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* = Indicates new to this edition | |
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= Indicates inclusion on CD | |
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Each Part opens with Suggestions for Discussion | |
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CD Track List | |
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Preface | |
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Suggestions for Using This Book | |
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Diatonic Materials | |
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Tonic Triad | |
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Questions for Analysis | |
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Haydn, Sonatina in G major, Hob. XVI: 8 | |
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Czerny, Sonatina, op. 792, no. 8 | |
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Rimsky-Korsakov, Le Coq d'Or: Hymn to the Sun | |
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Beethoven, Leonora Overture No. 2, op. 72 | |
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Beethoven, Trio, op. 70, no. 2 | |
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Chopin, Polens Grabgesang, op. 74 | |
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Chopin, Valse (Posthumous) | |
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Beethoven, Symphony No. 5, op. 67 | |
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Couperin, Carnival | |
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Dominant Triad In Root Position | |
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Questions for Analysis | |
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Mozart, Rondo | |
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Kuhnau, Biblical Sonata No. 1: Victory Dance and Festival | |
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Beethoven, Fur Elise | |
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Schumann, Album for the Young, op. 68: Reiterstuck | |
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Weber, Euryanthe, op. 81: Overture | |
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Beethoven, Symphony No. 5, op. 67 | |
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Dominant Seventh And Ninth In Root Position | |
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Questions for Analysis | |
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Model Analysis | |
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Weber, German Dance | |
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Mozart, Sonata, K. 332 | |
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Schubert, Wiegenlied, op. 98, no. 2 | |
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Verdi, Rigoletto, Act I, no. 2 | |
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Haydn, Sonata in E major, Hob. XVI: 13 | |
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Beethoven, Symphony No. 4, op. 60 | |
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Weber, Oberon: Overture | |
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Schubert, Landler | |
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Schubert, Valses Nobles, op. 77 | |
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Mozart, Valse | |
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Subdominant Triad In Root Position | |
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Questions for Analysis | |
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Scheidt, Bergamasca | |
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Schumann, Faschingsschwank aus Wien, op. 26, no. 3: Scherzino | |
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Chopin, Mazurka, op. 17, no. 1 | |
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Beethoven, Egmont Overture, op. 84 | |
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Verdi, Rigoletto, Act I, no. 7 | |
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Schubert, Impromptu, op. 90, no. 4, D. 899 | |
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Kern, Look for the Silver Lining | |
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Beethoven, Seven Country Dances, no. 7 | |
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Schubert, Landler | |
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Cadential Tonic Six-Four Chord | |
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Questions for Analysis | |
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Schubert, Valses Sentimentales, op. 50, no. 18 | |
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Chopin, Mazurka, op. 24, no. 3 | |
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Donizetti, Lucia di Lammermoor, Act II, no. 6 | |
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Beethoven, Trio, op. 97 | |
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Tonic, Subdominant, And Dominant Triads In First Inversion | |
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Questions for Analysis | |
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Model Analysis | |
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Bach, Lobt Gott, ihr Christen, allzugleich | |
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Mozart, Bastien und Bastienne, K. 46B, no. 9 | |
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Mozart, Sonata, K. 332 | |
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Haydn, Sonata in D major, Hob. XVI:37 | |
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Mozart, Abendempfindung, K. 523 | |
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Beethoven, Symphony No. 5, op. 67 | |
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Beethoven, Fidelio, Act I, no. 9 | |
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Mozart, Sonata, K. 570 | |
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Mendelssohn, Elijah, op. 70, no. 29 | |
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Couperin, Le Petit Rien | |
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Dandrieu, Les Fifres | |
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Supertonic Triad | |
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Questions for Analysis | |
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Anonymous, Dir, dir, Jehovah, will ich singen | |
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Schubert, Waltz, op. 9, no. 3, D. 365 | |
