* = Indicates new to this edition | |
= Indicates inclusion on CD | |
Each Part opens with Suggestions for Discussion | |
CD Track List | |
Preface | |
Suggestions for Using This Book | |
Diatonic Materials | |
Tonic Triad | |
Questions for Analysis | |
Haydn, Sonatina in G major, Hob. XVI: 8 | |
Czerny, Sonatina, op. 792, no. 8 | |
Rimsky-Korsakov, Le Coq d'Or: Hymn to the Sun | |
Beethoven, Leonora Overture No. 2, op. 72 | |
Beethoven, Trio, op. 70, no. 2 | |
Chopin, Polens Grabgesang, op. 74 | |
Chopin, Valse (Posthumous) | |
Beethoven, Symphony No. 5, op. 67 | |
Couperin, Carnival | |
Dominant Triad In Root Position | |
Questions for Analysis | |
Mozart, Rondo | |
Kuhnau, Biblical Sonata No. 1: Victory Dance and Festival | |
Beethoven, Fur Elise | |
Schumann, Album for the Young, op. 68: Reiterstuck | |
Weber, Euryanthe, op. 81: Overture | |
Beethoven, Symphony No. 5, op. 67 | |
Dominant Seventh And Ninth In Root Position | |
Questions for Analysis | |
Model Analysis | |
Weber, German Dance | |
Mozart, Sonata, K. 332 | |
Schubert, Wiegenlied, op. 98, no. 2 | |
Verdi, Rigoletto, Act I, no. 2 | |
Haydn, Sonata in E major, Hob. XVI: 13 | |
Beethoven, Symphony No. 4, op. 60 | |
Weber, Oberon: Overture | |
Schubert, Landler | |
Schubert, Valses Nobles, op. 77 | |
Mozart, Valse | |
Subdominant Triad In Root Position | |
Questions for Analysis | |
Scheidt, Bergamasca | |
Schumann, Faschingsschwank aus Wien, op. 26, no. 3: Scherzino | |
Chopin, Mazurka, op. 17, no. 1 | |
Beethoven, Egmont Overture, op. 84 | |
Verdi, Rigoletto, Act I, no. 7 | |
Schubert, Impromptu, op. 90, no. 4, D. 899 | |
Kern, Look for the Silver Lining | |
Beethoven, Seven Country Dances, no. 7 | |
Schubert, Landler | |
Cadential Tonic Six-Four Chord | |
Questions for Analysis | |
Schubert, Valses Sentimentales, op. 50, no. 18 | |
Chopin, Mazurka, op. 24, no. 3 | |
Donizetti, Lucia di Lammermoor, Act II, no. 6 | |
Beethoven, Trio, op. 97 | |
Tonic, Subdominant, And Dominant Triads In First Inversion | |
Questions for Analysis | |
Model Analysis | |
Bach, Lobt Gott, ihr Christen, allzugleich | |
Mozart, Bastien und Bastienne, K. 46B, no. 9 | |
Mozart, Sonata, K. 332 | |
Haydn, Sonata in D major, Hob. XVI:37 | |
Mozart, Abendempfindung, K. 523 | |
Beethoven, Symphony No. 5, op. 67 | |
Beethoven, Fidelio, Act I, no. 9 | |
Mozart, Sonata, K. 570 | |
Mendelssohn, Elijah, op. 70, no. 29 | |
Couperin, Le Petit Rien | |
Dandrieu, Les Fifres | |
Supertonic Triad | |
Questions for Analysis | |
Anonymous, Dir, dir, Jehovah, will ich singen | |
Schubert, Waltz, op. 9, no. 3, D. 365 | |
Beethoven, Six Variations on ""Nel cor piu non mi sento"" | |
Mozart, Die Zauberflote, K. 620, Act II, no. 21 | |
Chopin, Zwei Leichen | |
Beethoven, Trio, op. 121A | |
Verdi, Rigoletto, Act II, no. 14 | |
Chopin, Mazurka, op. 33, no. 2 | |
Haydn, Sonata in E minor, Hob. XVI: 34 | |
Inversions Of The Dominant Seventh Chord | |
Questions for Analysis | |
J. C. F. BACH, Nun danket alle Gott | |
Haydn, Sonata in C major, Hob. XVI: 35 | |
Paisiello, Le donne sur balcone | |
