Answer key for practice dictation final

Sorry I forgot to post it earlier.

Pieces to study for Theory 4 final exam

Study these pieces for the final exam.

Beethoven, Sonata op. 13, ii (score in "More on Modulation" packet)

Mozart, Piano Sonata K. 309, i (score handed out on 12/5)

Sonata form exposition examples

Identify the placement of the Medial Caesura (MC) in both the Exposition and the Recapitulation.
Include discussion of the musical elements that signal the approach to the MC. Most often, the MC will be preceded by one or more of the following elements:

• prolonged dominant ("standing on the dominant")
• chromatic passing tone approach to scale degree ^5 ("fa-fi-sol")
• repeated, emphasized chord or note, often thrice ("hammer blows")

Occasionally, the MC will be disguised or obscured by "caesura fill." This means that the caesura is not literally silent, but the measure(s) of the MC is filled in with some musical filler, often some kind of lead-in to the subordinate theme. In cases of caesura fill, usually the texture thins out significantly. For example, after a forte cadence with full chords, the caesura-fill might be at a piano dynamic and a single melodic line.

Additionally, to the extent possible, identify the four areas within the exposition: Principal theme/abbreviated P (tonic), Transition/T (usually modulating, but possibly just gaining energy; may be Dependent or Independent), Subordinate Theme/S (immediately following the MC, most likely in dominant key), and Closing Theme/C (reinforcing final cadence of S, also in dominant).

Beethoven, Piano Trio op. 1, no. 1, i

Beethoven, Symphony no. 1, op. 21, mvt. i

Beethoven, Symphony no. 2, op. 36

Beethoven, Piano Sonata in G Minor, op. 49, no. 1

Haydn, Symphony no. 99, i

Haydn, Symphony no. 100, i

Haydn, Symphony no. 104, i

Mozart, Piano Sonata K. 284, i

Mozart, Piano Sonata K. 309, i

Mozart, Piano Sonata K. 311, i

Mozart, Piano Sonata in C minor, K. 457, i (score)

Composition recital/project

We will have a composition recital on the last day of classes. Since you've done similar projects for the last two semesters, we won't have a multi-phase process of composition; you'll just write your composition on your own and arrange for its performance with one or more class members (other guests are allowed too).

I'd like you to be creative and enjoy the project, so I am leaving the specifications open to a large degree. However, your composition should meet the following criteria:

Form:
You may write your piece in any form we have studied (Binary, ternary, rondo, sonata, variations). If you choose variation form, you may write an original theme and two variations, or you may write three variations on a pre-existing theme).

Length
At least 32 measures. This may contain some degree of repetition (for example, if you write a parallel period, the first 2 measures of each phrase might be the same). However, an 8-measure phrase that is repeated exactly will count as 8, not 16 measures.
There should be at least 4 different phrases.

Harmonic content--include at least three different ones of the following:
Applied dominant
Applied leading-tone chord
Modal mixture chord
Augmented sixth chord (specify Italian, French, German)
Neapolitan chord
Change of mode
Modulation

You will also write program notes for your piece. These should be about 100 words long (minimum), and can explain your inspiration for the piece. There should also be some discussion of the musical elements you have included. The musical discussion can have some technical elements, but should be written for a lay audience (that is, assume that the readers are smart and educated, but don't necessarily know all the specific musical vocabulary that you have learned over the last five semesters).

Finally, in addition to your program notes, write a brief analysis that addresses any specific musical content that you included, but is not appropriate to include in your program notes. This should also be about 100 words (minimum), and should be specific. For example, if you include a Neapolitan chord, identify the chord, the measure in which it appears, how it acts within the phrase, etc. This analysis should be supplemented with an annotated score.

Program notes and brief analysis may be submitted electronically (via email). These are due on Thursday, Dec. 5 at 8:00 AM, along with information for the program (title and personnel). This will give me enough time to compile a program. The hard copy of the score is to be handed in at the beginning of the class period (you will want your own copy to read off for your performance too).

Mozart Sonata Form Movements

W.A. Mozart, String Quartet in A major, K. 464

W.A. Mozart, Piano Sonata in A minor, K. 310

Wagner's Elsa's Procession to the Cathedral arr. Liszt (Term Paper)

Link to score:
https://musescore.com/hmscomp/wagner-elsa-s-procession-to-the-cathedral

Link to video:
https://www.youtube.com/watch?v=fbvGYAg2jXE

Wie Melodien

Der Himmel hat eine träne geweint- Robert Schumann

thy fingers make early flowers - Celius Dougherty (Final assignment)

F.J. Haydn, Keyboard Sonata in D major HOB XVI:37, third movement

Final paper - preliminary assignment

For your final paper, I would like you to analyze a complete piece or movement from your own repertoire. I'd strongly prefer that you use a solo piece that you are working on this semester (one of your jury/recital pieces). If that music is not appropriate, then try a piece that you worked on recently (say, within the last two semesters). The piece should be tonal, and conform (mostly) to common-practice norms. Ideally, the piece should be composed between the early 1800s and about 1900, though some twentieth-century pieces might be appropriate also.

