Preface |
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xv | |
About the Companion Website |
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xix | |
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1 | (32) |
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1 | (1) |
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1 | (2) |
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3 | (4) |
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7 | (2) |
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9 | (1) |
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9 | (1) |
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9 | (1) |
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10 | (1) |
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Prolongational Progressions |
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11 | (3) |
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14 | (6) |
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20 | (4) |
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Guide to Harmonic Annotation |
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24 | (1) |
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25 | (2) |
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27 | (6) |
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PART I CONVENTIONAL THEME TYPES |
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33 | (40) |
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34 | (2) |
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36 | (1) |
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36 | (2) |
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38 | (1) |
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38 | (1) |
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38 | (3) |
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Repetition of the Basic Idea |
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41 | (4) |
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45 | (1) |
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Presentation Phrase vs. Presentation Function |
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46 | (1) |
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47 | (8) |
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55 | (5) |
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Continuation⇒Cadential; Expanded Cadential Progression (ECP) |
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60 | (3) |
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63 | (1) |
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"Real" vs. "Notated" Measures |
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63 | (3) |
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66 | (1) |
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67 | (1) |
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68 | (4) |
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72 | (1) |
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73 | (26) |
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73 | (1) |
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74 | (1) |
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74 | (2) |
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76 | (1) |
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76 | (1) |
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76 | (1) |
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77 | (2) |
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79 | (1) |
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80 | (3) |
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83 | (3) |
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Boundary Processes: Lead-in, Elision |
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86 | (2) |
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88 | (1) |
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Antecedent (and Consequent) as "Mini-sentence" |
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88 | (2) |
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Modulating Period; Cadential Strength |
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90 | (1) |
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Reinterpreted Half Cadence |
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90 | (2) |
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92 | (1) |
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93 | (1) |
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94 | (3) |
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97 | (2) |
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99 | (24) |
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99 | (5) |
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104 | (1) |
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105 | (1) |
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Hybrid Type: Antecedent + Continuation |
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105 | (1) |
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Hybrid Type: Antecedent + Cadential |
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106 | (1) |
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107 | (1) |
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Hybrid Type: Compound Basic Idea + Continuation |
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108 | (1) |
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Hybrid Type: Compound Basic Idea + Consequent |
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109 | (1) |
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110 | (1) |
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Hybrid Themes in Relation to the Sentence and Period |
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110 | (1) |
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Appearances of the Basic Idea |
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111 | (1) |
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111 | (3) |
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Other "Hybrid" Possibilities |
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114 | (3) |
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117 | (2) |
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119 | (2) |
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121 | (2) |
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5 Phrase Deviations, Cadential Deviations, and Eraming Functions |
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123 | (43) |
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123 | (1) |
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123 | (6) |
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129 | (4) |
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133 | (3) |
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136 | (1) |
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137 | (1) |
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137 | (4) |
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141 | (4) |
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145 | (9) |
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154 | (1) |
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Contrasting Idea Replaced by Continuation Phrase |
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154 | (1) |
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Codetta Closes with Cadence; Cadence of Limited Scope |
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155 | (1) |
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Boundary Process: Melodic Overlap |
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156 | (1) |
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157 | (1) |
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158 | (6) |
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164 | (2) |
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166 | (29) |
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166 | (1) |
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166 | (2) |
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168 | (1) |
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169 | (2) |
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171 | (1) |
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171 | (6) |
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177 | (6) |
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183 | (1) |
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183 | (2) |
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Real vs. Notated Measures |
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185 | (1) |
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186 | (2) |
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188 | (6) |
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194 | (1) |
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7 The Small Ternary (Rounded Binary) |
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195 | (43) |
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195 | (1) |
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196 | (1) |
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197 | (1) |
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197 | (4) |
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201 | (2) |
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203 | (1) |
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Tight-knit vs. Loose Formal Organization |
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203 | (2) |
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205 | (5) |
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210 | (4) |
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214 | (7) |
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221 | (1) |
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221 | (5) |
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226 | (2) |
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228 | (2) |
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230 | (6) |
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236 | (2) |
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238 | (23) |
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238 | (1) |
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239 | (1) |
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239 | (3) |
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242 | (1) |
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243 | (1) |
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243 | (3) |
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246 | (7) |
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253 | (2) |
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255 | (3) |
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258 | (3) |
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9 Sonata Form: An Overview |
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261 | (25) |
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Large-scale Formal Structure |
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262 | (1) |
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Large-scale Tonal Structure |
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263 | (1) |
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263 | (8) |
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271 | (1) |
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272 | (6) |
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278 | (1) |
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279 | (5) |
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284 | (2) |
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10 Exposition (I): Main Theme |
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286 | (22) |
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286 | (1) |
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287 | (1) |
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287 | (1) |
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Nonconventional Theme Types |
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288 | (10) |
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298 | (1) |
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298 | (2) |
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300 | (1) |
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301 | (2) |
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303 | (5) |
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11 Exposition (II): Transition |
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308 | (45) |
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308 | (5) |
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313 | (1) |
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314 | (1) |
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Style, Character, Dynamics |
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314 | (1) |
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Boundary Processes: Accompanimental Overlap, Elision |
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315 | (1) |
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316 | (1) |
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317 | (7) |
