Preface

This edition of Anthology for M usical Anal ysis, like its predecessors, is a
collection of complete musical composi tions and movemen ts, ranging in time from
the Middle Ages to the presen t, tha t is designed to provide theory and analysis
classes on all leveis wi th a large and varied body of music for study. As we11 as
providing ample ma terial for both a f ull-year course in the analysis of m usical
forms and a one semester course in twe n tieth-cen tu ry tech niques, the book
offers f irs t- and second-year m usic theory classes a wealth of illustra tions of
chords, voice-leading techniq ues, and forms, plus some material for f igured-bass
realization and score reading. Because it consists essential1y of m usic, and because
it takes no theoretical position, the book is adaptable to any theoretical approach
and to any type of curricul um, incl udi ng those that combine theory study wi th
m usic literature and the history of m usica l style. Though the book is not prima
ri ly a historical anthology, the many opportunities it affords for comparison of the
sarne form or procedure by differen t composers and from differen t periods can
teach much of an historica] nature.

CONTENTS

The choice of m usic in this book favors those periods, composers, and genres
most useful to theory and analysis courses. Such a selection will naturally empha
s.ize m usic from the common practice period to the presen t and will contai n
considerable keyboard and vocal m usic. Nonetheless, the book does offer some
earlier m usic, and, wherever possi ble, works for other media. There are, for
example, 11 works for small ensembles and 8 orchestral works given in fuJt scorei
also, 15 differen t non-keyboard instrumen ts are represen ted in works that f eature
them prominently throughout.
The 208 pieces by 68 composers are grouped in five large parts, each devoted
to a major historical period. Two special groups of pieces-one a co1lection of
exam ples of ja zz, and the other of chora le ha r moniza ti on s-are placed in
appendices. While many individual tech n iques and forms are represented by
two or more exam ples chosen to display a progression from simple to complex,
the book as a whole is not intended to be studied in a particular order. On the
con trary, its chronological arrangement, being neutral, leaves instructors free to
choose the order that best suits their needs.
The wide selection of tonal works is grouped u nder severa) broad categories:
can tus f irm us composi t ions, imita tive contra pu n tal genres, small bi nary and
ternary forms, sonata form, repetition forms, variations, songs for accom panied
solo voice.
PREFACE

Within each of these groups the particular form or genre is shown in a variety
of structural possibilities. The twentieth-century section, in addition to including
examples of certain older forms, together with works that extend or remodel
traditional tonality, stresses post-tonal compositions of many different kinds, again
with multiple examples of a given type or procedure progressing from elementary
to more advanced.

INDEXES ANO ÜTHER TEACHINC AIDS

The most comprehensive of the various teaching aids the book offers are two
indexes (or, more accurately, example-finders ) which refer not to words in the text of
the book but to elements in the music. lNDEX 1 is an alphabetically arranged
general índex that locates the forms and genres referred to above, as well as exam
ples of many procedures and devices of tonal and post-tonal music. INDEX li is
a systematically arranged locator of chords, sequences, and modulations. As a
further aid, the introductions that precede each of the five large parts of the book
provide a broad view of that part's contents and make suggestions for its use.
More specific comments, together with a few questions, precede most of the indi
vidual pieces (or groups of similar pieces). Frequent footnotes cite bibliography
that sheds light on a piece or a body of repertoire. Two final aids (beginning on
page 579 just before the indexes) are a graded list of 25 pieces that are suitable
in their entirety to first-year harmony courses, and a similarly graded list (new to
this edition) of excerpts suitable for score reading at the keyboard. The use of ali
these aids is, of course, optional.
My commen ts and q uestions throughout the book at times express a
Schenkerian viewpoint, a viewpoint not out of order, since familiarity with some
of Schenker's more general ideas has become widespread in the last few decades.
The indexes also contain severa! Schenkerian entries, including some based on
concepts for which 1 am indebted to the well-known textbook, Harmony and Voice
Leading by Edward Aldwell and Carl Schachter (Harcourt Brace, 2nd ed., 1989),
and also the well-known Phrase Rhythm in Tonal M usic by William Rothstei n
(Schirmer Books, 1989). But in no way does this anthology intend to recommend
Schenkerian analysis at the expense of traditional approaches, many of which
have enduring value in undergraduate teaching. For this reason l have used
throughout as universal a terminology as possible .

