to by their English titles ( Johann Sebastian Bach The Well-Tempered Clavier, for
example), I have used the English title. Of course, some of these choices are subjective,
but should be evident. Due to space considerations, I have generally not included keys in
the titles included in this index. Again, this is not a firm rule, as occasionally key names
are required for identification purposes, particularly when the composition was written by
a composer for whom opus or other catalog numbers are not used.

"Index of Complete Movements and Compositions" is intended primarily for
those readers selecting material for form and analysis-type courses. The index is
organized in the same manner as the previous, more general index, with a few minor
stylistic changes to make the various works easier to find. The reader should note that
this index contains works in full, piano, and piano/vocal scores.

The reader will find "Index of Theoretical Topics" necessarily limited. Nearly
every work or excerpt contained in these anthologies, for example, has some reference to
a tonic triad. I have also limited the number of entries in this index under the form
headings (fugue, sonata form, etc.), finding that pieces or movements illustrating various
forms are more easily located by perusing the "Index of Complete Movements and
Compositions." The listings in the "Index of Theoretical Topics" include primarily
excerpts or complete pieces identified by the compilers of the anthologies as illustrating a
particular topic or phenomenon. I have attempted to organize the topics alphabetically
using terms commonly encountered in chapter headings in harmony and form and analysis
textbooks.

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