On Implied Tones

Rothstein, William

doi:10.2307/853970

Cited by 25 publications

(8 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…One might perhaps say that the process of reworking a continuo-like realization of a partimento into a version with diminutions is the exact opposite of the reduction of a complete composition in what Rothstein (1991) calls the "imaginary continuo. "…”

Section: Example 12 Fenaroli Book 4 No 2 (With Symbols Added)mentioning

confidence: 98%

The Realization of Partimenti

Sanguinetti¹

2007

Journal of Music Theory

View full text Add to dashboard Cite

A partimento is a linear guide for the improvisation of a keyboard piece. Partimenti were developed for the training of composers in the conservatories of Naples during the eighteenth century. They contain all the information needed for the realization of complete pieces of music, and their practice bestowed on practitioners a fluency in composition unparalleled since then. The Neapolitan masters usually recommended different stages of realization, from the simplest (con le sole consonanze) to highly elaborate textures. The rules for the realization of partimenti have survived in many sources, but they cover only the first stage of realization because the techniques for more advanced realizations were transmitted orally. With the decadence and extinction of the living tradition, the realization of partimenti became a lost art. However, some principles for advanced realization may be inferred from the surviving written realizations, and from the analysis of the partimento in question. Relying on the foundation formed by the rules, and integrating them with these principles, the present article shows some examples of how a present-day musician can create a satisfying realization.

show abstract

Section: Example 12 Fenaroli Book 4 No 2 (With Symbols Added)mentioning

confidence: 98%

The Realization of Partimenti

Sanguinetti¹

2007

Journal of Music Theory

View full text Add to dashboard Cite

show abstract

“…a, the member of the dominant that is conceived as structural is neither

\overset{7}{true}

nor

\overset{5}{true}

, but rather the implied

\overset{2}{true}

. Rothstein (, pp. 291–2), who shows precisely this configuration in Schubert's ‘Mein!’ from Die schöne Müllerin (bars 32–33) as an illustration of a prototypical implied tone, explains that ‘what is gained by assuming the implied tone [in this case] is […] the completion of a contrapuntal archetype, the Fundamental Structure’ .…”

Section: Critical Evaluationmentioning

confidence: 99%

“…For example, Schachter (, p. 239) makes a middleground graph of the larger context for the passage from Mozart's ‘Jupiter’ Symphony shown in Example 3 of this article. He shows the local descent at bars 73–76 from

\overset{3}{true}

(below a deeper‐level

\overset{5}{true}

) but leaves no indication of the non‐concurrence with the surface motive.…”

mentioning

confidence: 99%

See 1 more Smart Citation

Harmony without Voice Leading? The Challenge of Interpreting Exact Leaping Transpositions

Goldenberg¹

2016

Music Analysis

View full text Add to dashboard Cite

In common‐practice tonal music, normative voice leading is challenged when motives based on arpeggiated chords recur transposed by leaps. Most often, linear readings become possible by means of choosing a different member from each participating chord. The exact details depend on the specific harmonic progression. Some alternative readings are also possible. There is a danger of theoretical bias in such readings, although many of the actual instances are strongly convincing.

show abstract

“…Rothstein (1991) noted that Neumeyer's ascending Urlinie follows what he refers to as the "Gestalt Nature" of Schenkerian thought: it employs Schenker's concept of melodic fluency (stepwise motion), the Gestalt principle of "good continuation" (reference to a single scale in a single direction), and the principle of the imaginary continuo (a set of pitch classes that belong to successive chords from which the foreground voice-leading is derived). For these reasons, he concedes that Neumeyer's ascending Urlinie can span an entire work and should at least be assigned to a deep level of the middleground.…”

mentioning

confidence: 99%

Schenker and the Tonal Jazz Repertory

McFarland

2012

MTO

View full text Add to dashboard Cite

Henry Martin recently introduces new forms of theUrlinieother than Schenker’s 3-, 5-, and 8-lines to provide superior readings of works from the tonal jazz repertory. This study questions the superiority of these newUrlinien; Schenker’s three forms of theUrsatzare preferred instead. Martin’s dissatisfaction with orthodox Schenkerian theory is traced to his belief in the inviolability of the original melody, which excludes the use of implied tones and forces theUrlinieto appear in the upper voice, thus eliminating theDeckton.

show abstract

On Implied Tones

Cited by 25 publications

References 0 publications

The Realization of Partimenti

The Realization of Partimenti

Harmony without Voice Leading? The Challenge of Interpreting Exact Leaping Transpositions

Schenker and the Tonal Jazz Repertory

Contact Info

Product

Resources

About