06 Techniques Melodic Prolongation

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Techniques of Melodic

Prolongation

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Auskomponierung

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Auskomponierung

✦ Composing-Out

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Auskomponierung

✦ Composing-Out

✦ Expansion of the fundamental structure

✦ Common ways in which they may be expanded, varied,

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Topics in this Presentation

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Topics in this Presentation

✦ Initial Ascent (Anstieg) ✦ Unfolding (Ausfaltung)

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Topics in this Presentation

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Topics in this Presentation

✦ Motion into an Inner Voice ✦ Motion from an Inner Voice

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Topics in this Presentation

✦ Motion into an Inner Voice ✦ Motion from an Inner Voice ✦ Voice Exchange

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Topics in this Presentation

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Topics in this Presentation

✦ Register Shifts

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Topics in this Presentation

✦ Register Shifts

✦ Register Transfer ✦ Coupling

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Topics in this Presentation

✦ Register Shifts

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Topics in this Presentation

✦ Register Shifts

✦ Superposition

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Topics in this Presentation

✦ Register Shifts

✦ Superposition

✦ Reaching Over (Uebergreifen) ✦ Cover Tone (Deckton)

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Topics in this Presentation

✦ Register Shifts

✦ Superposition

✦ Reaching Over (Uebergreifen) ✦ Cover Tone (Deckton)

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Initial Ascent

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Initial Ascent

✦ German: Anstieg

✦ A rising linear progression that leads to the first or primary

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Initial Ascent

tone of the fundamental progression

✦ Rises through the tones of the tonic triad from the root to the

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Initial Ascent

tone of the fundamental progression

✦ Rises through the tones of the tonic triad from the root to the

3rd or 5th.

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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

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✦ A passing motion in both soprano and bass, immediately

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✦ To find the beginning of the ascent, examine the motion in

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the bass in the first three measures:

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the bass in the first three measures:

✦ Starts on I

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✦ An examination of the melodic line reveals that ^1 is

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✦ Thus the tone on the initial downbeat — ^1 — instigates the

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✦ Tones of the initial ascent are given longer stems ✦ The neighbor tones prolonging the initial ^1 are

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✦ Tones of the initial ascent are given longer stems ✦ The neighbor tones prolonging the initial ^1 are

indicated with flags

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✦ A consonant skip in the bass from I to I6 is indicated

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with a slur

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with a slur

✦ The passing tone filling the CS is also indicated

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✦ Prolongation of the first tone of the initial ascent is

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✦ 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

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✦ 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.

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✦ Note the three bbs in the first phrase: ✦ Dissonant neighbor in bar 1

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✦ Consonant neighbor in bar 2 (thus putting it a bit higher

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✦ Consonant neighbor in bar 2 (thus putting it a bit higher

structurally)

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✦ Note the brackets showing the many desending thirds

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✦ Note the brackets showing the many desending thirds

relationships

✦ Note the structural differences between 'c' in bar 6 and 'bb' in

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✦ A second foreground analysis (removing most of the inner

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✦ A middleground analysis removes everything except:

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✦ First urlinie tone

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

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✦ Initial ascent

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✦ Initial ascent

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

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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 makes

sense that it is supported by the bassbrechung.

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Arpeggiated Ascent

✦ The anstieg need not be necessarily linear; it can also be an

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Arpeggiated Ascent

arpeggiation.

✦ 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

arpeggiation.

✦ 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.

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Mozart: Piano Sonata K. 309

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Mozart: Piano Sonata K. 309

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

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Mozart: Piano Sonata K. 309

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Mozart: Piano Sonata K. 309

✦ The previous two measures arpeggiate the tonic triad on the

way to the 'G' in measure 3.

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Mozart: Piano Sonata K. 309

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Mozart: Piano Sonata K. 309

✦ Note the opening grace notes in the score, which are then

mirrored by the arpeggiated ascent.