Mozart, Quartet, K. 464 | |
Beethoven, Sonata, op. 31, no. 3 | |
Rameau, Sarabande I, vol. I | |
Haydn, Trio in C major, Hob. XV: 3 | |
Kuhlau, Sonatina, op. 20, no. 1 | |
Beethoven, Symphony No. 2, op. 36 | |
Beethoven, Minuet in C | |
Linear (Embellishing) Six-Four Chords | |
Questions for Analysis | |
Beethoven, Concerto No. 1 for Piano, op. 15 | |
Schubert, Valses Sentimentales, op. 50, no. 1, D. 779 | |
Mozart, Rondo, K. 485 | |
Haydn, Quartet, op. 3, no. 5 | |
Schubert, Waltz, op. 9, no. 1, D. 365 | |
Kuhlau, Sonatina, op. 88, no. 3 | |
Mozart, Symphony No. 35, K. 385 | |
Beethoven, Sonatina in G major | |
Beethoven, Symphony No. 7, op. 92 | |
Mozart, Symphony No. 41, K. 551 | |
Haydn, Sonata in D major, Hob. XVI: 37 | |
Beethoven, Contradanse | |
Buxtehude, Passacaglia | |
Beethoven, Symphony No. 3, op. 55 | |
Gounod, Faust, Act I, no. 6 | |
Sullivan, H.M.S. Pinafore, ""I'm Called Little Buttercup"" | |
Submediant And Mediant Triads | |
Questions for Analysis | |
Cruger, Herzliebster Jesu, was hast du verbrochen | |
Anonymous, Dir, dir, Jehovah, will ich singen | |
Bach, Schmucke dich, o liebe Seele | |
Mozart, Bastien und Bastienne, K. 46B, no. 1 | |
Mozart, Sonata, K. 545 | |
Handel, Sonata in F for Flute and Continuo | |
Verdi, Rigoletto, Act I, no. 1 | |
Brahms, Symphony No. 4, op. 98 | |
Corelli, Sonata for Violin and Continuo, op. 5, no. 9 | |
Schubert, Quartet in D major, D. 74 | |
Beethoven, Trio, op. 1, no. 3 | |
Mozart, Sonata, K. 283 | |
J. C. F. BACH, Menuet | |
Tessier, Au joli bois je m'en vais | |
Strauss, Der Rosenkavalier, Act III | |
brahms, Romance, op. 118, no. 5 | |
schumann, Phantasiestucke, op. 12, no. 4, Grillen | |
schubert, Im Abendroth (Posthumous) | |
schubert, Symphony in C major (""The Great"") | |
Leading Tone Triad | |
Questions for Analysis | |
Teschner, Schatz uber alle Schatze | |
Bach, Aus meines Herzens Grunde | |
Schumann, Album for the Young, op. 68:Soldatenmarsch | |
Handel, Courante | |
Haydn, Sonata in E major, Hob. XVI: 49 | |
Haydn, Sonatina in D major, Hob. XVI: 4 | |
Mozart, Sonata, K. 280 | |
Daquin, La Joyeuse | |
Variant Qualities Of Diatonic Triads | |
Questions for Analysis | |
Scalar Variants in Minor | |
Bach, Herr, ich habe mibgehandelt | |
Pachelbel, Chaconne | |
Telemann, Fantasie No. 8 | |
Byrd, Pavana ""The Earle of Salisbury"" | |
A. Scarlatti, Folia | |
Mattheson, Minuet | |
Mozart, Sonata, K. 310 Modal Borrowing | |
Verdi, La Traviata, Act I, no. 4 | |
Donizetti, Linda di Chamounix, ""O luce di quest'anima"" | |
Mozart, Sonata for Violin and Piano, K. 306 | |
Haydn, Sonatina in C major, Hob. XVI: 7 | |
Schubert, Aufenthalt | |
Schubert, Der Wanderer | |
Brahms, Symphony No. 3, op. 90 | |
Verdi, Il Trovatore, Act II, no. 11 | |
Beethoven, Symphony No. 5, op. 67 | |
Brahms, Symphony No. 4, op. 98 | |
Supertonic Seventh Chord | |
Questions for Analysis | |
Anonymous, Herr, wie du willst, so schick's mit mir | |
Bach, Straf' mich nicht in deinem Zorn | |
Haydn, Sonata in A major, Hob. XVI: 46 | |
Grieg, Voegtersang | |
Beethoven, Symphony No. 6, op. 68 | |
