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This landmark collection of 141 musical compositions and movements from the common-practice period offers first- and second-year music theory classes a wealth of illustrations of chords, voice-leading techniques, and forms. Because the book takes no theoretical position, it is adaptable to any theoretical approach and to any type of curriculum, including those that combine theory study with music literature and the history of musical style.
- A core selection of canon pieces.
- Includes Bach’s Chaconne from Partita No. 2 in D minor for Violin Solo.
- ANTHOLOGY FOR MUSICAL ANALYSIS: THE COMMON-PRACTICE PERIOD, First Edition, is a new derivative of the best-selling ANTHOLOGY FOR MUSICAL ANALYSIS, 7th Edition. This new book features some of the most discussed repertoire of the common period, including pieces by J. S. Bach, Johannes Brahms, Giacomo Carissimi, Frédéric Chopin, Gabriel Fauré, W. A. Mozart, Arnold Schoenberg, Franz Schubert, Robert Schumann, and Giuseppe Verdi.
- Two indexes serve as "example finders," locating by page and measure number many examples in the music of chords, harmonic and contrapuntal devices, musical forms and genres, and many other technical elements. Instructors will find this feature particularly useful to quickly find examples of what they want to teach.
- A glossary of foreign terms and expressions adds cultural context and defines relevant vocabulary for students.
- Each musical form (e.g., sonata form, rondo, variations, fugue, etc.) is represented by numerous examples progressing from simple to complex, providing students with a wide range of pieces to study.
- Burkhart and Rothstein include works from more than 35 different composers and more than 140 complete musical compositions, providing a thorough sampling of styles for comparison and selections from which to choose. Although arranged chronologically, the pieces can be taught in the order that best suits the instructor's needs.
- The book's website includes pieces that instructors can use to supplement the course. Also available is a comprehensive DVD that includes recordings of important compositions and movements found within the text, as well as many additional selections, to enhance students' experience with music theory.
Part I: BAROQUE COMPOSITIONS.
2. Claudio Monteverdi, 1567–1643.
Cruda Amarilli (madrigal).
3. Giacomo Carissimi, 1605–1674.
The Daughter''s Lament from Jephte.
4. Arcangelo Corelli, 1653–1713.
Adagio and Allegro from Violin Sonata, Op. 5, No. 1. Allemanda from Trio Sonata, Op. 4, No. 11.
5. Henry Purcell, ca. 1659–1695.
Dido''s Lament from Dido and Aeneas.
6. Johann Caspar Ferdinand Fischer, ca. 1665–1746.
Prelude and Fugue No. 6 in E Phrygian from Ariadne musica.
7. François Couperin, 1668–1733.
Les moissonneurs from Pièces de clavecin, Ordre VI.
8. Notebook for Anna Magdalena Bach (1725).
Four Pieces: March. Minuet. Aria. Polonaise.
9. George Frideric Handel, 1685–1759.
Concerto Grosso in B Minor, Op. 6, No. 12 (score). Largo. Allegro. Chaconne in G Major. Recitative: "Thy rebuke hath broken his heart" from Messiah. Aria: "Where''er you walk" from Semele.
10. Johann Sebastian Bach, 1685–1750.
Allemande from French Suite No. 6 in E Major.
Gavottes I and II from English Suite No. 3 in G Minor. Bourrées I and II from Suite No. 3 in C Major for Violoncello Solo. Sarabande and Double from Partita No. 1 in B Minor for Violin Solo. Chaconne from Partita No. 2 in D minor for Violin Solo. Two Inventions: No. 4 in D Minor. No. 12 in A Major. Preludes and Fugues from The Well-Tempered Clavier from Book I: Prelude 1 in C Major. Fugue 2 in C Minor. Fugue 11 in F Major. Fugue 16 in G Minor. From Book II: Fugue 16 in G Minor. Contrapunctus VII from The Art of Fugue. Four Canons from The Musical Offering.
Crucifixus from Mass in B Minor. O Gott, du frommer Gott (chorale variation). Three Chorale Preludes: Gott, durch deine Güte. Durch Adams Fall ist ganz verderbt. Wachet auf, ruft uns die Stimme.
