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unfolding of intervals
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(horizontalization)
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| gradual unfolding of an interval |
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Brechung (Brech., Brch., Brechg.)
5-Brechung
Sexbrechung
3-Brechung
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unfolding of an interval of a chord
…of a fifth
…of a sixth
…of a third
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| passing tone or passing motion |
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| background or remote level of musical structure |
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| transfer of register an octave (or several octaves) higher |
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| coupling (this implies transfer of register) |
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| Mittelgrund (Mtg., Mittelgrd.) |
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| middleground or intermediate level of musical structure |
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| Nebennotenharmnie (Nbhm., Nbnhm.) |
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| neighbouring harmony (or chord) |
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| a harmony of structural importance |
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divider or dividing
Schenker applies this term to V-chors having various functions. It is consistently used to identify the dominant that precedes an “interruption” (Unterbrechung) indicated in the graph by II. Often, however, it indicates V-chords which have a prolonged undertone. Thus, it applies to various structural levels.
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| in 2 parts or sections; in 4 sections |
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| Ubergreifstechnik,Ubergreifzug (Ubergf.) |
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| technique of shifting tones (often from the inner voice) above the upper voice |
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| linear progession rising from a lower voice |
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| fundamental structure, a progression presenting the ultimate structure of the tonal composition. It is the perfect realization of “tonality” expressed through the horizontalization, esp. in two voices, of the tonic. The upper voice (Urlinie), the fundamental melodic structure, is a linear progression with intervening passing notes; the bass represents the arpeggiated chord or interval without passing tones. |
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| Urlinie Tafel (Url. Tafel) |
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comprehensive foreground graph
It should be noted in the last example, Schenker drops this term and instead uses simply “Vordergrund” (foregrund). As used in the original German editin, the term denoted
s a complete graph with background, middleground and foreground.
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| Vergrosserung (Vergross.) |
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| Vordergrund (vdg., Vordergrd.) |
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| foreground or immediate level of musical structure |
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