Fill in the linked form with the piece that you plan to work on.

Basics of sonata form (don't dawdle!)

Please don't wait until the day before class to start this homework. It will take you a while, and I will have high expectations for you on Tuesday.

Video with basics of Sonata form.

Watch this video and annotate the score, as you try to get a handle on sonata form, as expressed in this movement. It's a pretty typical sonata form movement.

If you feel ambitious/studious/conscientious/concerned to do well in your final semester of theory (you should!), you can also find Professor Roig-Francoli's explanation of sonata form on 651-653 of our textbook. On pages, 564-656, he gives a sample analysis of Mozart's piano sonata, K. 309. You can find the score and recording in SAKAI, under RESOURCES. I also added the audio and score for the first Beethoven example (op. 2, no. 1), but not the second ("Waldstein"), because it's more complicated than we need to get into.

Of course, you may search for additional resources on your own. If you do, be warned: some theorists use different terminology for the same ideas.

Note that there might be a mini-quiz on this video next Tuesday. If so, you WILL BE ALLOWED to use your annotated scores for the mini-quiz.

Other rondo form examples

Keyboard Sonata in Ab major, HOB XVI:43, third movement. This movement is a bit more complicated. Recording.


Beethoven, Piano Sonata in C minor, op. 13 (“Pathetique”), ii (complete)
You already have the score to this piece; it's in the "More on Modulation" packet.

This is a less typical rondo, in that it has a melancholy character and slow tempo. Rondos are more often fast and lighthearted (though certainly not always).

Video: introduction to Rondo form

I use the third movement of F.J. Haydn's keyboard sonata in D major. It's very jaunty!

Here is the video.

Kochis variation analysis: II and V

 Variation V: The main idea tying this variation to the theme is the baseline, which is following along with the original baseline. There are also 4 measures which are nearly identical to the original theme, however the melody in the right hand has a rhythmic variation. At the beginning of the variation, there is an inversion, instead of starting from A to D, it goes from D to A. In the second section there are segments of the original melody mentioned with a different rhythmic value.

Variation II: This variation is difficult because of the way the hands are broken apart. the bass line is the same idea, however instead of the alberti bass in the original theme, the bass line is played in inverted pentascales. Again, there are one or two measure that are near identical to the original, with a slight variation of a quarter not added and repeated to fill the measure.

Zach 8th Variation

This variation sounds a bit mischievous or comedic compared to the original theme. I believe this is because of the of the constant flux in dynamics. I can almost imagine a scene from Tom and Jerry playing in the background with Jerry trying to sneak cheese into his little hole in the wall. Another feature that adds to this "Tom and Jerry" quality is the fact that at the beginning the melody actually seems to be a simplified version of the original, but then the melody goes a bit off the rails with all the octave chromatic passing tones. Also, the melody keeps flip flopping between the left and right hand which is also something that was not an aspect of the first variation. Even though this variation looks and sounds a bit different when compared to the original it is still very evident that it is related. I had a hard time analyzing this one due to all of the chromatics and the lack of actual chords; however, interestingly enough it almost has the same exact chord progression leading to the first half cadence, and also fully ends on a perfect authentic cadence just as the original did as well.

Variation VI- Hayden

Variation VI

Variation VI’s melody is invariably made up of groups of sixteenth notes with a sixteenth rest beforehand, giving that the sixteenth note is the basic pulse. The tempo shift from the previous variations became much faster. Left hand moves lower than it does in variation 5, with the right hand at times being higher. Essentially, the middle range isn't the center of activity like variation 5. I find this one hard to aurally relate to the original theme. A big rhythmic difference is that in the theme it seems to be a lot of academic style, as opposed to in variation VI with the consistent quarters in the right hand leading to the melodic sixteenths. This variation sounds very playful to me.

Morgan Variation IX

Variation IX was much harder for me to analyze. From what I did manage to analyze, it is, again the same chord progression (thus, a variation). This variation Is very lively and sounds very different from the original; whereas the first variation sounded much more like the original. This one is almost a different piece. In the beginning, both the original and the first variation (with added notes) both go "sol, sol, do" going up. Variation IX goes down to 'do'. Both lines of music are less involved in some areas, like pick-up to measure one to measure three. Others are a little more busy, like the next few measures. There is a bit of syncopation in this variation as well.

