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The opening arpeggiation of Bach's G-major Suite on the cello's fingerboard...
Available to Purchase
in Violin Fingerboard Space: Intervallic Mappings from Instrumental Space to Pitch Space
> Journal of Music Theory
Published: 01 October 2024
Figure 2. The opening arpeggiation of Bach's G-major Suite on the cello's fingerboard.
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Journal Article
Downward Arpeggiations: Prolongational Issues and Their Expressive Implications
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Journal of Music Theory (2017) 61 (1): 29–57.
Published: 01 April 2017
...Diego Cubero The concept of prolongation in Schenkerian analysis broadly describes the elaboration of a vertical sonority. Among the most basic ways to prolong a chord is by arpeggiating it, such that it governs the time span of its arpeggiation. In Heinrich Schenker's writings, however...
Journal Article
Prolongation of Harmonies Related to the Harmonic Series in Early Post-Tonal Music
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Journal of Music Theory (2002) 46 (1-2): 207–283.
Published: 01 October 2002
... . Wiesbaden: Franz Steiner Verlag. Christensen, Thomas. 1993 . Rameau and Musical Thought in the Enlightenment . Cambridge: Cambridge University Press. Cinnamon, Howard. 1986 . “Tonic Arpeggiation and Successive Equal Third Relations as Elements of Tonal Evolution in the Music of Franz Liszt.” Music...
Journal Article
Schenker's Octave Lines Reconsidered
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Journal of Music Theory (1999) 43 (1): 101–133.
Published: 01 April 1999
... of the Ursatz, those with octave lines are
not susceptible to interruption.4 They also admit no first order neighbor
notes, and (contrary to what one might expect) Schenker says they offer
no special opportunities for mixture.5 Furthermore, Schenker neither dis-
cusses nor illustrates first-order arpeggiation...
Journal Article
Analysis of Tonal Music: A Schenkerian Approach
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Journal of Music Theory (2001) 45 (2): 483–487.
Published: 01 October 2001
... from the classical liter-
ature. These concepts include the use of chord inversions to create bass
arpeggiations, leaps in the bass in connection with bass arpeggiations,
elaboration by means of neighboring and passing motion (and the possi-
bility of accompanying contrapuntal chords...
Journal Article
CHICK COREA'S 1984 PERFORMANCE OF “NIGHT AND DAY”
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Journal of Music Theory (1999) 43 (2): 257–281.
Published: 01 October 1999
... part, which contains the
stable lower voice. Example 5b shows the voice leading including the
structural bass notes. The soprano arpeggiates twice from G1 to B≤2. In
the first case the tonic returns on G2, before the arpeggiation is complete.
In the second case the arpeggiation is accelerated, so...
Journal Article
On the Nature of Enlargement
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Journal of Music Theory (2001) 45 (1): 31–71.
Published: 01 April 2001
...-
tural situations: initial ascent to the primary tone; arpeggiation to the pri-
mary tone; embedded descents at multiple levels (idea, theme, section,
movement); and neighbor-note (or adjacency) motions. We might posit
an additional category that commonly arises in analytical practice, the
quirky...
Journal Article
Aspects of Unity in J. S. Bach's Partitas and Suites: An Analytical Study
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Journal of Music Theory (2005) 49 (1): 181–188.
Published: 01 April 2005
... procedures that produce triadic unfolding: linear (step-
wise) motion and chordal (arpeggiated) motion. Commonalities, in other
words, necessarily and automatically, link all pieces subjected to such
analysis. So at what point, then, can one claim, as does Beach, that a
work’s voice leading...
Journal Article
Notes on Harmony in Wayne Shorter's Compositions, 1964–67
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Journal of Music Theory (2005) 49 (2): 301–332.
Published: 01 October 2005
.... In the
chorus of “Armageddon,” mm. 3–5 (Table 3c), a progression from tonic
(B≤m7) to subdominant (E≤7) is divided in the foreground by a chromatic
chord: B≤m7 G≤7 E≤7. In “Prince of Darkness,” mm. 1–7 (Example 5),
the bass roots arpeggiate the G-minor tonic triad with parallel structures
on each...
Journal Article
The Oxford Handbook of Neo-Riemannian Music Theories
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Journal of Music Theory (2014) 58 (2): 235–256.
Published: 01 October 2014
...-
mittently, to keys, and the latter to higher-level chords—but either these are
purely conceptual in nature (in the way a melodically arpeggiated chord is not)
or the basis for their inference is extratheoretical (again, in the way a linear
progression is not).1 The neo-Riemannians may claim, of course...
Journal Article
Schubert's Innovations in Sonata Form: Compositional Logic and Structural Interpretation
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Journal of Music Theory (2001) 45 (1): 119–143.
Published: 01 April 2001
...—is an inviting analytical perspec-
tive, since this relationship extends beyond the themes themselves in
shaping the course of the movement. The second theme may be under-
stood to derive from the first roughly by inversion—by a reversal of the
direction of its opening arpeggiation. Following a second...
