ABSTRACT
Heinrich Schenker's nomenclature reinforces his habit of using the term Klischee to distinguish higher-level graphs from Urlinie-Tafeln. Apart from the Schenker and Krebs scores, only seven further items in Schenker's hand survive to supplement Elias's graphs. Correction of the graphs proceeded throughout April, by which time the pair were also tackling the final movement: the process of correction extended to the retransition in a lesson of 15 April, and was finished off on the 29th. The Urlinie-Tafel both corroborates and to some extent contradicts what the Ursatz and Enfaltung show of Schenker's understanding of melodic voice leading at the deepest levels in this movement. The Entfaltung and Urlinie-Tafel are predictably devoid of the terminological trappings of conventional Formenlehre, although Schenkel's published work, as is well known, shows clearly enough that he still had a use for these concepts in the mid-1920s.