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Beethoven, Six Variations on ""Nel cor piu non mi sento"" | |
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Mozart, Die Zauberflote, K. 620, Act II, no. 21 | |
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Chopin, Zwei Leichen | |
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Beethoven, Trio, op. 121A | |
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Verdi, Rigoletto, Act II, no. 14 | |
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Chopin, Mazurka, op. 33, no. 2 | |
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Haydn, Sonata in E minor, Hob. XVI: 34 | |
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Inversions Of The Dominant Seventh Chord | |
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Questions for Analysis | |
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J. C. F. BACH, Nun danket alle Gott | |
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Haydn, Sonata in C major, Hob. XVI: 35 | |
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Paisiello, Le donne sur balcone | |
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Mozart, Quartet, K. 464 | |
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Beethoven, Sonata, op. 31, no. 3 | |
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Rameau, Sarabande I, vol. I | |
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Haydn, Trio in C major, Hob. XV: 3 | |
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Kuhlau, Sonatina, op. 20, no. 1 | |
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Beethoven, Symphony No. 2, op. 36 | |
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Beethoven, Minuet in C | |
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Linear (Embellishing) Six-Four Chords | |
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Questions for Analysis | |
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Beethoven, Concerto No. 1 for Piano, op. 15 | |
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Schubert, Valses Sentimentales, op. 50, no. 1, D. 779 | |
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Mozart, Rondo, K. 485 | |
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Haydn, Quartet, op. 3, no. 5 | |
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Schubert, Waltz, op. 9, no. 1, D. 365 | |
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Kuhlau, Sonatina, op. 88, no. 3 | |
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Mozart, Symphony No. 35, K. 385 | |
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Beethoven, Sonatina in G major | |
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Beethoven, Symphony No. 7, op. 92 | |
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Mozart, Symphony No. 41, K. 551 | |
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Haydn, Sonata in D major, Hob. XVI: 37 | |
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Beethoven, Contradanse | |
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Buxtehude, Passacaglia | |
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Beethoven, Symphony No. 3, op. 55 | |
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Gounod, Faust, Act I, no. 6 | |
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Sullivan, H.M.S. Pinafore, ""I'm Called Little Buttercup"" | |
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Submediant And Mediant Triads | |
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Questions for Analysis | |
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Cruger, Herzliebster Jesu, was hast du verbrochen | |
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Anonymous, Dir, dir, Jehovah, will ich singen | |
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Bach, Schmucke dich, o liebe Seele | |
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Mozart, Bastien und Bastienne, K. 46B, no. 1 | |
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Mozart, Sonata, K. 545 | |
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Handel, Sonata in F for Flute and Continuo | |
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Verdi, Rigoletto, Act I, no. 1 | |
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Brahms, Symphony No. 4, op. 98 | |
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Corelli, Sonata for Violin and Continuo, op. 5, no. 9 | |
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Schubert, Quartet in D major, D. 74 | |
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Beethoven, Trio, op. 1, no. 3 | |
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Mozart, Sonata, K. 283 | |
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J. C. F. BACH, Menuet | |
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Tessier, Au joli bois je m'en vais | |
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Strauss, Der Rosenkavalier, Act III | |
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brahms, Romance, op. 118, no. 5 | |
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schumann, Phantasiestucke, op. 12, no. 4, Grillen | |
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schubert, Im Abendroth (Posthumous) | |
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schubert, Symphony in C major (""The Great"") | |
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Leading Tone Triad | |
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Questions for Analysis | |
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Teschner, Schatz uber alle Schatze | |
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Bach, Aus meines Herzens Grunde | |
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Schumann, Album for the Young, op. 68:Soldatenmarsch | |
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Handel, Courante | |
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Haydn, Sonata in E major, Hob. XVI: 49 | |
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Haydn, Sonatina in D major, Hob. XVI: 4 | |
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Mozart, Sonata, K. 280 | |
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Daquin, La Joyeuse | |
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Variant Qualities Of Diatonic Triads | |
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Questions for Analysis | |
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Scalar Variants in Minor | |
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Bach, Herr, ich habe mibgehandelt | |
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Pachelbel, Chaconne | |
