Bartók, For Children, "Former Friends"

 Bartók, “Former Friends” (For Children, vol. 1, no. 3). Reproduced from Guide 2.

In §1.1 of the Guide, volume 2 (link to the file), we used a three-step procedure for harmonic (bass-line) analyses: sort the formal units, analyze the harmony, convert to formal Schenkerian notation. The last step was modified when necessary to a variety of alternative or informal modes of notation. 

I make use of the same three-step procedure for analysis of the bass and principal upper-part(s): step 1 is to sort the form elements; step 2 is to analyze and translate the harmony (that is, combine steps 2 & 3 from the bass-line procedure); step 3 is new: match the melody to the bass, with the optional step of untangling some or all of the inner voices. In this model, formal design is given the highest status, more than that of tonal hierarchies, and the traditional separation of bass and upper parts is maintained.

Here is more information from observation. Some of this may be useful further on.

The bass-line sketch for “Former Friends” is aligned with the score.

For the upper parts: in what follows I make use of text quoted from the original Neumeyer & Tepping Guide, chapters 4 & 5 (link to the file). We begin with informal upper-voice analysis.

A tone moves to any other in one of three ways: by step, by leap, or repetition. From these derive the three methods: lines, arpeggiations, and stationary or recurrent tones. All other melodic motions are combinations or specialized variants of these three

For the upper parts: isolate one formal unit: here it is the theme/sentence: bars 1-10. Recall that this piece consists of two statements of the theme. Locate and circle the initial tone, final tone, and highest tone [this last has an arrow pointing to it]. If the first tone is an anacrusis or pick-up note, the first accented tone may be taken instead; if the highest tone is a simple embellishing tone, the next lower or prominently placed tone may be taken instead. Make decisions based on what seems most workable or musically convincing at the time—remember that this procedure is informal. For the initial and final tones, always favor elements of the tonic triad.

Try to chart the essential motion between the initial and highest tones [very easy! an unfolded fifth A4–E5 at the very beginning], and between the highest and final tones. Give preference to a single line [overall a simple 5th-line in A minor with all the descent in the continuation phrase]. This line may have repetitions of tones or segments, may have neighbor-note figures attached, and may be chromatic or diatonic. The second segment (from highest tones to last) will almost always be a line; if so, connect its notes with a beam.

An optional additional step is to locate linear fragments in the inner voices. These will not usually run consistently from beginning to end, nor are they likely to be coordinated, note for note, with the principal upper-voice motions. [In this case, the A4 is consistent as the lower or inner voice throughout.]

The upper parts can be complex, with different voice-leading strands running through a single melodic line (and often appearing and disappearing). Only when the principal upper-voice motions are coordinated with the bass-line sketch do we have firm criteria for sorting and notating the different structural levels. A formal sketch is rendered as what Schenker called an Urlinietafel—“Urlinie table” or “score foreground,” a very practical way to keep the analysis close to the score and the aural experience of the piece. Once I transferred my analysis of the upper voices to the score, I made a few adjustments to the notation of the bass so that the two are coordinated. The notation overall still isn’t quite formal: notice that the beamed lines have both half notes and closed notes.