It is not surprising that many discussions of the eighteenth- and nineteenth-century German Lied have centered on harmony and tonality; given its modest extent and relative textural simplicity, the Lied is eminently suitable for the exploration and explication of complex harmonic devices and unusual tonal techniques. The opportunity to connect harmony and tonality to text expression lends an additional attraction to the pitch-based analysis of Lieder. Many a classroom has been enlivened by discussions of a composer’s imaginative deployment of particular harmonic and tonal techniques to reflect or underline aspects of the given poetic text.