Douglas Osmun

Schenkerian Analysis: Schubert, D958, Menuetto

This analysis project covers measures 1-42 of the Menuetto movement of Schubert’s Sonata

in C Minor (D958). This passage is in a rounded continuous binary form: rounded due to the

return of the A material after the B section, and continuous because the initial A section does not

close in the key it begins in.

The initial A section of the piece consists of twelve measures and approximately dived into

three harmonic areas. The first four measures are in the initial key of C minor. In measure 5, the

piece enters A flat major via a deceptive cadence from the preceding measure (A flat major being

the VI of C minor). Upon reaching measure 8, Schubert begins using a series of pivot chords to

modulate into E flat major, the III of the original C minor and harmonic destination of this

section. This section can therefore be characterized by overarching harmonic motion from i to III

by moving through VI. It is also worth noting that this section appears to be a singular phrase.

Although dominant harmony does appear, it typically does so in either a passing or inverted (and

therefore weakened) fashion. It is not until the end of the A section that Schubert provides a

perfect authentic cadence in E flat major. In order to subvert the conclusory feeling that comes

with perfect authentic cadences, Schubert connects the end of this phrase to the beginning of the

next via an ascending arpeggiation. Regarding the Schenkerian analysis of this section, it appears

to function entirely as a prolongation of scale degree 5.

The B section, beginning in measure 14 and concluding in measure 29, is entirely in the

key of E flat major. This section also appears as a single, continuous phrase due to the avoidance

of a perfect authentic cadence. When transitioning to the return of the A section, an imperfect
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authentic cadence is used. Also worth mentioning is that this B to A transition consists of elided

phrases, with B concluding and A beginning on the downbeat of measure 29.

The returning A material is the most peculiar section of this excerpt. The imperfect

authentic cadence leading from the B section into the A section also places the material

harmonically back into C minor. However, this section divided into three, four bar phrases not

due to any harmonic motion, but rather due to two separate, measure long rests. Each phrase is

therefore characterized by independent harmonic motion within C minor: the first as a

prolongation of i, the second as motion from VI to iv, and the third as cadential motion from i to

V to i. What is particularly interesting about this is the symmetrical construction that is apparent

when comparing this returning A section to the original A section. As stated previously, the initial

A section moves harmonically from i to VI to III. This is strikingly similar to the motion from i to

VI to i in the returning A material. Although the initial instance consists of motion through key

areas and the second instance consists of motion through chords within a single key area, this

musical similarity is too striking to ignore, especially due to three groupings of four bars assigned

to each harmonic area.

The musical distinction between the sections of the piece lays primarily in the gestural

motives. The initial A section is characterized by a recurring four bar rhythmic pattern in the right

hand and a continuous stream of arpeggiating eighth notes in the left hand. The concluding A

section incorporates the same recurring four bar rhythmic pattern. However, Schubert has here

placed that pattern in the left hand. In the right hand is now the continuous stream of eighth

notes, initially scalar in design but concluding in an arpeggiating manner. The B section is an

interesting contrast to the ideas contained within A specifically because B is constructed from of a
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stratified version of those same materials. The rhythmic pattern and arpeggiating eighth notes are

still present, but instead of being divided between the hands, the are now presented separately in

time. The hands in rhythmic and gestural unison, Schubert alternates between blocked chordal

motion and arpeggiating eighth notes.

In conducting the Schenkerian analysis of the excerpt, the initial problem I ran into was

the identification of scale degree 4. The opening A section entirely being a prolongation of scale

degree 5, I anticipated finding 4 somewhere within the B or concluding A section. There appeared

to be only one suitable candidate: the F that appears in the right hand in measure 16. I did not

find this to be ideal initially due to the fact that it is presented in an inner voice. However, if the

prior material is treated as the excitement of an inner voice in order to make it into an outer voice,

I believe this F (supported by dominant harmony) is a good option for scale degree 4. The

remainder of the B section then functions as a prolongation of 4. Regarding the other elements of

the urlinie, the initial A section is essentially a prolongation of scale degree 5. The returning A

section is a prolongation of scale degree 3, and the scale degrees 2 and 1 are given with the

concluding perfect authentic cadence.

Another interesting observation is the construction of the bassbrechung. On an ursatz

level, the bass motion consists entirely of tonic arpeggiation. I could not find any acceptable

predominant bass motion on this level, as the excerpt concludes with direct i-V-i motion. There is

an argument that could likely be made for the F in measure 37 (supported by iv) serve a deeper

predominant function, but I did not opt to analyze it this way specifically because it is proceeded by

tonic harmony before the concluding perfect authentic cadence. Therefore, from section A
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through section B, the bass motion is a descending arpeggiation of 1-5-3-1. Beginning with the

final A section, there is a similar—yet varied—descent of 1-3-5-1.

One final element I would like to point out is a linear progression that appears present

beginning at measure 39. Quite near the end of the piece, and having already received scale degrees

5, 4, and 3, Schubert appears to give us scale degrees 5, 4, and 3 one more time in rapid succession.

5 is supported by the tonic harmony on the downbeat of measure 39, 4 appears in the passing

dominant harmony on the second beat of the measure, and 3 appears in the tonic harmony on beat

three. To describe this, I feel it necessary to invoke the term “interruption.” As a disclaimer, I do

not mean this in the same sense of the way we have used it in class (which I understand to be a

harmonic break that forces a return to a previous scale degree, such as a half cadence). Is this

excerpt, the interruption instead appears to be rhythmic rather than harmonic due to the measure

long rest immediately preceding this linear progression. Because these are the concluding four bars

of the excerpt, I found it quite satisfying that—beginning out of the stasis provided by the rest—I

could hear a condensed, rapid progression all the way from scale degree 5 to 1. Although scale

degrees 2 and 1 function on the deeper, ursatz level, they elide nicely with the motion initated two

bars early with the progression from 5 to 3.