ABBREVIATIONS

*See Bibliography

The analytical symbols K, N, P, R, S, and T used for movements in sonata form derive from the system developed in LaRue/GUIDELINES. Letters preceded by Arabic numerals define constituent parts of a function (e.g., 1P, 2P). Lower-case letters a, b, c, d, etc., following the upper-case letters indicate phrases or smaller-dimension portions of a function; while x, y, z following a, b, c, d, etc., identify a still smaller component. Thus, the initial motive of the beginning of a Primary section of an exposition would be Pax; the second idea of the second phrase of the second motive of the Secondary area would be 2Sby. Parentheses are for derivations: S(P) means that the Secondary area derives from the Primary material. Superscript numerals signal a variant: e.g., Pa¹ indicates a variant of Pa. A superscript k (e.g., P^k) means that a closing function is present at the end of the main function.

For forms other than sonata form, the standard upper-and lower-case letters are used (e.g., Rondo: ABACA).

When necessary, the dimensions (i.e., number of measures) of each part, section, etc., are given in Arabic numerals directly below the analytical symbols.

In the schematic examples, the morphological structure of a phrase, statement, section, etc., is indicated as follows:

The strength and nature of a cadence may be indicated as:

Finally, tonal changes are pointed out by the usual Roman numerals; a jagged line () signals tonal instability, while a horizontal arrow (→) identifies an area of stability. An arrow pointing downward ( ↓ ) indicates a structural downbeat.