"INTRODUCTION TO SCHENKERIAN ANALYSIS" BY ALLEN FORTE & STEVEN E.

GILBERT

CH. 1 EX. 1

CH. 1 EX. 2
Ex. 2 is from a book by Christopher Simpson (1665). It illustrates how to create a
division from a ground. It's been transcribed using modern notation.
In Ex. 2, there's a 5-note pattern repeated in the ground. This is a melodic sequence.
In this sequence a note is played 3 times, and then followed by a note a P4 lower
played twice.
It looks like this: Bb-Bb-Bb-F-F; G-G-G-D-D; Eb-Eb-Eb-Bb-Bb
The diminutions follow this pattern.
**The first of the third repeated notes is played (Bb).
**After it, or "attached to it", is an ascending 3rd (D).
**This third is filled in by stepwise motion (Bb-C-D).
**The ground's second repeated note is followed in the diminution after the third
(Bb-C-D-Bb).
**The ground's third repeated note is not followed literally. The diminution
represents it after the previous notes by an ascending third (Bb-C-D-Bb-D). It's then
followed by a stepwise motion up, completing the m. (Bb-C-D-Bb-D-Eb).
This illustrates an important idea: a diminution doesn't have to include all of the
original notes. It just has to somehow "represent" them.
This is demonstrated again in the second m. of Ex. 2: the ground's second note (F) is
represented in the dimuntions earlier than the original.
A theme-and-variations demonstrates a musical structure (the theme) and a variety
of diminutions (the variations). We'll look at 3. While we do this, we'll use a
simplified version of Schenkerian graphics.

CH. 1 EX. 3
Ex. 3a is an excerpt from the Air in Handel's "Lecon in Bb".
Ex. 3b is the third variation on this Air. In this diminution, a CS of a third is attached
to the original's first 2 notes. This CS is filled by a stepwise P. (Bb becomes Bb-C-D,
and C becomes C-D-Eb.)
In the second m. of Ex. 3b, the first 3 notes of the first m. (Bb-C-D, representing Bb, a
suffix) are repeated (Bb-C-D, this time representing D, a prefix).
Ex. 3c is a rhythmic reduction of Ex. 3b. It omits the P's. Because some of the extra
notes are stripped away, we can notice many of the important notes in the original
theme popping up again (Bb-C-D).
Ex. 3d is based on Ex. 3c. Barlines and meter are erased. It introduces some new
notation using stems and slurs. These symbols are important in Schenkerian
analysis. They show relations between pitches in a tonal configuration. The tonal
configuration in this particular case is a melodic line. It allows us to notice basic
structure.
If a note is part of the original theme, a stem is put on it. These notes are structurally
important. If a note is stemless, and it's slurred to a stemmed note, then the stemless
note is "dependent" upon the stemmed note. This is correct basic analysis. Each
stemless note is labelled P, N, CS or Arp.
By analyzing a variation 1 can see its relationship to the theme. Conversely, by
analyzing a theme 1 can see its relationship to the variation.
Ex. 3e does this. Only the important notes are written down for this analysis (Bb-C-
D-Eb-D-C-D, etc.). N's can be observed (Eb in Bb-C-D-Eb-D, for instance).
A complete N departs from a main note and then returns to it again. All of the N's in
this analysis are complete N's.
Ex. 3f is a rhythmic reduction of the original theme. It "absorbs" the theme's
diminutions.
Here is an important point: diminutions of all kinds occur in durationally expanded
forms as well as in the original forms. In other words, long notes at deeper levels of
analysis can also be diminutions. Ever-deeper analysis is possible for this reason.
For instance, in Ex. 3f, the second note (C) is a P (between Bb and D).

CH. 1 EX. 4
Brahms did a set of variations on Handel's Air in Bb. Ex. 4 is an excerpt from the
first.
In the upper voice, there are a lot of complete N's. In the lower voice, there are a lot
of CS's.
Here's an important point: A note's function is determined by its harmonic and
contrapunctal setting.
For example: In the first beat of the first m., in the upper voice, the A is an N because
it's not part of the chord (Bb major).
In a larger sense, the C on the second beat (still in the upper voice) is a P between
the Bb on the first beat and the D on the third. This is also determined harmonically;
the F major chord belonging to the C is between 2 Bb major chords. It is, in other
words, a dominant chord between 2 tonic chords.

