Analyzing Classical Form: An Approach for the Classroom

Contents

• Chapter 1 A Review of Harmony
• The Basics
• Harmonic vocabulary
• Harmonic progressions
• Let's Practice
• More Details
• Tonic function
• Dominant function
• Pre-dominant function
• Prolongational progressions
• Cadential progressions
• Sequential progressions
• Finer Points
• Reviewing the Theory
• Examples for Analysis
• Part 1 Conventional Theme-Types
• Chapter 2 The Sentence
• The Basics
• Presentation phrase
• Continuation phrase
• Let's Practice
• More Details
• Basic idea
• Repetition of the basic idea
• Tonic prolongation
• Presentation phrase versus presentation function
• Continuation function
• Cadential function
• Continuation
• Finer Points
• Real versus notated measures
• Modulating sentence
• Reviewing the Theory
• Examples for Analysis
• Model Composition
• Chapter 3 The Period
• The Basics
• Antecedent phrase
• Consequent phrase
• Let's Practice
• More Details
• Basic idea
• Contrasting idea
• Weak cadential closure
• Return of the basic idea
• Strong cadential closure
• Boundary processes: lead-in, elision
• Finer Points
• Antecedent (and consequent) as mini-sentence
• Modulating period
• cadential strength
• Reinterpreted half cadence
• Sentence versus period
• Reviewing the Theory
• Examples for Analysis
• Model Composition
• Chapter 4 Hybrid Themes
• The Basics
• Hybrid types
• Let's Practice
• More Details
• Hybrid type: antecedent + continuation
• Hybrid type: antecedent + cadential
• Compound basic idea
• Hybrid type: compound basic idea + continuation
• Hybrid type: compound basic idea + consequent
• Finer Points
• Hybrid themes in relation to the sentence and period
• Appearances of the basic idea
• Phrase ambiguities
• Other hybrid possibilities
• Reviewing the Theory
• Examples for Analysis
• Model Composition
• Chapter 5 Phrase Deviations, Cadential Deviations, and Framing Functions
• The Basics
• Phrase deviations
• Cadential deviations
• Framing functions
• Let's Practice
• More Details
• Phrase deviations
• Cadential deviations
• Framing functions
• Finer Points
• Contrasting idea replaced by continuation phrase
• Codetta closes with cadence
• cadence of limited scope
• Boundary process: melodic overlap
• Reviewing the Theory
• Examples for Analysis
• Model Composition
• Chapter 6 Compound Themes
• The Basics
• Compound Period
• Compound Sentence
• Let's Practice
• More Details
• Compound Period
• Compound Sentence
• Finer Points
• Compound period
• Real vs. notated measures
• Reviewing the Theory
• Examples for Analysis
• Model Composition
• Chapter 7 The Small Ternary (Rounded Binary)
• The Basics
• Exposition (A)
• Contrasting middle (B)
• Recapitulation (A')
• Let's Practice
• More Details
• Tight-knit versus loose formal organization
• Exposition (A)
• Contrasting middle (B)
• Recapitulation (A')
• Finer Points
• Contrasting middle (B)
• Recapitulation (A')
• Reviewing the Theory
• Examples for Analysis
• Model Composition
• Chapter 8 The Small Binary
• The Basics
• Part 1
• Part 2
• Let's Practice
• More Details
• Part 1
• Part 2
• Reviewing the Theory
• Examples for Analysis
• Model Composition
• Part 2 Sonata Form
• Chapter 9 Sonata Form-An Overview
• Large-scale formal structure
• Large-scale tonal structure
• Exposition
• Let's Practice
• Development
• Let's Practice
• Recapitulation
• Let's Practice
• Chapter 10 Exposition (I)-Main Theme
• The Basics
• More Details
• Conventional theme-types
• Nonconventional theme-types
• Finer Points
• Main-theme group
• Character and affect
• Reviewing the Theory
• Examples for Analysis
• Chapter 11 Exposition (II)-Transition
• The Basics
• Let's Practice
• More Details
