3. XI.
Weisse :

Aufgaben 1+2+3, 1 gut; Skizzen aus op. 110 vorgezeigt; 2 nochmals Brahms Sk Scherzo op. 60, speziell über das Chroma „des“ bei der VII. Stufe, 3 das nicht auf Tonikalisierungswege wieder in die Diatonie aufgelöst wird, daher herausführen muss, siehe später „ges“ in der Harmonie der III. Stufe. [in margin, written sideways:] Bd. I: Diatonie u. Chromatik. 4

© Transcription Robert Kosovsky, 2007, 2020


November 3, [1913]
Weisse :

Exercises 1+2+3, 1 good; sketches for Op. 110 produced; 2 once again Brahms, the Scherzo of Op. 60, especially about the “Dę” chromatic alteration to scale-degree VII, 3 which is not resolved by means of tonicization back into the diatony, and therefore must lead away, see later “Gę” in the harmony of scale-degree III. [in margin, written sideways:] vol. I: Diatony and Chromaticism. 4

© Translation Ian Bent, 2020


3. XI.
Weisse :

Aufgaben 1+2+3, 1 gut; Skizzen aus op. 110 vorgezeigt; 2 nochmals Brahms Sk Scherzo op. 60, speziell über das Chroma „des“ bei der VII. Stufe, 3 das nicht auf Tonikalisierungswege wieder in die Diatonie aufgelöst wird, daher herausführen muss, siehe später „ges“ in der Harmonie der III. Stufe. [in margin, written sideways:] Bd. I: Diatonie u. Chromatik. 4

© Transcription Robert Kosovsky, 2007, 2020


November 3, [1913]
Weisse :

Exercises 1+2+3, 1 good; sketches for Op. 110 produced; 2 once again Brahms, the Scherzo of Op. 60, especially about the “Dę” chromatic alteration to scale-degree VII, 3 which is not resolved by means of tonicization back into the diatony, and therefore must lead away, see later “Gę” in the harmony of scale-degree III. [in margin, written sideways:] vol. I: Diatony and Chromaticism. 4

© Translation Ian Bent, 2020

Footnotes

1 i.e. mixed-species counterpoint of three voices, one in 1st species, one in 2nd species, one in 3rd species. — Several of Weisse’s exercise books from his studies with Schenker have survived: for a detailed description, see Timothy L. Jackson, "Punctus contra punctus – a Counterpoint of Schenkerian and Weissian Analysis and Hans Weisse’s Counterpoint Studies with Heinrich Schenker," Journal of Schenkerian Studies, 4 (2010), pp. 87–186, esp. pp. 138–80. Heft V (Notebook 5) contains Weisse’s exercises for 1913/14, and survives, see Jackson, pp. 166–80 and pp. 139–40.

2 Schenker’s diary for the previous day records: “Arrival of the sketches for Op. 110 and Op. 111 from Berlin. Even the first, hasty examination brings thousands of stimulating ideas.”

3 Cf. Weisse, October 20, 1913.

4 Schenker, Harmonielehre, pp. 379–99, "Die Beziehungen zwischen Chromatik und Diatonie" (Eng. transl., pp. 288–301, "Relations between Chromatic Change and Diatonic System").