Seminario Schenker br

ar

Dr. Emil Awad

Objetivos: Investigacin de los principios que estructuran el anlisis schenkeriano y su aplicacin a

movimientos individuales o piezas pequeas con cromatismo limitado: Contrapunto de Schenker y
los tratados relacionados, Fux, Albrechtberger, entre otros; Armona de Schenker y los tratados
relacionados, Rameau, Salzer, Schachter, C.P.E. Bach, entre otros; Composicin Libre y Las
Obras Maestras de la Msica de Schenker y sus consecuencias analticas, as como tratados
modernos de introduccin al tema y artculos diversos de revistas especializadas. El alumno realizar
una serie de anlisis de obras del repertorio y su trabajo final consistir en un anlisis schenkeriano
con comentario apoyado en las lecturas, artculos relacionados e ideas propias.

LECTURAS DE REPASO:

Contrapunto Elemental: Salzer, Felix and Schachter, Carl. 1989. Parte 1 The Techniques of
Elementary Counterpoint; Salzer, Felix. 1952. Parte II, Captulo 3.

Armona, Forma y Prolongaciones: Salzer, Felix and Schachter, Carl. 1989. Captulo 8 1 y 2.;
Aldwell, Edward, & Schachter, Carl. 1978. Parte II.; Salzer, Felix. 1952. Parte 1.

Armona Cromtica y Progresiones Lineales: Aldwell, Edward, & Schachter, Carl. 1978. Parte III
y V, Captulo 31 1-13; Salzer, Felix. 1952. Parte II, Captulo 2.; Salzer, Felix and Schachter, Carl.
1969. Captulo 7 4.

Contrapunto prolongado y la escritura coral e instrumental: Salzer, Felix and Schachter, Carl.
1989. Captulo 7 y 8.

Armona cromtica avanzada: Aldwell, Edward, & Schachter, Carl. 1978. Parte VI (incluyendo
Captulo 31 14-18).

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 Puntos de Repaso:

Dr. Emil Awad

1. El perodo
1.1. Motivo y semifrase
1.2. Cadencias
1.3. Frase
1.4. Frases irregulares
1.5. Perodo paralelo
1.6. Perodo contrastante
1.7. Extensin del perodo

2. Forma cancin como modelo general de forma

3 2 1
2.1. Una parte: A
I V I
3 2 "" 3 2 1
2.2. Dos partes: la interrupcin: A: I-V // A: I-V-I: A: | | A'
I V I V I
2.3. Tres partes abierta:
2.3.1. Direccin armnica (arpegio del bajo) A: I-III | B: III-V | A: I-V-I (Generalmente modo menor)
2.3.2. la interrupcin: A: I-V // B: V-- | I-V-I (Modo Mayor o menor.)
2.4. Tres partes cerrada (Parte A cierra en I)
2.4.1. Nota vecina: rea de acorde vecino: ejemplo
N.V .
5 4 3 2 1 6 3 2 1 5 4 3 2 1
A: 7 6 || B(IV) : || A :
I V I II V I IVI V I I V 7 I II 6V I
2.4.2. Mixtura: Mixtura modal (uso del modo paralelo) A : 3 | B : 3
b | A : 3
2.4.3. Direccin armnica: Movimiento hacia V
2.5. Cinco partes: Tres partes en traslapo A-B-A-C-A (A-C-A)
2.6. Cuatro partes: A: I | B: V | A: I | B: I (algunos la llaman rond-sonata, pero este nombre es una contradiccin)

3. Trminos auxiliares
3.1. Introduccin
3.2. Transicin
3.3. Retransicin
3.4. Codetta
3.5. Interludio
3.6. Episodio
3.7. Coda
3.8. Postludio

4. La forma ternaria "abierta"

4.1. El Minueto
4.2. La Sonatina
4.3. Movimiento en forma Sonata

5. La Forma ternaria "cerrada"

5.1. El Minueto y Tro: A-B-A
5.2. El Rond
5.2.1. Primera forma Rond: A-B-A
5.2.2. Segunda forma Rond: A-B-A-C-A
5.2.3. Tercera forma Rond: A-B-A-C-A-B-A, o A-B-A-C-A-D-A

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