Scale-step

In Schenkerian theory, a scale-step (Template:Langx) is a triad (based on one of the diatonic scale degrees) that is perceived as an organizing force for a passage of music (in accordance with the principle of composing-out). In Harmony, Schenker gives the following example and asserts that Template:Quote

A scale-step triad is designated by an uppercase Roman numeral representing the scale degree of the root, much as in traditional "harmonic analysis" (see chord progression). Thus, in the above example (which is in G major), the G major triad that Schenker claims we perceive through the first two measures would be labelled "I". However, unlike traditional harmonic analyses, Schenker's theory is not concerned with the mere labelling of such chords, but rather with discerning hierarchical relationships among tones. For Schenker, the chords occurring in a passage need not be of equal import. As he explains:

Furthermore, in terms of Schenker's mature theory, the question of whether a given triad possesses scale-step status depends on the structural level under discussion. Indeed, it follows from Schenker's concepts that, at the highest level, a tonal composition possesses only one scale step, since the entirety of the work may be understood as an elaboration of its tonic triad (i.e. scale-step I).

Oswald Jonas wrote that "the chief merit of Schenker's early work consists in having disentangled the concept of scale-step (which is part of the theory of harmony) from the concept of voice-leading (which belongs in the sphere of counterpoint). According to Robert Wason, Schenker's idea of the scale-step is a "development of the 'non essential' harmonies of Viennese fundamental bass theory."