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Cover

Music for Analysis

Examples from the Common Practice Period and the Twentieth Century

Eighth edition

Thomas Benjamin, Michael Horvit, Timothy Koozin, and Robert Nelson

Publication Date - 16 January 2018

ISBN: 9780190620752

608 pages
Spiral Bound
8-1/2 x 11 inches

In Stock

Organizes a wide range of musical excerpts by theory topic

Description

Offering 477 pieces of music from the Baroque period to the present, Music for Analysis, Eighth Edition, is the most comprehensive anthology of its kind. The book is organized by music theory concept, so it can easily be linked to any introductory theory course. The authors do not prescribe any system of analysis, allowing individual instructors to follow their own preferences with their students. Ample room for student work eliminates the need for a separate workbook or to purchase score paper.

New to this Edition

  • More selections from women, African-American, and Latin-American composers, including seven new complete pieces by Clara Schumann, Samuel Coleridge-Taylor, Lili Boulanger, Germaine Tailleferre, Richard Rodgers and Lorenz Hart, and Charlie Parker
  • Additional examples from Broadway, popular music, and jazz
  • More general headings throughout the text, designed to maintain the book's organization by theory topic while allowing students to discover answers on their own
  • A new, free, open-access Companion Website at www.oup.com/us/benjamin provides listening for nearly every example in the book, with new Spotify and Naxos Music Library streaming audio playlists along with 140 examples in streaming audio

Features

  • Provides 363 excerpts organized logically by harmonic content and 107 complete pieces, making the anthology ideal for traditional form and analysis courses as well as tonal harmony courses
  • Covers a wide variety of textures and styles, drawing from chamber music, vocal and choral music, keyboard music, and orchestral music-in piano reduction, short score, or full score--and including American popular music and jazz
  • Integrates ten Model Analyses showing the detail expected at each level of study and reinforcing the goal of comprehensive analysis
  • Guides study both within and outside of class, offering "Suggestions for Discussion" and "Questions for Analysis" throughout
  • Features a detailed Index of Composers and Their Compositions and an Index of Complete Pieces
  • Offers 145 recorded musical examples (on streaming audio) on played piano, harpsichord, or organ

About the Author(s)

Thomas Benjamin taught at the Peabody Conservatory of Johns Hopkins University, where he was Chair of the Department of Music for several years. Michael Horvit, Timothy Koozin, and Robert Nelson all teach at Moores School of Music at the University of Houston.

Reviews

"I really like this book's brief examples, the brevity of the chapters, and the variety of genres." --Leslie M. Sabina, St. Bonaventure University

"For those of us who choose not to use a standard tonal harmony textbook in our courses, Music for Analysis, Eighth Edition, provides organized musical examples in a single source." --Susan Piagentini, Bienen School of Music, Northwestern University

Table of Contents

    PREFACE

    SUGGESTIONS FOR USING THIS BOOK

    PART I DIATONIC MATERIALS
    Suggestions for Discussion

    1. TONIC TRIAD
    Questions for Analysis
    1. HAYDN, Sonatina in G major, Hob. XVI: 8
    2. CZERNY, Sonatina, op. 792, no. 8
    3. RIMSKY-KORSAKOV, Le Coq d'Or: Hymn to the Sun
    4. BEETHOVEN, Leonora Overture No. 2, op. 72
    5. BEETHOVEN, Trio, op. 70, no. 2
    6. CHOPIN, Polens Grabgesang, op. 74
    7. CHOPIN, Valse (Posthumous)
    8. BEETHOVEN, Symphony No. 5, op. 67
    9. COUPERIN, Carnival

    2. DOMINANT TRIAD IN ROOT POSITION
    Questions for Analysis
    10. MOZART, Rondo
    11. KUHNAU, Biblical Sonata No. 1: Victory Dance and Festival
    12. BEETHOVEN, Für Elise
    13. SCHUMANN, Album for the Young, op. 68: Reiterstück
    14. WEBER, Euryanthe, op. 81: Overture
    15. BEETHOVEN, Symphony No. 5, op. 67

    3. DOMINANT SEVENTH AND NINTH IN ROOT POSITION
    Questions for Analysis
    Model Analysis
    16. WEBER, German Dance
    17. MOZART, Sonata, K. 332
    18. SCHUBERT, Wiegenlied, op. 98, no. 2
    19. VERDI, Rigoletto, Act I, no. 2
    20. HAYDN, Sonata in E major, Hob. XVI: 13
    21. BEETHOVEN, Symphony No. 4, op. 60
    22. WEBER, Oberon: Overture
    23. SCHUBERT, Ländler
    24. SCHUBERT, Valses Nobles, op. 77
    25. MOZART, Valse