Morgan-Variation I

This variation seems more driven than the original one. Although the original had many eighth notes, this one was almost entirely eighth notes in the top line. This, to me, makes it sound like it is almost faster than the previous. The chord progression is basically the same (because it is a variation), but with little differences. There are also quite a bit of chromatic notes in Variation I which makes it hard at times to analyze. The bass line is much less involved in var. I which also make analysis difficult; however, the progression, as mentioned before, is more or less the same as before. Form is also the same as before; the first part is played and repeated, then the second part is played and repeated.

Variation VII- Hayden

Variation VII

As was common for the time, only one variation would be written in minor, and in this case that is variation VII. The variation goes by fairly quickly, and it doesn’t appear too noticeably alike to the theme except for a few lead-ins to phrases that are now minor versions, and with embellishments. With how fast the tempo is it might be hard to hear right away the It+6 chords in bars 3 and 16, as well as the flat II⁶ in bar 10, and finally what I am calling the G+6/V in bar 6. I think a good description for this piece is that it is both insistent and intense. The melody is very much embellished from that of the theme, almost unrecognizably. The rhythms are primarily eighths and sixteenths, making the arrival at cadences much more pronounced with their quarter note to half note lead-ins. The harmonic rhythm seems to vary a decent bit, but most often is two to four chords.

Glory Dami, IV, The Expansive Variation

In the fourth variation, we hear the same chordal structure and form much like we do in the third variation. It also changes keys at the same times and again, you can literally sing the theme underneath it the whole time. Interestingly, the third variation doubled the amount of notes in the top line and the fourth variation has doubled the amount of notes in the bottom line. This creates a completely different feel for this variation of the piece.

Additionally, the right hand is playing longer sustained notes with many ties (I have attached an example) which changes the melodic ideas that the listener hears. It gives less of a note by note feel and the larger beats are emphasized with a swaying feeling. The fourth variation has more of a message of growth and expansion while the third movement felt more like a lot of added notes per beat. Additionally, the fourth variation uses a lot of non chordal tones in a different way than the third variation does and the motion of the left hand notes is more scalar whereas in the theme it bounces around between chord tones. This makes the fourth variation sound much more distant, and as I said before, more expansive, than the original theme.

Glory Dami, III, The Texturally Complex Variation

In Variation III, we see nearly the exact same underlying chordal structure as we do in the original theme. Some of the chords are spelled differently, and the section of transition back to D major is not exactly the same, but overall, the chord progression is the same. The piece also changes keys at the same times and you could almost sing the theme underneath the third variation because we can still hear it. Where I have highlighted in both yellow and pink, we see that we have the exact same chords in the base. This entire variation is an extremely embellished version of the theme. There are twice as many notes per measure in the right hand in the third variation than in the theme, yet the tempo remains the same making this a very impressive section. The overall mood is relatively the same, yet the third variation gives a bit more suspicion of what will come next, maybe due to the immense amount of notes and Mozart's elaboration to the theme that is still lingering in our minds.
ADDED:
The function of the bass is much different in this variation, often containing appoggiatura ending with a leading tone occurring multiple times. It is a much more sudden feel with communication between the two lines rather than moving together like in the theme. The form is the same as the original theme with the exception of one extra measure.

Var III and Var VIII - Mary

Oliver Variation VII - The Attack of Chromaticism

Oliver Variation IV - The A's of Space

This variation still stays true to the rounded balanced continuous binary form that the theme follows. Overall this variation has an almost more regal or majestic color than the theme. The exaggerated articulation really make up this variation as it brings a heavy royal sound to the color and the wider timbre also brings that broader sound to the piece.

Zach Variation 1 Mozart

The first variation of Mozart's Piano Sonata K284, iii sounds a bit more frantic than the original statement of the theme. This is most likely due to the fact that the right hand now has straight triplets until each cadence, giving it a slight compound feel. Also, with there being an extra four notes in almost every measure of the variation, it sounds like the piece is speeding up without it actually doing so, which I'd never really thought of being possible. It is a bit more difficult to discern the harmonic rhythm in this variation due to the left hand being so scarce as well as the increased amount of passing and chromatic passing tones in the right hand; however, it is still almost unmistakably the same, even if some of the chords are just implied. I am able to be confidant in that decision due to the fact that it still functions with two, four bar phrases with the same exact harmonic sequences leading up to the same exact cadence types, the cadences being half cadences. Also, the dynamic markings are the exact same, and in the same spot phrasally, in the variation as they are in the theme. Overall, while listening to this variation especially, it can be confusing at times; however, no matter how many times the right hand dances around the melody, it eventually lands where you're expecting it to based off of the theme.