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Mozart: Piano Sonata K. 309

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Mozart: Piano Sonata K. 309

✦ Oswald Jonas: "How marvelous the arpeggiation in the right

hand's grace-note figure, which finds its continuation as though in a great arc!"

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Mozart: Piano Sonata K. 309

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Mozart: Piano Sonata K. 309

✦ The 5-prg. is not composed of the tones you might

instinctively expect. ! ! ! ! " (f) # ##$ $ #! ###% p # # % # #&# # % # _#&# # % ## #'####### #'## # # ## # ## # $ ( $ $ $ $ #! ###%" _{#### #'### ######## ######## ))} ( % ### ### ### $ $ " # # # 3rd #& ## 10 # $ 5^ # # 10 # # # # 10 # 5-prg. 10 # # #' "# # 3rd # # #3rd# # ## # # ( T I $ # # ## I63 # _'*_# 43 # _#* _# 6 # intii63 # * * ### D ### V64 53 ### T I # $

(88)

Mozart: Piano Sonata K. 309

instinctively expect.

✦ The first ^5 is prolonged

(89)

Mozart: Piano Sonata K. 309

instinctively expect.

✦ The first ^5 is prolonged ✦ As is the ^4 ! ! ! ! " (f) # ##$ $ #! ###% p # # % # #&# # % # _#&# # % ## #'####### #'## # # ## # ## # $ ( $ $ $ $ #! ###%" _{#### #'### ######## ######## ))} ( % ### ### ### $ $ " # # # 3rd #& ## 10 # $ 5^ # # 10 # # # # 10 # 5-prg. 10 # # #' "# # 3rd # # #3rd# # ## # # ( T I $ # # ## I63 # _'*_# 43 # _#* _# 6 # intii63 # * * ### D ### V64 53 ### T I # $

(90)

Mozart: Piano Sonata K. 309

(91)

Mozart: Piano Sonata K. 309

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

(92)

Mozart: Piano Sonata K. 309

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

✦ That's reduplicated in other inner-voice motions

(93)

(94)

Initial Ascent

✦ It's possible for both the scalar and arpeggiated aspects of the

(95)

Initial Ascent

✦ It's possible for both the scalar and arpeggiated aspects of the

initial 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.

(96)

Mozart: Piano Concerto, K. 453 III

! ! "# p $%$% $ $$ $ $$$$$ $ $&$ %

$$$$ $$$$$% $&$_$$$$% $% $& $$ $$$$$$$$ $$$$ '_$$$$_$$$$( $$ $ $_$$$$$ $_{$$ $# $} $&$_{$$ $#$}% $% $&$% $% $$$$ $&$% $% _# $ $$$ $$$$ '$$$$ $$$$$( )# ( p'' * '' '' ' ' '' _$ $ _{$ (} ''!! $_$ $$ $$ $$ $$ '' '_' $ $ $

(97)

Mozart: Piano Concerto, K. 453 III

✦ The first primary tone of the urlinie is 'B' in measure 4 ! ! "# p $%$% $ $$ $ $$$$$ $ $&$ %

$$$$ $$$$$% $&$_$$$$% $% $& $$ $$$$$$$$ $$$$ '_$$$$_$$$$( $$ $ $_$$$$$ $_{$$ $# $} $&$_{$$ $#$}% $% $&$% $% $$$$ $&$% $% _# $ $$$ $$$$ '$$$$ $$$$$( )# ( p'' * '' '' ' ' '' _$ $ _{$ (} ''!! $_$ $$ $$ $$ $$ '' '_' $ $ $

(98)

