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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 | |