# scores with harmonic analysis?



## JoeXav (Dec 14, 2007)

Hi everyone. I'm new here, and have come looking for some help. 

I am a rock guitarist and songwriter, but I listen to a lot of classical music, and would like to be able to follow the harmonic structure of pieces as I'm listening to them. When I'm listening to most (comparatively simple) pop music, I can generally hear the structure as it's flying by -- here we're in tonic, now the V, now vi, now we're in the relative minor. I have a much harder time hearing these structural elements in Beethoven or Mozart, and i'd love to read along with a score that includes harmonic analysis; I think this would help me get my head around how a piece is working. I could get scores and painstakingly analyze them, but that sort of defeats the purpose of getting to recognize the harmonic structure by ear (and I'm a slow, awkward reader, since I mostly work with music that doesn't get written down). Does anyone know of any published scores that include reasonably full harmonic analyses? As a test, I searched for Beethoven's Eroica, and found incredibly detailed texts on it, and of course normal scores, but nothing that I could read in real-time with the music that provides basic harmonic analysis.

Thanks in advance for any help,

Joesph


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## CHasR (Dec 10, 2007)

HI
ever heard of Heinrich Schenker?

A helpful book to start with would be Felix Salzer's 'Structural Listening'. its kinda dry, but IMO this may guide you towards the aural tools needed to accomplish the type of listening you seem to be looking for,

You could also try 'Anthology of musical analysis', a big ring-bound text with a horrible green + yellow cover we got in conservatory, I forget the publisher, this has some pieces with harmonic analyses under the score in it,

Norton scores publishes a book that highlights important licks, chcnges, themes, + motives in classical pieces, (like the whole thing in printed in grey except for the part they want you to hear, which is in white,)

and this kind of score was quite common a generation or so ago, Im certain there's more examples,

alhtough I have to say, 
it's not always possible or profitable to try to get under a piece using vertical listening alone, often composers themselves werent thinking vertically/harmonically like " ii7, V64, I" but were playing around in a linear, rhythmic, timbral, or textural dimension.


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## RebLem (Oct 6, 2007)

I know you asked for written materials, but you might want to listen to the Masses of the Elizabethan composer William Byrd. He wrote on in 3 parts, one if 4 parts, and 1 of 5 parts.

Also, I recommend the recordings of my favorite conductor of all time, George Szell, esp. with the Cleveland Orchestra. His sense of pulse and rhythm is always secure. In music he was not terribly familiar with, he tended to sacrifice expressiveness for structure, but in most of the core German repertoire, and Dvorak, he was very seucre. He was especially adept in such repertoire at bringing out the inner voices of pieces, bits that often get obscured by other conductors.


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