Homework for Tuesday 11/19

We will discuss variation technique on Tuesday, using the third movement of W.A. Mozart's Piano sonata, K. 284 as our example.

Each student will analyze two variations, comparing them to the theme (obviously, you'll have to analyze the theme too) and possibly to each other. Each little analysis will take the form of a paragraph (minimum 200 words) about the variation. Start each paragraph with a sentence characterizing the variation, and use the rest of the paragraph to support your characterization, citing specific musical elements. I would also suggest that you clarify your analysis with some annotated musical examples (you may write on the score and photograph it, or annotate a photograph with software).

For something to be considered a variation, it must be both similar to and different from the thing it's a variation of. Address these similarities and differences in your paragraph.

Consider various musical elements as you work on your analyses. Harmony is a starting point, but what about melody, rhythm, texture, motivic transformation, timbre, dynamics, tempo, register, etc.?

Examples of overall characterizations and possible associated musical elements:
Melancholy - this might be minor, slow, and with multiple suspensions
Insistent - this might be fast with constant sixteenth notes and no rests
Academic - if the two hands were constantly imitating each other throughout the variation

Make a separate blog post for each analysis paragraph. Title your post: include the number of the variation, but incorporate that into a title phrase or sentence. Submit these by noon on Tuesday.

Assigned variations:

I - Morgan, Zach
II - Elizabeth, Jasmyn
III - Mary, Glory
IV - Glory, Christian
V - Jasmyn, Elizabeth
VI - Hayden, Owen
VII - Christian, Hayden
VIII - Zach, Mary
IX - Owen, Morgan

Be prepared to discuss your analysis in class. Hopefully, we will also have time to discuss the other three variations together:

Var. X
Var. XI
Var. XII

Recordings in Binary Form packet

Example 1. J.S.Bach, Suite for Solo Cello no. 3, B.W.V. 1009, Bourrée I

Example 2. Schubert, Impromptu op. 142, no. 3 (D. 935), Theme.

Example 3. Mozart,Piano Sonata in D Major, K. 284, iii.

Example 4. J. Brahms,“Wiegenlied,” op. 49, no. 4 (recording in Db)

Example 5. Haydn,Piano Sonata in F, HOB XVI:9, Scherzo

Example 6. Schumann,Kinderscenen (Scenes from Childhood), op. 15, no. 1 “Von fremden Ländern und Menschen” (“Of foreign lands and people”)

Example 7. Beethoven,Piano Sonata op. 2, no. 1, Minuet (iii)

Example 8. ArcangeloCorelli, Sonata for Violin and Continuo, op. 5, no. 8, Sarabande (an old recording!)

Videos and pictures: binary form analysis

On Thursday, we will deal with binary form. You have a handout about this topic. Please refer to this, and to your textbook pp. 498-507 (headings "THE BINARY PRINCIPLE," "BINARY TONAL TYPES," "BINARY FORMAL DESIGNS," and the subheadings "Simple Binary," "Rounded Binary"
and "Balanced Binary").

Read Professor Roig-Francoli's discussion of Binary Forms, and compare with my handout. We talk about the same things, and discuss the same ideas, but we use a few different terms. I think mine are actually a little simpler.

My guess is that this text will be fairly hard to fully comprehend, and it will be impossible to comprehend if you disregard his musical examples 21.4 through 21.8. Set aside a block (or a few blocks) of time to work through the material on your own or with a buddy. Remember that you can find the recordings on the Harmony in Context website student edition (choose Chapter 21 from the drop-down menu)

We will have a brief mini-quiz on this material Thursday. Also, bring devices and headphones for individual/small group analysis exercises.

Video introducing binary form terminology here

Video about Example 21.6a (textbook p. 504) here.

Video about Example 21.7 (textbook pp. 505-506) here.

Video about Example 21.8 (textbook p. 507) here.

See my annotations of his examples below.

Example 21.6a

Example 21.7

Example 21.8

Excerpts on Augmented-sixth chord handout

NOT "augmented VI chords!"

Mozart, String Quintet K. 516, 2nd mvt.
(Analyze ALL CHORDS, but just the first 13 measures, up to the repeat sign)

Schubert, "Die Liebe hat gelogen"
Discuss Augmented sixth chords in this movement. Identify (measure/beat number) all "oddball" chords (chords that we have not yet learned). This excerpt is trickier.