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Telemann, Fantasie No. 8 | |
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Byrd, Pavana ""The Earle of Salisbury"" | |
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A. Scarlatti, Folia | |
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Mattheson, Minuet | |
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Mozart, Sonata, K. 310 Modal Borrowing | |
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Verdi, La Traviata, Act I, no. 4 | |
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Donizetti, Linda di Chamounix, ""O luce di quest'anima"" | |
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Mozart, Sonata for Violin and Piano, K. 306 | |
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Haydn, Sonatina in C major, Hob. XVI: 7 | |
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Schubert, Aufenthalt | |
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Schubert, Der Wanderer | |
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Brahms, Symphony No. 3, op. 90 | |
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Verdi, Il Trovatore, Act II, no. 11 | |
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Beethoven, Symphony No. 5, op. 67 | |
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Brahms, Symphony No. 4, op. 98 | |
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Supertonic Seventh Chord | |
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Questions for Analysis | |
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Anonymous, Herr, wie du willst, so schick's mit mir | |
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Bach, Straf' mich nicht in deinem Zorn | |
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Haydn, Sonata in A major, Hob. XVI: 46 | |
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Grieg, Voegtersang | |
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Beethoven, Symphony No. 6, op. 68 | |
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Schubert, Quartet, op. 168, D. 112 | |
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Mozart, Sonata, K. 310 | |
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Schubert, Standchen | |
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Beethoven, Symphony No. 2, op. 36 | |
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Beethoven, Sonata, op. 14, no. 2 | |
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Beethoven, Symphony No. 6, op. 68 | |
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Bizet, Carmen, Act II: Entr'acte | |
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Rodgers, Blue Moon | |
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Leading Tone Seventh Chord | |
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Questions for Analysis | |
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Dvorak, Quartet, op. 96 | |
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Mozart, Sonata, K. 457 | |
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Schumann, Carnaval, op. 9: Chiarina | |
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Brahms, Ballade, op. 10, no. 4 | |
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Handel, Sonata for Flute and Continuo | |
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Haydn (?), Allegro | |
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Haydn, Trio in G major, Hob. XV: 25 | |
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Mozart, Requiem, K. 626: Offertorium | |
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Haydn, Sonatina in G major, Hob. XVI: 11 | |
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Handel, Judas Maccabaeus, Part III: no. 53, Introduction | |
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Wagner, Das Rheinghold, Scene 1 | |
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Gluck, Orphee, Act I, no. 1 | |
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Handel, Aria con Variazioni, Lecon No. 1 98 155. TELEMANN, Fantasia, 1er Dozzina, no. 5 | |
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Mozart, Sonata for Violin and Piano, K. 306 | |
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Other Diatonic Seventh Chords | |
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Questions for Analysis | |
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Bach, O Ewigkeit, du Donnerwort | |
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Mozart, Rondo. K. 494 | |
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Mendelssohn, Kinderstuck, op. 72, no. 1 | |
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Pachelbel, Fantasie | |
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Handel, Sonata for Flute and Continuo | |
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Handel, Lecon No. 2, Menuet | |
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Tchaikovsky, Symphony No. 4, op. 36 | |
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Bach, French Suite in D minor | |
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Complete Pieces For Analysis I | |
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Questions for Analysis | |
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Beethoven, Minuet | |
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Schubert, Dance | |
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Schubert, German Dance, op. 33, no. 12 | |
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Beethoven, Scottish Dance | |
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Purcell, Rigadoon | |
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Rameau, Minuet | |
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Witt, Passacaglia | |
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Grieg, Norsk | |
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Chromatic Materials | |
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Secondary (Applied, Borrowed) Dominants | |
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Questions for Analysis | |
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Model Analysis | |
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Beethoven, Trio, op. 1, no. 1 | |
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Mozart, Sonata, K. 281 | |
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Schubert, Impromptu, op. 142, no. 3 | |
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Haydn, Trio in D major | |
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Beethoven, Sonatina in G major | |
