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Stage two summary
(preparation of score and identification of foreground elaborations)

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In the second stage, notes are grouped into elaborations of the harmonies identified in stage one. With a few common exceptions, stage two is concerned with elaborations of single harmonies - the larger-scale connections across harmonies is the business of stage three.

Preparation of score

  • Represent each note with a stemless quarter (crotchet) note head
  • Remove bar lines
  • Remove consecutively repeated notes or phrases as appropriate

Foreground elaborations


Note the following in the example below:

  • the repeated chords in the left hand are removed as part of preparing the score as well as the repeated G in the right hand. Occasionally it is clearer to leave repeated notes in (e.g. if the harmony changes), but usually it is best to omit them from your analysis.
  • the skip from D down to G is identified as an arpeggiation. Although skips such as this are usually best understood in terms of compound melody, it is nevertheless a good idea at this early stage of the analysis to mark such foreground elaborations so that everything is as clear as possible for the layer analysis of stage three.
  • the last B and the G in the extract are not connected because they are from different harmonies.


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    © Copyright Thomas Pankhurst