    4. SUBDOMINANT TRIAD IN ROOT POSITION
    Questions for Analysis
    26. SCHEIDT, Bergamasca
    27. SCHUMANN, Faschingsschwank aus Wien, op. 26, no. 3: Scherzino
    28. CHOPIN, Mazurka, op. 17, no. 1
    29. BEETHOVEN, Egmont Overture, op. 84
    30. VERDI, Rigoletto, Act I, no. 7
    31. SCHUBERT, Impromptu, op. 90, no. 4, D. 899
    32. KERN, Look for the Silver Lining
    33. BEETHOVEN, Seven Country Dances, no. 7
    34. SCHUBERT, Ländler

    5. CADENTIAL TONIC SIX-FOUR CHORD
    Questions for Analysis
    35. SCHUBERT, Valses Sentimentales, op. 50, no. 18
    36. CHOPIN, Mazurka, op. 24, no. 3
    37. DONIZETTI, Lucia di Lammermoor, Act II, no. 6
    38. BEETHOVEN, Trio, op. 97

    6. TONIC, SUBDOMINANT, AND DOMINANT TRIADS IN FIRST INVERSION
    Questions for Analysis
    Model Analysis
    39. BACH, Lobt Gott, ihr Christen, allzugleich
    40. MOZART, Bastien und Bastienne, K. 46B, no. 9
    41. MOZART, Sonata, K. 332
    42. HAYDN, Sonata in D major, Hob. XVI:37
    43. MOZART, Abendempfindung, K. 523
    44. BEETHOVEN, Symphony No. 5, op. 67
    45. BEETHOVEN, Fidelio, Act I, no. 9
    46. MOZART, Sonata, K. 570
    47. MENDELSSOHN, Elijah, op. 70, no. 29
    48. COUPERIN, Le Petit Rien
    49. DANDRIEU, Les Fifres

    7. SUPERTONIC TRIAD
    Questions for Analysis
    50. ANONYMOUS, Dir, dir, Jehovah, will ich singen
    51. SCHUBERT, Waltz, op. 9, no. 3, D. 365
    52. BEETHOVEN, Six Variations on "Nel cor più non mi sento"
    53. MOZART, Die Zauberflöte, K. 620, Act II, no. 21
    54. CHOPIN, Zwei Leichen
    55. BEETHOVEN, Trio, op. 121A
    56. VERDI, Rigoletto, Act II, no. 14
    57. CHOPIN, Mazurka, op. 33, no. 2
    58. HAYDN, Sonata in E minor, Hob. XVI: 34

    8. INVERSIONS OF THE DOMINANT SEVENTH CHORD
    Questions for Analysis
    59. J. C. F. BACH, Nun danket alle Gott
    60. HAYDN, Sonata in C major, Hob. XVI: 35
    61. PAISIELLO, Le donne sur balcone
    62. MOZART, Quartet, K. 464
    63. BEETHOVEN, Sonata, op. 31, no. 3
    64. RAMEAU, Sarabande I, vol. I
    65. HAYDN, Trio in C major, Hob. XV: 3
    66. KUHLAU, Sonatina, op. 20, no. 1
    67. BEETHOVEN, Symphony No. 2, op. 36
    68. BEETHOVEN, Minuet in C

    9. LINEAR (EMBELLISHING) SIX-FOUR CHORDS
    Questions for Analysis
    69. BEETHOVEN, Concerto No. 1 for Piano, op. 15
    70. SCHUBERT, Valses Sentimentales, op. 50, no. 1, D. 779
    71. MOZART, Rondo, K. 485
    72. HAYDN, Quartet, op. 3, no. 5
    73. SCHUBERT, Waltz, op. 9, no. 1, D. 365
    74. KUHLAU, Sonatina, op. 88, no. 3
    75. MOZART, Symphony No. 35, K. 385
    76. BEETHOVEN, Sonatina in G major
    77. BEETHOVEN, Symphony No. 7, op. 92
    78. MOZART, Symphony No. 41, K. 551
    79. HAYDN, Sonata in D major, Hob. XVI: 37
    80. BEETHOVEN, Contradanse
    81. BUXTEHUDE, Passacaglia
    82. BEETHOVEN, Symphony No. 3, op. 55
    83. GOUNOD, Faust, Act I, no. 6
    84. SULLIVAN, H.M.S. Pinafore, "I'm Called Little Buttercup"