FEATURES NEW TO THIS EDITION

ln response to many requests and suggestions, the range of music has been
broadened by the incl usion of 16 composers never before in the Anthology, 12 of
whom are represented by pieces for media other than keyboard. Particularly
notable among the new pieces are a complete trio sonata of Corelli; a vocal
fugue from Handel 's Israel in Egypt; two additional, and shorter, rondos (filling an
often-noted lacuna); the complete "Pathétique" sonata of Beethoven and the
second movement of his Symphony No. 8; two pieces from Mussorgsky 's
Pictures at an Exhibition; a song of Gabriel Fauré; a string quartet movement of
Ruth Crawford; a movement from Benjamin Britten 's Serenade for Tenor, Horn and
Strings; and George Gershwin's "I Got Rhythm." Nine new genres include a lute
song of John Dowland, a Bach three-part invention exploiting tripie counter
point, a free fantasia by CP.E. Bach, and pieces by John Cage and Terry Riley
illustrating indeterminancy and minimalism.
A wholly new and separate section on jazz contains examples of blues plus
works by Charlie Parker and John "Dizzy" Gillespie . This section together with
other works in the Anthology form a new group of examples illustrating various
approaches to the art of improvisation from the mid-seven teen th cen tury
 PREFACE

through the late twentieth. Three items have been brought back from the third
edition-the minuet from Haydn's "Clock" Symphony, Charles lves's "General
11
Booth Enters into Heaven, and Henry Cowell's The Banshee.
ln addition to the new score reading feature noted above, the indexes have
been revised and somewhat expanded for greater usefulness to teachers of first
and second year harmony. Many of the individual entries cite a group of examples
that covers a wide spectrum . As in the fourth edition, the simpler examples cited
are marked with an asterisk (*). New to the fif th edition is the use of a dagger
[t] to point out the more complex, unusual, or challenging examples. Finally
and again with an eye to user-friendliness -the musical copy of the entire book
has been considerably improved.

ln this edition, as in ali the earlier ones, it has been my inten tion to present the
compositions not merely as examples of a particular type or technique, but as
outstanding works of great intrinsic merit, which is, after ali, the quality that has
. enabled them to survive so long and to move us still. I have also sought to pro
mote the attitude-and 1 recommend it to teachers- expressed by CP.E. Bach
in a letter to a friend dated from Hamburg, October 15, 1777:
ln my opi nion, in instructing [students]...a most important element,
analysis, should not be omitted. True masterpieces should be taken from
ali styles of composition, and the student shown the beauty, daring and
novelty in them. Also he should be shown how insignificant the piece
would be if these things were lacking ...and especially how a work departs
1
from ordinary ways, how venturesome it can be.

ACKNOWLEDCMENTS
l am grateful to everyone who contributed to the changes in the fifth edition,
and in particular: Gene J. Cho, University of North Texas; Paul Mast, Oberlin
College; Louis Karchi n, New York Universi ty; Peter Spencer, Florida State
University; and Daniel Kessner, California State University.
For their generous advice and assistance 1 am also very gratef ul to my Aaron
Copland School of Music colleagues: Sol Berkowitz, Allen Brings, Howard
Brofsky, Raymond Erickson, Jim my Heath, William Matthews, Paul Maynard,
Orara Pershing, Carl Schachter, and Joseph Straus, as well as to other musicians
and scholars, to wit, Alan Campbell, James Fuld, David Fuller, Henry Marti n,
Dan Morgenstern, Lewis Porter, and David Tudor. And for many kinds of help
1 express warm appreciation to the following graduate students past and present
Stephen Barrell, Bianca Goldman, David Goldma n, John Holzaepfel, Irene
Johansen, Stephan Li ndeman, Katharine Cartwright Oppenheim, Emílio Ros,
and Stephen Slottow. 1 extend my thanks also to Joseph Ponte and William Rorick
of the Music Library and to Michael Cogswell of the Louis Armstrong Archives,
ali of Queens College, as well as to Channan Willner of the Library and Museum
of the Performing Arts at Lincoln Center. And again 1 especially acknowledge
the invaluable contributions of Marian Burkhart, who in so many ways is co-author
of this book.

