The annotations for the 67 musical examples are printed in red ink. The annotation symbols used are the arrow, circle, straight line, curved line, tilde, bracket, dash, X, dot, star, number, letter, crescendo, and decrescendo.
Elena V. Dorozhkina, B.A., M.M.is the author of the annotations (“A Performer’s Guide to the First Two Movements of Pyotr Tchaikovsky’s Grand Sonata in G Major, Opus 37”) of which are reminiscent of Louis Klopsch’s (1852-1910) idea for printing biblical text in red ink, inspired by Luke 22:20, “This cup is the new covenant in My blood, which is shed for you.”
In addition to the annotated examples printed between pages 12-50, alternative and more elaborate versions of the annotated examples are proposed in the appendices on pages 51-72.
The only deviation from red ink are two annotations(two hand-drawn circles) in blue and green ink seen in example 3-2d on page 23.
(piano sonata [no.4], 2018-2023)
There is a list of 160 musical incipits on pages 5 through 52 (each incipit has a number). Each incipit has a generic title (if there is more than one title both are given, e.g., “Gaillarde/Sarabande" in incipit No.34 on page 17) and characteristic titles are given in quotation marks (e.g., "Isis" found in incipit No.8 on page 7). Each incipit is given in treble (G2) clef. The tonality of the incipit follows in parentheses. The number of measures in each strain of the piece (that the incipit is referring to) is given on the right just below the incipit, using the opening barring of the principal source * (bar lines with repetition dots are used to indicate strains).
* Below each incipit is a list of “Source(s)” and "Edition(s)". Under “Source(s)” is a list of each source that transmits the piece, with the location in terms of pagination or foliation, as found in the source or its principal inventory. Under “Editions” is a run-on list of the principal modern editions, with the location by the serial number found in each edition.
(piano sonata [no.3], 2018-2023)
There are examples from John Kirkpatrick's 1975 edition of Charles Ives's Three-Page Sonata for Piano (1949) that are either printed individually or printed alongside examples of Henry Cowell's 1949 and/or Mary Joyce's 1970 editions of Charles Ives's Three-Page Sonata for Piano in order to be compared in regards to "score realization" (Shelton, 1985, p. iii), "formal structures" (Shelton, 1985, p. iv), "serial procedures" (Shelton, 1985, p. v), "melodic analysis" (Shelton, 1985, p. vi), "harmonic analysis" (Shelton, 1985, p. vii) and "aesthetic appreciation" (Shelton, 1985, p. vii) on pages 13, 19-24, 26-31, 35-62, 64-70, 74-75, 77, 78, 81, 85-87, 88, 90, 95, 100-116, 118-120, 124-141, 143-149, 152-153, 156-159 and 167. There are examples from Henry Cowell's 1949 edition of Charles Ives's Three-Page Sonata for Piano (1949) that are either printed individually or printed alongside examples of John Kirkpatrick's 1975 and/or Mary Joyce's 1970 editions of Charles Ives's Three-Page Sonata for Piano in order to be compared in regards to "score realization" (Shelton, 1985, p. iii), "formal structures" (Shelton, 1985, p. iv), "serial procedures" (Shelton, 1985, p. v), "melodic analysis" (Shelton, 1985, p. vi), "harmonic analysis" (Shelton, 1985, p. vii) and "aesthetic appreciation" (Shelton, 1985, p. vii) on pages 13, 19-24, 26-31, 35-45, 47-50, 52-62, 64-65, 67-70, 76, 85-87, 110-111, 113, 118, 127-131, 134-135, 140, 141, 143, 144, 146-147, 149, 152-153, 165 and 167. There are examples from Mary Joyce's 1970 edition of Charles Ives's Three-Page Sonata for Piano (1949) that are printed alongside examples of John Kirkpatrick's 1975 and/or Henry Cowell's 1949 editions of Charles Ives's Three-Page Sonata for Piano in order to be compared in regards to "score realization" (Shelton, 1985, p. iii), "formal structures" (Shelton, 1985, p. iv), "serial procedures" (Shelton, 1985, p. v), "melodic analysis" (Shelton, 1985, p. vi), "harmonic analysis" (Shelton, 1985, p. vii) and "aesthetic appreciation" (Shelton, 1985, p. vii) on pages 20, 26-28, 35, 37-40, 46-47, 51 and 53.
