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)
