Analysis of Tonal Music A Schenkerian Approach

In this highly anticipated new edition of Analysis of Tonal Music: A Schenkerian Approach, authors Allen Cadwallader, David Gagné, and Frank Samarotto use specific, memorable compositions to explain structural principles. This approach teaches students how to think about, critically examine, understand, and perform great compositions of Western art music.

Part 1 covers principles fundamental to the study of Schenkerian analysis and includes discussions of melody, counterpoint, bass-line structures, the imaginary continuo, linear techniques, and the essential properties of the Ursatz (fundamental structure). Part 2 presents complete compositions by formal category, beginning with one-part forms; proceeding through binary, ternary, and rondo forms; and concluding with the sonata principle. The book includes more than 200 analytical graphs, an appendix on graphic notation, and a bibliography.

Karen M. Bottge is Associate Professor of Music Theory and Director of the Certificate in Music Theory Pedagogy Program at the University of Kentucky.

Allen Cadwallader is Professor Emeritus of Music Theory at the Oberlin Conservatory of Music.

David Gagné is Professor Emeritus of Music Theory at Queens College, City University of New York.

Frank Samarotto is Associate Professor of Music Theory at the Indiana University Jacobs School of Music. _ _

CHAPTER 2: MELODY AND COUNTERPOINT
PRELIMINARIES
Assignments
2.1. Chapter 2 Terminology
2.2. Species Counterpoint
2.3. Structural Melody
a. Schumann, "Puppenwiegenlied" from Three Piano Sonatas for the Young, Op. 118a, No. 3, bars 1-8
b. Haydn Piano Sonata, Hob. XVI:41, Allegro di molto, bars 1-8
c. Tartini, Sarabanda (arr. Moffat), Largo con espressione, bars 1-8
d. Chopin, Nocturne in F minor, Op. 55, No. 1, bars 5-8
e. Beethoven, Violin Sonata, Op. 12, No. 1, Allegro, bars 9-16
f. Mozart, "Voi che sapete" from The Marriage of Figaro, bars 9-S20
g. Mozart, Variations on "Ah, vous dirai-je maman," K. 265/300e, Tema and Variation III

ANALYSIS
Assignments
2.4. Beethoven: Seven Variations on "God Save the King," WoO 78, Thema and Variation 5
2.5. Folk Tune: "Ashgrove"
2.6. Bellini, "Casta Diva" (from Norma), bars 16-23

CHAPTER 3: BASS LINES AND HARMONIC STRUCTURE
PRELIMINARIES
Assignments
3.1. Chapter 3 Terminology
3.2. Uninterrupted Bass-line Structures
a. Mozart, String Quartet, K. 157, Allegro, bars 1-9
b. Albinoni, Adagio in G minor, bars 1-8
c. Mouret, Fanfares et Simphonies, No. 1, bars 9-16
d. Beethoven, Piano Sonata, Op. 27, No. 2 ("Moonlight"), Adagio sostenuto, bars 1-5
e. Schumann, "Von fremden Ländern und Menschen," from Kinderszenen, Op. 15, No. 1, bars 1-8
f. Schubert, Zw:olf Graser Walzer, Op. 91, No. 8, bars 1-8
g. Beethoven, Piano Sonata, Op. 7, Largo, con gran espressione, bars 1-8
h. Mozart, Cassation, K. 63, Adagio, bars 1-4
i. Hoffstetter (attr. Haydn), String Quartet, Op. 3, No. 3 (Hob. III:15), Presto, bars 1-8
j. Mozart, String Quartet, K. 499 ("Hoffmeister"), Menuetto, bars 1-8
3.3. Interrupted Bass-line Structures
a. Haydn, String Quartet, Hob. III:66, Menuetto, bars 1-8
b. Mozart, Clarinet Quintet, K. 581, Menuetto, bars 1-8
c. Beethoven, Piano Sonata, Op. 49, No. 1, Allegro, bars 1-8
d. Schubert, Octet, Op. 166, Andante, bars 1-8
e. Haydn, Piano Trio, Hob. XV:28 Allegro moderato, bars 1-4
f. Mendelssohn, String Quartet, Op. 13, Intermezzo, bars 1-8
g. Haydn, Piano Trio, Hob. XV:28, Finale, bars 9-16
h. Beethoven, String Quartet, Op. 130, Alla danza tedesca, bars 1-8
i. Mozart, Bassoon Concerto, K. 191, Rondo, bars 1-8

