Download Der Tonwille: Pamphlets in Witness of the Immutable Laws of by Heinrich Schenker PDF

By Heinrich Schenker

This is often the second one quantity of a two-volume translation of Heinrich Schenker's Der Tonwille (1921-24). one of the best tune theorists of the 20 th century, Schenker's tools of study stay the most vital instruments of musicology.

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Additional resources for Der Tonwille: Pamphlets in Witness of the Immutable Laws of Music Volume II

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Goethe, on his “Pandora” Andante, at bar , whereas here at bar  it is somewhat less clear, on account of the reaching-over technique. On the other hand, there is a fundamental difference between the bass parts in the two movements: in the Andante the bass ascends in accordance with the basic plan of making its way via III to V; here it descends linearly through a fourth to the root of the upper-fifth divider, which effects a completely different voice-leading. If, then, the plan excluded a modulation, its realization required even more so a corresponding increase of content, a broader span.

The semitone progressions in the bass in bars –  continue the bass neighbor-note motions of bars , , and . Bars ff. Attached to the consequent phrase is also the return modulation to C major, which has to prepare the way for both the repeat of the exposition and the development. For this reason, the linear progression to IV in G major is avoided and the I in bar  is clearly continued (see the bass), so that the downward elaboration of the upper voice from the octave down to the third is understood un- 16 The connection between the two thirds is indicated in the graph by a dotted line from the b1 to the c2.

A).  tonw i l l e 6 The new section returns to the motivic material from the beginning of the movement, and for this reason the motive from bars –  must not be omitted. Used three times in succession, it no longer develops the tonic chord, but rather ‒‒ that of the dominant, with ‒‒ , thus imparting to the seventh (ˆ ) a special emphasis. In bar , the ninth is added, whose pronounced neighbor-note effect  proves highly useful for the -chord that finally arrives in bar . The upper neighbor notes, too, are found again with the motive: f 2 to e 2 in bar , g2 to f 2 in bar , and a 2 to g2 in bars  and .

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