Analysis of Tonal Music: A Schenkerian Approach, Third Edition, is a comprehensive, logically organized introduction to the fundamental principles of Schenkerian technique. Rather than relying on stereotypical models or formulas, authors Allen Cadwallader and David Gagne use specific, memorable compositions to explain structural principles. This approach teaches students how to think about and critically examine music in ways that will inform their understanding and performance of 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--some new to this edition--an appendix on graphic notation, and a bibliography. NEW TO THE THIRD EDITION * Makes more frequent reference to the principles of strict counterpoint introduced in Chapter 2 * Provides enhanced discussions of harmonic structure and of the imaginary continuo as a tool for analysis (Chapter 3) * Places greater emphasis throughout Part 2 on Schenker's ideas on musical form * Reorders Chapter 9 to present the typical formal structures for binary form in a way that parallels Schenker's ideas about form and structure * Includes a new analysis of a Brahms Intermezzo (a composite ternary form) in Chapter 10 * Features a completely revised concluding chapter that discusses Schenker's ideas on form in relation to common tonal patterns (i.e., structural "paradigms") The third edition is supplemented by a thoroughly revised Student Workbook that guides students systematically through the process of analysis.

Preface PART 1: BASIC PRINCIPLES 1. Introduction Beethoven, Piano Sonata, Op. 2, No. 1, I 2. Melody and Counterpoint Some Characteristics of Melody Counterpoint Structural Melody 3. Bass Lines and Harmonic Structure Tonic Harmony (T Class) Intermediate Harmonies (Int Class) Dominant Harmony (D Class) Larger Contexts Chord Prolongation: Summary 4. Linear Techniques Linear Progressions Linear Intervallic Patterns The Neighbor Note Linear Intervallic Patterns: Summary 5. Tonal Structure Notational Symbols Tonal Structure and the Ursatz The Bass Arpeggiation (Bassbrechung) The Fundamental Line (Urlinie) Structural Levels The Principle of Interruption More on the Ursatz 6. Techniques of Melodic Prolongation The Initial Ascent The Arpeggiated Ascent Unfolding Motion into an Inner Voice Motion from an Inner Voice Voice Exchange Shift of Register Descending and Ascending Register Transfer Coupling Superposition Reaching Over Cover Tone Substitution The Phrygian 2 Mixture of Scale Degree 3 Techniques in Combination 7. Some Basic Elaborations of Fundamental Structures Mozart, Piano Sonata, K. 283, I, bars 1-16 Beethoven, Piano Sonata, Op. 31, No. 1, II, bars 1-8 Beethoven, Piano Sonata, Op. 2, No. 1, II, bars 1-8 Beethoven, Piano Sonata, Op. 10, No. 1, II, bars 1-16 Mozart, Piano Concerto, K. 488, II, bars 1-12 Beethoven, Piano Sonata, Op. 14, No. 3, Second Theme, bars 26-47 Some Points for Review PART 2: ANALYTICAL APPLICATIONS 8. One-Part Forms Bach, Prelude in C major (WTC I) Schubert, "Wandrers Nachtlied" Schumann, "Lieb' Liebchen" 9. Binary Forms Handel, Suite No. 5 in D minor, HWV 436, Menuetto Bach, "Little" Prelude in C major, BWV 933, Menuetto Corelli, Violin Sonata, Op. 5, No. 10, Gavotte Bach, Flute Sonata No. 2, Minuet 1 Haydn, Piano Sonata, Hob. XVI/43, Minuet 2 Mozart, Symphony No. 35, K. 385, Trio Auxiliary Cadences 10. Ternary Forms and Rondo Beethoven, Bagatelle, Op. 119, No. 1 Mendelssohn, Song Without Words, Op. 62, No. 1 Schubert, Moment Musical, Op. 94, No. 2 Haydn, Piano Sonata, Hob XVI/37, III Brahms, Intermezzo, Op. 119, No. 2 11. Sonata Principle Clementi, Sonatina, Op. 36, No. 1, I Mozart, Symphony No. 35, ("Haffner"), K. 385, II Mozart, Piano Sonata, K. 457, I 12. Some Common Tonal Patterns and Procedures Introduction Binary Forms Ternary Forms Sonata Principle Prolongational Spans Mixture and Large-Scale Tonal Plans Appendix: Introduction to Graphic Notation Open Noteheads Slurs and Filled-in Noteheads Beams Broken Ties Stems with Flags Diagonal Lines Diagonal Lines and Beams Rhythmic Notation at Lower Levels Roman Numerals Sample Graphic Analyses for Study Notes Selected Bibliography Index of Musical Examples Index of Subjects