Notational styles

The "chordal middleground reduction" below will show up again in tomorrow's post on options for progressions from the C# major area in D779n13. The style of notation here is quite similar to chordal reductions used by Douglass Green for his textbook Form in Tonal Music.

This notational style apparently derives in part at least from Felix Salzer's Structural Hearing. See the facsimile of Green's class notes for the opening of Mozart's Symphony No. 40 below. The middle system uses chordal reduction with the broken beams that are characteristic of Salzer, though he did not use one-stave reductions. All in all, Green's notes run a range of styles -- perhaps that was part of his pedagogical goal for the class.

References:

Salzer, Felix. Structural Hearing: Tonal Coherence in Music. 2 vols. New York: Dover, 1962. Original edition 1952.

Green, Douglass. Form in Tonal Music: An Introduction to Analysis. New York: Holt, Rinehart and Winston, 1965; 2d ed 1979.

Green, Douglass. Class notes, unpublished, in my possession.