Indeed, some of my own students have come to wonder how anyone could analyze a piece of music without using the flexible LaRue framework of Sound, Harmony, Melody, Rhythm, and Growth (SHMRG) and his most useful symbols identifying functions (OPTSKN), phrases (a, b, c, etc.), subphrases (x, y, z, etc.), motives (m, 2m, 3m, etc.), and other aspects.
Besides the chapters on SHMRG elements, Guidelines contains chapters on "Fundamental Analytical Considerations," "Symbols for Analysis and Stereotypes of Shape" (the latter presenting comments and questions regarding traditional forms such as fugue, rondo, two-part, and sonata form), "Evaluation" (a rare discussion), and "Style Analysis in Full Action," which offers a penetrating model analysis of the first movement of Purcell's "Golden" Sonata.
Here are many engaging and helpful remarks on "Repetition," "Active Verbs," "Clue Words and Paragraph Structure," "Revision," "Synonyms for 'Interesting'," "Words for SHMRG Analysis," and so on--a practical section reminiscent of the pedagogical style of an efficient and dedicated teacher.