Links to Analysis Resources at NAU
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Kenneth R. Rumery, all rights reserved.
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Harmony, Key Structure
Melody: contour, continuity, reduction
Motive, phrase, phrase forms
Parameters of Texture
Texture-Homophony
Texture-Polyphony
Polyphonic Genres
Binary, Ternary, Strophic
Compound Ternary
Rondo/Sonata-Rondo/Alternating Forms
Sonata
Concerto
Ostinato
Variations
Suite
Music as System
Composers and Nature
Navigation Links
HARMONY, KEY STRUCTURE
Examples:
1. Two Choral Reductions
2. Pedal Tone Anchor
3. Prelude 20, harmonic cells
4. Mazurka op. 67, no. 2, transitory
5. Mazurka op. 6, no. 1, retransition
6. Mazurka op. 17, no. 4, tonal uncertainty
Music for Study:
1. JSB 108
2. JSB 219
3. JSB 151
4. JSB 73
4. JSB 176, Erstanden
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MELODY: CONTOUR, CONTINUITY, REDUCTION
Information and Definitions
Melodic Analysis Criteria
Examples: Contours and Skeletons
1. Agnus Dei
2. Moldau
3. Second Piano Concerto
4. Hary Janos
5. Un Bel Di
6. Figaro
7. Teleman
Music for Study: Contours and Skeletons
1. Symph. 1, McDowell, Brahms
2. Brandenburg 1, III
3. Brandenburg 2,I
4. C mi Passacaglia, Academic Festival
5. Italian Symph., Kleine Nachtmusik
6. Schumann Concerto op. 54
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MOTIVE, PHRASE, PHRASE FORMS
Information and Definitions
Motive Variation
Description of Melodic Segments
Analysis signs for motives and phrase forms
Examples:
1. Sample, Schubert, Haydn, Tchaikowsky
2. Sym. 4, Home, Beethoven, Mozart
3. Greensleeves
4. Greig, Kodaly, Copland
5. Mendelssohn, Frank, Rimski
6. Samples, Un bel di, Mozart
7. Schumann, Ich Grolle
8. Bach Gavott
9. Implied Meter, Schumann, Mozart
10. Paganni, Rachmaninoff
11. Brahms
Music for Study:
1. Beethoven, Brahms, Dvorak, Mozart
2. Greig, Shostakovich, Tchaikowsky, Brahms
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TEXTURE: HOMOPHONY
Information and Definitions
Description of Texture
Examples:
1. Argeggio: Beethoven, Brahms
2. Three elements: Chopin
3. Pedal tone: Hindemith, Chopin
4. Pedal tone: Schumann, Debussy
5. Ostinato: Bartok, Debussy
6. Ostinato: Purcell
7. Mid-melody: Amazing Grace
8. Mid, bottom, top melody
9. Texture: Sylvia, page 1
Texture: Sylvia, page 2
10. Texture: Ich Grolle
11. Motivated chords
12. Arpeggio
13. Motivated chords, Wolf
14. Alternation
15. Harmonic Series, spacing
16. Spacing
17. Beethoven op. 13, harmonic strategy
18. Beethoven op. 7, harmonic strategy
19. Beethoven op. 13, retransition
20. Sarabande analysis, mm. 1-8
21. Prelude 4, mm. 1-4
22. Reduction: Prelude 4, mm. 1-13
23. Reduction: Prelude 4, mm. 14-end
24. Prelude 9, mm. 9-12
25. Reduction: Prelude 9
QUIZ 1
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TEXTURE: POLYPHONY
About Polyphonic Texture [caution: a large file, a little slow on dialup.]