Mozart: Piano Concerto, K. 453 III

✦ The first primary tone of the urlinie is 'B' in measure 4 ✦ This example includes two primary tones, ^3 and ^2 ! ! "# p $%$% $ $$ $ $$$$$ $ $&$ %

$$$$ $$$$$% $&$_$$$$% $% $& $$ $$$$$$$$ $$$$ '_$$$$_$$$$( $$ $ $_$$$$$ $_{$$ $# $} $&$_{$$ $#$}% $% $&$% $% $$$$ $&$% $% _# $ $$$ $$$$ '$$$$ $$$$$( )# ( p'' * '' '' ' ' '' _$ $ _{$ (} ''!! $_$ $$ $$ $$ $$ '' '_' $ $ $

(99)

Mozart: Piano Concerto, K. 453 III

✦ 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. ! ! "# p $%$% $ $$ $ $$$$$ $ $&$ %

$$$$ $$$$$% $&$_$$$$% $% $& $$ $$$$$$$$ $$$$ '_$$$$_$$$$( $$ $ $_$$$$$ $_{$$ $# $} $&$_{$$ $#$}% $% $&$% $% $$$$ $&$% $% _# $ $$$ $$$$ '$$$$ $$$$$( )# ( p'' * '' '' ' ' '' _$ $ _{$ (} ''!! $_$ $$ $$ $$ $$ '' '_' $ $ $

(100)

! ! ! ! "# p $%$% $ $$ $ $$$$$ $ $&$ %

$$$$ $$$$$% $&$_$$$$% $% $& $$ $$$$$$$$ $$$$ '_$$$$_$$$$( $$ $ $_$$$$$ $_{$$ $# $} $&$_{$$ $#$}% $% $&$% $%

$$$$ $&$% $% _# $ $$$ $$$$ '$$$$ $$$$$( )# ( p'' * '' '' ' ' '' _$ $ _{$ (} ''!! $_$ $$ $$ $$ $$ '' '_' $ $ $ "# $$ (5) $$$ ^ $$ $$$ (1) $$$ ^ $$$ $$ ^3 $ $$$$ ' 2^ $$ $$ ' $$# $+ $ $ $$# $ 5-prg. $$ _$$ _{$$ #$$$$$ $$} )# ' I I $ $ ii63 V $ , $ I $ $ I ' V $ $ $ $ $ ii63 V $ , $ I $ D:

(101)

✦ The tones of the initial ascent are marked with longer stems. ! ! ! ! "# p $%$% $ $$ $ $$$$$ $ $&$ %

$$$$ $$$$$% $&$_$$$$% $% $& $$ $$$$$$$$ $$$$ '_$$$$_$$$$( $$ $ $_$$$$$ $_{$$ $# $} $&$_{$$ $#$}% $% $&$% $%

(102)

✦ 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.

! ! ! ! "# p $%$% $ $$ $ $$$$$ $ $&$ %

$$$$ $$$$$% $&$_$$$$% $% $& $$ $$$$$$$$ $$$$ '_$$$$_$$$$( $$ $ $_$$$$$ $_{$$ $# $} $&$_{$$ $#$}% $% $&$% $%

(103)

! ! ! ! "# p $%$% $ $$ $ $$$$$ $ $&$ %

$$$$ $$$$$% $&$_$$$$% $% $& $$ $$$$$$$$ $$$$ '_$$$$_$$$$( $$ $ $_$$$$$ $_{$$ $# $} $&$_{$$ $#$}% $% $&$% $%

(104)

✦ The descending 5-prg. can be found in double-period constructions. ! ! ! ! "# p $%$% $ $$ $ $$$$$ $ $&$ %

$$$$ $$$$$% $&$_$$$$% $% $& $$ $$$$$$$$ $$$$ '_$$$$_$$$$( $$ $ $_$$$$$ $_{$$ $# $} $&$_{$$ $#$}% $% $&$% $%

(105)

✦ The descending 5-prg. can be found in double-period

constructions.

✦ The first tone of the 5-prg. is a fundamental ^2

! ! ! ! "# p $%$% $ $$ $ $$$$$ $ $&$ %

$$$$ $$$$$% $&$_$$$$% $% $& $$ $$$$$$$$ $$$$ '_$$$$_$$$$( $$ $ $_$$$$$ $_{$$ $# $} $&$_{$$ $#$}% $% $&$% $%

(106)

✦ The descending 5-prg. can be found in double-period

constructions.

