Analysis of Tonal Music

Description

In this highly anticipated new edition of Analysis of Tonal Music: A Schenkerian Approach, authors Allen Cadwallader, David Gagné, and Frank Samarotto use specific, memorable compositions to explain structural principles. This approach teaches students how to think about, critically examine, understand, and perform great compositions of Western art music.

Part 1 covers principles fundamental to the study of Schenkerian analysis and includes discussions of melody, counterpoint, bass-line structures, the imaginary continuo, linear techniques, and the essential properties of the Ursatz (fundamental structure). Part 2 presents complete compositions by formal category, beginning with one-part forms; proceeding through binary, ternary, and rondo forms; and concluding with the sonata principle. The book includes more than 200 analytical graphs, an appendix on graphic notation, and a bibliography.

New to this Edition

• A thoroughly revised and updated Student Workbook incorporating work by new coauthor Karen M. Bottge offers students clearer instructions and exercises that are more closely tied to the text. The Workbook is available for separate purchase (978-0-19-0846688) or in money-saving bundles with the text. Please contact your Oxford University Press sales representative or call 800.280.0280 for details.
• New examples in Part 1 clarify bass-line structures and the role of the imaginary continuo in the analytical process
• New examples in Part 2 expand coverage of one-part forms, binary forms, and the sonata principle
• Several new pieces, including a Brahms Waltz, a Prelude by Bach, and an early sonata movement by Haydn, provide instructors with greater flexibility

Table of Contents

Preface
PART 1. BASIC PRINCIPLES
Chapter 1: Introduction
Beethoven, Piano Sonata, Op. 2, No. 1, I
Chapter 2: Melody and Counterpoint
Some Characteristics of Melody
Counterpoint
Structural Melody
Chapter 3: Bass Lines and Harmonic Structure
Tonic Harmony (T Class)
Intermediate Harmonies (Int Class)
Dominant Harmony (D Class)
Larger Contexts
The Imaginary Continuo
Chord Prolongation: Summary
Chapter 4. Linear Techniques
Linear Progressions
Linear Intervallic Patterns
The Neighbor Note
Linear Intervallic Patterns: Summary
Chapter 5. Tonal Structure
Notational Symbols
Tonal Structure and the Ursatz
The Bass Arpeggiation (Bassbrechung)
The Fundamental Line (Urlinie)
Structural Levels
The Principle of Interruption
More on the Ursatz
Chapter 6. Techniques of Melodic Prolongation
The Initial Ascent
The Arpeggiated Ascent
Unfolding
Motion into an Inner Voice
Motion from an Inner Voice
Voice Exchange
Shift of Register
The Phrygian 2
Mixture of Scale Degree 3
Techniques in Combination
Chapter 7. Some Basic Elaborations of Fundamental Structures
Mozart, Piano Sonata, K. 283, I, bars 1-16
Beethoven, Piano Sonata, Op. 31, No. 1, II, bars 1-8
Beethoven, Piano Sonata, Op. 14, No. 1, II, bars 1-16
Beethoven, Piano Sonata, Op. 2, No. 1, II, bars 1-8
Beethoven, Piano Sonata, Op. 10, No. 1, II, bars 1-16
Mozart, Piano Concerto, K. 488, II, bars 1-12
Beethoven, Piano Sonata, Op. 14, No. 2, I, bars 26-47
Some Points for Review
PART 2. ANALYTICAL APPLICATIONS
Chapter 8. One-Part Forms
Bach, Prelude in C Major (WTC I)
Schubert, "Wandrers Nachtlied"
Schumann, "Lieb' Liebchen," op. 24, no. 4
Bach, "Little" Prelude in F major, BWV
Chapter 9. Binary Forms
Handel, Suite No. 5 in D minor, HWV 436, Menuetto
Bach, "Little" Prelude in C Major, BWV 933
Corelli, Violin Sonata, Op. 5, No. 10, Gavotte
Bach, Flute Sonata, BWV 1033, Minuet 1
Haydn, Piano Sonata, Hob. XVI/43, Minuet 2
Haydn, String Quartet, Op. 33, No. 4, Scherzo
Brahms, Waltz in Bflat major, Op. 39, No. 8
Auxiliary Cadences
Chapter 10. Ternary Forms and Rondo
Beethoven, Bagatelle, Op. 119, No. 1
Mendelssohn, Song Without Words, Op. 62, No. 1
Schubert, Moment Musical, Op. 94, No. 2
Haydn, Piano Sonata, Hob. XVI/37, III
Brahms, Intermezzo in E Minor, Op. 119, No. 2: Some Observations on Form and Structure
Chapter 11. Sonata Principle
Haydn, Piano Sonata, Hob. XVI/10, III
Mozart, Symphony No. 35 ("Haffner"), K. 385, II
Mozart, Piano Sonata, K. 457, I
Chapter 12. Some Common Tonal Patterns and Procedures
Introduction
Binary Forms
Ternary Forms
Sonata Principle
Prolongational Spans
Mixture and Large-Scale Tonal Plans
Correspondence Between Patterns and Musical Examples
Appendix: Introduction to Graphic Notation
Open Noteheads
Slurs and Filled-In Noteheads
Beams
Broken Ties
Stems with Flags
Diagonal Lines
Diagonal Lines and Beams
Rhythmic Notation at Lower Levels
Roman Numerals
Sample Graphic Analyses for Study
Examples from Free Composition
Selected Bibliography
Index of Musical Examples
Subject Index