ANALYSIS
Assignments
3.4. Schumann, Little Study, bars 1-17
3.5. Chopin, Valse Brillante, Op. 34, No. 2, bars 17-36
3.6. Beethoven, Piano Sonata, Op. 2, No. 3, Trio, bars 1-24

CHAPTER 4: LINEAR TECHNIQUES
PRELIMINARIES
Assignments
4.1. Chapter 4 Terminology
4.2. Linear Progressions
a. Handel, "For unto us a child is born," from Messiah, bars 7-8
b. Petzold, Minuet, from Notebook for Anna Magdalena Bach, BWV Anh. 116, bars 5-8
c. Bach, Polonaise, from Notebook for Anna Magdalena Bach, BWV Anhang 116, bars 1-8
d. Handel, "Oh Thou that Tellest Good Tidings to Zion," from Messiah, bars 1-5
e. Verdi, "La donna è mobile," from Rigoletto, bars 1-9
f. Petzold, Minuet, from Notebook for Anna Magdalena Bach, BWV Anh. 115, bars 9-16
g. Mozart, String Quartet, K. 458, Minuetto, Moderato, bars 1-8
h. Beethoven, Romance for Violin and Orchestra, Op. 50, Adagio cantabile, bars 1-4
i. Haydn, Trumpet Concerto, Hob. VIIe:1, Finale, bars 1-11
4.3. Linear intervallic patterns
a. C.P.E. Bach, Keyboard Sonata, H. 245, Rondo Espressivo, bars 20-24
b. Vivaldi, "Domine Deus," from Gloria, RV 589, bars 19-22
c. Poulenc, "Domine Deus," from Gloria, FP 177, bars 1-4
d. Brahms, Symphony No. 4, Op. 98, Allegro non troppo, bars 1-8
e. Haydn, String Quartet, Hob. III:32, Trio, bars 57-68
f. C.P.E. Bach, Die sechs Sammlungen von Sonaten, Freien Phantasien und Rondos für Kenner und Liebhaber, Wq. 58, Rondo I, bars 51-54
g. Mozart, Overture from Die Zauberflöte, K. 620, Allegro, bars 148-53
h. Beethoven, Piano Sonata, Op. 28, Allegro, bars 16-27

ANALYSIS
Assignments
4.4. Bach, French Suite in C minor, BWV 813, Minuet, bars 17-24
4.5. Mozart, Piano Sonata, K. 280, Presto, bars 1-37
4.6. Bach, Harpsichord Concerto (after Marcello), BWV 974, Adagio, bars 1-15
4.7. Bach, Prelude from English Suite No. 3 in G minor, BWV 808, bars 1-33

CHAPTER 5: TONAL STRUCTURE
PRELIMINARIES
Assignments
5.1. Chapter 5 Terminology
ANALYSIS
5.2. Uninterrupted Urlinie Patterns
a. Beethoven, "Ich liebe dich, so wie du mich WoO 123, bars 1-8
b. Chopin, Nocturne, Op. 55, No. 1, bars 1-8
c. Beethoven: Seven Variations on "God Save the King," WoO 78, Thema, bars 1-8
d. Haydn, Symphony, Hob. I:88, Largo, bars 1-8
e. Haydn, Symphony, Hob. I:97, Trio, bars 1-8
5.3. Interrupted Urlinie Patterns
a. Clarke, "The Prince of Denmark March," bars 1-8
b. Hoffstetter (attr. Haydn) String Quartet, Op. 3, No. 5 (Hob. III:17), Andante cantabile, bars 59-66
c. Schubert, "Wiegenlied," Op. 98, No. 2, bars 1-4
d. Brahms, Variations on a Theme by Haydn ("St. Anthony Variations"), Op. 56a, Andante, bars 1-10
e. Mozart, Horn Quintet, K. 407, Allegro, bars 1-8
f. Beethoven, "An die Freude," from Symphony No. 9, Op. 125, Finale, bars 213-228

