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Schenkerian analysis
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===={{anchor|Divider}}Arpeggiation of the bass and the divider at the fifth==== {{Main|Bass arpeggiation}} The arpeggiation through the fifth is an imitation of the overtone series, adapted to man [sic] "who within his own capacities can experience sound only in a succession".<ref>Free Composition, Β§ 16.</ref> The fifth of the arpeggiation coincides with the last passing note {{music|scale|2}} of the fundamental line. This at first produces a mere "divider at the fifth", a complex filling in of the tonal space. However, as a consonant combination, it defines at a further level a new tonal space, that of the dominant chord, and so doing opens the path for further developments of the work. It would appear that the difference between the divider at the fifth and the dominant chord properly speaking really depends on the level at which the matter is considered: the notion of the divider at the fifth views it as an elaboration of the initial tonal space, while the notion of dominant chord conceives it as a new tonal space created within the first. But the opinions of modern Schenkerians diverge on this point.<ref>William Rothstein, "Articles on Schenker and Schenkerian Theory in ''[[The New Grove Dictionary of Music and Musicians]]'', 2nd edition," ''[[Journal of Music Theory]]'' 45/1 (2001), pp. 218β219.</ref>
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