C.B.
New York, N.Y.

1 Quoted by William Mitchell in his translation oi CP.E. Bach, Essny º" tht Tnit Art of Plnying Krybonrd
fostn1nw1ts , Norton , New York , 1949, p. 441. Sec this anthology, pagc 145.
Contents

PREFACE 111

PART ONE
Medieval and Renaissance Music 1

INTRODUCTION 1

Examples of Plainchant 3
Kyrie from Mass XI ("Orbis factor'') 3
Tone for the Benedicamus Domi no 4
Hymn to St. John the Baptist 4
Hymn for Lauds, Decem ber 25 4
Agnus Dei from Mass l ("Lux et origo") 4
lntroit for the Feast of St. John of Damascus 5

Anonymous
Las!-Donés sui-EIUS (Parisian m otet) 6

Guillaume de M achaut, ca. 1300-1377

De bon espoir-Puisq ue la douce rousee
SPERAVI (i-sorhythmic motet) 8

Guillaume Dufay, ca. 1.400 -1474

Commun io from M issa Sancti Jacobi 13

losquin Desprez , ca. 1450-1521

Tu pauperum refugium (m otet) 15

Giovanni Pierluigi da Palestrina, ca. 1525-1594

Sanctus and Benedictus from M issa Aeterna Christi M unera 1.8
 CON TEN TS

Roland de Lassus, 1532-1594

Cantiones Duarum Vocum 23
1-Beatus vir 23
6-Qui sequitur me 25
12- Sicut rosa 27

Tomás Luís de Victoria, 154 8 - 1611

O magnum mysteri um ( motet) 29
Kyrie from M issa O mag num mysterium 34

Cario Gesualdo, ca. 1560-1613

Moro lasso ai m io duolo (madrigal ) 36

John Dowland , 1563 -1626

Fl ow, my Tears (l ute song) 39

Examples of Stock Basses, ca. 1550- 1650 42

Ex. 1. Claude Gervaise,fl . 1540-1560
Pavane Passamaize 43
Ex. 2. Jacomo Gorzanis, ca. 1520-ca. 1577
Pa ssamezzo and saltarel lo 44
Ex. 3. A11to11io de Cabezó11, 1510-1566
Diferencias sobre "Cuárdame las vacas" 46
·Ex. 4. Christopher Simpson, died 1669
Oivisions for the Practice of Learners, from The Divisio11 -Viol 49

PART TWO
Baroque Compositions 51

INTRODUCTfON 51

Claudio M onteverdi, 156 7-1643

Lasciatemi morire (m adrigal) 53

Arcangelo Corelli, 1653 - 1713

Tri o Sonata , Üp. 4, No. 11 56
Preludio 57
Corrente 59
Allem anda 61.

Henry Purcell , 1659-1695

Dido's Lamen t from Dido and Aeneas 63

François Couperin , 1668 -1733

Passacaille from Pieces de Clavecin, Ordre VIII 65
CONTENTS

Notebook for Anna Magda /ena Bach ( 1725)

Four Pieces 71
March 71
Minuet 72
Aria 73
Polonaise 74

George Frideric Handel , 1.685-1759

Concerto Grosso i n B mi nar, Op. 6, No. 12 (score) 75
Largo 75
Allegro 77
Ai r from Suite No. 5 in E major 84
"He smote ali the f irst-born" from Israel in Egypt 87
Recitative : "Thy rebuke hath broken his heart"
from Messiah 91.
"Where'er you walk " from Semeie 92

lohann Sebastian Bach, 1. 685- 1750

Gavottes I and II from English Suite No . 3 in G minar 95
Sarabande from Partita No. 1. in B flat majo r 97
Minuets I and II from Suite No. 1. in G major for
Violoncello Solo 98
Chacon ne from Partita No. 2 in D mínor for Violin Solo 99
Harpsichord Concerto No. 3 i n D mi nar (after Marcello),
second movement 106
Two l nventions 109
No . 12 i n A major 109
No. 13 i n A minar uo
Sinfonia No. 9 i n F mi nar 112
Preludes and Fugues from The Well-Tempered Clavier,
Book I 1.1.4
Prel ude and Fugue 1 i n C major 114