CHAPTER 6: TECHNIQUES OF MELODIC PROLONGATION
PRELIMINARIES
Assignments
6.1. Chapter 6 Terminology
6.2. Short Excerpts
a. Beethoven, Piano Trio, Op. 1, No. 2, Largo con espressione, bars 1-4
b. Bach, "Air on the G String," from Orchestral Suite No. 3, BWV 1068, bars 14-15
c. Mozart, Piano Sonata, K. 330, Allegro Moderato, bars 1-4
d. Chopin, Prelude, Op. 28, No. 15 ("Raindrop"), bars 1-5
e. Mozart, Piano Sonata, K. 309, Andante un poco Adagio, bars 1-4
f. Handel, "La Rejouissance," from Music for the Royal Fireworks, HWV 351, bars 1-3
g. Brahms, "Wiegenlied," Op. 49, No. 4, bars 1-6
h. Beethoven, Piano Sonata, Op. 27, No. 2 ("Moonlight"), Presto agitato, bars 133-137
i. C.P.E. Bach, "Prussian" Sonata, Vivace, bars 17-25
j. Mozart, String Quartet, K. 464, Allegro, bars 1-8
k. Beethoven, Piano Sonata, Op. 13 ("Pathetique"), Grave, bars 1-5
l. Schubert, "Der Müller und der Bach," from Die schöne Müllerin, bars 6-10
m. Mozart, String Quartet, K. 421, Allegro ma non troppo, bars 1-8

ANALYSIS
Assignments
6.3. Longer Excerpts
a. Mozart, Piano Concerto, K. 482, Allegro, bars 1-8
b. Mozart, Cassation, K. 99, Minuet, bars 1-8
c. Mozart, String Quartet, K. 421, Trio, bars 1-8
d. Haydn, Symphony, Hob. I:83, Menuet, bars 1-8
e. Beethoven, Bagatelle, Op. 119, No. 9

CHAPTER 7: SOME ELABORATIONS OF FUNDAMENTAL STRUCTURES
Assignments
7.1. Mozart, Violin Sonata, K. 296, Allegro, bars 1-16
7.2. Haydn, Symphony 101 ("The Clock"), Hob. I:101, Andante, bars 1-10
7.3 Mozart, Rondo in D major, K. 485, Allegro, bars 1-16
7.4. Beethoven, Piano Sonata, Op. 10, No. 1, Allegro, bars 1-22
7.5. Schubert, Sonata in A minor ("Arpeggione"), Allegro moderato, bars 1-22
7.6. Beethoven, Piano Sonata, Op. 27, No. 2 ("Moonlight"), Presto agitato, bars116-137
7.7. Schumann, "Ich will meine Seele tauchen," from Dichterliebe
7.8. Beethoven, "Mollys Abschied," from Acht Gesänge und Lieder, Op. 52, No. 5

CHAPTER 8: ONE-PART FORMS
Assignments
8.1. Clementi, Prelude in C major, from Préludes et exercices, No. 2
8.2. Beethoven, "Lied," from Acht Gesänge und Lieder, Op. 52, No. 6
8.3. Handel, Air (Hornpipe) in D minor, HWV 461
8.4. Handel, Prelude, HWV 572
8.5. Schubert, "Das Wandern," from Die schöne Müllerin, Op. 25
8.6. Schubert, "Heidenröslein, Op. 3, No. 3

CHAPTER 9: BINARY FORMS
Assignments
9.1. Mozart, Piano Concerto, K. 453, Allegretto, bars 1-16
9.2. Handel, "Aria con Variazioni," from Suites de Pièces, HWV 434, bars 1-8
9.3. Beethoven, Bagatelle, Op. 119, No. 9
9.4. Bach, Menuet in D minor, BWV Anhang 132
9.5. Haydn, String Quartet, Hob. III:74, Largo assai, bars 1-22
9.6. Brahms, Waltz, Op. 39, No. 15
CHAPTER 10: TERNARY FORMS AND RONDO
Assignments
10.1. Chopin, Waltz, Op. 70, No. 3
10.2. Haydn, String Quartet, Hob. III:74, Largo assai (B section and completion of movement)
10.3. Brahms, Intermezzo, Op. 118, No. 2, B section (bars 49-73)
10.4. Beethoven, Piano Sonata, Op. 7, Largo, con gran espressione
CHAPTER 11: SONATA PRINCIPLE
Assignments
1.1. Mozart, String Quartet, K. 172, Adagio
11.2. Clementi, Sonatina, Op. 36, No. 3, Spiritoso
11.3. Mozart, Piano Sonata, K. 279, Andante