    10. SUBMEDIANT AND MEDIANT TRIADS
    Questions for Analysis
    85. CRÜGER, Herzliebster Jesu, was hast du verbrochen
    86. ANONYMOUS, Dir, dir, Jehovah, will ich singen
    87. BACH, Schmücke dich, o liebe Seele
    88. MOZART, Bastien und Bastienne, K. 46b, no. 1
    89. MOZART, Sonata, K. 545
    90. HANDEL, Sonata in F for Flute and Continuo
    91. VERDI, Rigoletto, Act I, no. 1
    92. BRAHMS, Symphony No. 4, op. 98
    93. CORELLI, Sonata for Violin and Continuo, op. 5, no. 9
    94. SCHUBERT, Quartet in D major, D. 74
    95. BEETHOVEN, Trio, op. 1, no. 3
    96. MOZART, Sonata, K. 283
    97. J. C. F. BACH, Menuet
    98. TESSIER, Au joli bois je m'en vais
    99. STRAUSS, Der Rosenkavalier, Act III
    100. BRAHMS, Romance, op. 118, no. 5
    101. SCHUMANN, Phantasiestücke, op. 12, no. 4, Grillen
    102. SCHUBERT, Im Abendroth (Posthumous)
    103. SCHUBERT, Symphony in C major ("The Great")

    11. LEADING TONE TRIAD
    Questions for Analysis
    104. TESCHNER, Schatz über alle Schätze
    105. BACH, Aus meines Herzens Grunde
    106. SCHUMANN, Album for the Young, op. 68: Soldatenmarsch
    107. HANDEL, Courante
    108. HAYDN, Sonata in E major, Hob. XVI: 49
    109. HAYDN, Sonatina in D major, Hob. XVI: 4
    110. MOZART, Sonata, K. 280
    111. DAQUIN, La Joyeuse

    12. VARIANT QUALITIES OF DIATONIC TRIADS
    Questions for Analysis
    Scalar Variants in Minor
    112. Bach, Herr, ich habe mißgehandelt
    113. Pachelbel, Chaconne
    114. Telemann, Fantasie No. 8
    115. Byrd, Pavana "The Earle of Salisbury"
    116. A. Scarlatti, Folia
    117. Mattheson, Minuet
    118. Mozart, Sonata, K. 310
    Modal Borrowing
    119. VERDI, La Traviata, Act I, no. 4
    120. DONIZETTI, Linda di Chamounix, "O luce di quest'anima"
    121. MOZART, Sonata for Violin and Piano, K. 306
    122. HAYDN, Sonatina in C major, Hob. XVI: 7
    123. SCHUBERT, Aufenthalt
    124. SCHUBERT, Der Wanderer
    125. BRAHMS, Symphony No. 3, op. 90
    126. VERDI, Il Trovatore, Act II, no. 11
    127. BEETHOVEN, Symphony No. 5, op. 67
    128. BRAHMS, Symphony No. 4, op. 98

    13. SUPERTONIC SEVENTH CHORD
    Questions for Analysis
    129. ANONYMOUS, Herr, wie du willst, so schick's mit mir
    130. BACH, Straf' mich nicht in deinem Zorn
    131. HAYDN, Sonata in A? major, Hob. XVI: 46
    132. GRIEG, Lyric Pieces, op. 12, no. 3: Voegtersang
    133. BEETHOVEN, Symphony No. 6, op. 68
    134. SCHUBERT, Quartet, op. 168, D. 112
    135. MOZART, Sonata, K. 310
    136. SCHUBERT, Ständchen
    137. BEETHOVEN, Symphony No. 2, op. 36
    138. BEETHOVEN, Sonata, op. 14, no. 2
    139. BEETHOVEN, Symphony No. 6, op. 68
    140. BIZET, Carmen, Act II: Entr'acte
    141. RODGERS, Blue Moon

    14. LEADING TONE SEVENTH CHORD
    Questions for Analysis
    142. DVORAK, Quartet, op. 96
    143. MOZART, Sonata, K. 457
    144. SCHUMANN, Carnaval, op. 9: Chiarina
    145. BRAHMS, Ballade, op. 10, no. 4
    146. HANDEL, Sonata for Flute and Basso Continuo, HWV 362
    147. HAYDN (?), Allegro
    148. HAYDN, Trio in G major, Hob. XV: 25
    149. MOZART, Requiem, K. 626: Offertorium
    150. HAYDN, Sonatina in G major, Hob. XVI: 11
    151. HANDEL, Judas Maccabaeus, Part III: no. 53, Introduction
    152. WAGNER, Das Rheinghold, Scene 1
    153. GLUCK, Orphée, Act I, no. 1
    154. HANDEL, Aria con Variazioni, Leçon No. 1
    155. TELEMANN, Fantasia, Dozzina 1, no. 5
    156. MOZART, Sonata for Violin and Piano, K. 306

