Preface |
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xi | |
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1 | (206) |
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3 | (12) |
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Beethoven, Piano Sonata, Op. 2, No. 1, 1 |
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4 | (11) |
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Chapter 2 Melody And Counterpoint |
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15 | (26) |
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Some Characteristics of Melody |
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15 | (6) |
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21 | (13) |
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34 | (7) |
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Chapter 3 Bass Lines And Harmonic Structure |
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41 | (36) |
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42 | (4) |
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Intermediate Harmonies (Int Class) |
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46 | (7) |
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Dominant Harmony (D Class) |
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53 | (5) |
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58 | (9) |
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67 | (3) |
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Chord Prolongation: Summary |
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70 | (7) |
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Chapter 4 Linear Techniques |
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77 | (31) |
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77 | (11) |
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Linear Intervallic Patterns |
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88 | (13) |
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101 | (2) |
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Linear Intervallic Patterns: Summary |
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103 | (5) |
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Chapter 5 Tonal Structure |
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108 | (20) |
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108 | (3) |
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Tonal Structure and the Ursatz |
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111 | (4) |
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The Bass Arpeggiation (Bassbrechung) |
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115 | (1) |
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The Fundamental Line (Urlinie) |
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116 | (1) |
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117 | (1) |
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The Principle of Interruption |
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118 | (4) |
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122 | (6) |
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Chapter 6 Techniques Of Melodic Prolongation |
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128 | (36) |
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128 | (2) |
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130 | (3) |
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133 | (3) |
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Motion into an Inner Voice |
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136 | (2) |
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Motion from an Inner Voice |
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138 | (2) |
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140 | (3) |
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143 | (14) |
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157 | (3) |
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Mixture of Scale Degree 3 |
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160 | (1) |
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Techniques in Combination |
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161 | (3) |
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Chapter 7 Some Basic Elaborations Of Fundamental Structures |
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164 | (43) |
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Mozart, Piano Sonata, K. 283, 1, bars 1-16 |
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165 | (5) |
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Beethoven, Piano Sonata, Op. 31, No. 1, II, bars 1-8 |
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170 | (6) |
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Beethoven, Piano Sonata, Op. 14, No. 1, II, bars 1-16 |
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176 | (5) |
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Beethoven, Piano Sonata, Op. 2, No. 1, II, bars 1-8 |
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181 | (6) |
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Beethoven, Piano Sonata, Op. 10, No. 1, II, bars 1-16 |
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187 | (7) |
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Mozart, Piano Concerto, K. 488, II, bars 1-12 |
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194 | (5) |
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Beethoven, Piano Sonata, Op. 14, No. 2, 1, bars 26-47 |
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199 | (5) |
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204 | (3) |
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Part 2 Analytical Applications |
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207 | (183) |
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211 | (24) |
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Bach, Prelude in C Major (WTC I) |
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211 | (6) |
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Schubert, "Wandrers Nachtlied" |
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217 | (7) |
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Schumann, "Lieb' Liebchen," op. 24, no. 4 |
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224 | (5) |
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Bach, "Little" Prelude in F major, BWV 927 |
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229 | (6) |
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235 | (32) |
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Handel, Suite No. 5 in D minor, hwv436, Menuetto |
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236 | (4) |
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Bach, "Little" Prelude in C Major, BWV 933 |
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240 | (3) |
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Corelli, Violin Sonata, Op. 5, No. 10, Gavotte |
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243 | (3) |
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Bach, Flute Sonata, BWV 1033, Minuet 1 |
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246 | (4) |
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Haydn, Piano Sonata, Hob. XVF.43, Minuet 2 |
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250 | (5) |
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Haydn, String Quartet, Op. 33, No. 4, Scherzo |
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255 | (3) |
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Brahms, Waltz in B major, Op. 39, No. 8 |
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258 | (4) |
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262 | (5) |
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Chapter 10 Ternary Forms And Rondo |
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267 | (53) |
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Beethoven, Bagatelle, Op. 119, No. 1 |
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267 | (10) |
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Mendelssohn, Song Without Words, Op. 62, No. 1 |
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277 | (10) |
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Schubert, Moment Musical, Op. 94, No. 2 |
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287 | (14) |
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Haydn, Piano Sonata, Hob. XV1.37, III |
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301 | (8) |
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Brahms, Intermezzo in E Minor, Op. 119, No. 2: Some Observations on Form and Structure |
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309 | (11) |
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Chapter 11 Sonata Principle |
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320 | (44) |
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Haydn, Piano Sonata, Hob. xvl10, III |
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321 | (8) |
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Mozart, Symphony No. 35 ("Haffner"), K. 385, II |
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329 | (9) |
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Mozart, Piano Sonata, K. 457, 1 |
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338 | (26) |
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Chapter 12 Some Common Tonal Patterns And Procedures |
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364 | (26) |
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364 | (1) |
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365 | (1) |
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366 | (5) |
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371 | (8) |
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379 | (6) |
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Mixture and Large-Scale Tonal Plans |
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385 | (2) |
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Correspondence between Patterns and Musical Examples |
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387 | (4) |
Appendix: INTRODUCTION TO GRAPHIC NOTATION |
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390 | (19) |
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391 | (1) |
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Slurs and Filled-In Noteheads |
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391 | (3) |
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394 | (1) |
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394 | (2) |
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396 | (1) |
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396 | (2) |
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398 | (3) |
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Rhythmic Notation at Lower Levels |
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401 | (1) |
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401 | (3) |
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Sample Graphic Analyses for Study |
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404 | (3) |
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Examples from Free Composition |
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407 | (2) |
Selected Bibliography |
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409 | (6) |
Index of Musical Examples |
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415 | (1) |
Subject Index |
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416 | |