ANALYSIS OF TONAL MUSIC: A SCHENKERIAN APPROACH
THIRD EDITION
ALLEN CADWALLADER AND DAVID GAGNE

DESCRIPTION:
-THIS THOROUGHLY REVISED STUDENT WORKBOOK COMPLEMENTS THE THIRD EDITION OF ANALYSIS OF TONAL MUSIC: A SCHENKERIAN APPROACH AND GUIDES STUDENTS SYSTEMATICALLY THROUGH THE PROCESS OF ANALYSIS.

FEATURES

* CONTAINS FORTY-ONE ASSIGNMENTS WITH WELL-KNOWN PIECES FROM THE TONAL REPERTORY
* PRESENTS EXERCISES ON BASIC PRINICIPLES, HELPING TO REINFORCE MATERIAL FOR STUDENTS WHO HAVE HAD NO PREVIOUS EXPOSURE TO SCHENKERIAN ANALYSIS
* ADDS SEVENTEEN NEW ASSIGNMENTS, OFFERING ADDITIONAL PRACTICE IN WORKING WITH STRUCTURAL MELODY AND THE IMAGINARY CONTINUO, RECOGNIZING HARMONIC FUNCTION, AND CLASS, AND DISTINGUISHING BETWEEN 'CHORD' AND 'HARMONY' (STUFE)

PREVIOUS PUBLICATION DATES
JANUARY 1998, DECEMBER 2006, SEPTEMBER 2010

TABLE OF CONTENTS:
PREFACE
PART 1: BASIC PRINCIPLES
1. INTRODUCTION
BEETHOVEN, PIANO SONATA, OP. 2, NO. 1, I

2. MELODY AND COUNTERPOINT
SOME CHARACTERISTICS OF MELODY
COUNTERPOINT
STRUCTURAL MELODY

3. BASS LINES AND HARMONIC STRUCTURE
TONIC HARMONY (T CLASS)
INTERMEDIATE HARMONIES (INT CLASS)
DOMINANT HARMONY (D CLASS)
LARGER CONTEXTS
CHORD PROLONGATION: SUMMARY

4. LINEAR TECHNIQUES
LINEAR PROGRESSIONS
LINEAR INTERVALLIC PATTERNS
THE NEIGHBOR NOTE
LINEAR INTERVALLIC PATTERNS: SUMMARY

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

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
DESCENDING AND ASCENDING REGISTER TRANSFER
COUPLING
SUPERPOSITION
REACHING OVER
COVER TONE
SUBSTITUTION
THE PHRYGIAN 2
MIXTURE OF SCALE DEGREE 3
TECHNIQUES IN COMBINATION

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. 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. 3, SECOND THEME, BARS 26-47
SOME POINTS FOR REVIEW

PART 2: ANALYTICAL APPLICATIONS

8. ONE-PART FORMS
BACH, PRELUDE IN C MAJOR (WTC I)
SCHUBERT, 'WANDRERS NACHTLIED'
SCHUMANN, 'LIEB` LIEBCHEN'

9. BINARY FORMS
HANDEL, SUITE NO. 5 IN D MINOR, HWV 436, MENUETTO
BACH, 'LITTLE' PRELUDE IN C MAJOR, BWV 933, MENUETTO
CORELLI, VIOLIN SONATA, OP. 5, NO. 10, GAVOTTE
BACH, FLUTE SONATA NO. 2, MINUET 1
HAYDN, PIANO SONATA, HOB. XVI/43, MINUET 2
MOZART, SYMPHONY NO. 35, K. 385, TRIO
AUXILIARY CADENCES

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, OP. 119, NO. 2

11. SONATA PRINCIPLE
CLEMENTI, SONATINA, OP. 36, NO. 1, I
MOZART, SYMPHONY NO. 35, ('HAFFNER'), K. 385, II
MOZART, PIANO SONATA, K. 457, I

12. SOME COMMON TONAL PATTERNS AND PROCEDURES
INTRODUCTION
BINARY FORMS
TERNARY FORMS
SONATA PRINCIPLE
PROLONGATIONAL SPANS
MIXTURE AND LARGE-SCALE TONAL PLANS

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

NOTES
SELECTED BIBLIOGRAPHY
INDEX OF MUSICAL EXAMPLES
INDEX OF SUBJECTS