✦ The first tone of the 5-prg. is a fundamental ^2 ✦ The descent establishes V as a momentary tonic.

! ! ! ! "# p $%$% $ $$ $ $$$$$ $ $&$ %

$$$$ $$$$$% $&$_$$$$% $% $& $$ $$$$$$$$ $$$$ '_$$$$_$$$$( $$ $ $_$$$$$ $_{$$ $# $} $&$_{$$ $#$}% $% $&$% $%

(107)

! ! ! ! ! ! "# p $%$% $ $$ $ $$$$$ $ $&$ %

$$$$ $$$$$% $&$_$$$$% $% $&$ $$$$$$$$ $ $$$$ '_$$$$(_$$$$$$ $ $_$$$$$ $_{$$ $# $} $&_{$$ $#$}$% $% $&$_$%_$$$$% $&$_$%_{$$$ $$$$ '}$% #_{$$$$ $$$$$}( )# ( p'' * '' '' ' ' '' _$ $ _{$ (} ''!! $_$ $$ $$ $$ $$ '' '_' _$ $ _$ "# $$ (5) $$$ ^ $$ $$$ (1) $$$ ^ $$$ $$ ^3 $ $$$$ ' 2^ $$ $$ ' $$# $+ $ $ $$# $ 5-prg. $$ _$$ _{$$ #$$$$$ $$} )# ' I I $ $ ii63 V $ , $ I $ $ I ' V $ $ $ $ $ ii63 V $ , $ I $ "# $$ $ $ $ ^3 ' 2^ ' _$ 5-prg. $ _$ _$ )# TI ' _$ , $ $ D ' V $ , $ $

(108)

✦ Middleground analysis shows us the initial ascent and the

descending 5-prg. more clearly.

! ! ! ! ! ! "# p $%$% $ $$ $ $$$$$ $ $&$ %

(109)

✦ Middleground analysis shows us the initial ascent and the

descending 5-prg. more clearly.

✦ The diagonal lines connect the fundamental bass tones with

the tones of the urlinie.

! ! ! ! ! ! "# p $%$% $ $$ $ $$$$$ $ $&$ %

(110)

(111)

Unfolding

(112)

Unfolding

✦ German: ausfaltung

✦ Two or more voices may be related through stepwise

(113)

Unfolding

motions, leaps, or both in combination.

✦ Generally speaking an unfolding takes a pair of intervals and

linearizes them—i.e., treats the notes as a polyphonic structure. That linearization should be understood as occurring at a higher level of structure.

(114)

Unfolding

motions, leaps, or both in combination.

✦ Generally speaking an unfolding takes a pair of intervals and

linearizes them—i.e., treats the notes as a polyphonic structure. That linearization should be understood as occurring at a higher level of structure.

✦ Arpeggiation differs from unfolding in that it does not imply

(115)

Schubert: Impromptu, Op. 142

! ! ! ! "## $% $% $% $ $ $% $% $% '$& $ $ $ $ $($ $ $)$ * $ $ $ $ ' $ $ $ +## $%, $ $$ $ $%- $ $$ $ $%, $ $$ $ _$%, $ $$ $ $%, $ $$ $ _$%, $ $$$ $ _$%), $ $$$) $ _$%, $!$$ $ "## 3^ ' _$ _$ - " 3^ $, _'$# _" 2^ '$# $ _"$$# +## I ' $$ _$ $$ $ $ $$$ ii65 $ $ $ - )$ $ $ I ' $$

(116)

Schubert: Impromptu, Op. 142

✦ In bar 1, the D-Bb motion forms a third.