CH. 1 EX. 5
Ex. 5a is the first 2 m.s of Bach's "Aria variata alla maniera italiana" (BWV 989).
Ex. 5b is his third variation on that part of the aria.
Ex. 5c is a rhythmic reduction of Ex. 5b using only 8th and quarter notes.
Ex. 5d is a stem-and-slur analysis of Ex. 5b.
In Ex. 3a:
**The upper voice begins on the tonic (A). Then there's a lower N (G#), which is
followed by the tonic again (A). This is a complete lower N.
**On the 4th 8th note the upper neighbor enters (B). Then the next note is not the
tonic (G# instead of the tonic A), so this is an incomplete upper N. Because this N
comes after the main note rather than before, it's a suffix.
**In the second m., 2 notes (A and C) are connected by a P (B). There are some
traditional embellishments—they are themselves diminutions.
In Ex. 5b:
**the variation, there are some complicated diminutions. The upper voice begins a
third higher than the original theme does (on a C instead of an A).
**Consider the figure in the second m., in the upper voice, on the first 2 beats. The
figure there is composed of an incomplete upper N (suffix) and an incomplete lower
N (prefix). In this figure, in other words, there are 2 N's in a row. This is common
with incomplete N's.
The following may be said about Ex. 5c:
**It removes the N's.
**It reveals structural elements in Ex. 3b that are not immediately obvious (i.e. the
G#-A-B-E in m. 1).
The following may be said about Ex. 5d:
**Some of the decisions aren't defended here, but they will be later (in Chapter 7).
**For the moment, it demonstrates how diminutions can help elaborate or
transform basic structures.
General observations may be made about Ex. 5:
**Diminutions often displace the notes they're dependent on. When this happens, it
sometimes causes musical elements which belong together to be separated.
**The rhythmic reduction in Ex. 5c shows that 1 of the passing notes in the bass (B)
belongs with another passing note in the upper voice (D). But, the diminution of the
bass's first note (A) by a complete N (A-G#-A) causes the bass note (B) to be
displaced.

CH. 1 EX. 6
Ex. 6 is the last theme-and-variation example. It's an excerpt from Beethoven's
Ninth Symphony.
Excerpt 6a is the main theme.
Ex. 6b is the first variation of that theme.
Ex. 6c is a rhythmic reduction of Ex. 6b. It uses 8th and quarter notes. Notice how
similar it is to the original theme.
Ex. 6d is a stem-and-slur analysis of Ex. 6c.
The first diminution in Ex. 6c is a consonant skip (D-Bb). The second note (Bb) is a
suspension—it resolves (to A). This suspension is shown by a tie enclosed in
parentheses. Then there's a CS-N pattern. This pattern goes on until the end of m. 2.
There, a passing note from the theme (Eb) is suspended over the barline and
resolved (to D).
Then there's an ascending motion that incorporates 2 N prefixes (G-F and C-Bb).
Prefixes that sound like this are often called "appoggiaturas". In the 4th m., the goal
of these appoggiaturas (D) is reached.
It descends to its resolution (C) over the dominant harmony (F major)...but before it
does that, it's expanded by a CS (to F) and followed by what's called an "indirect"
neighbor (Eb). An indirect N is an N which doesn't happen right next to its main
note.
Ex. 6c doesn't show all of the diminutions in Ex. 6b. These are marked. A CS in the
first m. (D-Bb) is filled by a P (C). A skip at the end of that m. (C-A) is filled by a P
(Bb).
On the third beat of the second m., there's a complete N figure (G-F-E-F). This can be
also called a "turn".
The figure on beat 4 of that m. is more complicated. It's an incomplete N figure (E-F-
G-Eb) because the second N (G) doesn't return to the main note (F). It's not correct
to say there's a CS occuring here (G-Eb) because the first note in that figure (G) is a
N.
In the first 3 beats of m. 3, there are more turns; on beat 4, the figure is altered.
There's a new passing note (C) which comes from the main theme (Ex. 6a).
When the goal of this figure is reached in m. 4 (D), its diminution is still a turn. But
this turn is different—it begins on the lower note. It's also different in another way:
by using a chromatic note as its "lower N" (C#) instead of the diatonic lower N (C),
the chromatic note becomes a P (C-C#-D).
Ex. 6d, again, is a stem-and-slur analysis of the Theme. By removing the diminutions
in Ex. 6c, it reveals some large-scale arpeggiations. These are marked "Arp".
It also reveals something subtle: the bass reflects the melody to a small degree. The
first 3 notes in the upper voice here are D-A-Bb. The 3rd-6th notes in the lower
voice are also D-A-Bb.
In the last m., in the upper voice, comparing Ex. 6a and Ex. 6d reveals that Ex. 6d has
ommitted a note (F). This shows a N (Eb) attached to its previous note (D). This
previous note (D) is shown with an 8th-note flag. This is new notation: it
distinguishes a note from its previous occurrences in the voice. Its harmonic
support, by comparison to the previous occurences, is not strong. The note (D) is
part of a 6/4 chord (which resolves to a 5/3 as 1 would expect). This makes it
structurally dependent upon another note (C) over the dominant harmony.
Reading diminutions is a basic analytical skill.
This section has so far dealt with theme-and-variations. The following 3 sections
show how diminutions can function as motives. (Here, "motive" means an oft-
repeated and -transformed figure in a composition.)

