ascesa iniziale o l’interruzione.
ascent 8such
or interruption. These8 are initial
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in Chapter
in9Chapter 3.9 9 3. 20111 in Chapter 3. Chapter
20111
in Chapter 3. 3.
9
93.
1
in Chapter
in Chapter 3. 1
20111 20111 20111 20111 Notation Notation
11 20111 2 Notazione:
1 1 Notation 2
11 Notation
Notation 1 Notation Notation
• The Urlinie is• marked The with Urlinieupwards is marked stems withand beams stems
upwards and each andnote beams of an
NotationNotation 2 2 2 32
• 2L’Urlinie è rappresentata con gambi rivolti verso l’alto e congiunti da tratti, e ogni nota 3
the descent is labeled according to which degree of the scale it represents
• 4 The withUrlinie is4stems
marked with upwardsthe descentstems is labeled
and according
beamsand andbeams to which
each and noteeach degree
of note noteofof sca
of the
• Urlinie
The isUrlinie with • • upwards
The Urlinieisis3marked
3 Urlinie marked upwards
• • The
è rappresentata dalla cifra araba che indica il grado della scala sovrapposto da un
3is3 marked The stems andand 3beams with andupwardseach note
stems
The Urlinie
Urlinie
of
and
and is isbeams
marked
beams marked and
and withwitheach
each upwardsnote
upwards
note ofofstems
stems and beams each
• The marked with upwards stems
the and beams
descentisis4labeled labeled each
54 according
the note
descent
according of in
5labeled
iswhich relation according to the in home
to relation
which key—these
totowhich
degree the scale
ofhomethe degrees
key—these
scale ofitthe are
represents marked
scale degreeswith are a
the descent
4
is labeled according
4 descent
accento circonflesso (^), in modo che possa essere chiaramente distinto da altri numeri
4 theto which degree of the scale ittotothe
which
represents
the
descent degree
descent
degree is of isofthe
labeled thescale
labeled scale ititrepresents
according
according representsto which degree
degree of the scale itit represents
represents
the descent is labeled 5 according to which degree
relationoftoto thethe 65 home
scale it represents
in relation into6relation
caret
the (^)degrees
home tosoto that
key—these they
caret can
(^) clearly
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degrees are marked
marked with a
in relation to the5to
in relation home
6
the key—these
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6
caret (^) scale
degreesso degrees
are
that 76 marked
theycaret presenti in partitura.
are
can marked
with
(^)
clearly so a 7
be with
thaton
caret the
they
distinguished
(^) score.
can
so thatclearly
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they the
be
other
can score.
distinguished
numbers
clearly be from
distinguished other fromnumbers
other numbers
6
6La Bassbrechung (I – V – I) è rappresentata con gambi rivolti verso il basso e tratti che
caret (^) so that they can clearly caret
be (^)
distinguished so that they
from can
other clearly
numbers be distinguished from other numbers
8on
7from87 other
caret (^)
• so that
canthey can be clearly
7 the be distinguished from other numbers
caret (^) so that they
77
clearly distinguished
onon the score. score. on numbers
the score.•on Thethe
the score.•
Bassbrechung
score.
The
(I–V–I) is marked(I–V–I)
Bassbrechung with downwards is marked stems with downwards and beams ste
on the| on the score. 8 9
congiungono le fondamentali di questi accordi. 9
88 | about | • • The
score. TheBassbrechung 8 • 8(I–V–I) The Bassbrechung
(I–V–I) connecting
(I–V–I) the
is marked connecting
root notes with the
ofbeams root
thesewith
downwards notes
chords. of these
stems andstems chords.
beams
home | glossary Bassbrechung
30111 isismarked
•marked • Thewith
30111
with
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Bassbrechung
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downwards stems
(I–V–I)
(I–V–I)
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ismarked
isand marked
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downwards stems and
and beamsbeams
• The • Bassbrechung
The Bassbrechung 9
(I–V–I) (I–V–I)
is marked 9 downwards
is marked
with with the downwards 9
stems andstems
connecting beams and the beams
root notes • of Interruptions
these chords. are marked with a double slash after the
• L’interruzione (Unterbrechung) è rappresentata da una doppia stanghetta ( || )dopo
9 connecting
connecting the9 root
root notes
notes of of
these
•
these
1
Interruptions
chords.
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connecting
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notes of with
ofthesethesea double
chords.
chords. slash after the 2̂.. .
connecting
connecting the root 30111
the root notes of 30111
these chords. 1
• 30111 •involving
Elaborations involving changes beofthe register can be clarifie
11 •1 notes
30111 of these • chords.
• with
Interruptions30111
Interruptions
are
are aftermarked
Interruptions
marked • ••aInterruptions
with
Le elaborazioni riguardanti cambi di registro sono chiarite da legature e frecce
with
2̂.. aofdouble
are
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Elaborations
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slash after areare
with the a 2̂..
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marked with a double•
1a slash
double
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1 the•2
involving12̂.. Elaborations
the
changes involving
register
and can
dotted changes
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clarified with with arrows arrows
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3 dotted slurs. 43
2clarified clarified
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4 Elaborations
and dotted •involving
slurs. Elaborations changes involving
of voice changes
can be of voice with
clarified can be clarifie
stems,
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and dotted slurs. 3
• Le elaborazioni riguardanti cambi di voce possono essere rappresentate con gambi,
3slurs.
•
and
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• Elaborations
and dotted slurs.
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4 4 Onlineinvolving beamscan andbe bearrows clarified
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changes ofofvoicevoice can can be be clarified
clarified with with stems,
• Elaborations • Elaborations
4 54be clarified
changes • with of
tratti e frecce come appropriato.
Exercises Elaborations
voice
stems,can involving
clarified with stems, stems,
• Elaborations 4 involving
involving changes changes
of voice ofcan
beams
5
voice
andbe can
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arrows as appropriate.
5 6
beams beams
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arrows as appropriate. beams
7
and arrows as appropriate.
6as appropriate. 6
Exercise FG1
6 6 76
7
Follow the instructions below in order7to complete the questions. 87
------------------------------
When you have 8 finished, click the submit
button at the 7bottom
8 of the page. A 8
new page will 7
ESERCIZIO di analisi del foreground
open telling you how you did 9and explaining dominant
the correct chord either. The first beat has the fifth of the c
89 8 98 dominant chord either. The first beat has the fifth of the chord in the bas
answers.
Haydn, Trio dall’Hob. XVI:3 n. 1 9
dominant chord either. dominant chord beateither. 40111 The against
first beat the has tonic, the but
fifth taken
ofthe the together
chord with
in the thebass second bea
9 9 The first
40111 dominant
against hasthe the
chord fifth
tonic, of
either.
but the The
taken chord first inbeat
together the bass
has
with the fifth of the
second chord
beat theinharmony the bass i
dominant chord either. 40111 The dominant
first
against chord
40111
beatthehas tonic, either.
the 9against
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but The first
of thetogether
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chord has1
but
in
with thethe
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the fifth
either.
basssecond of
clearly
together theThe a chord
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the inbeat the
the second
harmony bass
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seventh. the
is thebeat fifth
Thinking of
the theaheadchord
harmony to in
theis the
nextbass sta
dominant chord either. The
40111 first beat has the fifth of the 140111
chord in against
the
clearly bass athe tonic,
dominant but taken
seventh. together
Thinking with
ahead to second
the next beatstage the ofharmony
the is
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11 against the
1 tonic, but
40111
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against
dominant with
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tonic, secondbut
is
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the chord of V.