    15. OTHER DIATONIC SEVENTH CHORDS
    Questions for Analysis
    157. BACH, O Ewigkeit, du Donnerwort
    158. MOZART, Rondo. K. 494
    159. MENDELSSOHN, Kinderstück, op. 72, no. 1
    160. PACHELBEL, Fantasie
    161. HANDEL, Sonata for Flute and Continuo
    162. HANDEL, Leçon No. 2, Menuet
    163. TCHAIKOVSKY, Symphony No. 4, op. 36
    164. BACH, French Suite in D minor, Menuet

    16. COMPLETE PIECES FOR ANALYSIS I
    Checklist for Analysis
    165. BEETHOVEN, Minuet
    166. SCHUBERT, Dance
    167. SCHUBERT, German Dance, op. 33, no. 12
    168. BEETHOVEN, Scottish Dance
    169. PURCELL, Rigadoon
    170. RAMEAU, Minuet
    171. WITT, Passacaglia
    172. GRIEG, Lyric Pieces, op. 12, no. 6: Norsk

    PART II CHROMATIC MATERIALS
    Suggestions for Discussion

    17. SECONDARY     (APPLIED, BORROWED) DOMINANTS
    Questions for Analysis
    Model Analysis
    173. BEETHOVEN, Trio, op. 1, no. 1
    174. MOZART, Sonata, K. 281
    175. SCHUBERT, Impromptu, op. 142, no. 3
    176. HAYDN, Trio in D major
    177. BEETHOVEN, Sonatina in G major
    178. WEBER, Oberon: Overture
    179. BEETHOVEN, Trio, op. 1, no. 1
    180. SCHUMANN, Sonata, op. 118c., Andante
    181. BEETHOVEN, Symphony No. 1, op. 21
    182. HANDEL, Suite XI
    183. SCHUMANN, Arabeske, op. 18
    184. BEETHOVEN, Symphony No. 4, op. 60
    185. SCHUMANN, Widmung, op. 25, no. 1
    186. SCHUBERT, Symphony No. 8 ("Unfinished")
    187. SCHUMANN, Sonata, op. 118c., Puppenwiegenlied
    188. SCHUBERT, Quintet ("Die Forelle"), op. 114, D. 667
    189. BEETHOVEN, Quintet, op. 29
    190. BEETHOVEN, Trio, op. 11
    191. VERDI, Rigoletto, Act II, no. 7
    192. HANDEL, Suite XVI
    193. BEETHOVEN, Sonata, op. 53
    194. SCHUBERT, Symphony in C major ("The Great")
    195. BEETHOVEN, Trio, op. 1, no. 3
    196. SCHUBERT, Mass in E major: Benedictus
    197. MENDELSSOHN, Midsummer Night's Dream, op. 61: Wedding March
    198. VERDI, Rigoletto, Act II, no. 14
    199. BACH, Christmas Oratorio, Part I, no. 4: Bereite dich, Zion
    200. HANDEL, Sonata VII for Flute and Continuo
    201. CHOPIN, Mazurka, op. 67, no. 2
    202. CHOPIN, Valse, op. 69, no. 1
    203. CHOPIN, Valse Brillante, op. 34, no. 3
    204. GERSHWIN, Someone to Watch Over Me
    205. TCHAIKOVSKY, Children's Album, op. 39, no. 1.: Morning Prayer

    18. MODULATION TO CLOSELY RELATED KEYS
    Questions for Analysis
    Modulation to Dominant
    206. MOZART, Symphony No. 39, K. 543
    207. MOZART, Sonata, K. 331
    208. BEETHOVEN, Symphony No. 2, op. 36
    209. HAYDN, Minuet
    210. SCHUBERT, Quartet, D. 173
    211. HAYDN, Sonata in C minor, Hob. XVI: 36
    212. MOZART, Symphony No. 41, K. 551
    213. CHOPIN, Mazurka, op. 7, no. 2
    214. HAYDN, Sonata in G major, Hob. XVI: 39
    215. MOZART, Sonata, K. 282, Menuet I
    216. SCHUBERT, Quartet, D. 173
    Modulation to Relative Major
    217. HAYDN, Trio in F minor, Hob. XV: 26
    218. HAYDN, Sonata in E minor, Hob. XVI: 34
    219. MOZART, Sonata, K. 330
    220. DONIZETTI, Lucia di Lammermoor, Act I, Cavatina
    221. BRAHMS, Quintet, op. 115
    222. BEETHOVEN, Symphony No. 7, op. 92
    223. HAYDN, Symphony No. 104, Hob. I: 104
    Modulation to Other Closely Related Keys
    224. HAYDN, Sonatina, Hob. XVI: 1
    225. BONONCINI, Deh più a me non vàscondete
    226. SAINT-SAËNS, Carneval des Animaux: Le Cygne
    227. BRAHMS, Waltz, op. 39, no. 15
    228. BEETHOVEN, Quartet, op. 18, no. 2
    229. PURCELL, Dido and Aeneas, Act I, scene I
    230. BACH, French Suite in C Minor

