uctural Hearing AL COHERENCE IN MUSIC VOLUME TWO BY FELIX SALZER H ‘A FOREWORD BY LEOPOLD "WANNES ‘Charles Boni, New YORK, NINETEEN FIFTY-TWOCopyright, 95: by Charles Boni ‘All Rights Reserved . ‘Manufaceured in the Uniced States of America Masia! lluserations Autographed by Carl A. Rosenchals, i Reehl Litho Co. Printing and Binding by H. Wolf, New York Published by Charles Boni 3 Grove Court, New York 14,N- Ys Acknowledgments Gratefal acknowledgment is made «0 the following publishers for permission ro we ‘copyrighted material ‘Acsertated Mosic Publishers, Inc. (Ex. %, 410, 41154457 453)- pe wes, Inc. (EX. 23,245 37, 38 06 907 48% 416 419 4522 PluaeeVogel Co, Tne. for Durand ex Gie. (Ex. 250). [Leeds Music Corp. (Ex. 380 4500+ EB. Marks Music Corp. (Ex. $13)- Oxford Universiny Press, Led, (Ex. 310, 5300+ Salabert, Inc. (Ex. 414)- 1 wish, furthermore, to chank the following for permission to reprint mates] from cheit ications: Feeney acersty Press, for various quotations from Historical Anthology of Musics Orient, Medieval and Renaissance, Vol. 1, Revised edition, 1949 (EX. 18 185, 510) 5154 $151 $24, 525)- EB, Marks Music Corp. for Ex. 415. ‘Oxford University Press, Ltd. for Ex. 209. Oe Schinmen, Inc for Ex. 418 and for the excerpts from Ruth and Thomas Martin's ‘cranslation of The Magic Flute (Ex. 483). Fs. Contents ‘Notes to the Reader ‘List of Musical Illustrations Notes and Glossary for the Voice-Leading Graphs Lise of Sources (Abbreviations) Musical illustrations 4Bas. Ex.Nos. Pages Part | Chapter Two RK ag Chapter Two ut Sor Chapter Three 12-95 12-27 Chapter Four 96-117 27-29 Chapter Five 118-268 30-89 Chapter Six 269-400 90-164 Chapter Seven 401-472 165-237 Chapter Fight 473-507 238-311 tt Chapter One so8-509 312-314 Chapter Two 510-539 314-349———— viii List of Musical Mustrations Example number Little Prelude, C minor, 147 Little Prelude, C minor, 249 Little Prelude, F Major, 170 Lictle Prelude, G minor, 93 Minnet 3 (Partita No.1), 495, Pracambulum (Partits No. 5), 331 Praeludium (Partita No.1), 225 Prelude No. 1 (Well-Tem- pered Clavier, BI), 152 Prelude No. 6 (Well-Tem- Clavier, BEL), 158 Prelude No. 10 (Well-Tem- -d Clavier, Bk I), 246 Prelude No. 21 (Well-Tem- pered Clavier, Bk 1), I Preinde No. 2 (Well-Tem- d Clavier, Bk), 169 Prelude No. 7 (Well-Tem- pered Clavier, Bk), 280 Barték Bagatelle, Op 6, No. 4 418 Bourrée (Mikrokosmos), 504 From 10 Easy Pieces for Piano, 441 Piano Concerto No. 3—tst movement, 480 Piano Pieces for Children, No. 2 186 String Quartet No. s—and movement, 452 ‘Ukrainian Song (Petite Suite), 241 Beethoven Bagatelle, Op 119, No. 11, 3 Piano Concerto, G Major, No. 4 —1st movement, 420 Piano Sonata, F minor, Op 2, ‘No. r-2nd movement, 442 3rd movement, 206 Piano Sonata, A Major, Op 2, No. 2—2nd movement, eo Piano Sonata, C Major, Op 2, No. 3~th movement, 298 Piano Sonata, C minor, Op 10, No. 1—1st movement, 463 Example number and movement, 443 Piano Sonata, D Major, Op 10, No. 3—1st movement, 458 Piano Sonata, C minor, Op 13 ind movement, 383 Piano Sonata, E Major, Op 14, ‘No. 1—2nd movement, 265 —3rd movement, 229 Piano Sonata, G Major, Op 14s No. 2—rst movement, 254 Piano Sonata, Bh Major, Op 22 1st movement, 461 Piano Sonata, Cf minor, Op 27, No. 21st movement, 375 Piano Sonata, G Major, Op 315 ‘No. i—ist movement, 440 Piano Sonata, Eh Major, Op 31, No. 3-tst movement, 288 Piano Sonata, C Major, Op 53 -Introduzione, 430 Piano Sonata, F minor, Op 57 1st movement, 464 Piano Sonata, G Major, Op 79 1st movement, 326 Piano Sonata, Ep Major, Op Sra—rst movement, 289 Piano Sonata, E minor, Op 90 —1st movernent, 450 Piano Sonata, E Major, Op 109, —1st movement, 221 Scring Quartet, Op 18, No. 5 —31d movement, 49 Symphony No. 7—1st movement, 462 ‘Symphony No. 93rd movernent, 222 Bizet Carmen: Seguidilla (Act 498 Brahms Feldeinsamkeit, 485 Incermezzo, Op 118,No.2, 308 Insermezzo, Op 119,No.1, 477 Example member Piano Sonata, F minor, Op 5 —1st movement, 33 Sextet No. 2, Op 36—15t move ment, 454 Symphony No. 3~1st move- ment, 503 ‘Waltz, Op 39, No.8, 494 Byrd Pavane: The Earle of Salis- bury, 243) 490 Sacerdotes Domini, “37 Cantata: Mary Stuart, 209 ca 283 Ende, Op 25, No. 5, agr Mazurka, Op 6, No. 1, 362 ‘Mazurka, Op 7, No. 2. 361 Mazurka, Op 17,.No.2, 304, 499 Mazurka, Op 17, No. 4 359 Mazurka, Op 24,No. 3, 285, 350 Mazurka, Op 30, No. 4, 357 Mazurka, Op 41, No. 4, 250 Mazurka, Op 59, No.2, 311,432 Mazurka, Op 63, No. 2, 284, Mazurka, Op 68, No. 2 (Posth.), 35 Mazurka, Op. 68, No. 4 (Posth.), 387 Nocturne, Op 9,.No. 2, 324, 300 Nocturne, Op 27,No.1, 378 Nocturne, Op 27, No. 2, 506 Noctume, Op 32, No. 1, 216 Nocturne, Op 37, No. 2, 508 Nocturne, Op 48, No. 2, 456 Polonaise, Op 26, Bt oo Op 40, 433 *olonaise-Fantasy, 49 Prelude, Op 28, No. 1, 4oz as Op 34, No. 2, 13t Wate OP 64,No. 2, 297, 393 altz, Op 69, No. 2, 165 ~*~ List of Musical Itustrations Example number Waltz, E Major (Posth.