Example 1.21

Alois Hába, String Quartet No. 3, Mvt. III, mm. 7-14

Throughout my dissertation, I use an analytic notation similar to Schenker's reductive graphs. While I won't argue for any sort of Ursatz-like background structure in any of the music I consider in this dissertation, I do find that the graphs not only illustrate how non-chord tones embellish foreground harmonies, but also clarify middleground connections between structural pitches.