c
Fugue 2 i n mi nar 117
Fugue 8 i n D sharp minor 1.1.9
Fugue 11 i n F major (wi th the Fugue i n F major of
JK.F. Fischer, ca. 1665-1746) 122
Prelude and Fugue 16 i n G mi nor 124
Fou r Canons from The M usical Offering 1. 27
Crucif ixus from Mass in B minor 128
O Gott, du frommer Gott (chorale variation ) 133
Three Chorale Preludes 134
Jesu, mei ne Freude 134
Wen n wir in hõchsten Nõten sein 135
Vor dei nen Tron tret' ich hiermi t 136

Domenico Sca rlatti, 1685-1757

Sonata in E major, K. 380 (Longo 23) 138
 CONTENTS

PART THREE
Classical Compositions 143

INTRODUCTION 143

Carl Philipp E111anuel Bach, 1714-1788

Free Fantasy i n D major from
Essay on the True Art of Playing Keyboard Instruments 145

Joseph Haydn, 1732-1809

String Quartet i n G mi nar, Op. 74, No. 3,
f irst and second movemen ts 147
Piano Sonata No. 52 i n E flat major, f irst movement 153
Symphony No. 101 i n D major (score)
third and fourth movem ents 161

A1uzio Clemrnti, 1752-1832

Sonatina i n G major, Op. 36, No. 2, first movemen t 116

Wo/fgang A111ade11s Mozart, 1756-1791

Theme with Variations from Piano Sonata i n D major,
K. 284 1 11
Piano Sonata i n 8 flat major, K. 333 188
Allegro 188
Andan te can tabi le 194
Allegretto grazioso 197
Fan tasia i n C mi nar, K. 475 203
Piano Sonata i n B flat major, K. 570, second movemen t 212
Pia no Concerto i n A major, K. 488, first movemen r
(score) 214
"The Bi rd-Catcher's Song" from The Magic Flrite 236

Lud wig van Beethoven , 1770-18 27

Piano Sonata No. 1 i n F mi nar, Op. 2, No . 1,
fi rst and thi rd movemen ts 238
Piano Sonata No. 4 i n E flat major, Op. 7,
second m ovemen t 24 4
Pia no Sonata No. 5 i n C mi nar, Op. 10, No. 1,
second m ovement 248
Piano Sonata No. 8 i n C mi nar, Op. 13 ("Pathétique") 253
Grave. Allegro d i mol to e con brio 253
Adagio ca n tabile 260
Allegro 263
Piano Sonata No. 9 i n E major, Op. 14, No. 1,
second movem en t 269
Piano Sonata No . 21 i n C major ("Waldstein"), Op. 53,
f i rst movement 271
Sym phony No . 8 i n F major, Op. 93,
secon d movemen t (score) 285
String Quartet No. 13 i n B flat major, Ü p. 130,
second movemen t 291
CONTENTS

PART FOUR
Romantic Compositions 29 5
INTRODUCT!ON 295

Fran z Schubert , 1797-1828

Three Lieder 297
"Nahe des Gel iebten" 297
"Der Ooppelganger" from Schwanengesang 299
"Erl kõnig" 301
Two Piano Pieces 308
Wal tz i n A fla t major, Op. 9, No. 2 308
Momen t Musical No. 6 i n A fla t major from
Sechs Moments M usicaux, Op. 94 308

Felix M endelssohn, 1809-1.847

Song Wi thout Words, Üp. 62, No. 1 311

Robert Schumann, 1810-1856

Seven Pieces from A/bum for the Young, Op. 68 313
!-Melodie (Melody ) 313
3-Trallerliedchen (Hummi ng Song) 313
6-Armes Waisenki nd (Poor Orphan Child) 314
8-Wilder Rei ter (The Wild Rider) 315
14-Klei ne Studie (Li ttle.Etude) 316
17-Klei ner Morgenwanderer (Li ttle Morni ng
Wanderer) 318
31 -Kriegslied (War Song) 319
Vogel als Prophet from Waldszenen, Op. 82 321
"!eh grolle nich t" from Dichterl iebe, Op. 48 324

