We use cookies to enhance your experience on our website. By continuing to use our website, you are agreeing to our use of cookies. You can change your cookie settings at any time. Find out more
masthead
 

Figure 7.6.6

Figure 7.6.6. The opening of the slow movement of Beethoven’s Piano Sonata in C minor, Op. 10, No. 1, along with two ways of parsing its structure.  In the traditional tonal analysis (top) five harmonic cycles are concatenated like beads on a string.  In the Schenkerian reading (bottom) harmonies are nested recursively.  (For example, the progression IV-IV6-V#-I, which belongs to the fourth harmonic cycle, is taken to represent a single IV chord on level 2.)  Schenkerians believe that these sorts of recursive structures, which cut across the articulation into harmonic cycles, can be reliably inferred from a piece’s contrapuntal structure.  Ultimately, this recursive embedding proceeds until entire pieces are reduced to one of just a few basic templates, each resembling a I-V-I progression.



Legal Notice | Privacy Policy | Cookie Policy
Please send comments or suggestions about this Website to custserv.us@oup.com