    19. COMPLETE PIECES FOR ANALYSIS II
    Checklist for Analysis
    231. BACH, Wachet auf, ruft uns die Stimme
    232. BACH, In dulci jubilo
    233. BACH, Christ lag in Todesbanden
    234. HANDEL, Menuet
    235. BEETHOVEN, Sonata, op. 26
    236. SCHUMANN, Sonata, op. 118b., Abendlied
    237. BRAHMS, Waltz, op. 39
    238. HANDEL, Prelude
    239. BEETHOVEN, Sonatina in F major
    240. HAYDN, Sonata in G major, Hob. XVI: 27
    241. GERSHWIN, I Got Rhythm

    20. LINEAR (EMBELLISHING) DIMINISHED SEVENTH CHORDS
    Questions for Analysis
    242. HAYDN, Symphony No. 104, Hob. I: 104, Menuet
    243. BEETHOVEN, Symphony No. 7, op. 92
    244. LISZT, Les Préludes
    245. BEETHOVEN, Contradanse
    246. TCHAIKOVSKY, Symphony No. 6, op. 74
    247. BEETHOVEN, Quartet, op. 18, no. 3
    248. SCHUBERT, Sonata, op. 53
    249. GOUNOD, Faust, Act IV, no. 18
    250. SCHUMANN, Carnaval, op. 9: Arlequin
    251. MOZART, Waltz, K. 567
    252. WAGNER, Rienzi: Overture
    253. BELLINI, I Puritani, Act II, scene 3
    254. HAYDN, Symphony No. 104, Hob. I: 104
    255. RODGERS, The Girl Friend
    256. BRAHMS, Liebeslieder Walzer, op. 52, no. 4

    21. NEAPOLITAN TRIAD
    Questions for Analysis
    257. MOZART, Concerto in A major, K. 488
    258. SCHUBERT, Die schöne Müllerin, Op. 25: Der Müller und der Bach
    259. BACH, Ach Gott, vom Himmel sieh' darein
    260. BACH, Invention No. 13
    261. VERDI, Il Trovatore, Act II, no. 8
    262. BRAHMS, Intermezzo in A major, op. 118, no. 2
    263. CHOPIN, Prelude, op. 28, no. 20
    264. BEETHOVEN, String Quartet, op. 59, no. 2
    265. BRAHMS, Wie Melodien zieht es mir, op. 105
    266. BEETHOVEN, Quartet, op. 18, no. 3
    267. SCHUBERT, Mass in E major: Credo
    268. BACH, The Well-Tempered Clavier, Vol. II, Fugue 17
    269. CHOPIN, Prelude, op. 28, no. 6

    22. AUGMENTED SIXTH CHORDS, SUBMEDIANT DEGREE AS LOWEST NOTE
    Model Analysis
    Questions for Analysis
    Italian
    270. BACH, Ich hab' mein' Sach' Gott heimgestellt
    271. BEETHOVEN, Bagatelle, op. 119, no. 1
    272. BEETHOVEN, Coriolan Overture, op. 62
    273. TCHAIKOVSKY, Children's Album, op. 39, no. 10: Mazurka
    274. SCHUBERT, Quartet, op. 168, D. 112
    275. BEETHOVEN, Symphony No. 1, op. 21
    German
    276. MOZART, Sonata, K. 457
    277. BEETHOVEN, Sonata, op. 109
    278. HAYDN, Trio, Hob. XV: 25
    279. BEETHOVEN, Thirty-Two Variations, WoO 80, Var. 30
    280. SIBELIUS, Chanson Sans Paroles, op. 40, no. 2
    281. STRAUSS, Der Rosenkavalier, Act I
    French
    282. MENDELSSOHN, Elijah, op. 70, no. 1
    283. SCHUBERT, Mass in G major: Kyrie
    284. BACH, Wer nur den lieben Gott lä t walten
    285. SCHUBERT, Sonata, op. 42
    286. VERDI, La Traviata, Act III: Prelude
    287. SCHUBERT, Symphony in C major ("The Great")
    288. GRIEG, Alfedans, op. 12
    289. HERBERT, Gypsy Love Song
    Enharmonic German
    290. SCHUMANN, Dichterliebe, op. 48, no. 12: "Am leuchtenden Sommermorgen"

    23. AUGMENTED SIXTH CHORDS, OTHER SCALE DEGREES AS LOWEST NOTE
    Questions for Analysis
    291. MOZART (?), Adagio
    292. GRANADOS, Valses Poeticos
    293. SCHUBERT, Symphony No. 8 ("Unfinished")
    294. MOUSSORGSKY, Songs and Dances of Death, no. 4
    295. GLUCK, Orphée, Act I, nos. 6 and 7