Frédéric Chopin , 1810-184 9

Seven Preludes from Op. 28 327
Prelude 1 i n C 327
major 2 i n A
Prelude 328
mi nar 4 i n E
Prelude 329
mi nar 6 i n B m i
Prelude 330
nor
Prelude 9 in E 3 31
major 20 i n C
Prelude 332
mi nar 22 i n G
Prelude 332
miMazurkas
Five nar 333
Mazurka 5 i n B flat major, Op. 7, No. 1 334
Mazurka 6 i n A mi nor, Op. 7, No. 2 336
Mazurka 37 i n A flat major, Op. 59, No. 2 338
Mazurka 43 i n G mi nar, Op. posth. 67, No. 2 340
Mazurka 49 i n F mi nor, Op. posth. 68, No. 4 342
Nocturne in D flat major, Op. 27, No . 2 34 3

Richard Wagner, 181.3-1883

Prelude and Liebestod from Tristan und !solde 34 B
 CONTENTS xi

Johannes Brahms, 1833-1897

"Wie Melodien zieht es mi r," Üp. 105, No. 1 365
Three lntermezzos 368
lnterrnezzo i n A mi nor, Üp. 76, 369
No. 7
lntermezzo i n A major, Üp. 118, No 371
.2
Intermezzo in C major, Op. 119, 314
No. 3
Sonata i n F minor for Clarinet and Piano, Üp. 120,
No. 1, first movemen t 377

M odest M ussorgsky, 1839-1881

Two Pieces from Pictures at a n Exhibition 387
Promenade 387
Ballet of the Chicks i n thei r Shells 388

Gabriel Fauré, 1845-1924

"Toujours," Op. 21, No . 2 390

Hugo Wolf. 1860-1903

Two Songs 394
"Das verlassene Magdlei n" 394
"ln der Frü he" 397

Gustav M ahler, 1.860- 1911

Adagietto from Symphony No. 5 (score) 400

PART FIVE
Modero Compositions 405
INTRODUCTION 405

Claude Debussy, 1862-1918

Prél ude à "CApres-midi d'un faune" 408
La cathédrale engloutie from Preludes, Book I 4 21

Arnold Schoenberg, 1874 -1951.

No. l of Tbree Pia no Pieces , Op. 11 426
Summer Morni ng by a Lake (Colors), No. 3 of
Five Pieces for Orcbestra , Ü p . 16 4 30
Piano Piece, Op. 33a 436

Charles Ives, 1874 - 1954

Two Songs 4 41
'The Cage" 4 41
"General Will iam Booth En ters into Heaven"
(wi th the hym n "Cleansi ng Fou ntai n") 4 42

Maurice Ravel . 1875-1937

Sonatine, first movemen t 450
CONTENTS

Be1a Bartók, 1881-1945

Three Pieces from Mikrokosmos 454
Bulgarian Rhythm 454
Syncopation 456
Oiminished Fif th 458
Music for String Instruments, Percussion , and Celesta,
first movement (score) 459

Igor Stravinsky, 1882-1971

Le sacre du printemps, lntroduction to Part II 465
Marche du soldat from [ histoire du soldat (score) 473
Theme with Variations from Sonata for Two Pianos,
second movement (excerpt) 477
Oirge-Canons from ln M emoriam Dylan Thomas 481

Anton Webern, 1883-1945

Five Movements for Quartet, Op. 5,
fourth movement 484
"Wie bin ich froh!" No. tlof Drei Lieder , Üp. 25 4 85
Variations for Piano, Üp. 27, second movement 488

Alban Berg , 1885-1935

"Schlafend tragt man mich" from Vier Lieder , Üp. 2 489

Paul Hindemith, 1895-1963

"A Swan" from Six Cha11so11s 491
Piano Sonata No. 2. , first movement 4 93
Fuga prima in C from Ludus Tonalis 498

