Analyzing Classical Form: An Approach for the Classroom

Enough depth about the structure of music in the Haydn, Mozart, and Beethoven era to repay a lifetime of study. Since I'm studying this outside of the structure of a regular university program, I especially appreciate that this book's on-line component isn't keyed to registering in a particular organized course, as is the case with so many textbooks today. Instead, the web site with recordings of the music examples, answers to questions, etc., is freely accessible to all.

This is, quite simply, the best musical analysis textbook I've seen. The theories are presented comprehensively and clearly, and are illustrated through numerous examples. The narrow focus on the instrumental music of Haydn, Mozart, and Beethoven means that the theories can be based firmly on describing characteristic elements of this specific body of work, rather than presenting a prescriptive essence of what the forms "should" look like.As a result, this text is extremely practical and useful in understanding the compositions of these three composers. And, because of their tremendous influence on subsequent composers, I have found the theories to be helpful in analyzing western "art" music into the late Romantic period.The focus on practical, descriptive theories and applying them to numerous musical examples has also paid some unexpected dividends--it turns out that elements of these theories are useful in analyzing music in other idioms, like pop music. For example, it is often easy to find presentation, continuation, and transition functions in Max Martin pop songs, perhaps with a restive "pre-core" at the beginning of the bridge. Parts may be relatively "tight knit" or "loose knit". The sections with transition functions may be based on material from the "main theme" or new material. The "recap" after the bridge may omit or compress material to avoid repetition but still give a sense of "return". There might be a coda that refers back to material not seen since the introduction, to tie up loose ends. And so forth.I highly recommend this textbook to any serious student of music interested in learning more about western "art" music.

I'm reading this as a follow up to Schoenberg's 'fundamentals of musical composition' and, important as that book is, this book is vastly more thorough and well-organized. The companion website is also very helpful to have pulled up as I'm reading, for checking answers and listening to examples. My primary interest is composition rather than analysis but I'm finding that this book perfectly meets my needs. The excercises at the end of each chapter also include some composition excercises.

Really great book to help understand and appreciate sonatas. Especially helpful if you want to understand or compose any type of song - classical, pop, rock, jazz. You must have a really good knowledge of harmonic theory, and it helps if you can play an instrument. Would recommend for musicians and songwriters; and those who have a deep appreciation for classical piano music.

Book is great. Companion website doe not exist as promoted in ads. Very disappointing.

One of the best music theory books ever written.

If you are looking for a clear book on harmony/form and how it is applied in music then this is the book for you. I am a pianist/composer and I have been needing a resource such as this to help me take it to the next level. This is it!

A must read for any musician serious about the classical repertoire. Like Shakespeare, if you don't understand the vocabulary and grammar, then the words are meaningless no matter how beautifully you pronounce them. This book gives you the foundation upon which to stand and its value cannot be calculated in stars.