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Weber, Oberon: Overture | |
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Beethoven, Trio, op. 1, no. 1 | |
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Schumann, Sonata, op. 118c., Andante | |
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Beethoven, Symphony No. 1, op. 21 | |
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Handel, Suite XI | |
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Schumann, Arabeske, op. 18 | |
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Beethoven, Symphony No. 4, op. 60 | |
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Schumann, Widmung, op. 25, no. 1 | |
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Schubert, Symphony No. 8 (""Unfinished"") | |
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Schumann, Sonata, op. 118c126 ., Puppenwiegenlied | |
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Schubert, Quintet (""Die Forelle""), op. 114, D. 667 | |
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Beethoven, Quintet, op. 29 | |
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Beethoven, Trio, op. 11 | |
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Verdi, Rigoletto, Act II, no. 7 | |
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Handel, Suite XVI | |
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Beethoven, Sonata, op. 53 | |
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Schubert, Symphony in C major (""The Great"") | |
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Beethoven, Trio, op. 1, no. 3 | |
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Schubert, Mass in E major: Benedictus | |
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Mendelssohn, Midsummer Night's Dream, op. 61: Wedding March | |
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Verdi, Rigoletto, Act II, no. 14 | |
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Bach, Christmas Oratorio, no. 4: Introduction | |
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Handel, Sonata VII for Flute and Continuo | |
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Chopin, Mazurka, op. 67, no. 2 | |
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Chopin, Valse, op. 69, no. 1 | |
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Chopin, Valse Brillante, op. 34, no. 3 | |
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Gershwin, Someone to Watch Over Me | |
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Tchaikovsky, Morning Prayer | |
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Modulation To Closely Related Keys | |
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Questions for Analysis | |
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Modulation to Dominant | |
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Mozart, Symphony No. 39, K. 543 | |
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Mozart, Sonata, K. 331 | |
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Beethoven, Symphony No. 2, op. 36 | |
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Haydn, Minuet | |
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Schubert, Quartet, D. 173 | |
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Haydn, Sonata in C minor, Hob. XVI: 36 | |
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Mozart, Symphony No. 41, K. 551 | |
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Chopin, Mazurka, op. 7, no. 2 | |
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Haydn, Sonata in G major, Hob. XVI: 39 | |
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Mozart, Sonata, K. 282, Menuet I | |
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Schubert, Quartet, D. 173 | |
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Modulation to Relative Major | |
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Haydn, Trio in F minor, Hob. XV: 26 | |
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Haydn, Sonata in E minor, Hob. XVI: 34 | |
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Mozart, Sonata, K. 330 | |
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Donizetti, Lucia di Lammermoor, Act I, Cavatina | |
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Brahms, Quintet, op. 115 | |
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Beethoven, Symphony No. 7, op. 92 | |
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Haydn, Symphony No. 104, Hob. I: 104 | |
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Modulation to other Closely Related Keys | |
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Haydn, Sonatina, Hob. XVI: 1 | |
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Bononcini, Deh piu a me non vascondete | |
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Saint-Saens, Carneval des Animaux: Le Cygne | |
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Brahms, Waltz, op. 39, no. 15 | |
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Beethoven, Quartet, op. 18, no. 2 | |
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Purcell, Dido and Aeneas, Act I, scene I | |
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Bach, French Suite in C Minor | |
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Complete Pieces For Analysis Ii | |
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Checklist for Analysis | |
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Bach, Wachet auf, ruft uns die Stimme | |
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Bach, In dulci jubilo | |
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Bach, Christ lag in Todesbanden | |
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Handel, Menuet | |
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Beethoven, Sonata, op. 26 | |
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Schumann, Sonata, op. 118b., Abendlied 169 | |
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Brahms, Waltz, op. 39 | |
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Handel, Prelude | |
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Beethoven, Sonatina in F major | |
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Haydn, Sonata in G major, Hob. XVI: 27 | |
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* 241. GERSHWIN, I Got Rhythm | |
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Linear (Embellishing) Diminished Seventh Chords | |
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Questions for Analysis | |
