Musical Examples

Nathan Pell, Key Profiles in Bruckner’s Symphonic Expositions

Main Examples

Ex. 3: Bruckner VIII: Finale Opening | Ex. 4: Bass-Line Sketches | Ex. 5: Symphony VI: Adagio (Middleground) | Ex. 6: Symphony VI: Adagio (Foreground)


Symphony III: Finale | Symphony IV: Finale | Symphony V: Finale | Symphony VI: Finale | Symphony VII: Finale | Symphony VIII: Finale | Symphony VI: Adagio, Opening (Alternate Reading)

Symphony VI: Adagio, Opening (Alternate Reading)

Figures A–E | Figure F | Figures G–I

The chromatic alteration of Figure A is counterpointed in Figure B by the fifth progression C–D–E–F–G, a motion from an inner voice. The change in the top voice from A to Aflat provides a point of articulation that subdivides the inner-voice fifth into a fourth (C to F) plus a step (F to G). Figure C adds to Figure A a chromatic passing tone in an inner voice. Figure D shows this Fsharp in the context of Figure B’s fourth and fifth progressions. Because the boundaries of the C–Fsharp fourth outline a larger middleground harmony (in this case, an augmented sixth), the fourth progression remains a valid Zug. (Schenker [1935] 1979, ยง205 and Fig. 87,1 are relevant in this connection.)

Measures 1–41: Berlin Philharmonic Orchestra, Wilhelm Furtwängler, 1943