Schubert, Quartet, op. 168, D. 112 | |
Mozart, Sonata, K. 310 | |
Schubert, Standchen | |
Beethoven, Symphony No. 2, op. 36 | |
Beethoven, Sonata, op. 14, no. 2 | |
Beethoven, Symphony No. 6, op. 68 | |
Bizet, Carmen, Act II: Entr'acte | |
Rodgers, Blue Moon | |
Leading Tone Seventh Chord | |
Questions for Analysis | |
Dvorak, Quartet, op. 96 | |
Mozart, Sonata, K. 457 | |
Schumann, Carnaval, op. 9: Chiarina | |
Brahms, Ballade, op. 10, no. 4 | |
Handel, Sonata for Flute and Continuo | |
Haydn (?), Allegro | |
Haydn, Trio in G major, Hob. XV: 25 | |
Mozart, Requiem, K. 626: Offertorium | |
Haydn, Sonatina in G major, Hob. XVI: 11 | |
Handel, Judas Maccabaeus, Part III: no. 53, Introduction | |
Wagner, Das Rheinghold, Scene 1 | |
Gluck, Orphee, Act I, no. 1 | |
Handel, Aria con Variazioni, Lecon No. 1 98 155. TELEMANN, Fantasia, 1er Dozzina, no. 5 | |
Mozart, Sonata for Violin and Piano, K. 306 | |
Other Diatonic Seventh Chords | |
Questions for Analysis | |
Bach, O Ewigkeit, du Donnerwort | |
Mozart, Rondo. K. 494 | |
Mendelssohn, Kinderstuck, op. 72, no. 1 | |
Pachelbel, Fantasie | |
Handel, Sonata for Flute and Continuo | |
Handel, Lecon No. 2, Menuet | |
Tchaikovsky, Symphony No. 4, op. 36 | |
Bach, French Suite in D minor | |
Complete Pieces For Analysis I | |
Questions for Analysis | |
Beethoven, Minuet | |
Schubert, Dance | |
Schubert, German Dance, op. 33, no. 12 | |
Beethoven, Scottish Dance | |
Purcell, Rigadoon | |
Rameau, Minuet | |
Witt, Passacaglia | |
Grieg, Norsk | |
Chromatic Materials | |
Secondary (Applied, Borrowed) Dominants | |
Questions for Analysis | |
Model Analysis | |
Beethoven, Trio, op. 1, no. 1 | |
Mozart, Sonata, K. 281 | |
Schubert, Impromptu, op. 142, no. 3 | |
Haydn, Trio in D major | |
Beethoven, Sonatina in G major | |
Weber, Oberon: Overture | |
Beethoven, Trio, op. 1, no. 1 | |
Schumann, Sonata, op. 118c., Andante | |
Beethoven, Symphony No. 1, op. 21 | |
Handel, Suite XI | |
Schumann, Arabeske, op. 18 | |
Beethoven, Symphony No. 4, op. 60 | |
Schumann, Widmung, op. 25, no. 1 | |
Schubert, Symphony No. 8 (""Unfinished"") | |
Schumann, Sonata, op. 118c126 ., Puppenwiegenlied | |
Schubert, Quintet (""Die Forelle""), op. 114, D. 667 | |
Beethoven, Quintet, op. 29 | |
Beethoven, Trio, op. 11 | |
Verdi, Rigoletto, Act II, no. 7 | |
Handel, Suite XVI | |
Beethoven, Sonata, op. 53 | |
Schubert, Symphony in C major (""The Great"") | |
Beethoven, Trio, op. 1, no. 3 | |
Schubert, Mass in E major: Benedictus | |
Mendelssohn, Midsummer Night's Dream, op. 61: Wedding March | |
Verdi, Rigoletto, Act II, no. 14 | |
Bach, Christmas Oratorio, no. 4: Introduction | |
Handel, Sonata VII for Flute and Continuo | |
Chopin, Mazurka, op. 67, no. 2 | |
Chopin, Valse, op. 69, no. 1 | |
Chopin, Valse Brillante, op. 34, no. 3 | |
Gershwin, Someone to Watch Over Me | |
Tchaikovsky, Morning Prayer | |
Modulation To Closely Related Keys | |
Questions for Analysis | |
Modulation to Dominant | |
Mozart, Symphony No. 39, K. 543 | |
Mozart, Sonata, K. 331 | |
Beethoven, Symphony No. 2, op. 36 | |