    24. AUMENTED SIXTH CHORDS, OTHER USES
    Question for Analysis
    Linear
    296. VERDI, Rigoletto, Act I: Prelude
    297. TCHAIKOVSKY, Song Without Words, op. 40, no. 6
    298. TCHAIKOVSKY, Romeo and Juliet
    299. SCHUBERT, Waltz
    300. BRAHMS, Intermezzo, op. 76, no. 4
    301. TCHAIKOVSKY, Children's Album, op. 39, no. 20: The Witch
    Secondary
    302. CHOPIN, Prelude, op. 28, no. 22
    303. SCHUBERT, Mass in G major: Benedictus
    304. SCHUBERT, Die Allmacht, op. 79, no. 2
    Altered Dominants
    305. SCHUBERT, Quintet, op. 163
    306. LISZT, Liebestraum, no. 3
    307. RIMSKY-KORSAKOV, Snowmaiden, Chanson du Bonhomme Hiver
    308. GRIEG, Solvejg's Lied

    25. OTHER MEANS OF MODULATION
    Model Analysis
    Question for Analysis
    309. SCHUBERT, Mass in G major: Gloria
    310. BRAHMS, Wenn du nur zuweilen lächelst, op. 57, no. 2
    311. BEETHOVEN, Symphony No. 5, op. 67
    312. SCHUBERT, Waltz, op. 9, no. 14, D. 365
    313. MOZART, Die Entführung aus dem Serail, K. 384, Act III, no. 18
    314. SCHUMANN, Symphony No. 2, op. 61
    315. BEETHOVEN, Symphony No. 7, op. 92
    316. HAYDN, String Quartet, op. 76, no. 6
    317. BEETHOVEN, Sonata, op. 13
    318. BEETHOVEN, Trio, op. 70, no. 1
    319. SCRIABIN, Prelude, op. 13, no. 3
    320. J. STRAUSS, Die Fledermaus: Overture
    321. BRAHMS, Wie bist du meine Königen, op. 32, no. 9
    322. SCHUBERT, Mass in A major: Agnus Dei
    323. BEETHOVEN, Trio, op. 11
    324. RACHMANINOFF, Melodie, op. 3, no. 3
    325. SCHUBERT, Symphony No. 8 ("Unfinished")

    26. NINTH CHORDS
    Questions for Analysis
    Dominant Ninths
    326. J. STRAUSS, Artist's Life Waltzes, op. 316, no. 3
    327. FRANCK, Sonata for Violin and Piano
    328. BEETHOVEN, Theme from Six Easy Variations, WoO 77
    329. CHOPIN, Valse Brillante, op. 34, no. 1
    330. SCHUMANN, Waldesgespräch, op. 39, no. 3
    331. CHOPIN, Prelude, op. 28, no. 15
    Secondary Dominant Ninths
    332. BACH, St. Matthew Passion, no. 78
    333. SCHUMANN, Genoveva, op. 81: Overture
    334. GRIEG, Grandmother's Minuet, op. 68, no. 2
    335. SCHUMANN, Kinderszenen, op. 15, no. 7: Träumerei
    Nondominant Ninths
    336. GRIEG, Wedding Day at Troldhaugen, op. 65, no. 6
    337. MENDELSSOHN, Midsummer Night's Dream, op. 21: Overture
    338. FAUR´E, Après un Rêve

    27. EXTENDED LINEAR USAGES
    Questions for Analysis
    Model Analysis
    339. CHOPIN, Mazurka, op. 6, no. 1
    340. BRAHMS, "Der Tod, das ist die kühle Nacht," op. 96, no. 1
    341. WEBER, Euryanthe: Overture
    342. BRAHMS, Variations on a Theme by Handel, var. 20
    343. FRANCK, Symphony in D minor
    344. WAGNER, Lohengrin, Act I, scene 2
    345. WAGNER, Wotan's Farewell, Die Walküre, Act III
    346. CHOPIN, Prelude, op. 28, no. 9
    347. BEETHOVEN, Quartet, op. 18, no. 6