(piano sonata [no.2], 2020)
In Appendix A on pages 112-133 in "Harmony, Voice Leading, and Motive in Beethoven's Last Quartet" by Jason Grant Britton there is a Schenkerian analysis of the 4th movement of Beethoven's String Quartet in F Major, Op.135 on the grand staff printed at the top of the page marked as "c," the grand staff printed at the middle of the page marked as "b," and the grand staff printed at the bottom of the page marked as "a." In Appendix B on pages 135 to 155 in "Harmony, Voice Leading, and Motive in Beethoven's Last Quartet" by Jason Grant Britton there is a Schenkerian analysis of the 1st movement of Beethoven's String Quartet in F Major, Op.135 on the grand staff printed at the top of the page marked as "c," the grand staff printed at the middle of the page marked as "b," and the grand staff printed at the bottom of the page marked as "a." In Appendix C on pages 157 to 176 in "Harmony, Voice Leading, and Motive in Beethoven's Last Quartet" by Jason Grant Britton there is a Schenkerian analysis of the 2nd movement of Beethoven's String Quartet in F Major, Op.135 on the grand staff printed at the top of the page marked as "c," the grand staff printed at the middle of the page marked as "b," and the grand staff printed at the bottom of the page marked as "a." In Appendix D on pages 178 to 183 in "Harmony, Voice Leading, and Motive in Beethoven's Last Quartet" by Jason Grant Britton there is a Schenkerian analysis of the 3rd movement of Beethoven's String Quartet in F Major, Op.135 on the grand staff printed at the top of the page marked as "c," the grand staff printed at the middle of the page marked as "b," and the grand staff printed at the bottom of the page marked as "a."
(piano sonata [no.1b], 2019)
The grand staff (the first of three grand staves) printed at the bottom of the page on pages 297 to 362 in the Appendix to Jonathan Brooks's "Imagined Sounds: Their Role in the Strict and Free Compositional Practice of Anton Bruckner" show an "Orchestral Reduction" (Brooks, 2008, p.297) of the 1st movement of Bruckner's 8th Symphony (1890 Nowak Edition) that “represents the surface level with only unessential doubled voices being eliminated” (Brooks, 2008, p.293). The grand staff (the second of three grand staves) printed at the center of the page on pages 297 to 362 in the Appendix to Jonathan Brooks's "Imagined Sounds: Their Role in the Strict and Free Compositional Practice of Anton Bruckner" show a "Strict Reduction" (Brooks, 2008, p.297) of the 1st movement of Bruckner's 8th Symphony (1890 Nowak Edition) that “reduces out less essential non-chord tone elements and further doublings” (Brooks, 2008, p.293). The grand staff (the third of three grand staves) printed at the top of the page on pages 297 to 362 in the Appendix to Jonathan Brooks's "Imagined Sounds: Their Role in the Strict and Free Compositional Practice of Anton Bruckner" show the "Harmonic Structure" (Brooks, 2008, p.297) of the 1st movement of Bruckner's 8th Symphony (1890 Nowak Edition) where “all non-chord tones are removed, providing only the essential voice-leading and chord tones in a choral like texture” (Brooks, 2008, p.293).
(piano sonata [no.1a], 2018-2019)
Besides the list of 13 Figures (pages 21-31) and 2 tables (pages 25 and 27) that illustrate the evolution of the fortepiano and the 2 Figures (page 43) and 7 tables (pages 46, 66, 75, 78, 80, 86 and 93) that illustrate the form (or "musical plot") of Schubert’s Sonata in A Major, D959, there are examples of harmonic sets of pitches (from said sonata) consisting of two or more notes in Examples 3.11 (on page 58), 3.13 (on page 59 and 60), 3.16 (on page 63), 3.17 (on page 64), 3.18 (on page 66), 3.21 (on page 68), 3.26 (on page 74), 3.37 (on page 89-90), 3.38 (on page 90), 3.39 (on pages 91 and 92), and 3.42 (on page 94) that are designated by roman numerals (from I to VII in upper-case or lower-case letters). A roman numeral often exhibits a small "superscript" number beside it (e.g., "V7") or both superscript and "subscript" numbers (e.g., "i 6/4"). Symbols such as the small "o" (see example 3.11), small "o" with a "/" through it (see example 3.16), a small "+" (see example 3.38) and the question mark “?” (see example 3.16) are sometimes added with the roman numerals, numbers, superscript, superscript and subscript numbers.
(piano sonata, 2018)
