Form in Tonal Music AN INTRODUCTION TO ANALYSIS DOUGLASS M. GREEN Holt, Rinehart and Winston, Inc. NIAV YORK + CHICAGO + SAN FRANCISCO + TORONTO + LONDONCopyright © 1965 by Holt, Rinehart and Winston, Inc. All rights reserved Library of Congress Catalog Card Number 65-1159 _ ISBN 0-05-046108-7 ‘Printed in the United States of America 6789 006 1514181211 How all’s to one thing wrought! —Gerardd Manley Hopkins ON A PIECE OF MusicPreface he American college student, upon taking up the study of musical analysis, isolten placed under an unnecessary hardship. When attempting to master the iliciplines of harmony and counterpoint, he has traditionally been given help dita tery specie narare. Before boing zequined to construct phrases in the har tnonie style of the nineteenth century, he learns step by step how to fashion words, haw to connect them, how to choose them. Before attempting to repr {hice the styl ofa late sixteenth-century mote, he labors painstakingly through the five species, aequiring bit by bt the requisite sills. But on being led to the fiekl of musical analysis, although much of the technique of the analyst is no Joss an acaquiced skill shan that ofthe contrapuntist, he is virtually abandoned. ‘The standard forms are explained, but as he starts to discover for himself the form of a given composition the student generally suffers From inadequate Alreetions as to how to proceed. Tirom one point of view this book és much like its predecessors in that it tempts to acquaint the student with the standard forms of tonal music, More Ihnportan, however t begins to equip him with the necessary technique for hultioving the real aim of the study of form and analysis: the ability to approach t plece of music unencumbered by a prior’ notions as to shat characteristics Irahoukd ot should not have, and to discover, tk might be said in irmoconce, the stancture of the music For the purpose of daveloping wich a technique, many exercies have been dlovised and placed at frequent Intervals throughout each chapter, ‘The exer vii