Haydn, Minuet | |
Schubert, Quartet, D. 173 | |
Haydn, Sonata in C minor, Hob. XVI: 36 | |
Mozart, Symphony No. 41, K. 551 | |
Chopin, Mazurka, op. 7, no. 2 | |
Haydn, Sonata in G major, Hob. XVI: 39 | |
Mozart, Sonata, K. 282, Menuet I | |
Schubert, Quartet, D. 173 | |
Modulation to Relative Major | |
Haydn, Trio in F minor, Hob. XV: 26 | |
Haydn, Sonata in E minor, Hob. XVI: 34 | |
Mozart, Sonata, K. 330 | |
Donizetti, Lucia di Lammermoor, Act I, Cavatina | |
Brahms, Quintet, op. 115 | |
Beethoven, Symphony No. 7, op. 92 | |
Haydn, Symphony No. 104, Hob. I: 104 | |
Modulation to other Closely Related Keys | |
Haydn, Sonatina, Hob. XVI: 1 | |
Bononcini, Deh piu a me non vascondete | |
Saint-Saens, Carneval des Animaux: Le Cygne | |
Brahms, Waltz, op. 39, no. 15 | |
Beethoven, Quartet, op. 18, no. 2 | |
Purcell, Dido and Aeneas, Act I, scene I | |
Bach, French Suite in C Minor | |
Complete Pieces For Analysis Ii | |
Checklist for Analysis | |
Bach, Wachet auf, ruft uns die Stimme | |
Bach, In dulci jubilo | |
Bach, Christ lag in Todesbanden | |
Handel, Menuet | |
Beethoven, Sonata, op. 26 | |
Schumann, Sonata, op. 118b., Abendlied 169 | |
Brahms, Waltz, op. 39 | |
Handel, Prelude | |
Beethoven, Sonatina in F major | |
Haydn, Sonata in G major, Hob. XVI: 27 | |
* 241. GERSHWIN, I Got Rhythm | |
Linear (Embellishing) Diminished Seventh Chords | |
Questions for Analysis | |
Haydn, Symphony No. 104, Hob. I: 104, Menuet | |
Beethoven, Symphony No. 7, op. 92 | |
Liszt, Les Preludes | |
Beethoven, Contradanse | |
Tchaikovsky, Symphony No. 6, op. 74 | |
Beethoven, Quartet, op. 18, no. 3 | |
Schubert, Sonata, op. 53 | |
Gounod, Faust, Act IV, no. 18 | |
Schumann, Carnaval, op. 9: Arlequin | |
Mozart, Waltz, K. 567 | |
Wagner, Rienzi: Overture | |
Bellini, I Puritani, Act II, scene 3 | |
Haydn, Symphony No. 104, Hob. I: 104 | |
Rodgers, The Girl Friend | |
Brahms, Liebeslieder Walzer, op. 52, no. 4 | |
Neapolitan Triad | |
Questions for Analysis | |
Mozart, Concerto in A major, K. 488 | |
Schubert, Der Muller und der Bach | |
Bach, Ach Gott, vom Himmel sieh' darein | |
Bach, Invention No. 13 | |
Verdi, Il Trovatore, Act II, no. 8 | |
Brahms, Intermezzo in A major, op. 118, no. 2 | |
Chopin, Prelude, op. 28, no. 20 | |
Beethoven, String Quartet, op. 59, no. 2 | |
Brahms, Wie Melodien zieht es mir, op. 105 | |
Beethoven, Quartet, op. 18, no. 3 | |
Schubert, Mass in E major: Credo | |
Bach, The Well-Tempered Clavier, Vol. II, Fugue 17 | |
Chopin, Prelude, op. 28, no. 6 | |
Augmented Sixth Chords, Submediant Degree As Lowest Note | |
Questions for Analysis | |
Model Analysis | |
Italian | |
BACH, Ich hab' mein' Sach' Gott heimgestellt | |
Beethoven, Bagatelle, op. 119, no. 1 | |
Beethoven, Coriolan Overture, op. 62 | |
Tchaikovsky, Mazurka | |
Schubert, Quartet, op. 168, D. 112 | |
Beethoven, Symphony No. 1, op. 21 | |
German | |
Mozart, Sonata, K. 457 | |
Beethoven, Sonata, op. 109 | |
Haydn, Trio, Hob. XV: 25 | |
Beethoven, Thirty-Two Variations, Var. 30 | |
Sibelius, Chanson Sans Paroles, op. 40, no. 2 | |
