THE ECOLE CENTRALE
IV. Nota extemporánea: un hallazgo inesperado
Schenkerian and Westergaardian Analyses of the Pachelbel Canon
I have reserved the discussion of Schenkerian analysis of the Pachelbel theme to the appendix because it sheds relatively little light on the canonic aspects of the pieces presented here. However, as a general discussion of the reasons why the progression seems so ubiquitous, it is worth a quick look at how a Schenkerian would understand the chord pattern to arise. I have modelled my analysis after the generative style of Matthew Brown98.
Note that in the final stage, I have employed the “unfolding” notation uncharacteristically, for register transfers, rather than true chordal unfolding, only because the symbol helps to draw attention to the close relationships between these notes.
98 (Brown 2005)
Westergaardian theory is an offshoot of Schenkerian theory. The following analysis according to the theories of Peter Westergaard comes from a blog99 from a Westergaardian theorist, who was responding to a question about the nature of a certain category of chord patterns. The blogger completely bypassed the point of the question, but did provide an analysis of the Pachelbel theme according to Westergaardian principles. I have adapted his analysis slightly here.
First, the two chords
I
andV
are presented. Next, the chords are voiced in such a way that the span of all the melodic motion prior to the V chord is outlined in each part.The span is then separated into two notes, creating two smaller spans. These are then filled linearly (with an escape tone at the end of the second line), and finally the bass is altered to harmonise with the upper voices in sequence.
99 (Cook 2008)
XXX. Appendix B
The Gigue from “Kanon und Gigue in D-Dur fur Drei Violinen und Basso Continuo” by
Johann Pachelbel
XXXI. Appendix C
The Clarke Chaconnes
XXXII. Appendix D
The Merula Chiacona
XXXIII. Appendix E
Dido’s Lament (Phrase vs. Ostinato)
XXXIV. Appendix F
Fourteen Canons on the Goldberg Ground
XXXV. Bibliography
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