}, Clementi Sonatina, G Major, Op 36, No.2, Cléreau Kyrie r (Missa: In me tran- sierunt), Copland Appalachian Spring Piano Sonata—ist movement, 3 Excerpts from Our Town, No. 1, Couperin La Bandoline, La Favorite, Debussy Brayéres, Préiude & Vaprés-midi d'un fatine, Dowland Ayre: What if I never speed, Dufay Rondeau: Adieu m'amour, Dunstable Chanson: Puisque amour, Sub tvam protectionem, Farnaby A Toye, Fogliono Lauda: Ave Maria, Franck Prelude, Aria and Finale, Frescobaldi Corrente, La Frescobalda, Froberger Suite: “Auf die Mayerin”, Gastoldi Balletto: Speme amorosa, 142 220 214 239 416 333 426 478 455 473 536 535 534 435 405 484, 486 403x _ List of Musical Iustrations Example number Gesualdo 4 Madrigal: Io pur zespiro, 479 Gibbons The Queene’s Command, == 27 Handel Courante (Suite No. 14), 339 Double, 202 Minuet, 238 Variation 1 (Air from Suite No. 3). 27 Haydn Minuet, 7 Piano Sonata, D Major, No. 19 —2nd movement, air Piano Sonata, C Major, No. 21 —1st movement, 247 Piano Sonata, G Major, No. 27 —2nd movement, 214 Piano Sonata, F Major, No. 29 —2nd movement, 390 Piano Sonata, C Major, No. 35 =1st movement, 210 Piano Sonata, G minor, No. 44 and movement, 318 Piano Sonata, Ep Major, No. 23rd movernent, ap String Quartet, Op 20, No. 5 rd movement, 4or String Quartet, Op 76, No. 1 and movement, 349 Scring Quartet, Op 76, No. 4 =3rd movement, 336 Symphony, G Major, No. 100 ~4th movement, 266 Symphony, D Major, No. 104 “ist movernent, 459 Hindemith Tnterludium (Ludus Tonalis), 489 Piano Sonata No. 1st move- ment, 493 Piano Sonata No. 2—1st move- ment, 595 RS _[>:”"” & & + & ° °&» Example manber —and movement, 410 Piano Sonata No. 3—1st move- ment, m Isaac Kysie (Missa Carminum), $38 Josquin Des Prés Missa: Pange lingua, 156 Moret: Ave Maria, a8 Motet: O Domine Jesu Christe (2st part), 539 Motet: Tu pauperum refug- ium, 184 Lasso Christe Dei soboles, 509 Motet: Recordare Jesu pie, 402 Leoninus Alleluia Pascha, 514 Liszt Liebestraum (Nocturne No. 3), 300 Machaut Ballade No. 3, $30 Ballade No. 26, 533 Rondeau No. 13, 33 Virelai No. 31, 532 Virelai No. 32, 329 Virelai No. 38, 538 Mahler Kindertorenlieder, No.1, 445, Das Lied von der Erde, No. 6, 386 Marenzio Madrigal: To piango, 482 Martino Sonata for Cello and Piano No. 22nd movement, 4it Sonata for Violin and Piano ‘No. 2—2nd movement, 414 Mendelssohn A Midsummer Night's Dream, Overture, 436 Example number Song Without Words, Op 62, ‘No. 1, 205 Song Without Words, Op 102, No. 2, 218 Monteverdi Madrigal: Lasciatemi morire, 501 Moussorgsky Ballet of the Unhatched Chickens (Pictures from an Exhibition), 438 Mozart Courante (Suite, K. 399), 213 Don Gioverni: Aria (“Dalla sua pace”), 219 —Quartet (“Non ti fidar”), 267 Fantasia, D minor, K. 397, 207 Fantasia, C minor, K. 475,507 Fugue, C Major (Fantasia, K. 394), 235 The Magic Flute: Aria (Ach, ich fihl's”), 483 Piano Sonatz, C Major, K. 279 Ist movement ihgie __—3rd movement, 199, 201 Piano Sonata, F Major, K. 280 1st movement, 198, 217 _ ~2nd movement, 388, 475 Piano Sonata, G Major, K. 283 Ist movement, 244, 248 Piano Sonata, D Major, K. 311 and movement, 183 Piano Sonata, A minor, K. 331 —15t movement, vir Pieno Sonata, C minor, K. 457 3rd movement, is Piano Sonata, C Major, K. 545 ~1st movement, 3 Pian zt movement, 23 iano Sonata, D Major, K. 576 1st movement, 5, 277 Ronde, F Major, K. 494, 3 Aminor,K. 511, 203 a, List of Musical Illustrations xj Example number Trio, Eb Major, K. 498 1st movement, 230 Moffat Gottlieb Air (Suite, Bp Major), 245 Obrecht Osanna (Missa: Je ne de- mande), 537 Peerson The Primerose, 320 Perotinus Organum triplum, 516 Perotinus, Style of Organum, sis Prokofieff Gavotte, Op 77, No. 4, 380 Piano Sonata No. 3, Op 28 1st movement, 457 Piano Sonata No. 8, Op 84 —1st movement, 4st Purcell Dido and Aeneas: Overture, 319 Rameau Castor et Pollux: Choeur des Spartiates (Act I), 449 Ravel Jeux deau, 415 Rigandon (Tombeau de Couperin), 290 Sonatina—1st movement, 498 Scarlatti, D. Sonata, D'minor, L. 413, 2 Sonata, G Major, L. 490, 487 Schubert Fantasia-Sonata—ist move- ment, 438 German Dance No. 7, 316 Impromptu, Op 90, No. 2, 330 Dic Krithe (Winterreise), 48 Lindler, Op 18, No. 2, 223 Landler, Op 18, No. 10, 282 Landler, Op 67, No. 5, 144xii_—_List of Musical [lustrations Example number Liebesbotschaft, 476 Moment Musical No. 2, 502 Pause (Die schéne Milllerin), 385 Piano Sonata, D Major, Op 63 2nd movement, 294 Piano Sonata, Bp Major —1st movement, 337 304 Piano Sonata, C minor Ist movement, 437 2nd movement, 384 Symphony, B minor—rst movement, 497 Tiuschung (Winterreise), 334 Trinenregen (Die schane Milllerin), 366 Trio, By Major, Op 99 ist movement, 389 Waltz, Op 9, No. 8, 6 Waltz, Op 10, No. 