Strauss, Der Rosenkavalier, Act I | |
French | |
Mendelssohn, Elijah, Op. 70, No. 1 | |
Schubert, Mass In G Major: Kyrie | |
Bach, Wer Nur Den Lieben Gott Lat Walten | |
Schubert, Sonata, Op. 42 | |
Verdi, La Traviata, Act Iii: Prelude | |
Schubert, Symphony In C Major (""The Great"") | |
Grieg, Alfedans, Op. 12 | |
Herbert, Gypsy Love Song | |
Enharmonic German | |
Schumann, Dichterliebe, op. 48, no. 12: ""Am leuchtenden Sommermorgen"" | |
Augumented Sixth Chords, Other Scale Degrees As Lowest Note | |
Questions for Analysis | |
mozart (?), Adagio | |
granados, Valses Poeticos | |
schubert, Symphony No. 8 (""Unfinished"") | |
moussorgsky, Songs And Dances Of Death, No. 4 | |
gluck, Orphee, Act I, Nos. 6 And 7 | |
augumented Sixth Chords, Other Uses | |
Questions for Analysis | |
Linear | |
Verdi, Rigoletto, Act I: Prelude | |
Tchaikovsky, Song Without Words | |
Tchaikovsky, Romeo And Juliet | |
Schubert, Waltz | |
Brahms, Intermezzo, Op. 76, No. 4 | |
Tchaikovsky, The Witch | |
Secondary | |
Chopin, Prelude, op. 28, no. 22 | |
Schubert, Mass in G major: Benedictus | |
Schubert, Die Allmacht, op. 79, no. 2 | |
Altered Dominants | |
Schubert, Quintet, Op. 163 | |
Liszt, Liebestraum, No. 3 | |
Rimsky-Korsakov, Snowmaiden, Chanson du Bonhomme Hiver | |
Grieg, Solvejg's Lied | |
Other Means Of Modulation | |
Questions for Analysis | |
Model Analysis | |
Schubert, Mass In G Major: Gloria | |
Brahms, Wenn Du Nur Zuweilen Lachelst, Op. 57, no. 2 | |
Beethoven, Symphony No. 5, Op. 67 | |
Schubert, Waltz, Op. 9, No. 14, D. 365 | |
Mozart, Die Entfuhrung Aus Dem Serail, K. 384, Act III, no. 18 | |
Schumann, Symphony No. 2, Op. 61 | |
Beethoven, Symphony No. 7, Op. 92 | |
Haydn, String Quartet, Op. 76, No. 6 | |
Beethoven, Sonata, Op. 13 | |
Beethoven, Trio, Op. 70, No. 1 | |
Scriabin, Prelude, Op. 13, No. 3 | |
J. Strauss, Die Fledermaus: Overture | |
Brahms, Wie Bist Du Meine Konigen, Op. 32, no. 9 | |
Schubert, Mass In A Major: Agnus Dei | |
Beethoven, Trio, Op. 11 | |
Rachmaninoff, Melodie, Op. 3, No. 3 | |
Schubert, Symphony No. 8 (""Unfinished"") | |
Ninth Chords | |
Questions for Analysis | |
Dominant Ninths | |
J. Strauss, Artist's Life Waltzes, op. 316, no. 3 | |
Franck, Sonata For Violin and Piano | |
Beethoven, Andante | |
Chopin, Valse Brillante, op. 34, no. 1 | |
Schumann, Waldesgesprach, op. 39, no. 3 | |
Chopin, Prelude, Op. 28, no. 15 | |
Secondary Dominant Ninths | |
Bach, St. Matthew Passion, No. 78 | |
Schumann, Genoveva, Op. 81: Overture | |
Grieg, Grandmother's Minuet, Op. 68, No. 2 | |
Schumann, Kinderszenen, Op. 15, No. 7: Traumerei | |
Nondominant Ninths | |
Grieg, Wedding Day At Troldhaugen, op. 65, no. 6 | |
Mendelssohn, Midsummer Night's Dream, op. 21: Overture | |
Faure, Apres Un Reve | |
Extended Linear Usages | |
Questions for Analysis | |
Model Analysis | |
Chopin, Mazurka, op. 6, no. 1 | |
Brahms, ""Der Tod, das ist die kuhle Nacht,"" op. 96, no. 1 | |
Weber, Euryanthe: Overture | |
Brahms, Variations on a Theme by Handel, var. 20 | |
Franck, Symphony in D minor | |