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Haydn, Symphony No. 104, Hob. I: 104, Menuet | |
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Beethoven, Symphony No. 7, op. 92 | |
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Liszt, Les Preludes | |
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Beethoven, Contradanse | |
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Tchaikovsky, Symphony No. 6, op. 74 | |
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Beethoven, Quartet, op. 18, no. 3 | |
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Schubert, Sonata, op. 53 | |
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Gounod, Faust, Act IV, no. 18 | |
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Schumann, Carnaval, op. 9: Arlequin | |
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Mozart, Waltz, K. 567 | |
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Wagner, Rienzi: Overture | |
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Bellini, I Puritani, Act II, scene 3 | |
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Haydn, Symphony No. 104, Hob. I: 104 | |
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Rodgers, The Girl Friend | |
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Brahms, Liebeslieder Walzer, op. 52, no. 4 | |
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Neapolitan Triad | |
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Questions for Analysis | |
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Mozart, Concerto in A major, K. 488 | |
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Schubert, Der Muller und der Bach | |
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Bach, Ach Gott, vom Himmel sieh' darein | |
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Bach, Invention No. 13 | |
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Verdi, Il Trovatore, Act II, no. 8 | |
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Brahms, Intermezzo in A major, op. 118, no. 2 | |
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Chopin, Prelude, op. 28, no. 20 | |
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Beethoven, String Quartet, op. 59, no. 2 | |
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Brahms, Wie Melodien zieht es mir, op. 105 | |
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Beethoven, Quartet, op. 18, no. 3 | |
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Schubert, Mass in E major: Credo | |
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Bach, The Well-Tempered Clavier, Vol. II, Fugue 17 | |
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Chopin, Prelude, op. 28, no. 6 | |
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Augmented Sixth Chords, Submediant Degree As Lowest Note | |
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Questions for Analysis | |
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Model Analysis | |
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Italian | |
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BACH, Ich hab' mein' Sach' Gott heimgestellt | |
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Beethoven, Bagatelle, op. 119, no. 1 | |
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Beethoven, Coriolan Overture, op. 62 | |
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Tchaikovsky, Mazurka | |
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Schubert, Quartet, op. 168, D. 112 | |
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Beethoven, Symphony No. 1, op. 21 | |
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German | |
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Mozart, Sonata, K. 457 | |
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Beethoven, Sonata, op. 109 | |
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Haydn, Trio, Hob. XV: 25 | |
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Beethoven, Thirty-Two Variations, Var. 30 | |
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Sibelius, Chanson Sans Paroles, op. 40, no. 2 | |
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Strauss, Der Rosenkavalier, Act I | |
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French | |
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Mendelssohn, Elijah, Op. 70, No. 1 | |
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Schubert, Mass In G Major: Kyrie | |
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Bach, Wer Nur Den Lieben Gott Lat Walten | |
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Schubert, Sonata, Op. 42 | |
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Verdi, La Traviata, Act Iii: Prelude | |
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Schubert, Symphony In C Major (""The Great"") | |
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Grieg, Alfedans, Op. 12 | |
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Herbert, Gypsy Love Song | |
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Enharmonic German | |
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Schumann, Dichterliebe, op. 48, no. 12: ""Am leuchtenden Sommermorgen"" | |
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Augumented Sixth Chords, Other Scale Degrees As Lowest Note | |
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Questions for Analysis | |
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mozart (?), Adagio | |
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granados, Valses Poeticos | |
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schubert, Symphony No. 8 (""Unfinished"") | |
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moussorgsky, Songs And Dances Of Death, No. 4 | |
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gluck, Orphee, Act I, Nos. 6 And 7 | |
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augumented Sixth Chords, Other Uses | |
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Questions for Analysis | |
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Linear | |
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Verdi, Rigoletto, Act I: Prelude | |
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Tchaikovsky, Song Without Words | |
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Tchaikovsky, Romeo And Juliet | |
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Schubert, Waltz | |
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Brahms, Intermezzo, Op. 76, No. 4 | |
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Tchaikovsky, The Witch | |
