Schenkerian analysis is a method of analyzing tonal music that emphasizes the underlying structure of a piece. The analysis is based on the idea that music is built from a few fundamental elements, which are repeated and varied throughout the work. The goal of Schenkerian analysis is to reveal the underlying structure of a piece and to show how it is related to the work as a whole.
The three levels of Schenkerian analysis are foreground, middleground, and background. Foreground deals with melody and rhythm. Middleground looks harmonic and melodic patterns. Background deals with the fundamental structure of the piece, like tonality and the part relationship.
Schenkerian analysis is particularly well-suited to the study of tonal music from the common practice period, which is the era of Western classical music that spans roughly from the Baroque period to the early 20th century. The method is especially useful for analyzing works by composers such as Bach, Beethoven, and Brahms, whose music is characterized by complex harmonic and melodic structures. By revealing the underlying structure of a piece, Schenkerian analysis can provide valuable insights into the composer’s intentions and the overall meaning of the work.
Foreground
The foreground is the third and final level of Schenkerian analysis. It is the most complex level and requires a deep understanding of the previous levels, particularly the middleground. The foreground is where the surface details of the music are analyzed, including embellishments, non-chord tones, and melodic decorations.
- Schenkerian Analysis – Schenkerian analysis is a method of musical analysis that emphasizes the hierarchical relationships between notes. It is based on the idea that every piece of tonal music is a variation of a single basic structure, the Ursatz, which is a prolongation of the tonic triad.
- Tonal Harmony – The foreground level of Schenkerian analysis is concerned with the tonal harmony of the music. This includes the chords and their progressions, as well as the ways in which the notes of the melody relate to the underlying harmony.
- Non-Chord Tones – Non-chord tones are notes that are not part of the underlying harmony, but are used to decorate or embellish the melody. They are an important part of the foreground level of Schenkerian analysis, as they can help to create tension and release within the music.
- Embellishments – Embellishments are musical ornaments that are used to decorate the melody. They can include trills, mordents, and turns, among others. The foreground level of Schenkerian analysis is concerned with the use of these embellishments and how they relate to the underlying harmony.
Middleground
The middleground is the central level of Schenkerian analysis, which is located between the foreground and the background. It is the level where the essential harmonic and melodic structures of a piece are revealed. The middleground consists of a series of prolongations of a single, fundamental harmony, which is usually the tonic or dominant.
- Counterpoint – Counterpoint is an important aspect of the middleground, as it is the level where the individual lines of the music are analyzed in relation to one another. The counterpoint in the middleground is usually more complex than that in the foreground, as it involves the interaction of multiple voices.
The counterpoint in the middleground is often characterized by a high degree of voice-leading, which refers to the smooth and logical progression of individual voices from one note to the next. This is achieved through the use of various techniques such as passing tones, neighbor tones, and suspensions. - Harmonic Complexity – The middleground also features a greater degree of harmonic complexity than the foreground, with the use of more complex chords and chord progressions. However, the harmonic structures in the middleground are still based on the fundamental harmony of the piece, which is revealed through the prolongations.
Overall, the middleground is the level of Schenkerian analysis where the essential harmonic and melodic structures of a piece are revealed through the analysis of the individual lines and their interaction with one another. The counterpoint in the middleground is characterized by a high degree of voice-leading and harmonic complexity, but is still based on the fundamental harmony of the piece.
Background
Schenkerian analysis is a method of musical analysis that was developed by Heinrich Schenker in the early 20th century. Schenkerian analysis is based on the idea that music is built from a hierarchy of levels, with the most basic level being the background, and the most complex level being the foreground.
The background level is the foundation of the music and includes the underlying tonal structure and harmonic progression. The middleground level includes the linear progression of the music, which is the unfolding of the melody and harmony over time. The foreground level includes the details of the music, such as ornamentation and rhythmic variation.
- Structural Hearing – One of the key concepts in Schenkerian analysis is structural hearing, which is the ability to perceive the underlying structure of a piece of music. Schenkerian analysis also uses the concepts of Stufe and scale degree to describe the tonal structure of music. Stufe refers to the different levels of tonality in a piece of music, while scale degree refers to the individual notes of the scale.
- Arpeggio – Another important concept in Schenkerian analysis is arpeggiations, which are the way in which chords are broken down into their individual notes. Schenkerian analysis also distinguishes between monotonal and polytonal music, with monotonal music being music that is based on a single tonal center, and polytonal music being music that is based on multiple tonal centers.
- Tonic Triad – Schenkerian analysis also places a great deal of emphasis on the tonic triad, which is the primary chord of a piece of music. In addition to the tonic triad, Schenkerian analysis also places a great deal of emphasis on the minor triad, which is often used as a substitute for the tonic triad.
- Linear Progression – Linear progression is another important concept in Schenkerian analysis, and refers to the way in which the melody and harmony of a piece of music unfold over time. The Urlinie is the linear progression of the music from the tonic to the dominant, while Semper Idem, Sed Non Eodem Modo refers to the repetition of a musical idea in a different context.
Schenkerian analysis has been widely used in music pedagogy, and has had a significant impact on the study of voice-leading and musical form. Schenkerian analysis has also been associated with German nationalism, as Schenker was a German nationalist, and his ideas were embraced by the Nazi party in the 1930s and 1940s.
In short, Schenkerian analysis provides a powerful framework for understanding the underlying structure of music, and has had a significant impact on the study of music theory and analysis.
Final Thoughts
Overall, Schenkerian analysis provides a powerful tool for understanding the structure and meaning of tonal music. By identifying the underlying harmonic and melodic patterns that give rise to a piece of music, analysts can gain a deeper appreciation of its expressive qualities and historical context.
At the same time, it is important to recognize that Schenkerian analysis is not the only approach to understanding tonal music, nor is it necessarily appropriate for every piece or every listener. As with any analytical method, its value depends on the questions being asked and the goals of the analysis.
Moreover, the levels of Schenkerian analysis are not always clearly delineated, and there is often room for interpretation and debate. Ultimately, the success of a Schenkerian analysis depends on the analyst’s ability to balance the structural insights gained from the method with an awareness of the broader musical and cultural context in which the work was created.
FAQ’s About Levels Of Schenkerian Analysis
As with any complex topic, Schenkerian analysis can be confusing and may raise questions for those who are new to the subject. Here are some frequently asked questions and their answers:
Is Schenkerian Analysis only Applicable to Classical Music?
While Schenkerian analysis was originally developed for the study of classical music, its principles can be applied to any tonal music. In fact, many scholars have used Schenkerian analysis to study popular music, jazz, and other genres.
Do I Need to Have a Background in Music Theory to Understand Schenkerian Analysis?
While a background in music theory can be helpful, it is not necessary to understand Schenkerian analysis. However, it is important to have a basic understanding of tonal harmony and musical structure.
What Is the Difference Between Schenkerian Analysis and Traditional Music Theory?
Schenkerian analysis is a specific approach to music theory that focuses on the underlying structure of a piece of music. Traditional music theory, on the other hand, is a broader field that encompasses a wide range of topics, including harmony, melody, rhythm, and form.
How Long Does It Take to Learn Schenkerian Analysis?
Learning Schenkerian analysis can take time and practice, but it is a skill that can be developed over time. It is important to start with the basics and gradually work up to more advanced concepts.
What Are Some Common Misconceptions About Schenkerian Analysis?
One common misconception is that Schenkerian analysis is only useful for analyzing classical music. Another misconception is that Schenkerian analysis is too rigid and inflexible in its approach. In reality, Schenkerian analysis can be applied to any tonal music and can be adapted to fit a variety of analytical needs.
