The analytic essays and graphs published by Heinrich Schenker in Der Tonwille (1921-24) are unique among his output. They integrate sophisticated descriptions of harmonic-contrapuntal structure with accounts of the simultaneous influence of a multitude of musical parameters. Examination of key aspects of three of these analyses reveals the degree of musical insight that Schenker was able to express within this flexible methodology, and provides further evidence of the need to modify the role of the Ursatz in current Schenkerian analytic practice. 26Richard Cohn (in "The Autonomy of Motives") and others have pointed out that Schenker's implicit analytic reliance on motivic relations continued to undermine the status of the Ursatz as late as Free Composition. My position is simply that the scale and scope of Schenker's reliance on factors beyond the control of the Ursatz is substantially greater-and far less concealed-in