Open Noteheads:

indicating tones on the highest level of structure

Fundamental line

Open Noteheads (stemmed):

indicating an upper neighbor-note

First level of the middle-ground

Open notehead (filled-in):

indicating a lengthening of the span of analysis -- noteheads are filled in to signify the change in perspective

Deeper levels of structure yet still higher-ranking tones

Open notehead with flagged stem in the bass:

Intermediate harmony

Slurs with filled-in noteheads:

group related notes:

• arpeggiations, including horizontalized harmonic
• intervals linear motions with passing or neighbor-notes
• nonadjacent stepwise connections at a deeper level

Surface and foreground level of structure

Note: In (b) the 3rd example shows a movement from the upper voice (stem up) to the lower voice (stem down).  In the bass clef an upper stem indicates the tenor voice of the inner voice

Filled-in notehead with a slur:

indicates here with stems on the notes separated by a third each, an arpeggiated chord with unstemmed noteheads as passing notes.  

This is different from either all notes stemmed or only the first and last, which implies all are equal importance or this is motion of passing tones.

Filled-in notehead with curved slur:

Indicates a close affinity between the two notes/harmonies.

Note: In this case there are two other slurs, one back to the intermediate harmony and one to the close of the cadence.

Beams with degrees of scale:

Indicates in the upper voice, the Urlinie (fundamental line) and in the bass arpeggiation of the Ursatz

Partial beams are used over longer segments to avoid cluttering the analysis

Foreground and even superficial levels

Beams below but linked to wider-structural beams:

Indicates interconnections of notes, which, (here the b-flat) is part of a wider, stepwise connection between c6 and a5.

Note: Slurs are more likely to be used to indicate the connection with, here, the diagonal line showing an initial octave relationship between the c6 and c5.

Beams (with elaboration of the imaginary continuo):

• The beamed, stemmed open noteheads indicate the Urlinie
• the larger slurs show ties in phrasing, i.e., toward the tonic while the shorter slurs show connections of passing notes between the stemmed notes of the beams within the beam, demonstrating the inner voice
• the final four notes are each stemmed and filled in, equally weighted and part of the inner voice too
• the close is with the cadence in the outer voices for the 3-2-1 Urlinie

Broken Beams:

Indicate retained pitches, usually over larger spans, a symbol employed by Salzer

Solid and Broken Ties: 

(a) Solid: Indicate an immediately repeated or sustained tone with a tie

(b) Broken: Indicate the same on a deeper level, that is a tone retained through intervening notes.  In that sense it is a mental retention of a tone and a nonadjacent tone over a larger span

Broken Ties:

Indicates connection between chromatic half-steps

Broken Ties:

Indicate ties between enharmonic notes

Stems with Flags:

use of eighth notes primarily indicates neighbor-notes and intermediate harmonies in the bass

Stems with Flags:

indicates the chromatic boundary of a prolongation span

Stems with Flags:

indicates a dissonance at the lower level

Stems with Flags:

indicate preparation of a dissonance at a lower level

Stems with Flags:

indicates chordal skips at the lower level

Stems with Flags:

indicates subsidiary tones of arpeggiations at lower levels

Diagonal Lines:

General: used to realign -- in a visual manner -- outer-voice tones that belong together in a single chord within the imaginary continuo but do not literally coincide at lower levels in the music.

The unfolding of (a) into (b) shows the E5 no longer aligns vertically with the C3 nor does the D5 with the G2

Diagonal Lines:

Indicates here the link of a prolonged I in the base with the submediant prior to the cadential resolutioin with the supertonic linked with the V and ending on the tonic

Diagonal Lines:

Indicates here in (d) an unfolding with the I with the final tonic and the initial E5 with the I6 inversion at the close and in (e) voice exchanges between registers, i.e., A4 and A5, B4 and B5, and so on.

Diagonal Lines and Beams:

Indicates a technique of unfolding in which a tone in the upper voice unfolds into a tone of an inner voice or vice versa as an interval of a chord is horizontalized, connecting the two voices in the imaginary continuo.  

Typically it involves at least a pair of broken harmonic intervals.

In (a) it is connecting broken harmonic interval (upward stemmed to downward stemmed notes)

In (b) one sees the descending scale with two harmonies based on an intervening F4 and E4 in the lower register related to the surrounding dominant and subdominant.

Diagonal Lines with Beams:

The diagonal beam is recommended for sparing usage, here indicating the separation of the first two intervals while leaving the last intact, with slurs used to link the lower and upper voices with their respective arching with intervening neighbor-notes

Diagonal Lines with Beams:

Diagonal beams are used to link an unfolded interval, the boundaries of which are filled by either passing tones or an arpeggiated chord

Rhythmic Notation at Lower Levels:

In (a) one sees the consistent use of measures and note time values with slurs indicating leaps from below and beams, arpeggiations from above

In (b) one finds something similar with use of filled to open stemmed noteheads vertically aligned but with diagonal lines indicating displacements of 7-6 suspensions