6, 295 ‘Waltz, Op 18, No. 10, Vv ‘Waltz, Op 50, No. 1, 141 Waltz, Op 77, No. 10, 333 ‘Waltz, Op 127, No. 3, 293 Schumann Album-Leaves, Op 124,No. s, 307 Album-Leaves, Op 124, No. 10, 305 Album-Leaves, Op 124,No. 16, 9 ‘Auf dem Rhein, 310 Bunte Blatter, Op 99, 279 Dichterliebe, No. 5, 287 Fantasiestiicke, Op 12, No. 3, 299 Forest Scenes, No. 6 391 Humoreske, Op 20, 296 Kreisleriana, Op 16,No.8, 352 Little Piece (Album for the Young), 5 Melody (Album for the Young), 234 Novelette, Op 21, No. 2, 358 Novelette, Op 21, No. 8, 363 Example number Der Nussbaum, 286 Piano Concerto, A minor ~1st movement, 335 Piano Quintet—1st movement, 430 Romance, Op 28, No. 1, 435 Scenes from Childhood, Op 15, No.1 303 Strauss, R. Ariadne auf Naxos, 377 —Quintet, 406, 407 Don Juan, 381 Elektra 419 Stravinsky Symphony in Three Move- ments—rst movement, 417.472 Vaughan-Williams ‘Symphony No. 5, 330 Verdi Oro supplex (Requiem), 429 Wagenoar Ciacona, 433 Ww ‘agner Gétterdimmerung (Act), 367 Siegfried’sRhine Journey 360 Persifal (Act I), an Tristan und Isolde: Prelude, 371 Act Il, 404 Weber Der Freischiita: Overture, 335 —Act II, No. 6, 376 Wolf In dem Schatten meiner Locken (Spanisches Liederbuch), 382 In der Frihe (Mérike Lieder), 488 Schlafendes Jesuskind (Morike Lieder), ast a xiii Notes and Glossary for the Voice-Leading Graphs 1, The note-values indicate the seructural value and significance of tones and chords; they do not indicate rhythmic values. The difference in structural significance is given in four different nore-values: half-notes, quarter-notes, notes without stem and occasionally eighth-notes. The latter are used to indicate embellish- ‘ments and appoggiaturas. The highest note-values in a graph rep- resent tones or chords of the highest structural order. Among notes of equal value, those whose stems reach the sime level are of the same structural order, 3- The relation between identical and different tones or chords, and specifically their structural connection, is indicated by dotted or solid slurs, lines, arrows or by beams. 4 Horizontal, solid arrows (used mostly in regard to bass motions) indicate the direction or driving tendency of the music in general, or passing motions in particular. 5 A note in parenthesis with or without a dotted stem means a note expected on the basis of direct voice leading, but omitted or sub- stituted for in the composition. 6 Brackets of various kinds indicate either chord prolongations ( ——) or melodic parallelisms ( — ). 7- Roman numerals are assigned to harmonic chords only; the relative Size of these numerals corresponds to their structoral value, 8. A small Roman numeral in parenthesis indicates the chord of har- monic emphasis, a,Notes and Glossary for the Voice-Leading Graphs Glossary of Symbols P Passing tone or passing chord N Neighbor nore or neighbor-note chord UNandLN Upper and lower neighbor note IN Incomplete neighbor note X Neighbor-passing chord Em Embellishing chord cs Contrapuntal-structural chord DF Double function chord M Mixture ty Interruption D Dividing dominant AB or ABAt Indication of form . 4 . List of Sources (Abbreviations) AM — Alleniederlindische Motetten, ed. by W. Braunfels, Oratori- umsverlag, Kéln. AMI VArte musicale in Ital, ed. by L.. Torchi. G, Ricordi ¢ c, Milano, AUDM Auffiibrungspraxis der Musik, by R. Haas. Akademische Ver- schaft Athenaion, Potsdam, CM Cent Motets du XIII Sidcle, transcribed by P. Aubry. Rouart, Lerolle & Cie., Paris, DAS CHORWERK Das Chorwerk, ed, by F. Blume, G, Kallmeyer Verlag, Wolfenbiittel, DTOE Denkmiler der T onkunstin Oesterveich, Artaria & Co., Wien, HAM = Historical Anthology of Musi Oriental, Medieval and Renaissance Music, ed. by A. 'T. Davison and W. Apel, Vol. I. Rev. ed. Harvard University Press Cambridge, Mass, HDM Handbuch der Musikgeschichte, ed. by G. Adler, 2nd ed, Heinrich Keller, Berlin, EPM The Evolution of Pizno Music (1 350-1700), ed. by C. Sachs. E. B, Marks Music Corp,, N. Y. MET Music of Earlier Times (igth Century to Bach), ed. by J. Wolf. Broude Bros., N. Y. MMA Mac inthe Middle Ayes, by G. Reese. W. W. Norton & Co., Ye MW Guilleume de Machaut, Musikalische Werke, ed, by F. Lud- wig. Breitkopf & Hartel, Leipzig. OHM The Oxtord Mistory of Music. Oxford University Press, Ltd, don, OL an di Lasso, Simemtliche Werke, Breitkopf & Hartel, ipzig. SHM 4 Shore History of Music, by A. Einstein, 2nd ed. Alfred A. Knopf, N.Y!xvi List of Sources TIC Sechs Trienter Codices, ed. by G. Adler. In DTOE. VDO Studien zur Vorgeschichte der Orchestersuite im 15. und 16. Jabrhundert, by F. Blume. Kistner & Siegel, Leipzig. WJO Jacob Obrecht, Werken, ed. by J. Wolf. Johannes Miller, ‘Amsterdam, mw gietavenewsencees Mysical Illustrations ‘Note: Sources for the quotations from English virginal compositions, which have been repeatedly reprinted, are omitted.qa Tempered Clavier, Bk |) b l S ——V—E___"”" a ml BACH Chorale (No. 23) Part I Chapter Two i: BACH Prelude No. 21 (Well- : | | | | i] BACH Chorale (No. 294) ade hu graph Illa I VI choraleSCHUBERT Waltz, Op 18, No. 10 —! ow o oh = ee | vitt MOZART Piano Sonata, A minor, K, 331 a | Exp. q Istsubjctzndsubject| (60)HINDEMITH Piano Sonata No. 3 With quiet motion . 