• Style, character, dynamics
• Boundary processes: accompanimental overlap, elision
• Modulation techniques
• Opening strategies
• Phrase-structural organization
• loosening devices
• Closure
• Finer Points
• Unusual opening strategies
• Two-part transition
• Omission of concluding function
• Reviewing the Theory
• Examples for Analysis
• Chapter 12 Exposition (III)-Subordinate Theme
• The Basics
• Let's Practice
• More Details
• Contrasting nature of the subordinate theme
• Looser sentential functions
• Internal half cadence (dominant arrival)
• Subordinate-theme group
• Closing section
• Finer Points
• Omission of initiating function
• Expanded periodic design
• Expanded repetition of a subordinate theme
• Harmonic-tonal loosening
• Thematic introduction
• Obscured boundary between transition and subordinate theme
• Reviewing the Theory
• Examples for Analysis
• Chapter 13 Development
• The Basics
• Tonal organization
• Phrase-structural organization
• Let's Practice
• More Details
• Melodic-motivic material
• Core
• Pre-core
• Retransition
• Finer Points
• Development sections without a core
• Transitional introduction
• Unusual endings
• Reviewing the Theory
• Examples for Analysis
• Chapter 14 Recapitulation
• The Basics
• An analytical methodology-comparison
• Tonal-harmonic organization
• Structural changes
• Let's Practice
• More Details
• Thematic functions of the recapitulation
• Structural changes: main theme
• Structural changes: transition
• Structural changes: subordinate theme (group)
• Finer Points
• Additional features of the recapitulation
• Fusion of main theme and transition
• Deviations from the norm
• Reviewing the Theory
• Examples for Analysis
• Chapter 15 Coda
• The Basics
• Let's Practice
• More Details
• Melodic-motivic material of the coda
• Start of the Coda
• Phrase structural organization of the coda
• Compensatory functions
• Reviewing the Theory
• Examples for Analysis
• Chapter 16 Slow Introduction
• The Basics
• Let's Practice
• More Details
• Style and affect
• Tonal, phrase-structural, and motivic organization
• Reviewing the Theory
• Examples for Analysis
• Part 3 Other Full-Movement Forms
• Chapter 17 Slow-Movement Forms
• The Basics
• Large Ternary
• Theme and Variations
• Sonata without development
• Let's Practice
• More Details
• Large ternary versus small ternary
• Large ternary-interior theme
• Large ternary-coda
• Theme and variations-structural alterations
• Finer Points
• Sonata form in slow movements
• Sonata without development-truncated recapitulation
• Ending a slow movement
• Reviewing the Theory
• Examples for Analysis
• Chapter 18 Minuet/Trio Form
• The Basics
• Minuet/trio form
• Minuet form
• Let's Practice
• More Details
• Exposition (A)
• Contrasting middle (B section)
• Recapitulation (A')
• Coda
• Trio
• Finer Points
• Binary minuet form
• Minuet/trio form-functional relations
• Reviewing the Theory
• Examples for Analysis
• Chapter 19 Rondo Forms
• The Basics
• Five-part rondo
• Sonata-rondo
• Let's Practice
• More Details
• Main theme
• Subordinate-theme complex
• Interior theme
• Returns of the main theme
• Development
• Coda
• Finer Points
• Deviations from the norm
• Enlargements of rondo form-seven-part rondo, nine-part sonata-rondo
• Reviewing the Theory
• Examples for Analysis
• Chapter 20 Concerto Form
• The Basics
• Opening ritornello
• Solo Exposition
• Subordinate-key ritornello
• Let's Practice
• More Details
• Opening ritornello
• Solo Exposition
• Subordinate-key ritornello
• Solo Development
• Solo Recapitulation
• Closing ritornello
• Reviewing the Theory
• Examples for Analysis
• Glossary of Terms
• Notes
• Index of Musical Compositions
• General Index