! ! ! ! "## $% $% $% $ $ $% $% $% '$& $ $ $ $ $($ $ $)$ * $ $ $ $ ' $ $ $ +## $%, $ $$ $ $%- $ $$ $ $%, $ $$ $ _$%, $ $$ $ $%, $ $$ $ _$%, $ $$$ $ _$%), $ $$$) $ _$%, $!$$ $ "## 3^ ' _$ _$ - " 3^ $, _'$# _" 2^ '$# $ _"$$# +## I ' $$ _$ $$ $ $ $$$ ii65 $ $ $ - )$ $ $ I ' $$

(117)

Schubert: Impromptu, Op. 142

✦ In bar 2, the A-Eb motion forms a diminished fifth.

! ! ! ! "## $% $% $% $ $ $% $% $% '$& $ $ $ $ $($ $ $)$ * $ $ $ $ ' $ $ $ +## $%, $ $$ $ $%- $ $$ $ $%, $ $$ $ _$%, $ $$ $ $%, $ $$ $ _$%, $ $$$ $ _$%), $ $$$) $ _$%, $!$$ $ "## 3^ ' _$ _$ - " 3^ $, _'$# _" 2^ '$# $ _"$$# +## I ' $$ _$ $$ $ $ $$$ ii65 $ $ $ - )$ $ $ I ' $$

(118)

Schubert: Impromptu, Op. 142

✦ In bar 2, the A-Eb motion forms a diminished fifth.

✦ The resolution of the diminished fifth occurs in the next bar

(although the lower note must be left implied.)

! ! ! ! "## $% $% $% $ $ $% $% $% '$& $ $ $ $ $($ $ $)$ * $ $ $ $ ' $ $ $ +## $%, $ $$ $ $%- $ $$ $ $%, $ $$ $ _$%, $ $$ $ $%, $ $$ $ _$%, $ $$$ $ _$%), $ $$$) $ _$%, $!$$ $ "## 3^ ' _$ _$ - " 3^ $, _'$# _" 2^ '$# $ _"$$# +## I ' $$ _$ $$ $ $ $$$ ii65 $ $ $ - )$ $ $ I ' $$

(119)

Schubert: Impromptu, Op. 142

! ! ! ! "## $% $% $% $ $ $% $% $% '$& $ $ $ $ $($ $ $)$ * $ $ $ $ ' $ $ $ +## $%, $ $$ $ $%- $ $$ $ $%, $ $$ $ _$%, $ $$ $ $%, $ $$ $ _$%, $ $$$ $ _$%), $ $$$) $ _$%, $!$$ $ "## 3^ ' _$ _$ - " 3^ $, _'$# _" 2^ '$# $ _"$$# +## I ' $$ _$ $$ $ $ $$$ ii65 $ $ $ - )$ $ $ I ' $$

(120)

Schubert: Impromptu, Op. 142

✦ In bar 3, D in the soprano becomes dissonant to the bass on the

second beat. ! ! ! ! "## $% $% $% $ $ $% $% $% '$& $ $ $ $ $($ $ $)$ * $ $ $ $ ' $ $ $ +## $%, $ $$ $ $%- $ $$ $ $%, $ $$ $ _$%, $ $$ $ $%, $ $$ $ _$%, $ $$$ $ _$%), $ $$$) $ _$%, $!$$ $ "## 3^ ' _$ _$ - " 3^ $, _'$# _" 2^ '$# $ _"$$# +## I ' $$ _$ $$ $ $ $$$ ii65 $ $ $ - )$ $ $ I ' $$

(121)

Schubert: Impromptu, Op. 142

second beat.

✦ Although the melodic motion in the (notated) soprano is D-G,

! ! ! ! "## $% $% $% $ $ $% $% $% '$& $ $ $ $ $($ $ $)$ * $ $ $ $ ' $ $ $ +## $%, $ $$ $ $%- $ $$ $ $%, $ $$ $ _$%, $ $$ $ $%, $ $$ $ _$%, $ $$$ $ _$%), $ $$$) $ _$%, $!$$ $ "## 3^ ' _$ _$ - " 3^ $, _'$# _" 2^ '$# $ _"$$# +## I ' $$ _$ $$ $ $ $$$ ii65 $ $ $ - )$ $ $ I ' $$

(122)

Schubert: Impromptu, Op. 142

second beat.