2 ™ ‘Copmtghe 936 Associated Msi Publishers, ne: sud by special permis,Part 1 Chapter Two | BACH Chorale (No. 6) flaw aler 3 a E I 2 D. SCARLATTI Sonata, D minor, L. 413 | | \ | 5 SCHUMANN Little Piece (Album | for the Young) gy Moderato 3 BEETHOVEN Bagatelle, Op 119, | 6 No. 11 j Andente, ma non troppo SCHUBERT Waltz, Op 9, No. 87 HAYDN Minuet 5 T0eonrs | a 8 FOLK TUNE | n BACH Chorale (No. 7) 9 SCHUMANN Album-Leaves, Op 124 No. 16 | Peg Allegretto By) } == ) | Eanes my 1 Cc °o BEETHOVEN Piano Sonata, — A Major, Op 2, No. 2 Large appassionato a a P ErerePast I Chapter Three35 b a b ont otb enpeishment stonds forPast I Chapter Four103 FSS imme» SG 106 104 105 n2 113ns a ei Ys iT art Hl, Chapter Five I—-Vy 1 I ng 120 a I—Myr 7 iv . BACH Chorale (No. 337) 2 r BACH Chorale (No. 88) : I—— Iv I—EV I 122 BACH Chorale (No. 348) a a 2 a Tv I I 123 BACH Chorale (No. 246) Ty ft Iinstead ot: 126 ‘5 peo OE instead oftBRAHMS Piano Sonata, F minor, Op 5 Allegro maestoso 130 g By gc oS 131 = CHOPIN Waltz, Op 34, No. 2 a Lento. a SSS I av 48 132 BACH Gavotte (French Suite No. 5)BACH Chorale (No. 330) altz, Op 50, No. 1 NK ™~ 141 SCHUBERT Wi 442 CHOPIN Waltz, E Major (Posth.) Tempo di valse eee = Bo 343 MOZART Piano Sonata, C Major, K, 545 Allegro 144 ~=SCHUBERT Landler Op 67 No. 5 eee SS BP ‘45 BACH Chorale (No. 346) 1 mw i. I Inve 1Tempered Clavier, Bk |) 147 BACH Little Prelude, C minor | 5 BACH Prelude No. 1 (Well-154 C.P.E BACH Minuetto < <> | ESS i 185 CHOPIN Waltz, Op 69, No, 2 = Moderato (157 I 158 ~~ BACH Prelude No. 6 (Well- Tempered Clavier, Bk 1) 160 BACH Chorale (No. 11)160 cont'd a Saale, 162 BACH Chorale (No. 366) Z ? 163 BACH Chorale (No. 367) i Sea ee 168 BACH Chorale (No. 24) -— a © ir BACH Prelude No. 2 (Well- Tempered Clavier, Bk i} 169 170 BACH Little Prelude, F MajorWS BACH Chorale (No. 367) noo Y I VI 176 ~~ BACH Chorale (No. 362) a a 2 46 BALM GNOTGle (Ferers ING. Ho} y * r a e79 BACH Chorale (No. 110) 182 BACH Chorale (No. 42)eee rE 3 MOZART Piano Sonata, D Major, K. 311. Andante con espressiono 185 GIACOMO FOGLIANO Ave Maria reir San - cta Maj si-a, Ma-ter | De - i, ¥ v 44 = JOSQUIN Motet: Tu pauperum refugium ‘ ¥ 186 = BARTOK Piano Pieces for Children, No. 32 Allegro ironico Rilo Ne we lea = 9 -| om Bs To babe", Frinton fam, Vor | Ne 90) . b 7 wg Lg ee Tf | : ae Lat E E ~~ JOSARY OF THE UNIVERSIT r OF ALRER 5)agile I> my 1P24 cont'd d 196 Interval -cutlining rms SS 3 197 qa ae 198 = MOZART Piano Sonata, F Major, K. 280 grcitetteeets) 199° MOZART Piano Sonata, C Major, K. 279 200 BACH Courante (Partita No. 5) + 201 = MOZART Piano Sonata, C Major, ; K. 279202 HANDEL Double 205 MENDELSSOHN Song Without Words, Op 62, No. 1 Andante espressivo ec ee ror F 203. MOZART Rondo, A minor, K. 511 Andante = P _ 206 BEETHOVEN Piano Sonata, ; F minor, Op 2, No. 1 Allegretto207 =MOZART Fantasia, D minor, 209 CARISSIMI Cantata: Mary Stuart Ah mo f-ri-re, ah mo} ci re, ah mod ci ~~ a x Xx mat x Xx : 2 i y b u | ae W v t ; ra 219 ~=HAYDN Piano Sonata, C Major, No. 35 Allegro con, brio Bee kes I 208 =MOZART Piano Sonata, C minor, K. 457 Pp & Molto allegro,210 cont'd e r= = ry iI v I 2u HAYDN Piano Sonata, D Major, No. 19 Andante a al jit \ ese if r re AMS OY 212 FROBERGER Suite: “Auf die Mayerin” a {Fem DT0e, vol V1) dee =p 1 | I RV I 62 Allegretto 213 =MOZART Courante (Suite, K. ~_— 4 ps > reece rere” aah a im I IV 1m&-vVI TH-V I 214 HAYDN Piano Sonata, G Major, , No, 27 bY I FOLK TUNE |218 MENDELSSOHN Song Without Words, Op 102, No. 2 aoe 216 =CHOPIN Nocturne, Op 32, No. 1 Andante sostenuto, — Adagio __ 217 MOZART Piano Sonata, F Major, K. 280 Allegro assai ie © 219 MOZART Aria (“Don Giovanni”) Andante sostenuto220 CLEMENTI Sonatina,G Major, Op 36 No. 2 ‘221 BEETHOVEN Piano Sonata, ft E Major, Op 109 Vivace p voice iT I Vi (222 BEETHOVEN Symphony No. 9 Adagio molto e cantabile223° SCHUBERT Landler, Op 18, No. 2 sae rN pee at been eree tf Bebed on £4 Ivit 224 = C.P.E BACH Fantasia 68 225 BACH Praeludium (Partita No. 1) s 226 BEETHOVEN Piano Sonata, G Major, Op 79 Presto alla tedesco s 69227 70 HANDEL Variation 1 (Air f Suite No. 3) (Air From 28 9 BACH Courante (Suite pour le clavecin, E> Major) BEETHOVEN Piano Sonata, E Major, Op 14, No. 1 Allegro comodo —: P229 cont'd a IvVaivi 230 =MOZART Trio, E® Major, K. 498 Andante Pp Q b ¢ r r 231 BACH Praeambulum (Partita No. 5) Ye 33. MOZART Piano Sonata, C Major, K 545 Andante BACH Aria