Examples:
1. Free Counterpoint
2. Canonic: Beatus vir
3. Beatus vir analysis
4. Organum in two-part
5. Imitation in Three Voices
6. Imitative in three voices
7. Contour in two-part free
8. Baroque Non imitative
9. Invention Analysis
10. Canon: Frank Violin Sonata
11. Two Imitative passages
12. Double canon
13. March reduction
14. Modern free and not so free
15. Modern free
Survey of Two-Part Music:
1. Organum to Beethoven
2. Beatus vir
3. Haydn Quartet
4. Old 100th
5. Babbitt, Schumann, Stravinsky
6. Ave, Organum
7. Modern Organum
8. Modern Two-Part
9. Two-Part, contrary chord streams
Music for Study:
Two Part Texture: Wachet Auf
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POLYPHONIC GENRES
Information and Definitions
Description of Fugue
Fifteen Two-Part Inventions J. S. Bach
.
Twenty-Four Fugues from WTC 1 J. S. Bach
Timings of the 24 fugues
Outline Analysis of Fugue 2, BWV 847
Professor Tim Smith's Site
Analysis Software
How to Create a Fugue Timeline
Semester Project List
Music for Study
1. Cantione 3, p. 1
2. Cantione 3, p. 2
3. Invention, p. 1
4. Invention, p. 2
QUIZ 2
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BINARY, TERNARY, STROPHIC
Information and Definitions
Description of Binary and Ternary
Music for Study:
1. Sarabande, p. 1
2. Sarabande, p. 2
3. Traumerei, p. 1
4. Traumerei, p. 2
Burkhart Examples: page numbers for 5th edition.
Binary: ||:A:||:B:||
from the Notebook for Anna Magdalena Bach
p. 71, March in D major
p. 72, Minuet
p. 73, Aria
other short examples
p. 95, Gavotte I
p. 97, Gavotte II
p. 99, Minuets I and II
p. 308, Waltz in A flat major
from Dido and Aeneas
p. 63, Dido's lament (starting at m. 9)
Binaries embedded in larger structures:
p. 213 (32-39), Adagio
One Part? Two Part?
p. 324, Ich Grolle Nicht from Dichterliebe
Rounded Binary: ||:A:||B A:||
p. 74, Polonaise
p. 178 (theme), Theme with Variations
p. 313, No. 1 Melodie (written out repeat of B)
p. 314, No. 6 Armes Waisenkind
p. 316, No. 14, Kleine Studie
p. 318, No. 17 Kleiner Morgenwanderer
Rounded binaries embedded in larger structures
p. 212 (1-12), Adagio, Sonata, K. 570
p. 242 (1-40), Menuetto, Sonata No. 1, Op. 2, No. 1
p. 291 (1-16), Presto, Quartet No. 13
p. 309 (1-77), Allegretto, Moment Musical No. 6
p. 310 (78-113), ibid
p. 336 (1-32), Mazurka 6, Op. 7, No. 2
p. 337 (33-56), ibid
p. 369 (9-32), Intermezzo Op. 76, No. 7
Ternary: ABA
p. 311, Song Without Words
p. 313, No. 3 Humming Song
p. 315, No. 8 The Wild Rider
p. 321, Vogel Als Prophet
p. 340, Mazurka 43 in G minor, Op posth 67, No. 2
p. 366, Wie Melodien zieht es mir
p. 374, Intermezzo in C major, Op. 119, NO. 3 (1893)
Ternary Embedded in Larger Structures
p. 244 (1-24), Piano Sonata No. 4, Op. 7, Largo
p. 269 (1-61), Piano Sonata No. 9. Op. 14, No. 1
p. 270 (63-100), ibid
p. 372 (49-73), Intermezzo in A major, Op. 118, No. 2
p. 545 (29-62), I Got Rhythm
QUIZ 3
Strophic
p. 301, Erlkonig
Not Classified: p. 194, Mozart, Sonata K.333, II
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COMPOUND TERNARY
Information and Definitions
Description of Compound Ternary
Burkhart Examples: page numbers are for the 5th edition
Except for the Schumann example, the A sections in the
following examples are closed binary or ternary forms. The B sections
vary in scope, ranging from a short interlude between repetitions of A
to complete and contrasting binary or ternary forms. There are examples
of both open and closed B sections in this list. Click on the to hear a
midi file of the work.
p. 92, Handel; Where'er You Walk ||A||B (7 bar)||D.C.