Wagner, Lohengrin, Act I, scene 2 | |
Wagner, Wotan's Farewell, Die Walkure, Act III | |
Chopin, Prelude, op. 28, no. 9 | |
Beethoven, Quartet, op. 18, no. 6 | |
Bach, Ein' feste Burg ist unser Gott 336 | |
Bach, Es ist genug, so nimm, Herr 337 | |
Complete Pieces For Analysis Iii | |
Checklist for Analysis | |
Mozart, Minuet, K. 355 | |
Schumann, Myrthen, Op. 25, No. 24 | |
Mendelssohn, Lieder Ohne Worte, Op. 30, No. 3 | |
Chopin, Mazurka, Op. Posth. 67, No. 2 | |
Schumann, Phantasiestucke, Op. 12, No. 3: Warum? | |
Grieg, Erotikon | |
Liszt, Il Pensieroso, From Annees De Pelerinage | |
R. Strauss, Morgen, Op. 27, No. 4 | |
Wagner, Der Engel | |
Beethoven, Sieben Variationen: Uber Das Volkslied: God Save The King | |
Mozart, Symphony No. 40, K. 550 | |
Beach, Phantoms | |
Scott Joplin, A Breeze From Alabama: March And Two-Step | |
Wagner, Prelude to Act I from Tristan und Isolde | |
Mozart, Sonata, K. 309 | |
Allegro con spirito | |
Andante, un poco Adagio | |
Allegretto grazioso | |
Beethoven, Sonata, op. 2, no. 3 | |
Examples Of Counterpoint | |
Questions for Analysis | |
Bach, Cantata No. 4: Sinfonia 338 | |
Bach, Chorale Prelude On ""In Dulci Jubilo"" 339 | |
Bach, Chorale Prelude On ""Christ Lag In Todesbanden"" 342 | |
Brahms, Chorale Prelude On ""O Wie Selig Seid Ihr Doch, Ihr Fommen"" 343 | |
Purcell, ""Thy Hand Belinda"", From Dido And Aeneas 345 | |
Bach, Invention No. 4, Bwv 775 349 | |
Bach, Invention No. 13, Bwv 775 351 | |
Bach, Sinfonia 3, Bwv 789 352 | |
Bach, The Well-Tempered Clavier, Vol. I, Fugue 2 354 | |
Bach, The Well-Tempered Clavier, Vol. Ii, Fugue 9 357 | |
Mendelssohn, Fugue No. 2, Op. 35 | |
Contemporary Materials | |
Model Analysis | |
Extended And Altered Tertian Harmony | |
Questions for Analysis | |
Hanson, Symphony No. 2, Op. 30 | |
Kabalevsky, Sonatina, Op. 13 | |
Hovhaness, Mysterious Mountain | |
Shostakovich, Prelude, Op. 34, No. 24 | |
Debussy, Pelleas Et Mellisande, Act I, Scene 1 | |
Scriabin, Poem, Op. 32, No. 2 | |
Ravel, Valses Nobles Et Sentimentales | |
Rodgers, Slaughter On Tenth Avenue | |
Ellington, Prelude To A Kiss | |
Duke Jordan, Jordu | |
Berg, Four Songs, Op. 2, No. 3 | |
Raskin, Laura | |
Diatonic (Church) Modes | |
Questions for Analysis | |
Model Analysis | |
Bartok, Little Pieces For Children, no. III | |
Chavez, Ten Preludes, No. 1 | |
Poulenc, Valse | |
Debussy, Trois Chansons, No. 1 | |
Kabalevsky, Toccatina | |
Britten, Ceremony Of Carols, No. 8 | |
Debussy, Suite Bergamasque, Passepied | |
Floyd, Susannah, Act Ii, Scene 3 | |
Stravinsky, Five Fingers: Lento | |
Bartok, Fourteen Bagatelles, Op. 6, no. 4 | |
Casella, Siciliana | |
Adderley, Work Song | |
Pandiatonicism And Additive Harmony | |
Questions for Analysis | |
Ravel, Mother Goose Suite: The Magic Garden | |
Milhaud, Touches Blanches | |
Cowell, The Irishman Dances | |
Copland, The Young Pioneers | |
Barber, Excursions, III | |
Stravinsky, Petroushka, Danse Russe | |
Poulenc, Gloria, Laudamus te | |
Exotic (Artificial, Synthetic) Scales | |
Questions for Analysis | |
Milhaud, Touches Noires | |