variata a a = SCHUMANN Melody (Album for the Young)235 = MOZART Fugue, C Major (Fantasia, K. 39.4) s f SS == =. a yy = H jon fs a rr 236 = BACH Chorale (No. 64) a | Y 237 BACH Chorale (Peters No. 43) dei HANDEL Minuet ; qa sf f = FT = I Wy 1 WY COPLAND Appalachian Spring ko ow eV 240 BACH Brandenburg Concerto ' degieNO- 1.241 BARTOK Ukrainian Song (Petite Suite Allegretto. a ¥ et LL 1 Pl ri pire tT Fst 5: 5 242 a sere 7676 56 56 56 90 9% 910 243 BYRD Pavane: The Earle of Salisbury 44 MOZART Piano Sonata, G Major, K. 283 ie, ie ERs pp pe me SS 245 GOTTLIEB MUFFAT Air (Suite, Be Major) ” ¥ 2 ~ e J ih BACH Prelude No. 10 (Well- Tempered Clavier, Bk !) gat _—__—., _————247 Allegro 78 HAYDN Piano Sonata, C Major, No. 21 48 MOZART Piano Sonata, G Major, K. 283 Allegro So 2 tae | Major, Op 31, No. 3 Alleg 98 9 ~~ BEETHOVEN Piano Sonata, y E> Major, Op 8a Ee a epigih ten. ten 290 RAVEL Rigaudon (Tombeau de Couperin)294 SCHUBERT Piano Sonata, D Major, Con moto CE Ee Cae a eee ig OG 4 I IY I I1Myt 295 SCHUBERT Waltz, Op 10, No. 6 > 2 Gta oe BD.296 SCHUMANN Humoreske, Op 20 Presto leagiero to I “WoO I # 297 CHOPIN Waltz, Op 64, No. 2 Tempo givsto 299 SCHUMANN Fantasiestiicke, 298 — BEETHOVEN Piano Sonata, Op 12, No. 3 C Major, Op 2, No. 3 Langsam und zart Allegro assai 2300 LISZT Liebestraum (Nocturne No. 3) — 303) = SCHUMANN Scenes from Childhood, Op 15, No. 1 ts I oN I Poco allegro, con affetto (Po pea | oy oe 304 =CHOPIN Mazurka, Op 17, No. 2 Lento, ma non troppo 0 eeay Se Op 124, No. 10 Mit Lebhoftigkeit A\IDUM-LEQvVEs, 307 =SCHUMANN Album-Leaves, Op 124, No. 5 Sehr rasch P106 ee ae. NO UMERE Aves) Op 124, No. 10 Mit Lebhaftigkeit , 307, SCHUMANN Album-Leaves, Op 124, No. 5 Sehr rasch308 BRAHMS Intermezzo, Op 118, _ No. 2 Andante teneramente Ine becomes| 1-IeV_1 ft I I AW v I 310 = SCHUMANN Auf dem Rhein Ziemlich langsam Auf dei-nem Grunde hha - ben sie an - ver -bowg’- nemvt CHOPIN Mazurka, Op 59, No. 2 313 Allegretto BACH Chorale (No. 177) : x ' TY yt I ey no315 CHOPIN Mazurka, Op 68, No. 2 (Posth.) Poco piv mosso_———___ Dance, No. 7 - 8) @ © ge —— I\w® y 1 IW v i 318 = HAYDN Piano Sonata, G minor, No. 44 Allegretto Is19 PURCELL Overture, “Dido and Aeneas” Lento, si —, B sempre lege © PEERSON The Primerose a ¢4 319 cont'd ry — fo [=—2 8 any (Copyright in US.A. and all counties, 1928, by Oxford University Pris, London usc by pi prison, I er | ome |323 COUPERIN La Bandoline > G 21 BACH Chorale (No. 229) d oi 324 CHOPIN Nocturne, Op 9, No. 2 Andante ee tal set pit esate324 cont'd 125 SCHUMANN Piano Concerto Allegro offetuoso 326327 BACH Chorale (No. 320) 329 HANDEL Courante (Suite No. 14) I m—;, 328 == BACH Chorale (No. 280) 6 |_| ame aaa .- — : tae —————— tip p tA a | SSS i 1 W or Yi” I 1331 = YVAUGHAN-WILLIAMS 330 = SCHUBERT Impromptu, Op 90, yymphony No. 5 No. 2 Moder Allegro 7D cs PCS y I 332 — MOZART Rondo, K. 494 Andante332 cont'd | ee i a | SSS SSS 58 7 8 7 6 Sa SSS = a I Vv r Cc | , [ ey 33 SCHUBERT Waltz Op 77, No. 10 ae nn Se Balai : 1 x {| _t Saas i | iE we v I 334 Etwas geschwind SCHUBERT Téuschung 335 Iu WEBER Overture, “Der Freischiitz” Molto vivece Lg foo | t ; ajed Major Molto moderato 1, —, JIT tt 339 BACH Chorale (No. 361) ey“all 66) 350. CHOPIN Mazurka, Op 24, No. 3 Moderato. 347 BACH Chorale (No. F 1 Ww Y¥ I Tk 349 HAYDN String Quartet, Op 76, No. 1 Adagio sostemoto ——— eeyer CHOPIN Mazurka, Op 30, No. 4 Allegretto $58 = SCHUMANN Novelette, Op 21, : | No. 2 Ausserst rasch und mit Bravour359 = CHOPIN Mazurka, Op 17, No. 4 Fi 361 CHOPIN Mazurka, Op 7, No. 2 Lento, ma non troppo Vivo, ma non troppo | 4 360 WAGNER Siegfried’s Rhine ‘ Journey ("Gotterddmmerung”) qr Got gt ot362 CHOPIN Mazurka, Op 6, No. 1 362 conrad d z= = 363 = SCHUMANN Novelette, Op 21, No. 8 Munter, nicht zu rosch = SGIOS cont'd a 6 5 65 656 Pore eT TET 141367 WAGNER “Gétterdammerung,” (Act 1) _ ptr pSter of ing Pine ® ntee et § == eet r —— 366 =SCHUBERT Trdnenregen Ziemlich langsam — 142Ve 375 BEETHOVEN Piano Sonata, | f Ce minor @p'27,.No: 2 Adagio sostenuto | I> YO 1 : I | oF . , 376 = WEBER “Der Freischiitz” (Act II, 371 ~=WAGNER Prelude, “Tristan und No. 6) Isolde” 4 Allegretto Longsam und schmachtend lp? SL O-—— wic an. dew fib mtn Hen ders file378 =~ CHOPIN Nocturne, Op 27, No. 1 Larghetto 377 R. STRAUSS “Ariadne auf Naxos” Mezzo movimento [f. 216, PANOVOCAL SCORE) CCopyighe 1912 by Boosey & Hawes, itd. :wsed by special permison380 ~=PROKOFIEFF Gavotte, Op 77, No. 4 Allegro moderato 382 = WOLF In dem Schatten meiner Locken Leicht, zart, nicht schnell molto it In dem Schat. ten mei-ner Loken sehlief mir mein Ge-lieb eer eee Pr ae: | mf ‘molt rit vi ‘Copyright 1943 by Leode Masi Corporation, New York, N.Y, Reprinted by permission ofcoptight onset. ree Week’ ich ihanun aut? eee ao) 381 R STRAUSS Don Juan é Allegro molto con brio