Answer key for practice dictation exam

Elizabeth's mini-lesson music

Composition Draft Jasmyn

Sydney's Draft

Morgan's Draft

Elizabeth's Composition

Mary composition

Glory Dami- Composition Phase 1

Christian Oliver Composition

composition draft

Composition Draft Hayden Heiserman

Christian Oliver's Minilesson Video Embellishing Tones

Oliver mini-lesson

Composition Draft C. Oliver

The dominant seventh chord: parts 3-5 (this was originally for 12/5)

On Wednesday 12/5, we had a class cancellation (mourning day for George H.W. Bush). Here are the videos on inversions of V7, which is where we will begin this semester.

V7, part 3

Part 4

Part 5

Please excuse the background noise.

Composition project, phase 1

(Phase 2 is the complete composition, due Friday. See separate blog post)

Harmonic Vocabulary

·      Tonic triad -- root position and first inversion (I and I⁶ in major; i and i⁶ in minor)

·      Dominant triad -- root position and first inversion

·      Dominant seventh chord -- root position and all inversions (see parts 3, 4, and 5 of the video series if you want to use inversions of V⁷)

·      Subdominant triad -- root position and first inversion (IV and IV⁶ in major; iv and iv⁶ in minor)

·      Supertonic triad -- root position (ii/major key only) and first inversion (ii⁶ in major, iiº⁶ in minor)

·      Six-four chords -- Cadential, Neighboring, Passing (and Arpeggiating)

Assignment for Wednesday:

Write a pair of phrases (each one 8 measures long) using the harmonic vocabulary listed above. (It doesn't have to use every one of the chords, but should use at least some of the newer chords.) The phrases should go together.

Use the chords in a manner appropriate for common-practice music.

Choose one of the following keys:

• D major
• Eb major
• E major
• F major
• G major
• Ab major
• A major
• Bb major
• B major
• C minor
• D minor
• E minor
• F minor
• F# minor
• G minor
• Bb minor
• B minor

Choose duple, triple, or quadruple meter

Harmonic rhythm should be one chord per measure (mostly), may speed up toward the cadence.

Write a bass line and Roman numerals, and sketch out a melodic framework (one or two main notes per chord)

Ultimately you will turn these phrases into a short composition for one or more class members. The pieces will be performed on the last day of class. We will have a composition workshop on Wednesday, where we critique the chord progressions.

Due at 1PM on Wednesday. You may EMAIL it to me, or for a bonus point, upload it to the blog. Title your post "Composition draft" and your name.

Theory 2 - Videos to watch for Friday 11/30

Please see videos introducing Chapter 8:

Part 1
Part 2

Mini quiz on Friday. You are given a direction on the video which will be necessary for the mini-quiz.

NOTE: For those of you in EAR TRAINING 2, we will delay Friday's dictation quiz to Monday, Dec. 3, due to the snow delay on Wednesday 11/28.

Theory 2 - homework for Monday 11/19

Front of worksheet

Recordings for excerpts on six-four handout

Example 1. Beethoven, Symphony no. 3 in E-flat Major, op. 55, Second movement, Trio

Recording here.

Example 2. Mozart, Concerto for Horn and Orchestra in E-flat Major, K. 447, Second movement, mm. 1-8
Recording here.

For this and the following excerpt, the horn part is transposing (horn in E-flat). This means its written C sounds Eb, a major sixth lower. It's easiest if you imagine the horn is in bass clef, with the same key signature as the accompaniment.

Example 3. Mozart, Concerto for Horn and Orchestra in E-flat Major, K. 447, First movement, mm. 159-174 
Recording here.

Lowell Greer is playing a natural horn, without valves. There is a cadenza.

Example 4. Brahms, Variations on a Theme by Joseph Haydn, op. 56a, Theme (piano reduction)

Recording here.

This example contains several six-four chords, so don't think you're finished when you've found one. Keep looking and listening! 
Also, there's some chromaticism here, but you should still be able to understand the overall progression, key, etc

Video on passing six-four chords

https://youtu.be/zgns0ndMZi4

The video contains further instructions.

Videos on neighboring six-four chords

Here is a three-part series on the Neighboring six-four chord, which we already had a brief introduction to.

Part 1
Part 2
Part 3

There may be a mini-quiz on these videos.

Video introducing six-four chords

See the video here

The Beethoven excerpts on the video are on the handout for the "Supertonic triad."
Sorry, you don't have the scores for the Bach or Mozart excerpts. Here they are:

Mozart (recording here)






 




Bach (similar recording here):










 



There will be a mini-quiz on Friday.