CH. 1 EX. 7
Ex. 7a shows the beginning of Brahms's Second Symphony. The N in the first m. is an
important part of the main motive.
In Ex. 7b, some music from later on in the same movement, this complete N figure is
presented in different rhythmic forms—first as 3 quarter notes, then as 3 8th notes.
The change in meter this causes is indicated in Ex. 7c.

CH. 1 EX. 8
Ex. 8a is an excerpt from Haydn's Symphony #104, III. In it, there are some complete
upper N figures.
Ex. 8b is an analysis of Ex. 8a. It shows how a single pitch (A) is highlighed by its N's.
These N's are accented. One of these, in m. 3, is an indirect N (B).
One note (B) in m. 6 seems to come out of nowhere—it's a reference to the upper N
(B) in the previous music.
The N always relates to 1 other note (the main note). The P, on the other hand,
always connects 2 notes.

CH. 1 EX. 9
Ex. 9a is an excerpt from Chopin's Prelude in A major, Op. 28, No. 7. Here, there's an
incomplete lower N which is a prefix.
Ex. 9b is a stem-and-slur analysis of Ex. 9a. The note on the downbeat of m. 1 (C#) is
a N because of the harmony. But, this could be reinterpreted differently.

CH. 1 EX. 10
Ex. 10a is an excerpt from Haydn's Divertimento in Bb, II. There is an suffix upper N
in the melody. In the first m., it's a complete N figure. In m. 4, it's an incomplete N
figure.
Ex. 10b is a stem-and-slur analysis of Ex. 10a.

CH. 1 EX. 11
Ex. 11a is Bach's Cello Suite in C Minor, Gavotte #2.
Ex. 11b is a rhythmic reduction of Ex. 11a.
Ex. 11c is a stem-and-slur analysis of Ex. 11b.
In the beginning of Ex. 11a, there are upper and lower N's to a single note (G). The
rhythmic reduction in Ex. 11b suggests that 1 of these notes (the last G in this m.) be
read as a P.
This is 1 of those times when both an upper and lower N's in a turn are connected
by a passing note.
In Ex. 11a, there are a lot of N's. There are also a lot of CS's. We'll find out why later.

