Editing Schenkerian analysis (section)

===Articulation of the span from I to V in the bass arpeggiation===
The canonic form of the bass arpeggiation is I–V–I. The second interval, V–I, forms under {{music|scale|2}}–{{music|scale|1}} the perfect authentic cadence and is not susceptible of elaboration at the background level. The first span, I–V, on the other hand, usually is elaborated. The main cases include:<ref>The cases described in the following paragraphs are discussed in Heinrich Schenker, "Further Consideration of the Urlinie: II", translated by John Rothgeb, ''The Masterwork in Music'', vol. II, Cambridge, Cambridge University Press, 1996, pp. 1–22.</ref>

====I–III–V====
This is the complete arpeggiation of the triad. Once elaborated, it may consist in a succession of three tonalities, especially in pieces in minor. In these cases, III stands for a tonicisation of the major relative. This often occurs in Sonata forms in minor, where the first thematic group elaborates degree I, the second thematic group is in the major relative, degree III, and the development leads to V before the recapitulation in the tonic key.

====I–IV–V or I–II–V====
[[File:I IV V I.png|thumb|250px|Bass elaboration I–IV–V–I[[File:I-IV-V-I.mid]]]]

Even though he never discussed them at length, these elaborations occupy a very special place in Schenker's theory. One might even argue that no description of an ''Ursatz'' properly speaking is complete if it does not include IV or II at the background level. Schenker uses a special sign to denote this situation, the double curve shown in the example hereby, crossing the slur that links IV (or II) to V. That IV (here, F) is written as a quarter note indicates that it is of lower rank than I and V, notated as half notes. Here there is an unexpected link between Schenkerian theory and Riemann's theory of tonal functions, a fact that might explain Schenker's reluctance to be more explicit about it. In modern Schenkerian analysis, the chord of IV or II is often dubbed the "predominant" chord, as the chord that prepares the dominant one, and the progression may be labelled "T–P–D–T", for tonic–predominant–dominant–tonic.

====I–II–III–IV–V====
The dominant chord may be linked to the tonic by a stepwise linear progression. In such case, one of the chords in the progression, II, III or IV, usually takes preeminence, reducing the case to one or the other described above.