11. Domenico Scarlatti, 1685–1757.
Sonata in D Major, K. 96 (Longo 465).
Part II: CLASSICAL COMPOSITIONS.
13. Joseph Haydn, 1732–1809.
Piano Sonata No. 36 in C-sharp Minor, first movement. Piano Sonata No. 37 in D Major, third movement. Piano Sonata No. 3 in C Major, third movement. String Quartet in G Minor, Op. 74, No. 3, second movement. Symphony No. 101 in D Major (score). Third movement. Fourth movement.
14. Muzio Clementi, 1752–1832.
Sonatina in G Major, Op. 36, No. 2, first movement.
15. Wolfgang Amadeus Mozart, 1756–1791.
Theme with Variations from Piano Sonata in D Major, K. 284. Piano Sonata in B flat Major, K. 333. Allegro. Andante cantabile.
Allegretto grazioso. Sonata for Piano and Violin in B-flat Major, K. 378, first movement.
Menuet and Trio from Serenade in C Minor, K. 388 (score). Fantasia in C Minor, K. 475.
"Là ci darem la mano" from Don Giovanni, K. 527. The Bird-Catcher''s Song from The Magic Flute, K. 620. Clarinet Concerto in A Major, K. 622, first movement (score). Kyrie from Requiem, K. 626.
16. Ludwig van Beethoven, 1770–1827.
Piano Sonata No. 1 in F Minor, Op. 2, No. 1. First movement. Third movement. Piano Sonata No. 4 in E-flat Major, Op. 7, second movement.
Piano Sonata No. 5 in C Minor, Op. 10, No. 1, second movement. Piano Sonata No. 8 in C Minor, Op. 13 ("Pathétique"). Grave. Allegro di molto e con brio. Adagio cantabile. Allegro.
Piano Sonata No. 9 in E Major, Op. 14, No. 1, second movement. Piano Sonata No. 15 in D Major, Op. 28, third movement. Piano Sonata No. 21 in C Major ("Waldstein"), Op. 53, first movement. String Quartet in F Minor, Op. 95 ("Serioso"), first movement. Piano Sonata No. 30 in E Major, Op. 109, first movement.
Part III: ROMANTIC COMPOSITIONS.
18. Carl Friedrich Zelter, 1758–1832. "Der König in Thule".
19. Franz Schubert, 1797–1828.
Four Lieder. "Erster Verlus". "Thränenregen" from Die schöne Müllerin. "Der Doppelgänger" from Schwanengesang. "Erlkönig". Two Piano Pieces: Waltz in A flat Major, Op. 9, No. 2. Moment Musical No. 6, from Sechs Moments musicaux, Op. 94.
20. Fanny Mendelssohn Hensel, 1805–1847.
"O Herbst" (chorus).
21. Felix Mendelssohn, 1809–1847.
Song without Words, Op. 19b, No. 1.
22. Robert Schumann, 1810–1856.
Two Pieces from Phantasiestücke, Op. 12: Des Abends (Of the Evening). Warum? (Why?). "Ich grolle nicht" from Dichterliebe, Op. 48. Six Pieces from Album for the Young, Op. 68: 1--Melodie (Melody). 3--Trällerliedchen (Humming Song). 6--Armes Waisenkind (Poor Orphan Child). 8--Wilder Reiter (Wild Rider). 14--Kleine Studie (Little Etude). 17--Kleiner Morgenwanderer (Little Morning Wanderer).
23. Frédéric Chopin, 1810–1849. Six Preludes from Op. 28: No. 1 in C Major. No. 4 in E Minor. No. 6 in B Minor. No. 9 in E Major. No. 17 in A-flat Major. No. 20 in C Minor. Four Mazurkas: No. 5 in B-flat Major, Op. 7, No. 1. No. 6 in A Minor, Op. 7, No. 2. No. 37 in A-flat Major, Op. 59, No. 2. No. 49 in F Minor, Op. posth. 68, No. 4. Nocturne in D-flat Major, Op. 27, No. 2.