CH. 1 EX. 12
Ex. 12a is an excerpt from Schubert's "Standchen" from "Schwanengesang".
Ex. 12b is a stem-and-slur analysis of Ex. 12a.
This melody uses a lot of complete N figures.
In Ex. 12b, there are 2 ties within each complete N figure. The first tie covers all 3
notes, and indicates that the N figure is complete. The second smaller tie indicates
that the N in the middle (Bb) is dependent upon the return of the main note (A).
After this, there's a CS upward (D). The 2 occurrence of this higher note are
"associated" by a dotted line.
The first note of m. 2 (G) has been labeled a lower N, because it stands between 2
statements of a main note (A). The bass line beneath this N (Bb) is also an N to a
later main note (A).
In summary: in the 8th note triplet figures, there are N's; and, in the expanded
diminutions, we have larger N's.
In the last 2 m.s of the melody, there is a large P (A-G-F).

CH. 1 EX. 13
Ex. 13 shows another excerpt from the same piece. Another occurence of the large N
figure in Ex. 12 (A-Bb-A). Just look and you'll see it.
Also, there's a CS (D-A) which resembles the CS in Ex. 12 (A-D).

CH. 1 EX. 14
The incomplete N as prefix or suffix can be either upper or lower N. But, incomplete
lower suffix N's are rare. Ex. 14 shows 1 of those rare events.
Ex. 14a is an excerpt from Bach's Chorale #149, Nicht so traurig.
Ex. 14b is a stem-and-slur analysis of Ex. 14a. This sketch suggests something:
before m. 1, the soprano's dissonant incomplete N (C) is an "anticipation" of the
tenor's C on the downbeat of m. 1.
This is how incomplete lower N suffixes are usually treated.
In Ex. 14b, in the upper voice, before the first m., 1 note (D) is interpreted as a P
between 2 others (Eb and C). In the bass, the opposite is happening (C-D-Eb). This is
called "voice exchange". We return to it in Chapter 6.

CH. 1 EX. 15
Ex. 15 is an excerpt from Bach's Chorale #291, Was frag ich nach der Welt.
It's another example of an incomplete lower N suffix.

CH. 1 EX. 16
Ex. 16 in general shows how to read complex diminutions, and illustrates how
important it can be to read them correctly.
Ex. 16a is an excerpt from Bach's French Suite in C minor, the Sarabande movement.
Ex. 16b is a rhythmic reduction of Ex. 16a.
Ex. 16c is a stem-and-slur analysis of Ex. 16b.
Ex. 16d is an incorrect stem-and-slur analysis of part of Ex. 16b.
In the first m. of Ex. 16a, on the second beat in the upper voice, there are 2
possibilities for interpretation. Either:
**The first note is a lower N (D-Eb), or
**The first note is a P and the second is a N.
They went with the second interpretation in Ex. 16b.
In Ex. 16a, there's an indirect N (Ab) which is separated from its main note (G) by a
CS. Because it comes after the main note, it's a suffix. This figure is essentially
repeated in later m.s.
The correct reading of m. 2 shows the regularity of the upper voice's structure in m.s
2-3. See Ex. 16b.
Ex. 16c shows the P's and N's in the bass.
In Ex. 16d, the analyst has incorrectly put stems on the N's. This breaks the
progression (from F-C) in m.s 3-4.

CH. 1 EX. 17
Ex. 17a is an excerpt from Brahms' Intermezzo in Eb minor, Op. 118, No. 6.
Ex. 17b is a stem-and-slur analysis of Ex. 17a.
N's and P's are often closely related, like in Ex. 17a. The motive consists of a lower N
(F) and a CS (Gb-Eb). In the second m., an ascending P (F) fills the CS, and in m. 3 the
same note (F)—now expanded in length—functions as a descending passing note.

CH. 1 EX. 18
Ex. 18a is an excerpt from Schubert's Symphony in B minor, No. 8 ("Unfinished"), II.
Ex. 18b is a stem-and-slur analysis of Ex. 18a.
Ex. 18a shows P's in different contexts, and attached to both the N and the CS.
Ex. 18b shows how the theme's put together. There's a CS (G-D), and 2 statements of
lower and upper N's (F#-G-A, G-F#-G-A). At the end of m. 3 there are 2 P's (E-F#) to
fill in a CS (D-E-F#-G).
Now the P has both connected N's and filled in CS's.
In the sixth m., a note functions as an expanded chromatic passing note (G#
connects G-A). The note (G#) is an indirect P (to A) in the last m..
This note (G#) is an expanded P even though the note that immediately follows it
(A) is a shorter P.