Henry Cowell, 1897--1965

The Banshee 501

Ernst Krenek , 1900-1991

Suite for Violoncello Solo, Üp. 84, first movement 504

Aaro11 Copland , 1900-1990

'The World Feels Dusty,"
No. 4 of Twelve Poems of Emil y Dicki11son 505

Ruth Crawford (Seeger), 1901-1953

String Quartet 1931, third movement 507

Luigi Dalla piccola , -1904 -1975

Quartina , No. 11 from Ouaderno Musica /e di Annalibera 512

Elliott Carter, b. 1908

Canaries from Eight Pieces for Four Timpani 513

William Schuman, 1910-1992

Three-Score Set, second movement 517

John Cage, 1912-1992

For Paul Taylor and Anita Dencks 518
 CONTENTS

Be11ja 111i11 Britten, f 9i3-f 976

"Sonnet" and Epilogue
from Serenade f or Trnor Solo, Hom a11d Strin9s , Op. 3\ 520

Milton Babbitt, b. f 9i6

"P\ay on Notes" for chi\dren's voices and be\\s 524
Semi-Simp\e Variations 525

Geor9e Crnmb, b. f 929

"tPor qué nad entre espejos?''
No . \ of Mad ri9al s, Book \V 529

Terry Ril ey, b. f 935

\ n e 532

Bruce Saylor, b. f 916

"Psa\m \ 3" from Four Psa!m Settin9s 534

APPENDIX A
Two Jazz Forms: B\ues and Rhythm Changes 537
INTRODUCTION 537

Ex. \. The b\ues form 538

Ex. 1. "West End B\ues" by Joseph "King" Oliver an d
C\arence Williams 538
Ex. 3. Transcripti on of Louis Armstrong's improvisation
on "West End B\ues" 542
Ex. 4. "\ Cot Rhythm" by George and \ra Cershwin 54 3
Ex. 5. "Shaw 'Nuff " by John Birks "Dizzy" Ci\\espie and
Charles Parker, with transcription of Parker's so\o 547
Ex. 6. "Anthropo\ogy" by Ci\\espie and Parker
(in t\>JO harmonizations) 5 50

APPENDIX B
Chora\e Harmonizations 553

(by J .S. Bach unless otherwise indicated)

INTRODUCTION 553

Ach Gott und Herr 555

a) Cbristopb Peter (figured bass)
b) J.S. Bacb
e) JS. Bacb
Ach , wie f\üchtig, ach wie nichtig 556
Aus tiefer Not schrei ich zu dir 557
a) Hans Leo Ha ssler
b) JS. Bacb
CONTENTS

Ein feste Burg ist unser Cott 558

a) Hans Leo Hassler
b) 1.S. Bach
Ermuntre dich, mein schwacher Ceist 560
a) J.S. Bach
b) 1.S. Bach
Es ist genug 561
Freuet euch, ihr Christen alie 562
Herr Cott, dich loben alie wir 563
a) Michael Praetoriu s
b) 1.5. Bach
Herzliebster Jesu 565
a) Johann Crüger (figured bass)
b) 1.S. Bach
Jesu, Jesu, du bist mein (figured bass) 566
Jesu, meine Freude 567
O Cott, du frommer Cott 56 8
O Haupt voll Blut und Wunden 569
a) Hans Leo Hassler, "Mein Cmüth ist mi r verwirret"
b) 1.S. Bach
O Welt, ich muss dich lassen 570
a) Heinrich Isaac , "lsbruck, ich muss dich lassen"
b) I S. Ba ch
Schmücke dich , o liebe Seele 572
So gibst du nun , mein Jesu, gute Nacht
(f igured bass) 573
So gehst du nun, mei n Jesu, hin (figured bass) 574
Valet will ich dir geben 574
Wachet auf , ruft uns die Stimme 575
Wir Christenleut 576
a) Johann Hermann Schein
b) J.5. Bach

A NOTE ON THE SOURCES 578

TWO LISTS FOR TEACHERS OF THEORY

AND MUSICIANSHIP 579

INDEX 1: GENERAL INDEX 581

INDEX II: INDEX OF CHOROS, SEQUENCES, AND MODULATIONS 589