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Phrase-structural Organization; Loosening Devices |
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324 | (4) |
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328 | (9) |
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337 | (1) |
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Unusual Opening Strategies |
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337 | (2) |
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339 | (4) |
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Omission of Concluding Function |
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343 | (1) |
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344 | (1) |
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345 | (8) |
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12 Exposition (III): Subordinate Theme |
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353 | (67) |
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353 | (3) |
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356 | (1) |
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357 | (1) |
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Contrasting Nature of the Subordinate Theme |
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357 | (1) |
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Looser Sentential Functions |
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358 | (18) |
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Internal Half Cadence (Dominant Arrival) |
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376 | (5) |
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381 | (6) |
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387 | (3) |
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390 | (1) |
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Omission of Initiating Function |
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390 | (5) |
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395 | (1) |
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Expanded Repetition of a Subordinate Theme |
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396 | (1) |
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397 | (3) |
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400 | (1) |
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Obscured Boundary Between Transition and Subordinate Theme |
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400 | (8) |
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408 | (2) |
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410 | (10) |
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420 | (55) |
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421 | (1) |
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421 | (1) |
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Phrase-structural Organization |
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421 | (5) |
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426 | (2) |
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428 | (1) |
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428 | (1) |
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429 | (11) |
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440 | (6) |
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446 | (4) |
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450 | (1) |
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Development Sections Without a Core |
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450 | (9) |
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Transitional Introduction |
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459 | (1) |
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460 | (2) |
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462 | (2) |
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464 | (11) |
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475 | (44) |
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475 | (1) |
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An Analytical Methodology: Comparison |
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476 | (1) |
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Harmonic-tonal Organization |
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476 | (1) |
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477 | (5) |
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482 | (1) |
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483 | (1) |
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Thematic Functions of the Recapitulation |
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483 | (1) |
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Structural Changes: Main Theme |
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484 | (4) |
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Structural Changes: Transition |
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488 | (6) |
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Structural Changes: Subordinate Theme (Group) |
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494 | (5) |
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499 | (1) |
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Additional Features of the Recapitulation |
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499 | (3) |
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Fusion of Main Theme and Transition |
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502 | (2) |
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504 | (6) |
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510 | (2) |
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512 | (7) |
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519 | (32) |
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519 | (5) |
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524 | (2) |
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526 | (1) |
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Melodic-motivic Material of the Coda |
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526 | (1) |
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526 | (3) |
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Phrase-Structural Organization of the Coda |
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529 | (9) |
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538 | (8) |
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546 | (1) |
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547 | (4) |
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551 | (14) |
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551 | (3) |
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554 | (1) |
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555 | (1) |
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555 | (1) |
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Tonal, Phrase-structural, and Motivic Organization |
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556 | (4) |
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560 | (1) |
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561 | (4) |
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PART III OTHER FULL-MOVEMENT FORMS |
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565 | (42) |
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565 | (1) |
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566 | (3) |
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569 | (2) |
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Sonata Without Development |
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571 | (1) |
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572 | (2) |
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574 | (1) |
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Large Ternary vs. Small Ternary |
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574 | (1) |
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Large Ternary: Interior Theme |
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575 | (9) |
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584 | (2) |
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Theme and Variations: Structural Alterations |
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586 | (4) |
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590 | (1) |
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Sonata Form in Slow Movements |
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590 | (5) |
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Sonata Without Development: Truncated Recapitulation |
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595 | (1) |
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595 | (1) |
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596 | (1) |
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597 | (1) |
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Large Ternary: Interior Theme |
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598 | (5) |
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603 | (4) |
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607 | (35) |
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608 | (1) |
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608 | (1) |
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609 | (3) |
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612 | (1) |
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613 | (1) |
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613 | (8) |
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Contrasting Middle (B Section) |
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621 | (3) |
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624 | (3) |
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627 | (1) |
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628 | (3) |
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631 | (1) |
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631 | (2) |
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Minuet/Trio Form: Functional Relations |
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633 | (1) |
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633 | (2) |
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635 | (7) |
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642 | (30) |
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642 | (1) |
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642 | (2) |
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644 | (4) |
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648 | (2) |
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650 | (1) |
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650 | (1) |
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Subordinate-theme Complex |
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651 | (2) |
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653 | (2) |
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Returns of the Main Theme |
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655 | (1) |
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656 | (4) |
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660 | (1) |
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661 | (1) |
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661 | (3) |
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Enlargements of Rondo Form: Seven-part Rondo, Nine-part Sonata-rondo |
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664 | (1) |
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665 | (1) |
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666 | (1) |
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666 | (3) |
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669 | (3) |
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672 | (27) |
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673 | (1) |
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674 | (2) |
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Subordinate-key Ritornello |
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676 | (1) |
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677 | (2) |
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679 | (1) |
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680 | (1) |
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680 | (4) |
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684 | (6) |
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Subordinate-key Ritornello |
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690 | (1) |
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691 | (1) |
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692 | (3) |
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695 | (1) |
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696 | (1) |
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697 | (2) |
Notes |
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699 | (4) |
Glossary of Terms |
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703 | (14) |
Index of Musical Compositions |
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717 | (5) |
General Index |
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722 | |