CH. 1 EX. 19
Ex. 19a is an excerpt from Mozart's Symphony in C major ("Linz"), K. 425, IV.
Ex. 19b is a rhythmic reduction of Ex. 19a.
Ex. 19c is a stem-and-slur analysis of Ex. 19a.
Ex. 19d shows an incorrect reading.
In the theme shown in Ex. 19a, P's are combined with N's and CS's.
In the first 4 m. phrase, there's a skip away from the first note (C) and a descent (to
D) in the upper voice. This note (D) is followed by chromatic neighbor-note
diminutions in 8th notes.
In the second 4 m. phrase, there are more 8th notes, ascending through P's (to A in
m. six) and then returning back down (to E, via F).
In the last 2 m.s, there's a 16th-note turn (around F).
Ex. 19b shows that the beginning of phrase 2 (m. 5) is the same as the first (m. 1).
DGFE(2) = CFED(1).
Ex. 19c shows the structure. The second phrase is more complex than the first.
The highest note in m. 6 (A) is dependent upon the first note in that m. (G). It's
separated from this main note by a P (G#). It's not supported by the harmony—it is
an indirect N.
In Ex. 19c the P is left out. The melodic interval from m. 5 to m. 6 is a P4 (D-G). This
interval is filled by P's (D-E-F-F#-G).
Ex. 19c shows the final melodic motion in the last 2 m.s (E-F-G). There's a 16th note
turn (around F).
Ex. 19d's reading is incorrect because an N (G) is reinterpreted as the main note. It
doesn't sound like the original.
Like N's, P's can be direct or indirect. When indirect, a P's connection is interrupted
by another type of diminution (either a CS or an N).
Ex. 19a provides 3 instances of indirect P's:
**The F, in the upper voice, at the end of m. six. It connects G to E. Between the G and
the F is P (G#) to a N (A). These 2 notes interrupt it.
**The first F in m. 7 (the 16th note). It's separated from the main note E by the
upper N G.
**D, in m. 3, in the upper voice, is an expanded passing note between C (m. 1) and E
(m. 7). It's indirect because it's separated from C by the CS to F (m. 2).

CH. 1 EX. 20
Ex. 20a is an excerpt from Chopin's Nocturne in Db major, Op. 27, No. 2.
Ex. 20b is a stem-and-slur analysis of Ex. 20a.
This melody begins with an Arp. (F-Db-Ab). The first interval (F-Db) is filled by a P
(Eb). This P is accented because it falls on an accented beat.
Observe Ex. 20b. The initial note (F) is connected by a curved line to the same note
(F) in the lower voice. This shows that the accompaniment doubles the upper voice
throughout.
This helps explain the motive in m. 4 in the upper voice.
After Ab is reached in m. 2, the upper voice ascends up an octave to the high Ab
through an Arp. This is shown by a dotted slur. Before the high Ab is actually
reached, though, its upper N (Bb) plays for more than half the measure.
As soon as it resolves to the high Ab, there is a descending Arp. (with some lower
N's). There is an A natural is an expanded P, connecting Ab (in m. 2) to Bb (in m. 5).
It's indirect, because Ab and A natural aren't adjacent. But, the accompaniment
supplies the direct form.

CH. 1 EX. 21
Ex. 21a is an excerpt from Brahms' Rhapsody in Eb major, Op. 119, No. 4.
Ex. 21b is a stem-and-slur analysis of Ex. 21a.
There is a new concept introduced in this Ex.: the Consonant Passing Note (CP) is a
passing dissonance above the bass that's emphasized by consonant harmonic
support.
In m. 2 of Example 21, the CP G connecting the upper and lower N's of G is
supported by an Eb in the bass.
And in m. 3 the CP F is supported by a Bb in the bass.

CH. 1 EX. 22
Ex. 22a is an excerpt from Beethoven's Piano Sonata in F minor, Op. 2, No. 1, II.
Ex. 22b is a stem-and-slur analysis of Ex. 22a.
In Ex. 22a, in m. 3-4, P's fill in the descending P4 from C-G. The second P (A) is
actually a CP; it is supported by an F major chord.
Generally, enlarged P's with harmonic or contrapunctal support is considered
consonant. Example 22 is a typical Schenkerian case, arising within the interval of a
P4.