(Aria da Capo with ritornello)
p. 95, Bach; Gavotte I, Gavotte II, D.C.
p. 99, Bach; Minuet I, Minuet II, D.C.
p. 151, Haydn; String Quartet, op. 74, no. 3 [C5389]
Largo assai ||A||B||A (varied reprise)||
p. 161, Haydn; Symphony No. 101; Minuet, Trio, D.C. [C5448]
p. 242, Beethoven, Sonata No. 1, op. 2, no. 1 [C7284]
Menuetto, Trio, D.C.
p. 244, Beethoven, Sonata No. 4, op. 7, Largo ||A||B||A|| coda. [C7252]
B is open and includes a retransition (37) and a false
reprise (42).
p. 269, Beethoven, Sonata No. 9, op. 14, no. 1,
Allegretto ||A||B||D.C.||coda
A short retransition is appended to B.
p. 309, Schubert, Moment Musical No. 6, op. 94, Allegretto
A is atypical! B is closed. D.C.
p. 336, Chopin, Mazurka no. 6, op. 7, no. 2
Both A and B are closed, D. C.
p. 371, Brahms, Intermezzo, op. 118, no. 2 [C6134]
A and A' have codas (38 and 107), A' is truncated.
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QUIZ 4
RONDO/SONATA-RONDO
Information and Definitions
Description of Rondo
Burkhart Examples:
Rondo (short)
p. 212, Mozart: Piano Sonata in B flat, K570, Adagio ("second" rondo)
p. 260, Beethoven: Sonata No. 8 (Pathetique), Op. 13, II, Adagio
Rondo (long)
p. 166, Haydn: Symphony 101, Finale (vivace)
p. 197, Mozart: Piano Sonata in Bb, K333, III, allegretto grazioso
p. 263, Beethoven: Sonata No. 8 (Pathetique), Op. 13, III, Allegro ("third" rondo)
Rondo (20th Century)
p. 514, Elliot Carter: Canaries (four tympani, one player)
Sonata Rondo
p. 176, Clementi: Sonatina in G major, op. 36, no. 2, Allegretto
p. 450, Ravel: Sonatine, I, modere
Five-Part Song Form
p. 334, Chopin: Mazurka No. 5 in B flat, Op. 7, no. 1
Pathetique III Event List
Fischer Fugue Event List(as a four voice fugue)
Fischer Fugue Event List(as a three voice fugue)
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SONATA
Information and Definitions
Description of Sonata
Burkhart Examples:
p. 153, Haydn: Sonata for Piano, Hob XVI/52
first movement, version 1
first movement, version 2
p. 188, Mozart: Sonata for Piano, K. 333
p. 188, Allegro
p. 194, Andante Cantabile
p. 197, Allegretto Grazioso
p. 238, Beethoven: Sonata No. 1 for Piano, op. 2, no. 1
p. 238, Allegro
analysis of development, bars 49-72
analysis of development, bars 73-102
p. 253, Beethoven: Sonata No. 8 for Piano, Op. 13 (Pathetique)
p. 253, Grave, Allegro di molto e con brio
p. 260, Andante Cantibile
p. 263, Allegro
p. 270, Brahms: Sonata in F for Clarinet and Piano, Op. 120, no. 1
first movement
sequenced by Steve Hopkins
first movement
sequenced by Marty Weimer
Sonata Movement Form Without Development
p. 248, Beethoven: Sonata No. 5, Op. 10, No. 2, II, Adagio molto
p. 285, Beethoven: Symphony No. 8, Op. 93, II, Allegretto scherzando
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CONCERTO
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OSTINATO
Information and Definitions
Description of Ostinato
Burkhart Examples:
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VARIATIONS
Information and Definitions
Description of Variations
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SUITE
Information and Definitions
Description of Suite
SET THEORY and SERIAL COMPOSITION
SET THEORY
SERIAL COMPOSITION
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[COMPOSER'S TOOLS] Last update, 7/17/04