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Preface | |
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Basic Principles | |
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Introduction | |
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Beethoven, Piano Sonata, Op. 2, No. 1,I | |
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Melody and Counterpoint | |
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Some Characteristics of Melody | |
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Counterpoint | |
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Structural Melody | |
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Bass Lines and Harmonic Structure | |
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Tonic Harmony (T Class) | |
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Intermediate Harmonies (Int Class) | |
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Dominant Harmony (D Class) | |
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Larger Contexts | |
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The Imaginary Continuo | |
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Chord Prolongation: Summary | |
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Linear Techniques | |
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Linear Progressions | |
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Linear Intervallic Patterns | |
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The Neighbor Note | |
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Linear Intervallic Patterns: Summary | |
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Tonal Structure | |
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Notational Symbols | |
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Tonal Structure and the Ursatz | |
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The Bass Arpeggiation (Bassbrechung) | |
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The Fundamental Line (Urlinie) | |
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Structural Levels | |
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The Principle of Interruption | |
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More on the Ursatz | |
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Techniques of Melodic Prolongation | |
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The Initial Ascent | |
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The Arpeggiated Ascent | |
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Unfolding | |
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Motion into an Inner Voice | |
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Motion from an Inner Voice | |
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Voice Exchange | |
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Shift of Register | |
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Descending and Ascending Register Transfer | |
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Coupling | |
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Superposition | |
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Reaching Over | |
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Cover Tone | |
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Substitution | |
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The Phrygian$$$ | |
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Mixture of ScaleDegree$$$ | |
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Techniques in Combination | |
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Some Basic Elaborations of Fundamental Structures | |
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Mozart, Piano Sonata, K. 283, I, bars 1-16 | |
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Beethoven, Piano Sonata, Op. 31, No. 1, II, bars 1-8 | |
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Beethoven, Piano Sonata, Op. 14, No. 1, II, bars 1-16 | |
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Beethoven, Piano Sonata, Op. 2, No. 1, II, bars 1-8 | |
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Beethoven, Piano Sonata, Op. 10, No. 1, II, bars 1-16 | |
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Mozart, Piano Concerto, K. 488, II, bars 1-12 | |
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Beethoven, Piano Sonata, Op. 14, No. 2, 1, bars 26-47 | |
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Some Points for Review | |
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Analytical Applications | |
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One-Part Forms | |
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Bach, Prelude in C major (WTC I) | |
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Schubert, "Wandrers Nachtlied" | |
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Schumann, "Lieb' Liebchen" | |
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Binary Forms | |
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Handel, Suite No. 5 in D minor, HWV436, Menuetto | |
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Bach, "Little" Prelude in C major, BWV933, Menuetto | |
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Corelli, Violin Sonata, Op. 5, No. 10, Gavotte | |
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Bach, Flute Sonata No. 2, BWV1033, Minuet 1 | |
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Haydn, Piano Sonata, Hob. XVI/43, Minuet 2 | |
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Mozart, Symphony No. 35, K. 385, Trio | |
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Auxiliary Cadences | |
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Ternary Forms and Rondo | |
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Beethoven, Bagatelle, Op. 119, No. 1 | |
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Mendelssohn, Song Without Words, Op. 62, No. 1 | |
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Schubert, Moment Musical, Op. 94, No. 2 | |
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Haydn, Piano Sonata, Hob. XVI/37, III | |
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Brahms, Intermezzo, Op. 119, No. 2: Some Observations on Form and Structure | |
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Sonata Principle | |
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Clementi, Sonatina, Op. 36, No. 1, I | |
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Mozart, Symphony No. 35 ("Haffner"), K. 385, II | |
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Mozart, Piano Sonata, K. 457,1 | |
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Some Common Tonal Patterns and Procedures | |
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Introduction | |
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Binary Forms | |
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Ternary Forms | |
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Sonata Principle | |
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Prolongational Spans | |
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Mixture and Large-Scale Tonal Plans | |
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Correspondence Between Patterns and Musical Examples | |
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Appendix introduction to Graphic Notation | |
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Open Noteheads | |
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Slurs and Filled-in Noteheads | |
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Beams | |
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Broken Ties | |
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Stems with Flags | |
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Diagonal Lines | |
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Diagonal Lines and Beams | |
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Rhythmic Notation at Lower Levels | |
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Roman Numerals | |
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Sample Graphic Analyses for Study | |
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Examples from Free Composition | |
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Selected Bibliography | |
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Index of Musical Examples | |
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Subject Index | |