Preface | p. xi |
Basic Principles | p. 1 |
Introduction | p. 3 |
Beethoven, Piano Sonata, Op. 2, No. 1, I | p. 4 |
Melody and Counterpoint | p. 15 |
Melody | p. 15 |
Counterpoint | p. 23 |
A Sample Analysis | p. 35 |
Bass Lines and Harmonic Structure | p. 41 |
Tonic Harmony (T Class) | p. 42 |
Intermediate Harmonies (Int Class) | p. 46 |
Dominant Harmony (D Class) | p. 49 |
Larger Contexts | p. 52 |
The Imaginary Continuo | p. 62 |
Chord Prolongation: Summary | p. 63 |
Linear Techniques | p. 69 |
Linear Progressions | p. 69 |
Linear Intervallic Patterns | p. 80 |
The Neighbor Note | p. 91 |
Linear Intervallic Patterns: Summary | p. 93 |
Tonal Structure | p. 99 |
Notational Symbols | p. 99 |
Tonal Structure and the Ursatz | p. 102 |
The Bass Arpeggiation (Bassbrechung) | p. 107 |
The Fundamental Line (Urlinie) | p. 108 |
Structural Levels | p. 109 |
The Principle of Interruption | p. 110 |
More on the Ursatz | p. 114 |
Techniques of Melodic Prolongation | p. 119 |
The Initial Ascent | p. 119 |
The Arpeggiated Ascent | p. 121 |
Unfolding | p. 124 |
Motion into an Inner Voice | p. 127 |
Motion from an Inner Voice | p. 129 |
Voice Exchange | p. 131 |
Shift of Register | p. 134 |
Descending and Ascending Register Transfer | p. 134 |
Coupling | p. 137 |
Superposition | p. 139 |
Reaching Over | p. 139 |
Cover Tone | p. 144 |
Substitution | p. 147 |
The Phrygian 2 | p. 147 |
Mixture of Scale Degree 3 | p. 150 |
Some Basic Elaborations of Fundamental Structures | p. 153 |
Mozart, Piano Sonata, K. 283, I, bars 1-16 | p. 154 |
Beethoven, Piano Sonata, Op. 14, No. 1, II, bars 1-16 | p. 159 |
Beethoven, Piano Sonata, Op. 2, No. 1, II, bars 1-8 | p. 164 |
Beethoven, Piano Sonata, Op. 10, No. 1, II, bars 1-16 | p. 170 |
Mozart, Piano Concerto, K. 488, II, bars 1-12 | p. 177 |
Beethoven, Piano Sonata, Op. 14, No. 2, I, bars 26-47 | p. 182 |
Some Points for Review | p. 188 |
Analytical Applications | p. 191 |
One-Part Forms | p. 195 |
Bach, Prelude in C major (WTC I) | p. 195 |
Schubert, "Wandrers Nachtlied" | p. 201 |
Schumann, "Lieb' Liebchen" | p. 208 |
Binary Forms | p. 215 |
Haydn, Piano Sonata, Hob. XVI/43, Minuet 2 | p. 216 |
Mozart, Symphony No. 35, K. 385, Trio | p. 221 |
Bach, Flute Sonata No. 2, Minuet 1 | p. 224 |
Corelli, Violin Sonata, Op. 5, No. 10, Gavotte | p. 228 |
Handel, Suite No. 5 in D minor, HWV 436, Menuetto | p. 231 |
Bach, "Little" Prelude in C major, BWV 933, Menuetto | p. 234 |
Auxiliary Cadences | p. 239 |
Ternary Forms and Rondo | p. 243 |
Beethoven, Bagatelle, Op. 119, No. 1 | p. 243 |
Mendelssohn, Song Without Words, Op. 62, No. 1 | p. 253 |
Schubert, Moment Musical, Op. 94, No. 2 | p. 263 |
Haydn, Piano Sonata, Hob. XVI/37, III | p. 277 |
Sonata Principle | p. 287 |
Clementi, Sonatina, Op. 36, No. 1, I | p. 288 |
Mozart, Symphony No. 35 ("Haffner"), K. 385, II | p. 294 |
Mozart, Piano Sonata, K. 457, I | p. 304 |
Some Common Tonal Patterns | p. 327 |
Introduction | p. 327 |
Binary Forms | p. 328 |
Ternary Forms | p. 329 |
Sonata Principle | p. 334 |
Prolongational Spans | p. 340 |
Mixture and Large-Scale Tonal Plans | p. 347 |
Correspondence Between Patterns and Musical Examples | p. 349 |
Introduction to Graphic Notation | p. 351 |
Open Noteheads | p. 352 |
Slurs and Filled-in Noteheads | p. 352 |
Beams | p. 355 |
Broken Ties | p. 355 |
Stems with Flags | p. 357 |
Diagonal Lines | p. 357 |
Diagonal Lines and Beams | p. 360 |
Rhythmic Notation at Lower Levels | p. 362 |
Roman Numerals | p. 362 |
Sample Graphic Analyses for Study | p. 365 |
Examples from Free Composition | p. 368 |
Notes | p. 369 |
Selected Bibliography | p. 389 |
Index of Musical Examples | p. 395 |
Subject Index | p. 397 |
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