| Contents |
Introduction. Beethoven, Piano sonata, op. 2, no. 1, I -- Part 1. Melody and counterpoint. Melody ; Counterpoint ; A sample analysis -- Bass lines and harmonic structure. Prolonging tonic harmony ; Intermediate harmonies ; Dominant harmony and cadences ; Larger contexts ; Chord prolongation: summary -- Linear techniques. Linear progressions ; Linear intervallic patterns ; The neighbor note -- Tonal structure. Notational symbols ; Tonal structure and the Ursatz ; The bass arpeggiation (Bassbrechung) ; The fundamental line (Urlinie) ; Structural levels -- 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 with a circumflex symbol] -- Some basic elaborations of fundamental structures. Mozart, Piano sonata, K. 283, I, bars 1-16 ; Beethoven, Piano sonata, op. 14, no. 1, II, bars 1-16 ; 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 ; Mendelssohn, Song without words, op. 85, no. 1, bars 1-17 ; Some points for review -- Part 2. Analytical applications. One-part forms. Bach, Prelude in C major (WTC I) ; Schubert, "Wandrers Nachtlied" ; Schumann, "Lieb' Liebchen" -- Binary forms. Haydn, Piano sonata, Hob. XVI/43, minuet 2 ; Mozart, Symphony no. 35, K. 385, trio ; Bach, Flute sonata no. 2, minuet 1 ; Corelli, Violin sonata, op. 5, no. 10, gavotte ; Bach, French suite no. 6, minuet ; Some characteristic tonal patterns -- 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 ; Some characteristic tonal patterns -- Sonata principle. Clementi, Sonatina, op. 36, no. 1, I ; Beethoven, Piano sonata, op. 49, no. 2, I ; Mozart, Piano sonata, K. 457, I -- A theoretical view of tonal structure. Introduction ; More on the Ursatz ; Tonal expansion and musical form ; Auxiliary cadences ; More on the principle of interruption ; Metrical expansion ; Chromatic elements ; Mixture in the fundamental line ; Chromaticism and prolongational spans ; Mixture and large-scale tonal plans. |