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Secondary | |
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Chopin, Prelude, op. 28, no. 22 | |
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Schubert, Mass in G major: Benedictus | |
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Schubert, Die Allmacht, op. 79, no. 2 | |
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Altered Dominants | |
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Schubert, Quintet, Op. 163 | |
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Liszt, Liebestraum, No. 3 | |
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Rimsky-Korsakov, Snowmaiden, Chanson du Bonhomme Hiver | |
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Grieg, Solvejg's Lied | |
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Other Means Of Modulation | |
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Questions for Analysis | |
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Model Analysis | |
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Schubert, Mass In G Major: Gloria | |
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Brahms, Wenn Du Nur Zuweilen Lachelst, Op. 57, no. 2 | |
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Beethoven, Symphony No. 5, Op. 67 | |
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Schubert, Waltz, Op. 9, No. 14, D. 365 | |
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Mozart, Die Entfuhrung Aus Dem Serail, K. 384, Act III, no. 18 | |
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Schumann, Symphony No. 2, Op. 61 | |
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Beethoven, Symphony No. 7, Op. 92 | |
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Haydn, String Quartet, Op. 76, No. 6 | |
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Beethoven, Sonata, Op. 13 | |
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Beethoven, Trio, Op. 70, No. 1 | |
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Scriabin, Prelude, Op. 13, No. 3 | |
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J. Strauss, Die Fledermaus: Overture | |
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Brahms, Wie Bist Du Meine Konigen, Op. 32, no. 9 | |
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Schubert, Mass In A Major: Agnus Dei | |
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Beethoven, Trio, Op. 11 | |
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Rachmaninoff, Melodie, Op. 3, No. 3 | |
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Schubert, Symphony No. 8 (""Unfinished"") | |
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Ninth Chords | |
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Questions for Analysis | |
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Dominant Ninths | |
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J. Strauss, Artist's Life Waltzes, op. 316, no. 3 | |
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Franck, Sonata For Violin and Piano | |
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Beethoven, Andante | |
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Chopin, Valse Brillante, op. 34, no. 1 | |
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Schumann, Waldesgesprach, op. 39, no. 3 | |
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Chopin, Prelude, Op. 28, no. 15 | |
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Secondary Dominant Ninths | |
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Bach, St. Matthew Passion, No. 78 | |
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Schumann, Genoveva, Op. 81: Overture | |
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Grieg, Grandmother's Minuet, Op. 68, No. 2 | |
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Schumann, Kinderszenen, Op. 15, No. 7: Traumerei | |
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Nondominant Ninths | |
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Grieg, Wedding Day At Troldhaugen, op. 65, no. 6 | |
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Mendelssohn, Midsummer Night's Dream, op. 21: Overture | |
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Faure, Apres Un Reve | |
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Extended Linear Usages | |
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Questions for Analysis | |
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Model Analysis | |
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Chopin, Mazurka, op. 6, no. 1 | |
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Brahms, ""Der Tod, das ist die kuhle Nacht,"" op. 96, no. 1 | |
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Weber, Euryanthe: Overture | |
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Brahms, Variations on a Theme by Handel, var. 20 | |
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Franck, Symphony in D minor | |
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Wagner, Lohengrin, Act I, scene 2 | |
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Wagner, Wotan's Farewell, Die Walkure, Act III | |
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Chopin, Prelude, op. 28, no. 9 | |
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Beethoven, Quartet, op. 18, no. 6 | |
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Bach, Ein' feste Burg ist unser Gott 336 | |
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Bach, Es ist genug, so nimm, Herr 337 | |
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Complete Pieces For Analysis Iii | |
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Checklist for Analysis | |
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Mozart, Minuet, K. 355 | |
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Schumann, Myrthen, Op. 25, No. 24 | |
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Mendelssohn, Lieder Ohne Worte, Op. 30, No. 3 | |
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Chopin, Mazurka, Op. Posth. 67, No. 2 | |
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Schumann, Phantasiestucke, Op. 12, No. 3: Warum? | |
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Grieg, Erotikon | |
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Liszt, Il Pensieroso, From Annees De Pelerinage | |
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R. Strauss, Morgen, Op. 27, No. 4 | |
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Wagner, Der Engel | |
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Beethoven, Sieben Variationen: Uber Das Volkslied: God Save The King | |