Analyse the foreground harmonies and elaborations of this Haydn trio (Hob. IX/3 No. 1) in order to answer the
1) Qual è la tonalità di questo passaggio?______________________________________________
following questions. Remember not to over analyse - there is no need to mark the two Ds in the first full bar as
an arpeggiation, for example, as both are part of other more substantial elaborations.
2) Identificare le prime due elaborazioni (mano destra):
Question One
What is the key of this passage? la prima elaborazione è
Question Two
Arpeggio
is a3za – lin. , the second is a
What are the first two elaborations in the right hand? The first
4ta – lin.
Question Three 5ta – lin.
What are the three elaborations in the right hand of the third full bar? The first is a , the
second is a , the third is a
6ta – lin.
Neighbor note
Question Four

Of which type of elaboration is the D in the left hand of the second full bar a part?

Check your answers then click on submit.

10
Submit

Print this page

 la seconda elaborazione è
Arpeggio
3za – lin.
4ta – lin.
5ta – lin.
6ta – lin.
Neighbor note

3) Identificare le tre elaborazioni (mano destra) della terza battuta:
la prima elaborazione è
Arpeggio
3za – lin.
4ta – lin.
5ta – lin.
6ta – lin.
Neighbor note

la seconda elaborazione è
Arpeggio
3za – lin.
4ta – lin.
5ta – lin.
6ta – lin.
Neighbor note

la terza elaborazione è
Arpeggio
3za – lin.
4ta – lin.
5ta – lin.
6ta – lin.
Neighbor note

4) Quale tipo di elaborazione rappresenta il RE (mano sinistra) della seconda battuta?
Arpeggio
3za – lin.
4ta – lin.
5ta – lin.
6ta – lin.
Neighbor note

Annotare il foreground (come indicato nella fase 2)

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Online Exercises
Exercise MG1

ESERCIZIO di analisi del Middleground

Follow the instructions below in order to complete the questions. When you have finished, click the submit button at the bottom of the page. A
new page will open telling you how you did and explaining the correct answers.
Mozart, estratto dalla Sonata K. 331

Analyse the opening of this famous Mozart rondo in order to answer the following questions.