CH. 1 EX. 23
Ex. 23a is an excerpt from Handel's Sonata for Flute and Continuo in E minor, II.
Ex. 23b is a stem-and-slur analysis of Ex. 23a.
P's occur in all voices. In the High Baroque period, P's in the bass were especially
important.
Ex. 23a illustrates this. The bass line consists of almost continuous 8th notes. When
the P's are removed in Ex. 23b, we discover an ascending Arp. (E-B).

CH. 1 EX. 24
Ex. 24a is an excerpt from Handel's Sonata for Oboe and Continuo in C minor, I.
Ex. 24b is a rhythmic reduction of Ex. 24a.
Ex. 24c is a stem-and-slur analysis of Ex. 24b.
We see in Ex. 24b and 24c that, by removing P's in the bass at m. 1, two CS's are
revealed.
The Eb on the last beat of m. 1 connects to F in m. 2. In Ex. 24c, this F is given a flag
to indicate that it's an N to G. (Here, Eb is related by CS to the previous note Ab, and
F is the lower N to G).
The Arp.'s that begin in the second half of m. 2 are attached to a progression in the
bass which spans a P4 (from C-F).

CH. 1 EX. 25
This example shows complex diminutions, demonstrating how important it is to
understand diminutional processes. What might look like an irregular surface can
always be resolved to a pattern of diminutions (a pattern which usually results from
combinations of different diminution types).
Ex. 25a, for instance, appears very irregular. Ex. 25a is an excerpt from Bach's
Partita No. 5 in G major, Sarabande.
Ex. 25b is a rhythmic reduction of Ex. 25a.
Ex. 25c is a stem-and-slur analysis of Ex. 25b.
Look at the last quarter note of the m. 1. The rhythmic reduction at Ex. 25b shows
that the bass note C belongs with the upper voice E (a IV chord).
But, they don't happen together because an accented P (D) comes at the beginning
of the beat, displacing C. Ex. 25b changes the two accented P's F and D to unaccented
P's in a series of straight 8th notes. In doing this, Ex. 25b places the bass C below the
upper voice E.
Another complication in Ex. 25a, m. 1 is the F natural in the upper voice. It's an
incomplete upper N suffix.
In Ex. 25c, the bass in m. 1 is a CS filled in by P's. And mm. 1-2 is shown to be a
gradual G-G#-A. The G# here is an expanded chromatic P with a CS, where the goal
is A.
This A, though, ends up being an indirect upper N to the G in m. 3. It's indirect
because, before it's played emphatically on the second beat, there's an F# on the
first beat. (The first G there, at the very end of m. 2, is a P between the A and the F#).
Every main note here is followed by its upper N.
In m. 1, the upper N is itself (E) supplied with an upper N (F).

CH. 1 EX. 26
Some of the examples already presented contained Arp's. See, for instance, Ex. 7 or
Ex. 20.
In Schenkerian analysis, structural arpeggiation outlines a complete consonant
harmony. In this way, Arp's are different from CS's. It might occur in short or long
notes.
Ex. 26a is an excerpt from Beethoven's 7th Symphony, III.
Ex. 26b is a stem-and-slur analysis of Ex. 26a.
Arp's in themes are common, especially in Baroque and Classical music. In Ex. 26a,
the opening Arp spans the first 3 measures. Ex. 26b shows this F-F Arp using a
dotted line. (We also see the CS's following the first two notes in the Arp.)
The next two 4-measure phrases are also composed of Arp's, but they're filled in by
P's. Each component of these Arp's takes up a full measure.
In this excerpt, there's an ascending melodic pattern F-G-A, where G is a P. Roman
numerals are included with this analysis. This shows that the F's supported by I, the
G's supported by V, and the A's supported by I.