24. Richard Wagner, 1813–1883.
Prelude to Act I from Tristan und Isolde.
25. Giuseppe Verdi, 1813–1901.
"Quel vecchio maledivami!" (duet) from Rigoletto.
26. Clara Schumann, 1819–1896.
Andante espressivo, No. 3 of Quatre pièces fugitives, Op. 15.
27. César Franck, 1822–1890.
Moderato from Chorale No. 1 in E Major for organ.
28. Johannes Brahms, 1833–1897.
"Wie Melodien zieht es mir," Op. 105, No. 1. Four Waltzes from Op. 39: No. 1. No. 2. No. 9. No. 10. Two Intermezzos: Intermezzo in A Minor, Op. 76, No. 7. Intermezzo in A Major, Op. 118, No. 2. Sonata in F Minor for Clarinet and Piano, Op. 120, No. 1, first movement.
29. Gabriel Fauré, 1845–1924.
"Prison," Op. 83, No. 1.
30. Hugo Wolf, 1860–1903.
Two Songs: "Das verlassene Mägdlein". "In der Frühe".
31. Gustav Mahler, 1860–1911.
Adagietto from Symphony No. 5 (score).
32. Claude Debussy, 1862–1918.
Prélude à "L''Après-midi d''un faune".
33. Richard Strauss, 1864–1949.
"Ruhe, meine Seele," Op. 27, No. 1.
34. Amy Beach, 1867–1944.
"Dark is the Night," No. 1 of Three Songs, Op. 11.
35. Arnold Schoenberg, 1874–1951.
"Traumleben," No. 1 of Acht Lieder, Op. 6.
Appendix A: MOSTLY CHORALE HARMONIZATIONS. (by J. S. Bach unless otherwise indicated).
37. Ach Gott Und Herr.
a) Christoph Peter (figured bass). b) J. S. Bach. c) J. S. Bach. Ach, wie flüchtig, ach wie nichtig. Aus tiefer Not schrei ich zu dir. a) Hans Leo Hassler. b) J. S. Bach. Christ lag in Todesbanden. Ein feste Burg ist unser Gott. a) Hans Leo Hassler. b) J. S. Bach. Es ist ein'' Ros'' gesprungen. Michael Praetorius. Freuet euch, ihr Christen alle. Herr Gott, dich loben alle wir. a) Michael Praetorius. b) J. S. Bach. Herzliebster Jesu. a) Johann Crüger (figured bass). b) J. S. Bach. Jesu, Jesu, du bist mein (figured bass). Jesu, meine Freude Komm, Gott Schöpfer, heiliger Geist. O Haupt voll Blut und Wunden. a) "Mein Gmüth ist mir verwirret," Hans Leo Hassler. b) J. S. Bach. O Mensch, bewein'' dein'' Sünde gross. So gehst du nun, mein Jesu hin (figured bass). So gibst du nun, mein Jesu, gute Nacht (figured bass). Valet will ich dir geben.
A Note on the Sources.
Translations of Foreign Terms.
Complete Short Pieces Suitable for First- and Second-Year Courses.
Index of Chords, Sequences, and Modulations.
Cengage provides a range of supplements that are updated in coordination with the main title selection. For more information about these supplements, contact your Learning Consultant.
Instructor's Website (with PoiwerPoint®, Instructor's Resource Manual)
Everything you need for your course in one place! This collection of product-specific lecture and class tools is available online via the instructor resource center. You'll be able to access and download such materials as Instructor Guidelines--which provide suggestions on lecture organization--strategies, mnemonic devices and other topic-specific pedagogical aids.
Student Workbook, Volume I
Provides material for homework assignments, classroom demonstrations and periodic reviews. A generous assortment of excerpts from the literature for assignments in analysis. Volume I corresponds with the first half of the text.
Student Workbook, Volume II
Provides material for homework assignments, classroom demonstrations and periodic reviews. A generous assortment of excerpts from the literature for assignments in analysis. Volume II corresponds with the second half of the text.