HEINRICH SCHENKER developed a theory of analysis that goes further than any other in explaining the processes of composition of the late Baroque, Classical, and Romantic periods.' Underlying the theory is the concept of the Ursatz, a concept presupposing that an entire movement has been fashioned out of an organizing melodic line in a top voice and its counterpointing bass. By means of many devices of expansion or prolongation the Ursatz is transformed into the fullness of the score, that is, the simple two-voiced outline encompassing just a few notes serves as the nucleus for all composition, however complex. Lacking support in the writings of composers and theorists, the Ursatz, and especially that aspect of the Ursatz involving the Urlinie (over-all melodic line in the top voice), presents problems of analysis and application that make for great difficulty and that limit its usefulness for the student in com-