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Mozart, Symphony No. 40, K. 550 | |
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Beach, Phantoms | |
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Scott Joplin, A Breeze From Alabama: March And Two-Step | |
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Wagner, Prelude to Act I from Tristan und Isolde | |
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Mozart, Sonata, K. 309 | |
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Allegro con spirito | |
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Andante, un poco Adagio | |
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Allegretto grazioso | |
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Beethoven, Sonata, op. 2, no. 3 | |
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Examples Of Counterpoint | |
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Questions for Analysis | |
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Bach, Cantata No. 4: Sinfonia 338 | |
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Bach, Chorale Prelude On ""In Dulci Jubilo"" 339 | |
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Bach, Chorale Prelude On ""Christ Lag In Todesbanden"" 342 | |
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Brahms, Chorale Prelude On ""O Wie Selig Seid Ihr Doch, Ihr Fommen"" 343 | |
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Purcell, ""Thy Hand Belinda"", From Dido And Aeneas 345 | |
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Bach, Invention No. 4, Bwv 775 349 | |
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Bach, Invention No. 13, Bwv 775 351 | |
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Bach, Sinfonia 3, Bwv 789 352 | |
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Bach, The Well-Tempered Clavier, Vol. I, Fugue 2 354 | |
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Bach, The Well-Tempered Clavier, Vol. Ii, Fugue 9 357 | |
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Mendelssohn, Fugue No. 2, Op. 35 | |
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Contemporary Materials | |
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Model Analysis | |
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Extended And Altered Tertian Harmony | |
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Questions for Analysis | |
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Hanson, Symphony No. 2, Op. 30 | |
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Kabalevsky, Sonatina, Op. 13 | |
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Hovhaness, Mysterious Mountain | |
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Shostakovich, Prelude, Op. 34, No. 24 | |
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Debussy, Pelleas Et Mellisande, Act I, Scene 1 | |
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Scriabin, Poem, Op. 32, No. 2 | |
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Ravel, Valses Nobles Et Sentimentales | |
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Rodgers, Slaughter On Tenth Avenue | |
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Ellington, Prelude To A Kiss | |
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Duke Jordan, Jordu | |
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Berg, Four Songs, Op. 2, No. 3 | |
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Raskin, Laura | |
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Diatonic (Church) Modes | |
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Questions for Analysis | |
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Model Analysis | |
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Bartok, Little Pieces For Children, no. III | |
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Chavez, Ten Preludes, No. 1 | |
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Poulenc, Valse | |
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Debussy, Trois Chansons, No. 1 | |
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Kabalevsky, Toccatina | |
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Britten, Ceremony Of Carols, No. 8 | |
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Debussy, Suite Bergamasque, Passepied | |
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Floyd, Susannah, Act Ii, Scene 3 | |
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Stravinsky, Five Fingers: Lento | |
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Bartok, Fourteen Bagatelles, Op. 6, no. 4 | |
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Casella, Siciliana | |
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Adderley, Work Song | |
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Pandiatonicism And Additive Harmony | |
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Questions for Analysis | |
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Ravel, Mother Goose Suite: The Magic Garden | |
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Milhaud, Touches Blanches | |
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Cowell, The Irishman Dances | |
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Copland, The Young Pioneers | |
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Barber, Excursions, III | |
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Stravinsky, Petroushka, Danse Russe | |
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Poulenc, Gloria, Laudamus te | |
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Exotic (Artificial, Synthetic) Scales | |
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Questions for Analysis | |
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Milhaud, Touches Noires | |
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Bartok, Mikrokosmos, no. 78: Five Tone Scale | |
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Kodaly, Valsette | |
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Vaughan WILLIAMS, London Symphony | |
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Debussy, Preludes, II: Voiles | |
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Bartok, Mikrokosmos, no. 136: Whole Tone Scale | |
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Debussy, Pelleas et Melisande, Act II, scene 1 | |
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Bartok, Fourteen Bagatelles, op. 6, no. 10 | |
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Lutoslawski, Bucolic, no. 3 | |