1) Qual è la tonalità di questo passaggio? ______________________________________________

Question One
What is the key of this passage?
2) Qual è l’armonia presente in tutto il passaggio?
Question Two
a.the harmony
What is i throughout the passage?

b. Three
Question iv
c. V
What is the principal foreground elaboration?

d. VI
Question Four
What is the principal middleground elaboration?
3) Qual è la principale elaborazione del foreground?
Question Five
Arpeggio
What is the minumum number of notes with which you could represent all voices of the left hand for the entire passage?

Check your answers then click on submit. 3za – lin.

Submit 4ta – lin.
5ta – lin. Print this page

6ta – lin.
Neighbor note
[back / top]
© Copyright Thomas Pankhurst

4) Qual è la principale elaborazione del middleground?

Arpeggio
Successione lineare
Neighbor note
Dispiegamento

Realizzare il livello medio con notazione analitica:

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 SECONDA PARTE
Armonia funzionale I
Introduzione
Klemens Kühn, Analyse lernen – 1993 - (Lo studio dell’analisi musicale)
Pagine 235-240

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 DIETHER DE LA MOTTE, Harmonielehre (1976)
Manuale di armonia
-------------
Pilastri della teoria funzionale sono le tre funzioni di tonica, dominante e sottodominante.

Archetipo dell’armonia tonale: I – IV – V – I

Funzioni armoniche principali: sono legate da un rapporto basato sull’intervallo di quinta
giusta (affinità di quinta); un suono in comune

MODO MAGGIORE:
tre funzioni armoniche principali (T, D, S)

MODO MINORE:
tre funzioni armoniche principali (t, d, s)

Funzioni armoniche secondarie: gli accordi sui restanti gradi della scala vengono
considerati rappresentanti delle funzioni armoniche principali (affinità di terza); due suoni in
comune
Accordi paralleli: le fondamentali distano una terza minore dalle fondamentali delle
rispettive funzioni armoniche principali
Contraccordi (Gegenklang): le fondamentali distano una terza maggiore dalle fondamentali
delle rispettive funzioni armoniche principali

MODO MAGGIORE:
accordi paralleli Contraccordi
ii Sp iii Tg
iii Dp
vi Tp vi Sg


MODO MINORE
accordi paralleli Contraccordi
III tP III dG
VI sP
VII dP VI tG



Sguardo riassuntivo:
modo I ii iii IV V vi vii°
maggiore
T Sp Dp S D Tp
Tg Sg


modo i ii° III iv v VI VII
minore
(naturale) t tP s d sP dP
dG tG

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Per gli accordi che possono ricoprire due funzioni armoniche secondarie è solo l’esame del
contesto che può chiarire se si tratti di un accordo parallelo o un contraccordo.

Il problema della triade diminuita di sensibile nel modo maggiore è risolto dalla teoria
funzionale con la sua assunzione all’interno della funzione di dominante.
Più complesso il caso dell’accordo sul secondo grado della scala minore.



Triadi

Cifratura:
° stato fondamentale: lettere indicative delle funzioni. Esempio: T
° primo rivolto: lettere indicative delle funzioni seguite dalla cifra deponente che indica il
componente dell’accordo posto al basso. Esempio: T3
° secondo rivolto: cifre arabe abbinate alla funzione armonica che viene elaborata (vedi più
avanti la classificazione degli accordi di quarta e sesta). Esempio di cifratura di un accordo di
quarta e sesta di volta: T53 64 53.

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 De La Motte, Manuale di armonia
Dal Capitolo II: le triadi principali del modo maggiore

ESERCITAZIONI – stato fondamentale

1- Realizzare in forma scritta o alla tastiera le seguenti successioni armoniche in RE maggiore:

T8 S T D T
T3 S T D T
T5 S T D T

2- Realizzare le successioni funzionali date, secondo lo schema ritmico proposto, in SOL
maggiore.

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ESERCITAZIONE – stato fondamentale e primo rivolto


Realizzare la seguente successione di funzioni armoniche in SIb maggiore:

T D3 | T | T3 S | D | D3 T | S3 D | T3 D | T | S T3 | S I T ||

----------------------------

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 Accordi di quarta e sesta
Gli accordi quarta e sesta possono avere quattro genesi diverse:
1- quarta e sesta come doppia nota di volta (si dà come dissonanza sul tempo debole)

2- quarta e sesta come doppio ritardo: sul tempo forte la terza e la quinta di una triade
vengono ritardate dalla sesta e dalla quarta

3- quarta e sesta come rivolto di scambio (fra stati diversi dell’accordo): figurazione di
arpeggio al basso

4- quarta e sesta di passaggio: è originata da un movimento per grado congiunto del
basso.

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ESERCITAZIONE: realizzare l’armonizzazione del canto dato e del basso dato.

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