Journal Article
Becoming Heinrich Schenker: Music Theory and Ideology
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Journal of Music Theory (2016) 60 (1): 89–95.
Published: 01 April 2016
... established to this point is the initial com-
posing out of the Naturklang by means of descending stepwise motion coun-
terpointed by an arpeggiation through the fifth. But there are five diatonic
modes in which such a composing out is possible (diatonic in present-day...
Journal Article
Journal of Music Theory (2001) 45 (1): 162–169.
Published: 01 April 2001
... arpeggiations to pro-
vide support.
In some of the graphs in Volumes I–II, the Urlinie does not consist of
a single descending line. It may contain a rising and falling third, as in
No. 7 of Bach’s Twelve Short Preludes (I, 58) or “two linear progressions
and in the course of which the ∞ can be seen...
View articletitled, The Masterwork in Music: A Yearbook , 3 Vols. Heinrich Schenker Edited by William Drabkin Translated by Ian Bent, Alfred Clayton, William Drabkin, Richard Kramer, Derrick Puffet, John Rothgeb, and Hedi Siegel Studies in Music Theory and Analysis Vols. 5, 8, and 10 Ian Bent, General Ed. New York: Cambridge University Press, 1994, 1996, 1997
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for article titled, The Masterwork in Music: A Yearbook , 3 Vols. Heinrich Schenker Edited by William Drabkin Translated by Ian Bent, Alfred Clayton, William Drabkin, Richard Kramer, Derrick Puffet, John Rothgeb, and Hedi Siegel Studies in Music Theory and Analysis Vols. 5, 8, and 10 Ian Bent, General Ed. New York: Cambridge University Press, 1994, 1996, 1997
Journal Article
On Voice Exchanges
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Journal of Music Theory (2009) 53 (2): 191–226.
Published: 01 October 2009
... underpinnings (Example 4). After a chromatic voice
exchange connects the opening tonic to the minor dominant in mm. 15–23,
Brahms unfolds the major dominant through upper-voice passing motions
and bass arpeggiation. As the lovers draw...
Journal Article
A Reply to William Rothstein
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Journal of Music Theory (2002) 46 (1-2): 347–363.
Published: 01 October 2002
... harmonies but
in the coincidental confluences of melodic lines. The bass, in particular,
moves from I through III to V before returning to I at the beginning of the
reprise, a large-scale arpeggiation of the tonic that Schenker equates with
Tonalität. The crucial moments in this long-range...
Journal Article
A Response to Gordon Sly and Edward Laufer: An Alternative Interpretation of the First Movement of Mozart's K. 545
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Journal of Music Theory (2002) 46 (1-2): 364–368.
Published: 01 October 2002
... harmonies but
in the coincidental confluences of melodic lines. The bass, in particular,
moves from I through III to V before returning to I at the beginning of the
reprise, a large-scale arpeggiation of the tonic that Schenker equates with
Tonalität. The crucial moments in this long-range...
Journal Article
An Eightfold Taxonomy of Harmonic Progressions, and Its Application to Triads Related by Major Third and Their Significance in Recent Screen Music
Available to Purchase
Journal of Music Theory (2023) 67 (1): 141–169.
Published: 01 April 2023
... gently interrupts one of the guest's questions (0:14:33), at which point a soft electronic timbre begins to arpeggiate a D♭-minor triad. Not only does the root of this harmony match the continuing pedal, but also the pulse of the arpeggiation moves eight times as fast as the pedal, the same rate...
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View articletitled, An Eightfold Taxonomy of Harmonic Progressions, and Its Application to Triads Related by Major Third and Their Significance in Recent Screen Music
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for article titled, An Eightfold Taxonomy of Harmonic Progressions, and Its Application to Triads Related by Major Third and Their Significance in Recent Screen Music
Journal Article
Deep-Level Portrayals of Directed and Misdirected Motions in Nineteenth-Century Lyric Song
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Journal of Music Theory (2004) 48 (1): 25–68.
Published: 01 April 2004
... diatonic arpeggiation that clears away the chromatically trou-
bled grief (not indicated in the sketch) of the structure proper. Such an
approach to the outward expression of inner-voice as metaphor for inner
life may also be embodied within the interior of a structure, particularly
in an introspective...
Journal Article
SWING AND MOTIVE IN THREE PERFORMANCES BY OSCAR PETERSON
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Journal of Music Theory (1999) 43 (2): 283–314.
Published: 01 October 1999
... the arpeggiation) is to
resolve the top note down by step. To move with such a sense of purpose
to an active tone can be heard as an expression of strength. (At the begin-
ning of the guitar-trio performance, the arpeggiation contains tones more
active than the top note, and this leads to a different affect...
Journal Article
The American Popular Ballad of the Golden Era: 1924–1950
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Journal of Music Theory (2000) 44 (1): 236–249.
Published: 01 April 2000
... and the text, normally covering only a chorus or bridge)
and analytical reductions (not necessarily of a longer span, but closer to
the background level and with only bar numbers and no words), he uses
beams in the bass to show movement by cycle of 5ths rather than doctri-
naire Ursatz arpeggiation...
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