


Index of All Scores 


PART ONE  Building a Musical Vocabulary: Basic Elements of Pitch and Rhythm 



Chapter 1  Pitch and Pitch Class 

Chapter 2  Beat, Meter, and Rhythm: Simple Meters 

Chapter 3  Pitch Collections, Scales, and Major Keys 

Chapter 4  Minor Keys and the Diatonic Modes 

Chapter 5  Beat, Meter, and Rhythm: Compound Meters 
 Example 5.01  "Down in the Valley," mm. 14a
 Example 5.02  Lennon and McCartney, "Norwegian Wood," mm. 1314
 Example 5.03  Bach, Fugue in Eflat Major for Organ, (St. Anne), mm. 3840
 Example 5.05  Bach, Fugue in Eflat Major for Organ, (St. Anne), mm. 7782a
 Example 5.06  Bach, Fugue in Eflat Major for Organ, (St. Anne), mm. 5659 (with hemiola)
 Example 5.08  Livingston, David, and Hoffman, "BibbidiBobbidiBoo," mm. 36a
 Example 5.09  Brahms, Trio in Eflat Major for Piano, Violin, and Horn, Op. 40, second movement, mm. 918
 Example 5.10  Chopin, Nocturne in Eflat Major, Op. 9, No. 2, mm. 1618


Chapter 6  Pitch Intervals 
There are no Scores & Audio available for this chapter.


Chapter 7  Triads and Seventh Chords 


PART TWO  Linking Musical Elements in Time 



Chapter 8  Intervals in Action (TwoVoice Composition) 

Chapter 9  Melodic and Rhythmic Embellishment in TwoVoice Composition 

Chapter 10  Notation and Scoring 

Chapter 11  Voicing Chords in Multiple Parts: Instrumentation 


PART THREE  The Phrase Model 



Chapter 12  The Basic Phrase Model: Tonic and Dominant VoiceLeading 

Chapter 13  Embellishing Tones 
 Example 13.4  Bach, Prelude in Eflat Major for Organ (St. Anne), mm. 14
 Example 13.6  Bach, Heut' ist, o Mensch ("This Day, O Mankind"), mm. 3b6a (alternating 43 and 98 suspensions)
 Example 13.7  Bach, "Liebster Jesu," mm. 1115
 Example 13.8  Bach, "Christ ist erstanden," mm. 910
 Example 13.9  Bach, Prelude in Eflat Major for Organ (St. Anne), mm. 204205 (final cadence)
 Example 13.11  Bach, Organ Sonata No. 5 in C Major, first movement, mm. 3538
 Example 13.12  Menken and Rice, "A Whole New World," mm. 32b37a
 Example 13.13  Lloyd Webber and Rice, "Don't Cry for Me Argentina," mm. 310a


Chapter 14  Chorale Harmonization and Figured Bass 

Chapter 15  Expanding the Basic Phrase: LeadingTone, Predominant, and ^{6}_{4} Chords 
 Example 15.10  Mozart, Piano Sonata in Bflat Major, K. 333, first movement, mm. 14a
 Example 15.11  Foster, "Camptown Races," mm. 12b16
 Example 15.16  Lloyd Webber and Rice, "Don't Cry for Me Argentina," mm. 3334a
 Example 15.24  Lloyd Webber and Rice, "Don't Cry for Me Argentina," mm. 3334a


Chapter 16  Further Expansions of the Basic Phrase: Tonic Expansions, Root Progressions, and the Mediant Triad 
 Example 16.2  Mozart, Piano Sonata in Bflat Major, K. 333, first movement, mm. 14a
 Example 16.3  "Wayfaring Stranger," mm. 14a
 Example 16.4  Sherman and Sherman, "Feed the Birds," mm. 14
 Example 16.12  McLean, "Vincent," mm. 411a
 Example 16.17  Foster, "Camptown Races," mm. 14a
 Example 16.18  "Wayfaring Stranger," mm. 18a
 Example 16.19  Mussorgsky, "The Great Gate of Kiev," from Pictures at an Exhibition, mm. 1822
 Example 16.20  Owens, "Doxology," mm 14a


Chapter 17  The Interaction of Melody and Harmony: More on Cadence, Phrase, and Melody 

Chapter 18  Diatonic Sequences 
 Example 18.8  Bach, Prelude, from Cello Suite No. 2 in D minor, mm. 113a
 Example 18.11  Bach, Invention in F Major, mm. 2124
 Example 18.12  Kern and Hammerstein, "All the Things You Are," mm. 512 (fallingfifth sequence with seventh chords)
 Example 18.14a  Mozart, Rondo in Eflat Major for Horn and Orchestra, K. 371, mm. 2024a
 Example 18.17  Pachelbel, Canon in D, mm. 18
 Example 18.19  Mozart, Dies Irae, from Requiem, mm. 2729


Chapter 19  Intensifying the Dominant: Secondary Dominants and Secondary LeadingTone Chords; New VoiceLeading Chords 
 Example 19.2  Sherman and Sherman, "Feed the Birds," mm. 18
 Example 19.10  Mozart, Rondo in Eflat Major for Horn and Orchestra, K. 371, mm. 88104
 Example 19.15  Schubert, "Gute Nacht" ("Good Night"), from Winterreise, mm. 87b93a
 Example 19.17  Chopin, Prelude in C minor, Op. 28, No. 20, m. 5