CH. 1 EX. 27
Ex. 27a is an excerpt from Chopin's Waltz in E minor (posth.).
Ex. 27b is a stem-and-slur analysis of Ex. 27a. The ascending Arp in m. 10 is
interpreted. This Arp reappears at m. 16, this time descending. There, each
occurrence of B is preceded by the upper N C.
There is an ascending motion in the bass from E (m. 10) to B (m. 14).

CH. 1 EX. 28
This Ex. demonstrates again that the different types of diminutions are always
combined together rather than used isolated.
Ex. 28a is an excerpt from Bach's Partita No. 1 in Bb major, Allemande.
Ex. 28b is a stem-and-slur analysis of Ex. 28a.
Ex. 28c is a rhythmic reduction of Ex. 28a.
Ex. 28d is a verticalization of Ex. 28a.
The stem-and-slur analysis in Ex. 28b shows that the overall design consists of 3
similar measures. They all have a descending Arp from the top note through two
less-important Arp's. This is indicated by a large slur containing two smaller slurs.
(The N and the CS there are of lesser importance.)
The upper voice forms a stepwise progression ascending from F to Bb throughout
the excerpt. Each of these notes is connected to its counterpart an octave lower by
dotted slurs. These lower counterparts are always approached by ascending Arp's.
The rhythmic reduction in Ex. 28c reduces 16th note motion to 8th note motion.
This is typical of Bach: an active surface, a slower-moving pattern beneath it.
In Ex. 28d, the Arp's are verticalized. These harmonies change above the stationary
bass note (Bb). This shows that the Arp's follow the ascending line throughout the
excerpt (from F-Bb).

CH. 1 EX. 29
Keyboard music tends to use Arp's in striking ways. Ex. 29a is an excerpt from
Mozart's Piano Sonata in C minor, K. 457, I.
The Arp's of this passage slowly reveal a large N figure. This is shown on a single
staff in Ex. 29c.
Ex. 29b is a stem-and-slur analysis of Ex. 29a. The opening Arp lasting from m. 1-2
(C-Eb-G-C-Eb) is part of a larger Arp from m. 1-4 (C-Eb-G). The top note of this
underlying Arp is followed by its upper N (Ab) in m. 4.
The 2nd phrase Arps the V chord from G-B-D in m. 5-6. The lower N F, played in m.
7, helps finally complete the large complete N figure. This figure, extending
throughout the excerpt, is G-Ab-F-G.

CH. 1 EX. 30
Ex. 30a is an excerpt from Bach's Sinfonia No. 15 in B minor. It uses many Arp's of
different kinds.
Ex. 30b is a stem-and-slur analysis of Ex. 30a. The Arp first occurs in m. 3. Here, it's
the final motive in the 3 measure theme. It's preceeded by a pattern comprised of
N's and P's.
In the full notation, each metrical beat of m. 3 consists of an Arp. There's also a
larger Arp extending throughout the measure.
Ex. 30c is an alternate stem-and-slur analysis showing this larger Arp: D-F#-D-B-F#-
D-B.
Underlying the surface Arp's, there's a more fundamental Arp that organizes the
structure.
Notice the diagonal arrows crossing between the staves. The upper voice's B turns
into the lower voice's B; the lower voice's D turns into the upper voice's D. This is an
instance of voice exchange, which will be described in Chapter 2.

CH. 1 EX. 31
This is another example of complex diminution involving Arp's. Ex. 31a is an excerpt
from Bach's Sinfonia No. 15 in B minor. It takes place later on in the piece, after the
last Example.
The cascading Arp's in Ex. 31a contain an underlying stepwise motion in the upper
voice. This motion is accompanied by a regular pattern in the bass, but this motion
isn't obvious.
Ex. 31b is a rhythmic reduction of Ex. 31a. It distributes the notes of the Arp evenly
over each beat. This simplifies the Arp's.
There's a weird clash of G over F# at the end of m. 13. This results from "imitative
design" with the left-hand Arp's beginning one beat after the right hand in m. 12, so
that the right hand part finishes first in m. 13. The next reduction keeps this in mind.
Ex. 31c is a different rhythmic reduction of Ex. 31a. The Arp's on the third beat in
mm. 12 and 13 is brought into the lower octave—this will be explained in a moment.
The clash between G and F# at the end of m. 13 disappears.
Ex. 31d is a stem-and-slur analysis of Ex. 31c. In Ex. 31d, a descending stepwise line
G-F#-E-D is shown.
Here's a chance to review some of the more obscure types of diminutions.
In the upper voice line, every stemmed note that descends stepwise from B to F#
has an Arp, a CS (B-D, A-C, G-B) and an incomplete upper N suffix. Each of these N's
is indirect, because they're separated from the main notes by the CS's and the Arp's.
These N's are connected to their main notes by slurs.
The Arp pattern continues to the end of the progression, finishing off with A-F#-D in
m. 13. At the cadence on III in m. 14, the bass doesn't present the dominant of III,
although the upper voice G suggests a dominant (A7) chord.
The composer's main concern was that the Arp pattern continues—the conflict
between the F# and G at the end of m. 13 didn't affect the passage's structure.