    28. COMPLETE PIECES FOR ANALYSIS III
    Checklist for Analysis
    348. BACH, Ein' feste Burg ist unser Gott
    349. BACH, Es ist genug, so nimm, Herr
    350. MOZART, Minuet, K. 355
    351. SCHUMANN, C., Myrthen, op. 25, no. 24
    352. SCHUMANN, R., Drei Lieder, op. 12, no. 2
    353. MENDELSSOHN, Lieder ohne Wörte, op. 30, no. 3
    354. CHOPIN, Mazurka, Op. posth. 67, no. 2
    355. SCHUMANN, Phantasiestücke, op. 12, no. 3: Warum?
    356. GRIEG, Lyric Pieces: op. 43, no. 5: Erotikon
    357. LISZT, Il pensieroso, from Années de Pèlerinage
    358: COLERIDGE-TAYLOR, Cameos for piano, op. 56, no. 3
    359. R. STRAUSS, Morgen, op. 27, no. 4
    360. WAGNER, Wesendonck Lieder, no. 1: Der Engel
    361. BEETHOVEN, Sieben Variationen über das Volkslied: "God Save the King", WoO 78
    362. MOZART, Symphony No. 40, K. 550
    363. BEACH, Sketches, op. 15: Phantoms
    364. JOPLIN, A Breeze from Alabama: March and Two-Step
    365. WAGNER, Tristan und Isolde, Act I: Prelude
    366. MOZART, Sonata, K. 309
    I. Allegro con spirito
    II. Andante, un poco Adagio
    III. Allegretto grazioso
    367. BEETHOVEN, Sonata, op. 2, no. 3
    I. Allegro con brio
    II. Adagio
    III. Scherzo, Allegro
    IV. Allegro assai

    29. EXAMPLES OF COUNTERPOINT
    Questions for Analysis
    368. BACH, Cantata No. 4: Sinfonia
    369. BACH, Chorale Prelude on "In Dulci Jubilo"
    370. BACH, Chorale Prelude on "Christ lag in Todesbanden"
    371. BRAHMS, Chorale Prelude on "O Wie selig seid ihr doch, ihr Frommen"
    372. PURCELL, "Thy hand Belinda", from Dido and Aeneas
    373. BACH, Invention No. 4, BWV 775
    374. BACH, Invention No. 13, BWV 775
    375. BACH, Sinfonia 3, BWV 789
    376. BACH, The Well-Tempered Clavier, Vol. I, Fugue 2
    377. BACH, The Well-Tempered Clavier, Vol. II, Fugue 9
    378. MENDELSSOHN, Fugue No. 2, op. 35
    Additional Examples for the Study of Contrapuntual Techniques

    PART III CONTEMPORARY MATERIALS
    Suggestions for Discussion
    Model Analysis

    30.     EXTENDED AND ALTERED TERTIAN HARMONY
    Questions for Analysis
    379. HANSON, Symphony No. 2, op. 30
    380. KABALEVSKY, Sonatina, op. 13
    381. HOVHANESS, Mysterious Mountain
    382. SHOSTAKOVICH, Prelude, op. 34, no. 24
    383. DEBUSSY, Pelléas et Mélisande, Act I, scene 1
    384. SCRIABIN, Poem, op. 32, no. 2
    385. RAVEL, Valses Nobles et Sentimentales
    386. RODGERS, Slaughter on Tenth Avenue
    387. ELLINGTON, Prelude to a Kiss
    388. DUKE JORDAN, Jordu
    389. PARKER, Anthropology
    390. BERG, Four Songs, op. 2, no. 3
    391. RAKSIN, Laura

    31. DIATONIC (CHURCH) MODES
    Model Analysis
    Questions for Analysis
    392. BARTO´K, Little Pieces for Children, no. III
    393. CHA´VEZ, Ten Preludes, no. 1
    394. POULENC, Valse
    395. DEBUSSY, Trois Chansons, no. 1
    396. KABALEVSKY, Toccatina
    397. BRITTEN, Ceremony of Carols, no. 8
    398. DEBUSSY, Suite bergamasque, Passepied
    399. FLOYD, Susannah, Act II, scene 3
    400. STRAVINSKY, Five Fingers: Lento
    401. BARTO´K, Fourteen Bagatelles, op. 6, no. 4
    402. CASELLA, Siciliana
    403. ADDERLEY, Work Song

    32. PANDIATONICISM AND ADDITIVE HARMONY
    Questions for Analysis
    404. RAVEL, Mother Goose Suite: The Magic Garden
    405. MILHAUD, Touches Blanches
    406. COWELL, The Irishman Dances
    407. COPLAND, The Young Pioneers
    408. BARBER, Excursions, III
    409. STRAVINSKY, Petroushka, Danse Russe
    410. POULENC, Gloria, Laudamus te