Chapter 20  Phrase Rhythm and Motivic Analysis 
 Example 20.5  Schumann, "Widmung" ("Dedication"), mm. 13
 Example 20.8  Bach, Prelude, from Cello Suite No. 2 in D minor, mm. 113a
 Example 20.9  Bach, Prelude, from Cello Suite No. 2 in D minor, mm. 4048
 Example 20.12a  Bach, Fugue in Dsharp minor, from The WellTempered Clavier, Book I, mm. 46a
 Example 20.12b  Bach, Fugue in Dsharp minor, from The WellTempered Clavier, Book I, mm. 2734a
 Example 20.12c  Bach, Fugue in Dsharp minor, from The WellTempered Clavier, Book I, mm. 6267a



PART FOUR  Further Expansion of the Harmonic Vocabulary 



Chapter 21  Tonicizing Scale Degrees Other Than V 

Chapter 22  Modulation to Closely Related Keys 

Chapter 23  Binary and Ternary Forms 
There are no Scores & Audio available for this chapter.


Chapter 24  Color and Drama in Composition: Modal Mixture and Chromatic Mediants and Submediants 
 Example 24.5  Schubert, "Im Dorfe," from Winterreise, mm. 31b50
 Example 24.9  Schubert, Moment musical in Aflat Major, Op. 94, No. 6, mm. 139
 Example 24.10a  Brahms, Intermezzo in A Major, Op. 118, No. 2, mm. 14a
 Example 24.10b  Brahms, Intermezzo in A Major, Op. 118, No. 2, mm. 4952


Chapter 25  Chromatic Approaches to V: The Neapolitan Sixth and Augmented Sixths 
 Example 25.4a  Mozart, Dies Irae, from Requiem, mm. 2229
 Example 25.4b  Mozart, Dies Irae, from Requiem, mm. 3440a
 Example 25.11  Kern and Hammerstein, "Can't Help Lovin' Dat Man," mm. 2733a
 Example 25.15  Chopin, Prelude in C minor, Op. 28, No. 20, mm. 56
 Example 25.18  Schubert, "Der Doppelgänger," mm. 3646a



PART FIVE  Musical Form and Interpretation 



Chapter 26  Popular Song and Art Song 

Chapter 27  Variation and Rondo 

Chapter 28  SonataForm Movements 
There are no Scores & Audio available for this chapter.


Chapter 29  Chromaticism 
 Example 29.5a  Schubert, "Die Wegweiser," from Winterreise, mm. 68b77a
 Example 29.7  Kern and Harbach, "Smoke Gets in Your Eyes," mm. 2124
 Example 29.9  Sousa, "The Washington Post March," mm. 17
 Example 29.11  Sousa, "The Washington Post March," mm. 817
 Example 29.13  Kern and Harbach, "Smoke Gets in Your Eyes," mm. 1316a
 Example 29.19  Kern and Harbach, "Smoke Gets in Your Eyes," mm. 16b24
 Example 29.28  Wagner, Prelude to Tristan und Isolde, mm. 117a



PART SIX  Into the Twentieth Century 



Chapter 30  Modes, Scales, and Sets 
 Example 30.4a  Bartók, "FiveTone Scale," from Mikrokosmos (No. 78), mm. 18
 Example 30.4b  Bartók, "FiveTone Scale," from Mikrokosmos (No. 78), mm. 919
 Example 30.5  Debussy, "Voiles," from Preludes, Book I, mm. 3340


Chapter 31  Music Analysis with Sets 
There are no Scores & Audio available for this chapter.


Chapter 32  Sets and Set Classes 
 Example 32.8  Bartók, "WholeTone Scales," mm. 13
 Example 32.9  Debussy, "La cathédral engloutie," mm. 7275
 Example 32.10a  Bartók, Sonata for Two Pianos and Percussion, mm. 12 (piano 1)
 Example 32.10b  Bartók, Sonata for Two Pianos and Percussion, mm. 3334 (pianos 1 and 2)
 Example 32.12  Messiaen, "Liturgie de crystal," from Quartet for the End of Time, mm. 59


Chapter 33  Ordered Segments and Serialism 
There are no Scores & Audio available for this chapter.


Chapter 34  TwelveTone Rows and the Row Matrix 
There are no Scores & Audio available for this chapter.


Chapter 35  New Ways to Organize Rhythm, Meter, and Duration 
 Example 35.3  Stravinsky, Les noces, Tableau II, mm. 5459
 Example 35.6  Ligeti, Hungarian Etudes, third movement, mm. 17
 Example 35.9  Bartók, "Syncopation," from Mikrokosmos, mm. 14
 Example 35.11  Messiaen, "Danse de la fureur," from Quartet for the End of Time, mm. 2731
 Example 35.15  Ligeti, Continuum, "measures" 122
 Example 35.16a  Boulez, Structures Ia, mm. 2431 (piano 2)
 Example 35.17  Nono, Il canto sospeso, mm. 108109 (soprano and alto parts)
 Example 35.19  Carter, String Quartet No. 2, mm. 713


Chapter 36  New Ways to Articulate Musical Form 

Chapter 37  The Composer’s Materials Today 
 Example 37.1  Reich, Proverb, mm. 122a (sopranos 1 and 2)
 Example 37.2  Pärt, Magnificat, opening two phrases
 Example 37.4  Williams, "Imperial March," from The Empire Strikes Back, mm. 17
 Example 37.5  Ligeti, "Désordre," from Piano Etudes, Book I, mm. 18



