Review of phrase connections and hypermetrical irregularities
Based on Rothstein, Phrase Rhythm in Tonal Music, chapter 2
Both phrase overlap and metrical reinterpretation have to do with a contraction of musical material. Something new begins early.
In phrase overlap, the final element of a phrase is also the first element of the next.
In metrical reinterpretation, an expected weak (hyper)beat is reinterpreted as a strong (hyper)beat.
Metrical reinterpretation occurs, it seems, only in conjunction with a phrase overlap. Phrase overlap can occur without metrical reinterpretation.
Examples from Rothstein
Example 2.20. Beethoven, Piano Sonata in C Major, Op. 2, No. 3, first movement, mm. 1-13.
Example 2.30. Mozart, Quintet in C Major, K. 515, first movement, mm. 1-24.
Example 2.18. Verdi, “De’ miei bollenti spiriti,” from La Traviata.
The Basic Phrase and Prototypes for the Basic Phrase
The basic phrase is the essentials of the phrase, with all the phrase expansions stripped away. A prototype is a demonstration of how the basic phrase would have sounded.
Supporting an analysis involving expansion: three kinds of prototype.
1. A completely hypothetical prototype. Demonstration by recomposition.
Show how the phrase could have been without the expansions by rewriting the music. It is important that the voice leading still works despite the omission of expansions.
2. Literal prototype
A phrase elsewhere in the work that does not include the expansions. The basic phrase actually occurs elsewhere in the score
3. Middleground prototype
This is a hypothetical phrase located at the middleground of a Schenkerian analysis, where all the essentials of the phrase are present, but the expansions are not.
Phrase expansions fall into three categories: prefixes, internal expansions, and suffixes.
Examples of Phrase Expansion: