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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

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