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hi so today I'm gonna be giving you a quick introduction to Shankaran analysis the goal is that by the end of this video you should be able to grasp the main concepts of Shankaran analysis and be able to do some simple analyses of your own so Shankaran analysis can be quite daunting at first and some of the literature can seem very dense with this video I want to show you that it isn't all that complicated it can be very useful and even fun so let's get started by looking at watching Kiran analysis actually is it gets its name from its creator the Austrian music theorist Heine vey Schenker he published a number of works towards the beginning of the 20th century laying out the notions of this method which has since been hugely influential shekharan analysis is probably most well-known for the idea of the ear sets it's what most people think about when they think of Shankaran analysis your SATs is a german term that translates to fundamental structure indeed the goal of a Shankaran analysis is to understand the structure of a piece of music of various levels so there are three structural levels or layers that we're going to want to understand one of them being the earth sets this is also called the background layer we'll get back to this in a second the easiest layer to see is what we call the surface layer or the foreground this is basically everything that's happening in the music in all its detail then we try to simplify this layer taking away notes that are only really there for decoration and leaving the most important ones that give the music its meaning this is called the middle ground we move from the foreground to the middle ground by a process called reduction because we're reducing things to a simpler more basic level and this is probably the most important skill to master for Shankaran analysis we can then reduce the middle ground again to reach an even simpler layer which is the background the background is going to be so simple that we can represent a whole orchestral movement with just two lines of Shankaran analysis can be summarized as this process of reduction from the actual music of the surface level down to its most basic fundamental structure if you understand this then you're well on your way to performing an analysis yourself let's see how this process of reduction works there are a few things you'll need to know if you want to do this so the most important have a basic understanding of harmonic analysis scale degrees and Roman numerals a basic understanding of figured base is also needed if you're not quite at this level yet there's a video on this channel giving a crash course introduction to them of course it goes without saying that you'll need to be able to read music if you understand these basic principles then you have everything you need to get started and shrink here in analysis so we're going to follow a simple four-step method to go through a piece of music in all its detail to finding the underlying assets note that this method and the example we're going to use has been taken straight from Tom Pankhurst's book Schenker guide which also has a website with lots of great exercises for learning and practicing shank hearing analysis the link to that can be found in the description we're going to use a very short very simple example let's have a listen to it [Music] we start by doing a simple harmonic analysis of the piece first we find the key which in this case is G major next we have the Roman numerals we start off from a tonic chord of G major then move to the D major seven which is of course the dominant and then resolve on the tonic G major simple enough so far for the second step we're going to start by notating the music in a simplified way we'll first get rid of any bar lines then represent each note with a stemless quarter note head and finally remove any same notes that occur consecutively this is moving towards what is called analytic notation we're essentially evacuating any kind of rhythmic notation the purpose of this stage will be to identify elaborations on each harmony these are foreground elaborations or prolongations what foreground elaborations can we find here first we see a linear progression this is a stepwise motion in one direction between two harmony notes called a zhuge in german here it's a third progression going down from the B to the D passing by the C it's marked like this next we have a skip down from D to G we're still in the same tonic harmony so we identify this as an arpeggiator which will indicate with a slur over the dominant harmony we first have a complete neighbor note or neben note in German this is a note that moves away from the Harmony note and then moves back here the Harmony notes is the a moving down to the neighbor note G then back up to the a we note it with a slur and an N for neighbor finally with the B we have another neighbor note but this time it is incomplete as it does not return back to the a we won't connect the final B and G as they are not part of the same harmony in step two we analyzed chord by chord next we're going to link up these foreground elaborations into larger spans and try to identify larger harmonic patterns such as 1 5 1 note that here and to a certain extent in all the steps there's never one correct answer as such there are often multiple ways of analyzing a same passage however some solutions will be more elegant than others and the more elegant a solution is the more meaningful it will be as we go deeper into the layers of analysis it will be more and more important to try to find melodically fluent solutions such as stepwise connections to try and understand this will first give a middle ground analysis that while not incorrect is very unsatisfactory then we'll compare this to another analysis first of all we can use downward stems in the base to mark the roots of principal supporting harmonies so going from the G the D and finally the G this is simple enough and more or less indisputable we use slurs to mark the main base arpeggiation x' 1 5 & 5 1 beneath the Roman numerals we can also mark harmonic patterns like the 1 5 1 here again up to here things remain fairly simple and they can't really be interpreted any other way it's our top voice that's going to be more complicated let's use stems and beams to show large-scale movement and propose one possible interpretation here we are saying that foreground elaborations are basically lining together as decoration of a neighbor note progression starting on the tonic G moving to a neighbor note a then back to the tonic the upper voice in the bass would also be following this movement now let's consider this analysis here all the progressions are joined into a single span of a third progression starting on the D and going down to the G passing by the a this is a much more satisfactory solution let's discuss why first of all solution B explains the first three notes much better in the first case they seem to be nothing more than somewhat of an anacrusis next we can think in terms of compound melody which is when a single melodic line suggests other voices here the G could be considered as a lower voice beneath the initial B next this solution seems to better show the prominence of this B which in the original piece is a long note and higher than the G giving it more prominence finally a stepwise movement will always be a very elegant solution step three is usually repeated several times going deeper and deeper until we reach step four where we'll try and identify the ear zetz or background or fundamental structure Schenker gives a standard model but in varying forms can be found on the deepest level of the music this consists of a descending upper voice or early Nia and a bass progression or bass flushing the ill sets of our example can be shown as follows we start with the bass blushing marked with downwards stems and beams connecting the root notes of the chords this is simple enough the early Nia shall be marked like this note the figures above mark the scale degrees the first note of the early Nia here the B is called the cup tun primary tone or even head tone in practice this can either be eight five or three then the earlier always descends down diatonically to one there's a possible exception to this called an interruption but we won't go over that here a quick note we'll also note here the compound melody identified in step three with the slur between the B and the G so to summarize we've gone from this initial piece of music to this harmonic analysis to this foreground analysis to this middle-ground analysis and finally reached this background layer in practice a few bars like this wouldn't be treated to a background analysis like that this is something that would normally span over the whole piece there's obviously much more to cover in Shankaran analysis and lots of key terms have been quickly glossed over here but hopefully this has given you a basic understanding of its principles and how it works you can see that it can be interesting and useful to really understand how a piece of music works not only can it be useful in analytical terms but it can also help develop your compositional practice of course this is a form of analysis that only makes sense when applied to certain types of music and it has been criticized for only concentrating on the score be that as it may it's an important tool to grasp for any student of music once again this example was taken from Tom Pankhurst's book and website on Shankaran analysis this is a great reference along with Allen fort and Steven Gilbert's introduction to Shankaran analysis for an in-depth guide to Shankaran analysis consult one of these books or one of the many others that are available or check out the in-depth guide on this channel see you soon