[Smt-talk] String rep for Schenkerian analysis?

[William Benjamin]

Debbie:

The keyword has to be "introduction."  The trouble with most  
repertoire in the Classical period is that, except for themes in  
period structure, there can be questions about how to relate the  
second phrase to the first. Also, there are all manner of phrase  
expansions that have to be dealt with. Gagné and Cadwallader  
concentrate on periods first, and don't really provide systematic  
ideas on how to deal with sentences or hybrids (using Caplin's  
terminology).

Anyway, as to your question, I would use the themes from the first  
movements of the later Haydn quartets (Opp. 60's and 70's) and the  
Beethoven quartets Op. 18 (except No. 3, which is complicated);  first  
movement and slow movement themes from all the Beethoven violin  
sonatas except the last two, and from his first two cello sonatas, Op.  
5.

But perhaps you want even simpler music to start with.  If so, you  
might consider pieces that all violinists will know because they  
learned them as youngsters.  I'm thinking of, for example, the Seitz  
concertos which were popularized through the Suzuki method. Their not  
great music by a long shot, but the students will have them in their  
ears, which is important. Incidentally, you could look through the  
Suzuki violin and cello books to see what might suit your approach.  
Another composer of intermediate difficulty violin pieces is Charles  
DeBeriot. I know we don't usually deal with minor composers in  
Schenker courses, because we feel him breathing down our necks, but  
this is silly as regards beginners.

For Baroque literature, I would look at the Leclair sonatas. Bach is  
usually too hard, but you might try the Bourrée from Suite No. 3 for  
cello towards the end of the course.

Bill Benjamin


William Benjamin, Professor
School of Music, University of B.C.
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