A Model Schenkerian Analysis: Analysis of the Opening Phrase in Mozart’s K. 283, measures 1-10
We prepare for the Schenkerian analysis to follow by analyzing harmonic functions within the first phrase:
1. This is a preliminary analysis of harmonic function in the first phrase of K. 283:
2. Creating a foreground sketch of the first phrase of K. 283:
3. Creating a middleground sketch of the first phrase of K. 283:
Three Analyses: Review and a New, Schenkerian View
We analyzed three excerpts in preparation for this meeting. In the first excerpt, from “Alma del core”, we focused on harmonic function (T, D, Pd, and embellishing chords, such as P, N, and IN chords). In the second, from Schubert’s Moment Musicaux in Ab major, we focused on how independence of motion within separate lines creates suspensions and retardations. In the third, from Mozart’s Piano Concerto in A major, we focused on how the opening melody is a compound melody, drawing resources from multiple voice-leading strands.
We use these analyses as a springboard for Schenkerian analyses of the same excerpts.
Discussion of the Reading from Nicholas Cook, A Guide to Musical Analysis
We read chapter 2, p. 27-47, which provides an introduction to Schenkerian analysis using an analysis of JS. Bach’s Prelude in C major from WTC, book 1, an analysis originally published in Schenker’s Five Graphic Musical Analyses.
Three Symbols in Schenkerian Analysis
Here is a little more detail on (1) displacement, (2) registral shifts, and (2) unfolding, and how they appear in Schenker’s graphs.