PART I CHAPTER ONE THREE BASIC PREMISES The four examples demonstrating motion by step share a common characteristic. At the surface - by which I mean note to note - the motion is predominantly by leap (arpeggiation); it is only by looking and listening beyond this level that we realize the motion of the various melodic strands or voices is by step. This perception is fundamental to understanding Schenker’s concept of structural levels. Being aware of the treatment of dissonance - in this case the chordal seventh [V7] - is a crucial component in our understanding of voice leading; this is especially important in circumstances where the resolution is transferred to another voice, is delayed, or seemingly is omitted altogether. No matter how much I have stressed this in courses over the years, I am continually surprised by the number of students who forget or ignore such situations when analyzing a piece of music. Unusual treatment of the seventh, which is actually quite common, should be like waving a red flag in their faces! Example 1.2a demonstrates the temporary delay of resolution in the same voice, and the next two examples show the resolution occurring at two levels, initially transferred to another voice, then resolved in the same voice and register later. Example 1.3 is more complex, perhaps too difficult for some at this point. If so, omit it. In this instance I decided to begin with the underlying model and from it to show its unique representation rather than the opposite process, namely, to derive the underlying model from the music. Pedagogically I find it useful sometimes to approach an issue from a different perspective than normal. The distinction between chord and [harmonic] scale-step or controlling harmony is tied to Schenker’s concept of voice-leading structure at multiple levels. This is demonstrated most clearly by Example 1.4b, the opening phrase from the second movement of Beethoven’s Piano Sonata Op. 10. No.1. Example 1.4c, the opening phrase of the development section from the first movement of Mozart’s Piano Sonata K. 333, is more difficult, since it involves substitution of chromatic chords for diatonic ones. Understanding the passing function of the C7 chord in the second half of the fifth measure of the phrase is most important. I expect this idea may, in some cases, require reinforcement or further explanation by the instructor. MOZART, K. 333 EXCERPTS The point of this section is to demonstrate Schenker’s notion of motivic repetition at different structural levels. The commentary about voice leading is quite detailed, and, if appropriate for your class, you may want to simplify. The point is to demonstrate the similarities between the opening phrases of the first and third movements as well as the overall organization of the development section of the former.