Bartok, Mikrokosmos, no. 78: Five Tone Scale | |
Kodaly, Valsette | |
Vaughan WILLIAMS, London Symphony | |
Debussy, Preludes, II: Voiles | |
Bartok, Mikrokosmos, no. 136: Whole Tone Scale | |
Debussy, Pelleas et Melisande, Act II, scene 1 | |
Bartok, Fourteen Bagatelles, op. 6, no. 10 | |
Lutoslawski, Bucolic, no. 3 | |
Bartok, Mikrokosmos, no. 101: Diminished Fifth | |
Bartok, Sketches, op. 9, no. 6 | |
Bartok, Fourteen Bagatelles, op. 6, no. 6 | |
Quartal And Secundal Harmony | |
Questions for Analysis | |
Hindemith, Mathis Der Maler: Grablegung | |
Ives, Majority | |
Krenek, Piano Piece, Op. 39, No. 5 | |
Hindemith, Ludus Tonalis, Fuga Secunda in G | |
Bartok, Concerto For Orchestra | |
Berg, Wozzeck, Act Ii | |
Bartok, Mikrokosmos, No. 107: Melody In the Mist | |
Berg, Wozzeck, Act Ii | |
Cowell, Tiger | |
Ives, Majority | |
Brubeck, Blue Rondo A La Turk | |
Polyharmony And Polytonality | |
Questions for Analysis | |
Honegger, Symphony No. 5 | |
Schuman, A Three-Score Set, II | |
Kraft, Allegro Giocoso | |
Stravinsky, The Rake's Progress: Prelude | |
Stravinsky, Petroushka, Scene 2 | |
Milhaud, Saudades do Brazil, no 7: Corcovado | |
Bartok, Forty-Four Violin Duets, no. 33 | |
Brubeck, Strange Meadowlark | |
Free Atonality | |
Questions for Analysis | |
Schonberg, Drei Klavierstucke, op. 11, no. 1 | |
Schonberg, Klavierstucke, op. 19, no. 2 | |
Schonberg, Pierrot Lunaire, op. 21, no. 1: Mondestrunken | |
Webern, Five Movements for String Quartet, op. 5, no. 4 | |
Bartok, Mikrokosmos, no. 144: Minor Seconds, Major Sevenths | |
Bartok, Fourth String Quartet | |
Berger, Two Episodes, I | |
Twelve-Tone Serialism | |
Questions for Analysis | |
Model Analysis | |
Krenek, Dancing Toys, op. 83, no. 1 | |
Schonberg, Suite fur Klavier, op. 25: Gavotte | |
Dallapiccola, Cinque Frammenti di Saffo | |
Webern, Drei Lieder, op. 25, no. 1 | |
Music Since 1945 | |
Questions for Analysis | |
Stockhausen, Klavierstucke, no. 2 | |
Lutoslawski, String Quartet (1965) | |
Penderecki, String Quartet, no. 2 | |
Crumb, Madrigals, Book IV | |
Druckman, Valentine, for solo contrabass | |
Rouse, Valentine | |
Horne, Six Short Studies, Sixteenth Notes | |
Complete Pieces For Analysis Iv | |
Suggestion for Analysis | |
Ravel, Sonatine, Mouvt II | |
Debussy, Pour le Piano: Sarabande | |
Debussy, Preludes, X: La Cathedrale engloutie | |
Milhaud, Saudades do Brazil, No. 6: Gavea | |
Prokofiev, Classical Symphony, op. 25 | |
Prokofiev, March from The Love of Three Oranges | |
Hindemith, Ludus Tonalis, Fuga undecima in B (Canon) | |
Ruggles, Evocations, no. 1 | |
Schonberg, Suite fur Klavier, op. 25: Menuett | |
Porter, Night and Day | |
Gershwin, Porgy and Bess, ""Summertime"" | |
Stravinsky, Sonata for Two Pianos, II: Theme with Variations | |
Hindemith, Piano Sonata, No. 2 | |
Macmillan, Piano Sonata, I | |
Checklist for Analysis and Sample Analysis | |
For Further Reference | |
Textbook Correlation Chart | |
Index of Composers and Their Compositions | |
Index of Complete Pieces | |
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