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

! ! ! ! "## $% $% $% $ $ $% $% $% '$& $ $ $ $ $($ $ $)$ * $ $ $ $ ' $ $ $ +## $%, $ $$ $ $%- $ $$ $ $%, $ $$ $ _$%, $ $$ $ $%, $ $$ $ _$%, $ $$$ $ _$%), $ $$$) $ _$%, $!$$ $ "## 3^ ' _$ _$ - " 3^ $, _'$# _" 2^ '$# $ _"$$# +## I ' $$ _$ $$ $ $ $$$ ii65 $ $ $ - )$ $ $ I ' $$

(123)

Schubert: Impromptu, Op. 142

second 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.

! ! ! ! "## $% $% $% $ $ $% $% $% '$& $ $ $ $ $($ $ $)$ * $ $ $ $ ' $ $ $ +## $%, $ $$ $ $%- $ $$ $ $%, $ $$ $ _$%, $ $$ $ $%, $ $$ $ _$%, $ $$$ $ _$%), $ $$$) $ _$%, $!$$ $ "## 3^ ' _$ _$ - " 3^ $, _'$# _" 2^ '$# $ _"$$# +## I ' $$ _$ $$ $ $ $$$ ii65 $ $ $ - )$ $ $ I ' $$

(124)

! ! ! ! ! ! "## $% $% $% $ $ $% $% $% '$& $ $ $ $ $($ $ $)$ * $ $ $ $ ' $ $ $ +## $%, $ $$ $ $%- $ $$ $ $%, $ $$ $ _$%, $ $$ $ $%, $ $$ $ _$%, $ $$$ $ _$%), $ $$$) $ _$%, $!$$ $ "## 3^ ' _$ _$ - " 3^ $, _'$# _" 2^ '$# $ _"$$# +## I ' $$ _$ $$ $ $ $$$ ii65 $ $ $ - )$ $ $ I ' $$ "## 3^ ' _$ _" 3^ $, _' $- $# 2^ '$ " 2^ $$$# +## TI $' _$$ $$ int ii65 $ $ - )$ D V '

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 the unfolding motion quite adequately.

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

(125)

! ! ! ! ! ! "## $% $% $% $ $ $% $% $% '$& $ $ $ $ $($ $ $)$ * $ $ $ $ ' $ $ $ +## $%, $ $$ $ $%- $ $$ $ $%, $ $$ $ _$%, $ $$ $ $%, $ $$ $ _$%, $ $$$ $ _$%), $ $$$) $ _$%, $!$$ $ "## 3^ ' _$ _$ - " 3^ $, _'$# _" 2^ '$# $ _"$$# +## I ' $$ _$ $$ $ $ $$$ ii65 $ $ $ - )$ $ $ I ' $$ "## 3^ ' _$ _" 3^ $, _' $- $# 2^ '$ " 2^ $$$# +## TI $' _$$ $$ int ii65 $ $ - )$ D V '

(126)

Unfolding Patterns

!"" # ## # becomes # # # # or # # # # !"" # ## # becomes or # # # # # # # # $"" "# # ## # # becomes # #" # # ##

(127)

Unfolding Patterns

✦ These are some patterns that can be associated with

unfoldings. !"" # ## # becomes # # # # or # # # # !"" # ## # becomes or # # # # # # # # $"" "# # ## # # becomes # #" # # ##

(128)

(129)

Motion into an Inner Voice

✦ Frequently a melody will move from an established top-voice

(130)

Motion into an Inner Voice

tone into an inner voice through a linear progression

(131)

Motion into an Inner Voice

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

✦ It's an extremely frequent compositional technique used to

(132)

Motion into an Inner Voice

expand 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.

