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Contents
Example 6.1 | Example 6.2 | Example 6.3 | Example 6.4 | Example 6.5 | Example 6.6 | Example 6.7 | Example 6.8 | Example 6.9 | Example 6.10 | Example 6.11 | Example 6.12 | Example 6.13 | Example 6.14 | Example 6.15 | Example 6.16 | Example 6.17 | Example 6.18 | Example 6.19 | Example 6.20 | Example 6.21 | Example 6.22 | Example 6.23
Example 6.1
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Example 6.2
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Example 6.3
Example 6.3. From Beethoven?s Piano Sonata in A Major, Op. 26, Marcia funebre (third
movement): select bars represent the main harmonic progression of the first period (mm.
1?20)

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Example 6.4
Example 6.4. Harmonic reduction of ?Il penseroso,? mm. 1?22 (main frame). Specific events
are quoted in full in the outer frames.
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Example 6.5
score omitted; followed by (b) mm. 106?11, quoted in full
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Example 6.6

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Example 6.7
Example 6.7. ?La Notte?: common tones between G and F major in mm. 150?51
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Example 6.8
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Example 6.9
Harmonic progression in the Missa solemnis, Credo, mm. 113?70
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Example 6.10
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Example 6.11
and harmonic progression in mm. 37?50
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Example 6.12
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Example 6.13
?Terror? motive from the Scherzo und Marsch:
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Example 6.14
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Example 6.15
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Example 6.16
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Example 6.17
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Example 6.18
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Example 6.19
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Example 6.20
Mephisto Waltz No. 1: rhythmic pattern and hypermeter in the opening bars
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Example 6.21
Mephisto Waltz No. 1, main themes:
comprising of four phrases (m. 339ff; given in simplified rhythm an texture);
theme
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Example 6.22
Mephisto Waltz No. 1, mm. 644?904 (harmonic reduction of final part)
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Example 6.23
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