    33. EXOTIC (ARTIFICIAL, SYNTHETIC) SCALES
    Questions for Analysis
    411. MILHAUD, Touches Noires
    412. BARTO´K, Mikrokosmos, no. 78: Five Tone Scale
    413. KODA´LY, Valsette
    414. VAUGHAN WILLIAMS, London Symphony
    415. DEBUSSY, Préludes, II: Voiles
    416. BARTO´K, Mikrokosmos, no. 136: Whole Tone Scale
    417. DEBUSSY, Pelléas et Mélisande, Act II, scene 1
    418. BARTO´K, Fourteen Bagatelles, op. 6, no. 10
    419. LUTOSLAWSKI, Bucolic, no. 3
    420. BARTO´K, Mikrokosmos, no. 101: Diminished Fifth
    421. BARTO´K, Sketches, op. 9, no. 6
    422. BARTO´K, Fourteen Bagatelles, op. 6, no. 6

    34. QUARTIAL AND SECUNDAL HARMONY
    Questions for Analysis
    423. HINDEMITH, Mathis der Maler: Grablegung
    424. IVES, Majority
    425. KRENEK, Piano Piece, op. 39, no. 5
    426. HINDEMITH, Ludus Tonalis, Fuga secunda in G
    427. BARTO´K, Concerto for Orchestra
    428. BERG, Wozzeck, Act II
    429. BARTO´K, Mikrokosmos, no. 107: Melody in the Mist
    430. BERG, Wozzeck, Act II
    431. COWELL, Tiger
    432. IVES, Majority
    433. BRUBECK, Blue Rondo à la Turk

    35. POLYHARMONY AND POLYTONALITY
    Questions for Analysis
    434. HONEGGER, Symphony No. 5
    435. SCHUMAN, A Three-Score Set, II
    436. KRAFT, Allegro Giocoso
    437. STRAVINSKY, The Rake's Progress: Prelude
    438. STRAVINSKY, Petroushka, Scene 2
    439. MILHAUD, Saudades do Brazil, no 7: Corcovado
    440. BARTO´K, Forty-Four Violin Duets, no. 33
    441. BRUBECK, Strange Meadowlark

    36. FREE ATONALITY
    Questions for Analysis
    442. SCHÖNBERG, Drei Klavierstücke, op. 11, no. 1
    443. SCHÖNBERG, Klavierstücke, op. 19, no. 2
    444. SCHÖNBERG, Pierrot Lunaire, op. 21, no. 1: Mondestrunken
    445. WEBERN, Five Movements for String Quartet, op. 5, no. 4
    446. BARTO´K, Mikrokosmos, no. 144: Minor Seconds, Major Sevenths
    447. BARTO´K, Fourth String Quartet
    448. BERGER, Two Episodes, I

    37. TWELVE-TONE SERIALISM
    Model Analysis
    Questions for Analysis
    449. KRENEK, Dancing Toys, op. 83, no. 1
    450. SCHÖNBERG, Suite für Klavier, op. 25: Gavotte
    451. DALLAPICCOLA, Cinque Frammenti di Saffo
    452. WEBERN, Drei Lieder, op. 25, no. 1

    38. MUSIC SINCE 1945
    Questions for Analysis
    453. Stockhausen, Klavierstücke, no. 2
    454. Lutoslawski, String Quartet (1965)
    455. Penderecki, String Quartet, no. 2
    456. Crumb, Madrigals, Book IV
    457. Druckman, Valentine, for solo contrabass
    458. Rouse, Valentine
    459. Horne, Six Short Studies, Sixteenth Notes

    39. COMPLETE PIECES FOR ANALYSIS IV
    Suggestion for Analysis
    460. Ravel, Sonatine, Mouvt II
    461. Debussy, Pour le Piano: Sarabande
    462. Debussy, Préludes, X: La Cathédrale engloutie
    463. Boulanger, Trois Morceaux, no. 1: "D''un vieux jardin"
    464. Milhaud, Saudades do Brazil, No. 6: Gavea
    465. Tailleferre, Berceuse
    466. Tailleferre, Impromptu
    467. Prokofiev, Classical Symphony, op. 25
    468. Prokofiev, The Love of Three Oranges: March
    469. Hindemith, Ludus Tonalis: Fuga undecima in B (Canon)
    470. Ruggles, Evocations, no. 1
    471. Schönberg, Suite für Klavier, op. 25: Menuett
    472. Porter, Night and Day
    473. Gershwin, Porgy and Bess: "Summertime"
    474. Rodgers and Hart, Blue Moon. Arranged by André Previn
    475. Stravinsky, Sonata for Two Pianos, II: Theme with Variations
    476. Hindemith, Piano Sonata No. 2
    477. Macmillan, Piano Sonata, I

    APPENDIX A. CHECKLIST FOR ANALYSIS AND SAMPLE ANALYSIS
    APPENDIX B. FOR FURTHER REFERENCE
    APPENDIX C. TEXTBOOK CORRELATION CHART

    ACKNOWLEDGMENTS

    INDEX OF COMPOSERS AND THEIR COMPOSITIONS
    INDEX OF COMPLETE PIECES

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