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Schubert, Chromaticism, and the Ascending 5-6 Sequence

Schubert, Chromaticism, and the Ascending 5-6 Sequence A diverse selection of wondrously creative renderings by Franz Schubert of the ascending 5-6 sequence serves as the foundation for a reevaluation of the procedure and of the analytical tools used to describe it and to assess its role within a musical and (for texted music) poetical context. A range of late-eighteenth- and early-nineteenth-century thought on both sequential progression and harmonic analysis in general, by Emanuel Aloys Förster, Johann Philipp Kirnberger, and Gottfried Weber, among others, is assayed. Opportunities for chromaticism within the 5 and 6 phases of the 5-6 cycle are separately considered. The 5-phase trajectories are classified as diatonic, idiosyncratic, or obstinate. Despite its long history and current dominance, the mode of analysis based on Roman numerals and tonicizations is eschewed for sequential progressions. Instead, the connective role of sequential progressions within broader harmonic progressions is emphasized. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Music Theory Duke University Press

Schubert, Chromaticism, and the Ascending 5-6 Sequence

Damschroder, David
Journal of Music Theory , Volume 50 (2) – Jan 1, 2006
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Publisher
Duke University Press
Copyright
Duke University Press
ISSN
0022-2909
eISSN
1941-7497
DOI
10.1215/00222909-2008-017
Publisher site
See Article on Publisher Site

Abstract

A diverse selection of wondrously creative renderings by Franz Schubert of the ascending 5-6 sequence serves as the foundation for a reevaluation of the procedure and of the analytical tools used to describe it and to assess its role within a musical and (for texted music) poetical context. A range of late-eighteenth- and early-nineteenth-century thought on both sequential progression and harmonic analysis in general, by Emanuel Aloys Förster, Johann Philipp Kirnberger, and Gottfried Weber, among others, is assayed. Opportunities for chromaticism within the 5 and 6 phases of the 5-6 cycle are separately considered. The 5-phase trajectories are classified as diatonic, idiosyncratic, or obstinate. Despite its long history and current dominance, the mode of analysis based on Roman numerals and tonicizations is eschewed for sequential progressions. Instead, the connective role of sequential progressions within broader harmonic progressions is emphasized.

Journal

Journal of Music Theory – Duke University Press

Published: Jan 1, 2006

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