ag ‘Ach nent fil sg380 =PROKOFIEFF Gavotte, Op 77, No. 4 Allegro moderato He FE 382 = WOLF In dem Schatten meiner Locken Leicht, zart, nicht schnell molto rit, Jn dem Schat. ten mei-nerLo-cken schlief mie mein Ge-lieb ter ‘molto rit PP 9 6 —— ‘Weck’ ich ibnnunauf? sere 381 R. STRAUSS Don Juan __ fis sell 2 Allegro molto con brio vee & + coe382 conrad 1 383 cont'd 383 = BEETHOVEN Piano Sonata, C minor, Op 13 Adagio cantabile oe 384 © SCHUBERT Piano Sonata, C minor Adagio ‘iheAY lio : 3B5 cond Life. chen ~ ber die Sai - ten dir, und streift ei -ne Bie - ae mit ruyt 385 SCHUBERT Pause Ziemlich geschwind (46) Nun Tie-be Lau: te, uh’ anden Na -gel. hier, und weht ein385 cond = meiner Lie - bes - pein? Soll esdas Vor-spiel-neu-er Lie - der sein? M ouble mieure M | | —____- 1 | I op N | peel we yy 386 =MAHLER Das Lied von der Erde, No. 6 Langsam se Teh su_> che Ru - he, Ruche fie mein Se ctmsg ie ‘Copyighe 1939 by Boosey & Mawes, nc; we by special prise 154 386 cont'd a Ye ¥ I 387 CHOPIN Mazurka, Op 68, No. 4 (Posth.) Andantino 9 seme 155aan wag 389 SCHUBERT Trio, ere? Op 99 Allegro moderato _ I m—— vViwvi | — VIWYVI touts tre 388 = MOZART Piano Sonata, F Major, K. 280 Adagio Wier |- 390 HAYDN Piano Sonata, F Major, 391 SCHUMANN Forest Scenes, No. 6 No. 29 Massig393 CHOPIN Waltz, Op 64, No. 2 Tempo giusto at 394 ~=SCHUBERT Piano Sonata, Be Major Malta moderato = ;-4 SESSS94 cont'd ¥, = —_~ a ! | | !—_ ee Part Il Chapter Seven 401 HAYDN String Quartet, Op 20, “No. 5 Adagio ju dd NG 3 NL ba}| 402 LASSO Motet: Recordare Jesu pie quod sum cau - Re- cords Re = cor-da > Re-corda === se od sum cau sous ae Oe oe " . [From OL, Volt7v~~ GADIOLDI Balletto: Speme amorosa b -+— , { 1. $e Te Ra 168 WAGNER “Tristan und Isolde” (Act fl) Nos fibest dy infin BF - = Ber = ge; wie Qali icawobldas Land, chs = _ fa al = le Welt un-spannit? = TF I | p [ <9ae ae ——. Ae —~ fin 405 FRANCK Prelude, Aria and Finale 0 sc | Allegro moderato e maestoso Bi} t i Lz406 R. STRAUSS Quintet (“Ariadne 407 R. STRAUSS Quintet (“Ariadne auf Naxos”) ; auf Naxos”) Poco tranquillo Leggieroe grazioso =~" ==> Aes LS b = T | r I I —-y vii Y I . 408 BIZET Seguidilla (“Carmen,” Act I) b L eo. . == == ae ee pe deja opus de Se _ fa te ts ig a = PL I OE Frdan-ser la Sé-gue-dille Fr boi re du Man-za- nif au) a SaaS Ji-tai chee mon ami Liblas Pas tia bgue Poe “TPP SE 74409 cont'd a 7 p# c Si ai il (4-1 op al een cw) ye phe fe} Lively HINDEMITH Piano Sonata No. 2. i ‘Copyeighe 1936 Associated Masi Publishers, Inc wed by special persion.4 MARTINU Sonata for Cello and BAM cond Piano No. 2. One 5 sa “hie a = ——— - ——— ee IT Ir vii — Copyright 944 by Associated Music Publishers, nc used by special 2 . 412 COPLAND 3 Excerpts from "Our By 12 cove Town,” No. 1 . @ Moderate, with calm _ ‘ _ = — nine eo J. Ny, ey i zs ts iit = = nf Geont'd Sarees nena , J a = s i =e 2 S| i = T413 = WAGENAAR Ciacona 415 RAVEL Jeux d'eau Adagio Aerie ee St (Copyright 1942 by. B. Masks Mesic Comp; wet by specs b 414 MARTINU Sonata for Violin and Piano No. 2 Larghetto 4 d a— 180415 cont'd wsont'd Molto moderato 5... 416 COPLAND Piano Sonata 182AIG cont'd 184416 cont'd ‘ 116 cont'd417 STRAVINSKY Symphony in Three Movements ul. im ‘ 418 BARTOK Bagatelle Op 6, No. 4 Grave me 419 R. STRAUSS “Elektra” a a lp #2? ms Copyright 1908 by Boosey Hawes, Led se by pil ptmision 188 © BEETHOVEN Piano Concerto No. 4, G Major423 426 COUPERIN La Favorite 424 BACH Cantata: Du wahrer Gott und Davids Sohn a “ b firr 425 SCHUMANN Romance, Op 28, lo. 27 BYRD Sacerdotes Domini Allegro marcato on rir or a entcpation r 5 5 q bb nstestst 191Fp ——————— 430 BEETHOVEN Piano Sonata, C Major, Op 53. Introduzione 428 MOUSSORGSKY Ballet of the Unhatched Chickens (Pictures i: from an Exhibition) 4 : ie j, ———-. v I 429 VERDI Oro supplex (Requiem) Andante 5.431 cont'd b I vi pe? CHOPIN Mazurka, Op 59, No. 2 194 feta te ste~~ FARINABY A Toye 7 SCHUBERT Piano Sonata, C minor | x | “dy © | ¥ cs INV 1. : Or 436 = MENDELSSOHN Overture, “A Midsummer Night's Dream” Allegro di molto I SCHUBERT Fantasia-Sonata 2 196439° = SCHUMANN Piano Quintet Allegro brillante 440 BEETHOVEN Piano Sonata, G Major, Op 31, No. 1 | c | ict = 3 | rooYiw rh : I Bi FE “Ww Yi 44) BARTOK From 10 Easy Pieces for j q AT cont'd Piano Poco andante 19 198442 BEETHOVEN Piano Sonata, a F minor, Op 2, No. 443 BEETHOVEN Piano Sonata, C minor, Op 10, No.1. a i Y 444 ~~ MOZART Piano Sonata, C Major, K. 279 a445 MAHLER Kindertotenlieder, No. 1 Lento Unogliick die. Nacht ge» schel'nt_ beein —o als. set be (Copyright 1905 by C.F. Kao, Leip; used by pemision of Associated Music Pubes aaa7 —ALLEMANDE449 —RAMEAU Choeur des Spartiates (“Castor et Pollux,” Act !) i 450 BEETHOVEN Piano Sonata, E minor, Op 90 stale taal beset Saad ® oA? bs. z = jaa451 ~=PROKOFIEFF Piano Sonata No. 8, Op 84 Andante dolce. Bret, 452 BARTOK String Quartet No. 5 ‘Adagio molto pa452 cond Un poco pit: Andante ee452 cont'd i N q ii as CT 453, HINDEMITH Piano Sonata No. 1 With quiet motion, in quarters te al te eT i * Ics 1 é | ABS cons 53 contd Copyright 1936by Awainted Masi Publisher454 BRAHMS Sextet No. 2, Op 36. es we) i) ——_—___-. = T t @ cont'd r 4 . . - “ | ge wal I Vv i v I et = - 32) (98-86) GY = - = 40) 1 a9) (53) se ‘ontipation of IWee oe ee 455 DEBUSSY Prélude 4 l'aprés-midi ABS cond d'un faune456 CHOPIN Nocturne, Op 48, No. 2 a ct . Liste! 