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Bartok, Mikrokosmos, no. 101: Diminished Fifth | |
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Bartok, Sketches, op. 9, no. 6 | |
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Bartok, Fourteen Bagatelles, op. 6, no. 6 | |
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Quartal And Secundal Harmony | |
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Questions for Analysis | |
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Hindemith, Mathis Der Maler: Grablegung | |
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Ives, Majority | |
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Krenek, Piano Piece, Op. 39, No. 5 | |
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Hindemith, Ludus Tonalis, Fuga Secunda in G | |
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Bartok, Concerto For Orchestra | |
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Berg, Wozzeck, Act Ii | |
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Bartok, Mikrokosmos, No. 107: Melody In the Mist | |
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Berg, Wozzeck, Act Ii | |
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Cowell, Tiger | |
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Ives, Majority | |
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Brubeck, Blue Rondo A La Turk | |
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Polyharmony And Polytonality | |
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Questions for Analysis | |
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Honegger, Symphony No. 5 | |
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Schuman, A Three-Score Set, II | |
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Kraft, Allegro Giocoso | |
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Stravinsky, The Rake's Progress: Prelude | |
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Stravinsky, Petroushka, Scene 2 | |
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Milhaud, Saudades do Brazil, no 7: Corcovado | |
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Bartok, Forty-Four Violin Duets, no. 33 | |
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Brubeck, Strange Meadowlark | |
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Free Atonality | |
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Questions for Analysis | |
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Schonberg, Drei Klavierstucke, op. 11, no. 1 | |
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Schonberg, Klavierstucke, op. 19, no. 2 | |
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Schonberg, Pierrot Lunaire, op. 21, no. 1: Mondestrunken | |
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Webern, Five Movements for String Quartet, op. 5, no. 4 | |
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Bartok, Mikrokosmos, no. 144: Minor Seconds, Major Sevenths | |
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Bartok, Fourth String Quartet | |
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Berger, Two Episodes, I | |
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Twelve-Tone Serialism | |
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Questions for Analysis | |
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Model Analysis | |
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| |
Krenek, Dancing Toys, op. 83, no. 1 | |
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Schonberg, Suite fur Klavier, op. 25: Gavotte | |
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Dallapiccola, Cinque Frammenti di Saffo | |
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Webern, Drei Lieder, op. 25, no. 1 | |
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Music Since 1945 | |
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Questions for Analysis | |
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Stockhausen, Klavierstucke, no. 2 | |
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Lutoslawski, String Quartet (1965) | |
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Penderecki, String Quartet, no. 2 | |
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Crumb, Madrigals, Book IV | |
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Druckman, Valentine, for solo contrabass | |
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Rouse, Valentine | |
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Horne, Six Short Studies, Sixteenth Notes | |
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| |
Complete Pieces For Analysis Iv | |
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| |
Suggestion for Analysis | |
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Ravel, Sonatine, Mouvt II | |
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| |
Debussy, Pour le Piano: Sarabande | |
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Debussy, Preludes, X: La Cathedrale engloutie | |
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Milhaud, Saudades do Brazil, No. 6: Gavea | |
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Prokofiev, Classical Symphony, op. 25 | |
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Prokofiev, March from The Love of Three Oranges | |
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Hindemith, Ludus Tonalis, Fuga undecima in B (Canon) | |
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| |
Ruggles, Evocations, no. 1 | |
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Schonberg, Suite fur Klavier, op. 25: Menuett | |
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Porter, Night and Day | |
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Gershwin, Porgy and Bess, ""Summertime"" | |
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Stravinsky, Sonata for Two Pianos, II: Theme with Variations | |
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| |
Hindemith, Piano Sonata, No. 2 | |
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| |
Macmillan, Piano Sonata, I | |
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| |
Checklist for Analysis and Sample Analysis | |
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| |
For Further Reference | |
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| |
Textbook Correlation Chart | |
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| |
Index of Composers and Their Compositions | |
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| |
Index of Complete Pieces | |