What this method is for
The Schenkerian method is a progressive reduction: you start from the score and eliminate the subordinate notes level after level, until what remains is the structure that holds the piece together. The procedure below is the one taught in university courses (Cadwallader & Gagné; Forte & Gilbert), simplified for a short piece: an 8–16 bar theme, a chorale, a tonal song.
Step 1: harmony and cadences
- Make a complete Roman numeral analysis.
- Mark the cadences (authentic, half cadences) and the keys they reach.
- Identify the form of the phrase: period? sentence? A period with half cadence → perfect cadence suggests an interruption (3̂–2̂ ‖ 3̂–2̂–1̂).
Step 2: the structural bass
- Identify the initial tonic, the structural dominant (usually that of the last cadence) and the final tonic: this is the Bassbrechung I–V–I.
- Between these, find the chords that prepare the dominant (IV, ii6, cadential six-four) and those that prolong the tonic (I6, neighbor V6/5, neighbor IV6/4, passing chords).
Step 3: the Kopfton and the Urlinie
- Look in the melody for the note 3̂, 5̂ or 8̂ that is emphasized (accents, duration, register, return) and that then descends by step to the tonic at the last cadence.
- Check the coordination: the 2̂ of the Urlinie must fall over the structural V.
- If the melody rises at the beginning to reach the Kopfton, you have an Anstieg (initial ascent).
Step 4: reducing the surface
Remove, in order:
- repetitions of notes and arpeggiations of a chord already present;
- passing tones and neighbor tones;
- appoggiaturas and suspensions (replaced by the note of resolution);
- anticipations.
What remains is a "note against note" version, almost a first-species counterpoint between melody and bass. Check it: it must respect the voice leading (no substantial parallel fifths and octaves).
Step 5: middleground levels
- Group the remaining notes into linear progressions (descents or ascents of a third, fourth, fifth).
- Identify arpeggiations that explain large leaps.
- Mark the structural neighbor notes (for example 5̂–6̂–5̂ over I–IV–I).
Step 6: the graph
Essential graphic conventions:
- Open noteheads with stem and numbered flag (3̂, 2̂, 1̂): the Urlinie.
- Open noteheads in the bass with Roman numerals: the Bassbrechung and the structural chords.
- Filled noteheads without stem: subordinate notes.
- Slurs: connect a structural note to the notes that prolong it; a dotted slur indicates a note that remains "virtually" in force.
- Long beams above or below: connect the notes of a linear progression.
- Double bar ‖: interruption.
Example: 8-bar theme in C major (period)
Antecedent (mm. 1–4): melody E–D–C–D | E–F–E–D (half cadence) over I – V6 – I – ii6 | I6/4 – V.
Consequent (mm. 5–8): E–D–C–D | E–F–D–C (perfect cadence) over I – V6 – I – IV | I6/4 – V7 – I.
- Kopfton: E (3̂) of m. 1.
- Antecedent: 3̂ prolonged (neighbor note D, passing tone) → 2̂ over V at the half cadence: interruption.
- Consequent: return to 3̂, descent 3̂–2̂–1̂ over I6/4–V7–I.
- Graph: 3̂ – 2̂ ‖ 3̂ – 2̂ – 1̂ over I – V ‖ I – V – I.
The same pattern is found in the theme of the Andante grazioso of Mozart's Sonata K. 331, a classic teaching example (Kopfton C♯, 3̂ in A major).
Common mistakes
- Choosing the Kopfton just because it is the highest note: it must be supported by tonic harmony and descend coherently.
- Reducing too early: without a solid harmonic analysis the reduction becomes arbitrary.
- Forgetting the bass: the Urlinie alone is not an analysis.
Application to a pop song
On a chorus that ends with the melody 3̂–2̂–1̂ (E–D–C) over IV–V–I, the tension of the pre-chorus is often a prolongation of 5̂ or 3̂ over a dominant pedal: recognizing it tells you where to put the melodic climax (the Kopfton) and which note not to touch before the chorus so as not to "burn" it.
Related topics
Schenker (introduction): Ursatz, Urlinie and levels, Prolongation, Roman numeral harmonic analysis step by step, The period, Nonchord tones.