==============================

If I ever decide to finish these notes, here is the layout for the rest of the document:
CH. 2 EX. 32

CH. 2 EX. 33

CH. 2 EX. 34

CH. 2 EX. 35

CH. 2 EX. 36

CH. 2 EX. 37

CH. 2 EX. 38

CH. 2 EX. 39

CH. 2 EX. 40

CH. 2 EX. 41

CH. 2 EX. 42

CH. 2 EX. 43

CH. 2 EX. 44

CH. 2 EX. 45

CH. 2 EX. 46
CH. 2 EX. 47

CH. 2 EX. 48

CH. 2 EX. 49

CH. 2 EX. 50

CH. 2 EX. 51

CH. 2 EX. 52

CH. 2 EX. 53

CH. 2 EX. 54

CH. 2 EX. 55

CH. 2 EX. 56

CH. 2 EX. 57

CH. 2 EX. 58

CH. 2 EX. 59

CH. 2 EX. 60

CH. 3 EX. 61

CH. 3 EX. 62
CH. 3 EX. 63

CH. 3 EX. 64

CH. 3 EX. 65

CH. 3 EX. 66

CH. 3 EX. 67

CH. 3 EX. 68

CH. 3 EX. 69

CH. 3 EX. 70

CH. 3 EX. 71

CH. 3 EX. 72

CH. 3 EX. 73

CH. 3 EX. 74

CH. 3 EX. 75

CH. 3 EX. 76

CH. 3 EX. 77
CH. 3 EX. 78

==============================

CH. 4 EX. 79

CH. 4 EX. 80

CH. 4 EX. 81

CH. 4 EX. 82

CH. 4 EX. 83

CH. 4 EX. 84

CH. 4 EX. 85

CH. 4 EX. 86

CH. 4 EX. 87

CH. 4 EX. 88

CH. 4 EX. 89

CH. 4 EX. 90

CH. 4 EX. 91

CH. 4 EX. 92
CH. 4 EX. 93

CH. 4 EX. 94

CH. 4 EX. 95

CH. 4 EX. 96

CH. 4 EX. 97

CH. 4 EX. 98

CH. 4 EX. 99

CH. 4 EX. 100

CH. 4 EX. 101

CH. 4 EX. 102

CH. 4 EX. 103

CH. 4 EX. 104

CH. 4 EX. 105

CH. 4 EX. 106

==============================
CH. 5 EX. 107

CH. 5 EX. 108

CH. 5 EX. 109

CH. 5 EX. 110

CH. 5 EX. 111

CH. 5 EX. 112

CH. 5 EX. 113

==============================

CH. 6 EX. 114

CH. 6 EX. 115

CH. 6 EX. 116

CH. 6 EX. 117

CH. 6 EX. 118

CH. 6 EX. 119

CH. 6 EX. 120

CH. 6 EX. 121

CH. 6 EX. 122

CH. 6 EX. 123

CH. 6 EX. 124

CH. 6 EX. 125

CH. 6 EX. 126

CH. 6 EX. 127

CH. 6 EX. 128

CH. 6 EX. 129

CH. 6 EX. 130

CH. 6 EX. 131

CH. 6 EX. 132

CH. 6 EX. 133

CH. 6 EX. 134

CH. 6 EX. 135