Music Composers Unite!

Schenkerian Theory

I have always been skeptical about Schenker's urlinie. It seems as though you can fudge the data to get any line you want (3-2-1, 5-4-3-2-1). One of my old proffesors told me, with a far away look in his eye, that he used to think the same as I do until he started composing and noticed long term melodic goals in his own work.

The question I have is if any of you use large scale melodic goals in your compositions. I don't believe I ever have, but maybe that is just because I am not a master composer. I doubt Schenkerian theory mirrors any psychological reality for listeners, and if there is also none for composers, then the only people for whom it is "real" are certain analysts...

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Permalink Reply by SEDstar on October 4, 2010 at 10:12am

Ohhhhhh-kay....

when the piece is in C... and every 4 measures they goes C-G-C-F... thats chord progression, aka a 1514 cadence...
when the piece is in Cm.. the whole of subject A in C-minor... and then B being in Eb-major... THATS modulation

I'm wanting to intyerrupt a chord prog/cadence (same thing...) "interruption" to do a little sightseeing... then resume the trip where I left off

cool?