The last two paragraphs of the appendix acknowledge that two of my readings are convincing. The pieces are D779n2 and D969n7. In a footnote, Schachter says he still prefers a descending Urlinie from ^3 for D969n7, but that my version is "a plausible alternative" (341n23). The rising line ^5-^8, however, is lumped with other Urlinien manquées: "'incomplete' . . . (notably 5-^4-^3) or . . . ending on ^2 [over V]" (339), and these as a group are the exceptions that prove the rule: "their existence in no way diminishes the importance of the norms to which they form exceptions." Those norms:
(a) "tonal melodies come to rest on ^1" ---- or ^8, of course, since ^8 is equivalent (identical, really) in a modal pitch-class space system with octave equivalence. Up/down might be a schema, but octave equivalence has been an element of European pitch systems for a very long time.(b) "complete harmonic structures end on the tonic chord" ---- but what can "complete" possibly mean apart from actual compositions, where we know that bifocal tonality (LaRue), double-tonics, and tonally meandering opera szenas or film cues can be found everywhere.(c) "differences between rising and falling motion reflect fundamental properties of the tonal system" ---- I quite agree with this one, but with two large caveats: (1) I would change "fundamental properties" to "basic expressive properties"; and (2), as this series of posts will have shown, I don't share Schachter's particular notion of "tonal system."