(133)

Motion into an Inner Voice

expand a top voice

(134)

Motion into an Inner Voice

expand a top voice

✦ It can occur on various levels of structure

✦ It can serve to create an independent section within a larger

(135)

Schubert: Impromptu Op. 90 No. 3

!"""""" pp# $ %%%%%%%%%%%#& ' %%%%%#& '

%%%%% #$_{%%%%%%%%%%%#$%%%%%%%%%%% #}$%%%%%%%%%%%#%_{%%#%%%#%%%#%%% #}&_%%%%%#&( %%%%#% &!%%%%%

6 6

)"""""" $$ && && _$$ _$$ _$$ _&&!_! %% && && _$$ !"""""" &%% 3^ %%% % %%%% _{% % % %%% %%%} 3^ (&%%% ^2 &%% )"""""" I %& _% ii63 % V7 % %% 42 I63 %% I %& V & %

(136)

Schubert: Impromptu Op. 90 No. 3

✦ The primary structural melody is ^3-^2

!"""""" pp# $ %%%%%%%%%%%#& ' %%%%%#& '

%%%%% #$_{%%%%%%%%%%%#$%%%%%%%%%%% #}$%%%%%%%%%%%#%_{%%#%%%#%%%#%%% #}&_%%%%%#&( %%%%#% &!%%%%%

6 6

)"""""" $$ && && _$$ _$$ _$$ _&&!_! %% && && _$$ !"""""" &%% 3^ %%% % %%%% _{% % % %%% %%%} 3^ (&%%% ^2 &%% )"""""" I %& _% ii63 % V7 % %% 42 I63 %% I %& V & %

(137)

Schubert: Impromptu Op. 90 No. 3

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

!"""""" pp# $ %%%%%%%%%%%#& ' %%%%%#& '

%%%%% #$_{%%%%%%%%%%%#$%%%%%%%%%%% #}$%%%%%%%%%%%#%_{%%#%%%#%%%#%%% #}&_%%%%%#&( %%%%#% &!%%%%%

6 6

)"""""" $$ && && _$$ _$$ _$$ _&&!_! %% && && _$$ !"""""" &%% 3^ %%% % %%%% _{% % % %%% %%%} 3^ (&%%% ^2 &%% )"""""" I %& _% ii63 % V7 % %% 42 I63 %% I %& V & %

(138)

Schubert: Impromptu Op. 90 No. 3

!"""""" pp# $ %%%%%%%%%%%#& ' %%%%%#& '

%%%%% #$_{%%%%%%%%%%%#$%%%%%%%%%%% #}$%%%%%%%%%%%#%_{%%#%%%#%%%#%%% #}&_%%%%%#&( %%%%#% &!%%%%%

6 6

)"""""" $$ && && _$$ _$$ _$$ _&&!_! %% && && _$$ !"""""" &%% 3^ %%% % %%%% _{% % % %%% %%%} 3^ (&%%% ^2 &%% )"""""" I %& _% ii63 % V7 % %% 42 I63 %% I %& V & %

(139)

Schubert: Impromptu Op. 90 No. 3

✦ An inner-voice melody of ^3-^2-^1 can be heard at

rhythmically important locations (downbeats of measures 1, 3, and 4) !"""""" pp# $ %%%%%%%%%%%#& ' %%%%%#& '

%%%%% #$_{%%%%%%%%%%%#$%%%%%%%%%%% #}$%%%%%%%%%%%#%_{%%#%%%#%%%#%%% #}&_%%%%%#&( %%%%#% &!%%%%%

6 6

)"""""" $$ && && _$$ _$$ _$$ _&&!_! %% && && _$$ !"""""" &%% 3^ %%% % %%%% _{% % % %%% %%%} 3^ (&%%% ^2 &%% )"""""" I %& _% ii63 % V7 % %% 42 I63 %% I %& V & %