7— 458 BEETHOVEN Piano Sonata, D Major, Op 10, No. 3 cont'd ee wos oo aS, _——_>r cont'd Dev. NON QS ION NI v459. HAYDN Symphony D Major, yor)?SS IW I W 461 BEETHOVEN Piano Sonata, B® Major, Op 22 462 BEETHOVEN Symphony No. 7 a sts <=> as eS eo)* (rm | Gast) 0s) @m) em) be ben $e | y | WX en ue =Tee” 462 cont'd b (264) en) ex cm) (ee 463 BEETHOVEN Piano Sonata, C minor, Op 10, No. 1464 BEETHOVEN Piano Sonata, F minor, Op 57 Dev. afr ARES a wv 471 WAGNER “Parsifal,” (Act 1) ©) 68) () @w a p @, a wo oo c i ; mew e — Se eon 8H @ lo 2 cont'd472. STRAVINSKY Symphony in Three Movements aad t a ow —-——_ ronson 10 (6) : nn N i ih En cont'd | w 7 b. =ith ea) eo (es472 cont'd b we co)Part I Chapter Bight 473, DOWLAND Ayre: What if | never speed From WAM, Vol 4 Ne, 1691 A BBACH Fugue No. 5 (Well- Tempered Clavier, Bk |) a + - - --- ==} iv Bee ey SSS a —— fT _ eont'd { 1 1 aye fe a * Wy ae = t ry ? - I eer —Y I fP FT oPryt i i 475 MOZART Piano Sonata, F Major, K. 280. 2nd movement A) « x aTow © Gh v I my IPe aca here 476 SCHUBERT Liebesbotschaft4 477 BRAHMS Intermezzo, Op. 119, No. 1 ‘nteipation|£ SSS = ae og Lovie Tm vi [ T Em I cs PIV478 DEBUSSY Bruyéres transitionow © @ bo ‘rarsiion rev |tw of CS cs csae” A ee een ee 479 GESUALDO Madrigal: lo pur respiro {from NAM, Vol 1, No. 161) ye480 BARTOK Piano Concerto No. 3. Ist movement ) cont'd (oer) G78) Gee) aT 4 te berm. = 7 7 7 r i —-—— cs v CS pep ope BM im Ce 7} c0s-109 0) om x a it w a ee 5 cs480 cond md Q cont'd Q cont'd os) \ ew st]F 09) eG) Pre-creative stage ructure = Ponolity determining harmonic. and melo die framework Outer Form - Organization of structure ond design Creative stage Inner Form Organization of prolongations and design techniques of tonolity Composition 263cont'd@ oD 483 cont'd @ cont'd o 266Al + ; 7 Aa bre = _ | on i ¥ w vod Pe T NN I r a 1 . a. I b ADs B : c DUE | : Le a tm y I Imwvit 487 D. SCARLATTI Sonata, G Major, 487 con'd 4 Ge. wee eee eee cont'd Al x x ry pore nene cs op en nns enon sense 7] oo ag, , a | [ Lf = == ‘st 11k No = wr wo — is, or 8) repetitio i ¥ 1 HO ol —_—_ 270488 cont'd cont'd A > —_ cy i489 HINDEMITH Interludium (Ludus Tonalis) A A 1I Yv 490 BYRD Pavane: The Earle of 490 cond Salisbury Mo Oe A | SS Ir y 1 I 276491 BEETHOVEN String Quartet, Op 18, No. 5. 3rd movement 492 CHOPIN Prelude, Op 28, No. 1 1! a | XN | || | wepennee wenn Le / ® ® oo - = wl Ty itt) OT] 1 vl Co L | Ul Q cont'd495 BACH Minuet 2 (Partita No. 1) a Ik A 494 BRAHMS Waltz, Op 39, No. 8° N 1 a | | A B497 SCHUBERT Symphony, B minor. st movement 497 cont'd acont'dcontig. a cont'd ---4= fe. == (a8) 0 (5) 286 287RAVEL Sonatina. Ist movement to E meas. a0) » cont'd Sp GotoLasciatemi morire SO cont'd cont'd N a | A f | @ 293502 SCHUBERT Moment Musical No. 2 5O2 cont'd i cont'd 7 q tt ee LLL : ‘ | eo a) oo ool] = i See L yi m 3 le i v i fP PP x 1 t cont'd Al | | b * ee | = i os wos J ss) wy a | s = | ot i v I 1 i vit 294 9908-w BRAHMS Symphony No. 3. Ist movement Dev. yo) 6) ys) ry (oo on 28 theme al a, SO Ps 10 Fos I cont'd Rec. 8) (20-16) 0-H) He 28) gS) ae 284 home 504 BARTOK Bourrée (Mikrokosmos, Bk IV) 5O3 cond cont'd oo) os) rT) e 2. a ° I Py] a) 504 contd cont'd N504 cont'd ba BO OTA 7 i pete: i | aa a — ——— ne aa i cs —_ +——_ I cs 1 505 HINDEMITH Piano Sonata No. 2 505 cont'd lst movement cont'd \ cont'd Jil tah tad @] ticipation ¢sPIWIICON GE a cont'd Dev. vig FA 19 Gimens 95) i So Vie Prec nees 95 acont'd cont'd 301505 cont'd 5O5 cont'd _G cont'd Cononie imitovion b cont'd == 303SO5 cont'd 1 505 cont'd b cont'd b cont'd Dex Ree Biome wo 2° theme Se 2—— Ist meme ‘antciato| I cs A theme 20ineme | EH a 8 ne 8 304 q 305506 CHOPIN Nocturne, Op 27, No. 2 506 conr'd o acont'd A : wy j . . N N |» N : * fee bebe ple in o co) (is) (a) (26) om oy ® ~e eS 5 # ae i = 1 ————¥ 1 vl I y — f q = Ree EN 1 yr i a + cont'd 306507 MOZART Fantasia, C minor, K. 475 a . Adogio | pocretrpoeem alcont'd Allegro Qkont'd Andantino ios] (wey foamy 307 cont'd cont'd cont'd Pie Allegro x ro ras Ws a bg be 309507 cont'd cont'd Las jz ji b cont'd $ aa = = CC a =) 30) (9) YS eo (936-168) (466) = ae —y —= | | 7 * fr av | 6! for 3d Lae xo. | ve shh sm 5th ' | I 23 310Part IIL Chapter Ove 508 =CHOPIN Nocturne, Op 37, No.2 _ 508 cons a : acont'd B A — ee es oo mm ww Bee == : : z ee > r i pare OP Peo Lee le zest jt! eepoit to W mes. 31 opr fF oA 2 ¥ I 4 = = . i I contd a x rd (8) oy (oa) &) (82) (9) Contes) (0m cor a te te fe f | 1 t RoR? | EF j t t I ‘ En 7 i bi_ 509 LASSO Christe Dei soboles 510 cond Chri - se, dei so-bo-les, spe et ame a we - oda dtd db a si BENEDICAMUS DOMINO (School of St. Martial) trem HOM, Vel. 4, #. 