ABSTRACT
This chapter concludes the first part of the text, what is roughly equivalent to an initial semester of instruction in Schenkerian analysis. It ends with a summary and review of concepts and terminology. This chapter opens with a discussion of the differences between structural and formal analysis. Both are valid approaches to understanding musical organization, and it is important for students to understand and appreciate the distinction. Counter to common practice among Schenkerians, the term “ternary” (rounded binary) is used in this text to describe the formal scheme ||: a :||: b a’ :||. From the perspective of formal analysis this common pattern has traditionally been labeled as rounded binary, but from the perspective of voice-leading analysis, which does not account for repeats, the form is ternary. Compounding this potential confusion, the structure of this formal scheme falls into two parts, though in this instance defined by the structural interruption. The remainder of the chapter proper is devoted to the analyses of representative works in this formal/structural type.