(140)

Schubert: Impromptu Op. 90 No. 3

✦ An inner-voice melody of ^3-^2-^1 can be heard at

rhythmically important locations (downbeats of measures 1, 3, and 4) ✦ Supported by I-ii63-V7-I !"""""" pp# $ %%%%%%%%%%%#& ' %%%%%#& '

%%%%% #$_{%%%%%%%%%%%#$%%%%%%%%%%% #}$%%%%%%%%%%%#%_{%%#%%%#%%%#%%% #}&_%%%%%#&( %%%%#% &!%%%%%

6 6

)"""""" $$ && && _$$ _$$ _$$ _&&!_! %% && && _$$ !"""""" &%% 3^ %%% % %%%% _{% % % %%% %%%} 3^ (&%%% ^2 &%% )"""""" I %& _% ii63 % V7 % %% 42 I63 %% I %& V & %

(141)

Schubert: Impromptu Op. 90 No. 3

!"""""" pp# $ %%%%%%%%%%%#& ' %%%%%#& '

%%%%% #$_{%%%%%%%%%%%#$%%%%%%%%%%% #}$%%%%%%%%%%%#%_{%%#%%%#%%%#%%% #}&_%%%%%#&( %%%%#% &!%%%%%

6 6

)"""""" $$ && && _$$ _$$ _$$ _&&!_! %% && && _$$ !"""""" &%% 3^ %%% % %%%% _{% % % %%% %%%} 3^ (&%%% ^2 &%% )"""""" I %& _% ii63 % V7 % %% 42 I63 %% I %& V & %

(142)

Schubert: Impromptu Op. 90 No. 3

✦ ^2 of that inner-voice melody gives rise to a descending

5-prg. from ^2 to ^5 !"""""" pp# $ %%%%%%%%%%%#& ' %%%%%#& '

%%%%% #$_{%%%%%%%%%%%#$%%%%%%%%%%% #}$%%%%%%%%%%%#%_{%%#%%%#%%%#%%% #}&_%%%%%#&( %%%%#% &!%%%%%

6 6

)"""""" $$ && && _$$ _$$ _$$ _&&!_! %% && && _$$ !"""""" &%% 3^ %%% % %%%% _{% % % %%% %%%} 3^ (&%%% ^2 &%% )"""""" I %& _% ii63 % V7 % %% 42 I63 %% I %& V & %

(143)

Schubert: Impromptu Op. 90 No. 3

!"""""" pp# $ %%%%%%%%%%%#& ' %%%%%#& '

%%%%% #$_{%%%%%%%%%%%#$%%%%%%%%%%% #}$%%%%%%%%%%%#%_{%%#%%%#%%%#%%% #}&_%%%%%#&( %%%%#% &!%%%%%

6 6

)"""""" $$ && && _$$ _$$ _$$ _&&!_! %% && && _$$ !"""""" &%% 3^ %%% % %%%% _{% % % %%% %%%} 3^ (&%%% ^2 &%% )"""""" I %& _% ii63 % V7 % %% 42 I63 %% I %& V & %

(144)

Schubert: Impromptu Op. 90 No. 3

✦ Note that the first melodic motion of the melody

!"""""" pp# $ %%%%%%%%%%%#& ' %%%%%#& '

%%%%% #$_{%%%%%%%%%%%#$%%%%%%%%%%% #}$%%%%%%%%%%%#%_{%%#%%%#%%%#%%% #}&_%%%%%#&( %%%%#% &!%%%%%

6 6

)"""""" $$ && && _$$ _$$ _$$ _&&!_! %% && && _$$ !"""""" &%% 3^ %%% % %%%% _{% % % %%% %%%} 3^ (&%%% ^2 &%% )"""""" I %& _% ii63 % V7 % %% 42 I63 %% I %& V & %