293) Part LIL Chapter Two 510 ALLELUIA ANGELUS DOMINI Py a xt — Soa cox, _ tommy i 4 d 315512 BENEDICAT ERGO (School of 514 Compostela) 513 VIDERUNT HEMANUEL (School of St. Martial) LEONINUS Alleluia Pascha 316515 ORGANUM (Style of Perotinus) sae| 516 contd a ————a | cont'd It 517,— MOTET 518 MOTET Quint fou = cist la vi-o- le- te, La coe et la flour lay, © Ma-ti- a, virgo da-vi- di-ca, Vir-ginum los vi tae spes uni =a OQ Ma-ti - 9. ma- ris stella, Ple - naga- ti- ac or-phaoum tc de-se-ram. Sed ef - fe-ram (Veritatem) —— Irom MMA, P. 316) Et gaudebitQu toe = ws vines in geen = i Y ceresie (from CM, No. 79) (fa ep es b A i Triplum both . sr A 520 MOTET _ 2 OTD = Et— servic Lo iau - - ment sans faus - Qu a-mours vue, mints 5 nie Li dows pea ~~ ser — Qui mi om Biense. doit sour Que faim de cue Car tous pier et as Pour sa > mour 322 BZU cor fat Blas - mer, = poirs que j'ai davoir (rom CM No, 541 323nos spieci — I 22 = MOTET Lau tre jour Et trouwai sans ber = ge - - tet Pas- tours es - gare 394 (from CH, No, 401 521 cont'd ° pe bis eso Aisi Do + (from cM, No. 9) 522 cont'd521 cont'd 521 cont'd : la: bis Ut— gra ci cont'd 22 MOTET 522 cond Lau tre jour par Trou ~ vai CG) rT s 8 Pas- toure es - gas re Irom CM, Ne. 401 294523 =RONDEAU: Amours et ma dame aussi — = = ‘Amours etma dame aus - - si jointes mainsvous roi mer - chil (From Ma, P. 322) 524 ADAM DE LA HALLE Li maus d'amer (Ist part) Limaus d'2 ~~ + mer meplaist miex- @ 0 sem -- =~ = tir ee (From HAM, Vol 1, No. 960) 525. ADAM DE LA HALLE Rondeau: Tant con je vivrai Ka main-ta- mant ne fait li dons de joi- - . 326 525 cond Chief, ete Aptatur {from OM, No. 24) (rom HAM, Vol 1, No. 266)530 =MACHAUT Ballade (No. 3) 527, MOTET. 4 B Aw dous, ete, ¥ Bias, ete. Manere from MW, Vet I v i 528 =MACHAUT Virelai (No. 38) eo — 531 MACHAUT Rondeau (No. 13) De-tout-sui si con- for- » - te e © a voce ee eeeeee eee eed tom Mi Yo tee a zo a= meres => = SSS Se I v T . —, tte. elai (No. 32) ete = ose 529 MACHAUT Vir. mon — cuer em - por - = tes (rom MW, Vel. Ih y Irom MW, Val. 1 329 328. 531 cont'd bona ceee ee pe oo Se T (Sem) iid I coh P VY T 532 MACHAUT Virelai (No. 31) w = Che USPlus du - = ce. queun dy-a 4. par on accueil. attra = ant, mont au cuer en ne que pier-te— oy oy rant et — vo dor - dame qui a -ves pi = de dant si fort na que ja-mais_ joi € wa > wi ju aan 531 cont'd Q cont'd 532 cont'd fs 2 it oa jvostte a. smant quoi - - -esen_. de - -si-sant vosre asm. - ti sues a -- tant que 0 graze_ quil__ a. tant mau resdon~ » n tou - ees — pa 2,Da- me — vo pu = S.simple et plein du eo SSE ee =e Set tease <= SSS — t mon-geé, ct vo wim blant « a Er ee SS Irom mw,532 cont'd _ | _i BF SS SSS o . © _ ° - = a — T rT cso cs cS i __MACHAUT Ballade (No. 26) esseadertng cteriraiep— tt er ee pee Don. na ——— signeuss, donnezjatoutesmains, ne te te Son - neue iver” et detichessesmeins,pourvousse EE SSS Ti == = = === = = 532 cont'd cont'd Ics I cst 7 I cs Tes I 533 cont'd m 3 2 zs 2 neapeu”- le -ment — fors — ont Ii - reper. > dues - 2 e e e From MW, Vol. 1 Sb ete BOS cia vaillant signeur.Etterreaussiqu'est despen. GQ cont'd 335533 cont'd b A, | r= o w ee cs cscsT i 534 DUNSTABLE Sub tuam protectionem 1 cs cs I 535 = DUNSTABLE Puisque m’amour os = Puis-que m’a |mour— av'a | pris en des 410 1-/L en arege eee 2 Irom FC, Vol #1981 (from TC, Vol. |, 254)36 = DUFAY Adieu m'amour A-fliew le s0- las #2 Ardiew le so las que fa- voy. « Addicu| ma — Ie-a - flemaistzes - # = Acdieuma — lea = lemais- tres 338 535 conr'a 536 cont'd ‘ey Le di- rea dicul— tant — fort| me bles - = Ze ee 2%e/f Le di-teadieu tant — fost me bles - = + - ~ Quil me sam-ble que mo - rir doy ss te ete Irom OAS CHORWERK, Val. XX)536 cont'd cont'd SS = 340 341537 OBRECHT Osanna (Missa: Je ne 537cont'd demande) (From dO, Missen, Vo. 1, No.1] 342 343537 cont'd ‘ 537 cont'd |" see 6 om oo I Pre re I s 3 itl ne ¥ q 538 ISAAC Kyrie (Missa Carminum) 538 cond 344 3A:538 conr'd 538 cont'd Um OAS CHORWER, Va Ym a Geontd pp pore ne en nnne = = = = SS | x 71 ‘ y _ et oe FFesseeFefsFeo j cs It voi 539 JOSQUIN Motet: O Domine Jesu 539 cond 346 Christe (Ist part) te sq ad oe te ine aSls2 in cru-} ce pen ce pen ~~IT cont'd i =psa| crux tem: de» = = pre-cor_ tsuki psa crux li-be ~~ ab an} - ge - lo ab an|- ge lo- poe}- ni -[ten-te, ele a|2& ole > ab | an-ge [lo poet ni ten [- me aban - ge > lo — poe: fmi-tn- - >= = in (From WP, Motetten, Vol, ne = = amin capi > te por - tan