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<font face="Calibri">Dear Ninov,<br>
<br>
I really wonder where you got what you think you know abour
Schenker.<br>
<br>
Schenker himself certainly never "prescribes a prolongation": this
merely is foreign to his vocabulary. Schenker, at most, would say
that a given T–S–D–T progression at a given level may ultimately
form the elaboration of T at a deeper level. Most of his
fundamental structures are T–S–D–T successions (even if, from an
abstract point of view he himself did not much stress, they might
be viewed as the elaboration of an abstract tonic chord).<br>
<br>
</font><font face="Calibri">Schenker also clearly said that a
perfect cadence includes not only re–do (^2–^1) above sol–do
(V–I), but also si–do in an "inner voice". This is clearly stated
in §17 of Free Composition. And the relation between upper and
inner voice must be understood in the abstract: it may as well be
that the "inner" voice is the top one in the music.</font><br>
<br>
Schenker never erases degree IV to replace it with degree III. He
merely says that possible fundamental structures (which may or may
not be cadences) include I–IV–V–I or I–III–V–I. Even Wikipedia says
so (see the 'Schenkerian analysis' article).<br>
<br>
Nicolas Meeùs<br>
Université Paris-Sorbonne<br>
<br>
<br>
<font face="Calibri"><br>
</font>
<div class="moz-cite-prefix">Le 8/03/2013 18:13, Ninov, Dimitar N a
écrit :<br>
</div>
<blockquote
cite="mid:7F2C6E04297A2E4BBF81D4F6F48838990EFE4ED7@exchmbx3.matrix.txstate.edu"
type="cite">
<pre wrap="">Dear Paul,
If they compose, or arrange, or play harmonic progressions on the piano and devise modulations, they are certainly using working knowledge on harmony, not a speculative one.
Thus they would certainly enjoy the dynamic interaction between T, S, D and their substitute chords: at some places where Schenker prescribes a prolongation, they will hear clear harmonic exchange; wherever he alters an ascending melodic line to convince the world it is descending, they will appreciate the ending on “si-do” or “sol-do” as a perfect melodic cadence; wherever he erases scale degree 4 in the bass to replace it with 3, they will appreciate the logic of the “do-fa-sol-do” fundamental bass as a typical means of unfolding a key.
In doing all that, they will see no Schenker, but the colorful picture of the holy trinity (T, S, and D) and their apostles (SII, M, SM and DVII).
Thank you,
Dimitar
Dr. Dimitar Ninov, Lecturer
School of Music
Texas State University
601 University Drive
San Marcos, Texas 78666
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