Elizabeth Kochis composition

C. Oliver Composition

Ear training 2 - Homework due Monday 11/5

I have uploaded both the audio files and the answer key for the dictation homework.You can find them under "Resources."

Additionally, we have a performance assignment, as mentioned in class.

Music theory 2: homework for Monday 10/29

Analyze all embellishing tones in the following two excerpts:

E. Grieg, "Waldesstille"
L.v. Beethoven, Piano Sonata op. 10, no. 1

Theory 2-HW for Wednesday 10/24

On the SUPERTONIC handout, analyze embellishing tones in the Beethoven Violin Sonata excerpt (example 3).

L. v. Beethoven, Violin Sonata no. 7 in C minor, op. 30 no. 2, mvt. 2, mm. 1-4

Elizabeth

Embellishing Tones Yazmeen Frowns

Adam

zach embellishing tones WS

Mary

Glory

Christian's ET

Morgan's ET

Mid-semester conferences (read carefully; directions included)

On Wednesday and Thursday each student will meet with me individually to discuss her/his progress in Music Theory and Ear Training classes. Music Theory classes will meet as regularly scheduled, but Ear Training class will not.

Your presence, preparation, and participation in the meeting will count toward the “PP&E” portion of your grade. I will grade this on a check-plus/check/check-minus/no-credit basis, just like a homework assignment or mini-quiz, but it will count TRIPLE (15 points instead of 5).

In preparation for your meeting, consider each of the questions below. The answers should be written in your shared Google Doc (the same one we use for hearing feedback). “The class” refers to both theory and ear training, so address both if you are in both classes. Have this done BEFORE your meeting (some of the 15 points mentioned in the previous paragraph will be specifically for these questions).

• How do you feel the class is going?

• In which area(s) of the class do you feel strong or competent?

• In which area(s) of the class do you still need significant improvement?

• What kind of progress have you made in the class?

• What can you do going forward to increase your degree of success?

• [For ear training only]: How do your self-assessments compare with your grades on Sakai?

Bring the following to the meeting:

Your notebook(s) from theory and ear-training classes

Any returned work (quizzes/exams, etc.)

Video with recording of Clementi Sonatina

https://www.youtube.com/watch?v=feK9jK7-p0A

Mary-bottom of page (strike three)

MARY SUPERTONIC

GLORY SUPERTONIC

Elizabeth's part writing

Sydney's supertonic part writing

Morgan

Jasmyn Brown Part Writing 10 Octeebur 2001

C Oliver Part writing with Hero ST

Answer key for Practice Midterm

For a small bonus on the midterm, complete the following tasks:

1. Do the remaining two practice exercises.  You can find audio files under "Resources" in Sakai. Pay attention to the number of playings given on the page.

 

2. Check the answer key below (click "Read more"). Mark any errors in a contrasting color, and write a self-assessment/suggestions for improvement. Hand in on Friday before the exam.

Zach and Hayden's Super tonic WS

Videos about the supertonic triad

There are two videos introducing the Supertonic, the star of Chapter 5: part 1 and part 2. These follow up on what we did in class today (analyzing the Beethoven Trio and Haydn String Quartet excerpts).

Audio of textbook examples 5.2 a, b, c, d (p. 175).

Recordings for excerpts on "Supertonic" handout

Mozart, String Quartet K. 516, iv

Beethoven, Trio WoO 37, ii, mm. 1-15

Beethoven, Sonata for Violin and Piano, op. 30/2, ii, mm. 1-4

Haydn, String Quartet in E-flat Major, op. 76 no. 6, mvt. 4, mm. 1-4

Tchaikovsky, Symphony no. 3 in D Major, op. 29, mvt. 2, mm. 1-4
Why is this unusual?

____________________________________________________________

Grieg, Lyric Piece, op. 71 no. 4 (“Waldesstille”/“Peace of the Woods”), mm. 1-11
This piece is even more unusual than the Tchaikovsky. The lowest voice of the texture has a tonic pedal [please pardon the previous typo, which I have now corrected] for most of the excerpt, which makes it challenging to figure out the chords.

Analysis of 6/3 chords: recording links

W.A. Mozart, Sonata for Violin and Piano, K. 481, opening of 2nd movement - recording


L.v. Beethoven, Sonata for Piano, op. 10, no. 1, mm. 1-16 - recording


W.A. Mozart, Piano Sonata, K. 309, 1st movement (opening) - recording


Analysis of Beethoven excerpt (RN and cadences in teal, 2nd-level analysis in dark blue):

Elizabeth

Morgan