Haydn, Mass in the Time of War, Kyrie Eleison
(Analyze ALL CHORDS, but just the first 10 measures, up to the fermata. There is just a tiny bit of trickiness in this excerpt.

Other examples:
R. Schumann, "Waltz" from Albumblätter op. 124, no. 4, performed by Denes Vargon

Mozart, Piano Sonata K. 280, ii performed by Mitsuko Uchida

Augmented sixth chords - instructional video - watch for 11/5

https://youtu.be/R8RQlFCK91A

Recordings (Neapolitan)

Franz Strauss, "Nocturno" op. 7
Maria Teresia von Paradis, "Sicilienne"

The Neapolitan: watch before class 10/29/19

Video linked here


Here is another recording of the song, this one in G minor (the other one is in E minor)


Coincidentally, a colleague I know recently posted his own video about the Neapolitan. His is a little slicker than mine, but they contain the same basic information. You might find it helpful to watch somebody else's approach.

Here's Dr. Atkinson's video, and here's the "Erlkönig" song he refers to. Appropriate for the season.

Answer key for practice midterm

You will earn a small bonus for doing all of the following:

• Check your dictation and clearly marking any errors
• Write a brief self-assessment (including suggestions for how to try to avoid making similar errors in the future) for each exercise
• Hand in the practice quiz on Friday

Modal mixture packet

Bellini, "Malinconia, ninfa gentile" - Angela Gheorghiu and Jeff Cohen
F.J. Haydn, String Quartet op. 64, no. 5, 3 - Jerusalem Quartet
Brahms, "In Waldeinsamkeit" - Dietrich Fischer-Dieskau and Hermann Reuter
F.J. Haydn, String Quartet op. 64, no. 3, i - Amadeus Quartet
Vincent Youmans and Irving Caesar, "Sometimes I'm Happy" - Dinah Washington

Video to watch for Tuesday 10/15 (Modal mixture introduction)

On Thursday we will begin our study of Chapter 23, Modal Mixture. The following video introduces the concept, which I don't think you will find too difficult to understand. As always, you are welcome to use your textbook as a resource.

Click here for the modal mixture video. Sorry for the poor sound quality on the musical example. I uploaded a substitute copy of the audio in Sakai. Go to Resources-->Audio files.

Recordings for new packet "More on Modulation"

Analyze any modulations in your assigned piece. Be prepared to give your best explanation of what keys are in the excerpt/piece, whether they are closely related, and how the composer shifts between the different keys.


Beethoven, Piano Sonata in C minor, op. 13 (“Pathetique”), ii (complete)

Beethoven, “Hoffnung” from Four Arias and a Duet, op. 82, no. 1 (complete)

Beethoven, Violin Concerto in D Major, op. 61, iii, mm. 273-296 (recording starts about 15 seconds before the printed excerpt, to give you a sense of the key/context)

Brahms, A German Requiem, i “Selig sind,” mm. 93-110

Haydn, String Quartet op. 74, no. 1, ii, mm. 134-156 (recording starts about 20 seconds before printed excerpt)

Haydn, String Quartet op. 74, no. 3, ii, mm. 1-10 (uses a chord we haven't learned yet, but still cool)

Schubert, Piano Sonata in B, D. 575, iv (Allegro giusto), mm. 1-38

Schubert, Mass in A-flat, D. 678, Agnus Dei, mm. 1-31
Score linked here.

Schumann, “Waldesgespräch” from Liederkreis, op. 39, no. 3 (complete). Here is a more legible copy of the score (p. 4 of the linked pdf).

Videos with cool stuff related to modulation (watch for Tuesday 10/3)

The first video deals with a possible relationship between keys.
Video on the chromatic mediant ("chromatic third") key relationship, to which I added titles.

The second video deals with a technique of modulation.
Video on using a fully-diminished seventh chord to modulate

Theory 4 - Homework for 10/1 (clarification)

This is a quick note to clarify the Music Theory 4 homework that’s due on Tuesday (October 1). You are to analyze each of the excerpts referred to on the packet called “Excerpts to study for introduction to modulation.” Some of the excerpts are printed in the packet, others in the textbook. Specifically, these are the excerpts to study:

W. Mozart, Piano Sonata K. 333, i, mm. 1-16. Example 20.2 in textbook

C. Schumann, “Ich stand in dunklen Träumen,” opening to m. 13. Example 20.4 in textbook

J. Haydn, String Quartet op. 64, no. 2, Menuetto, mm. 1-14. Example 20.8 in textbook

L. Beethoven, Piano Sonata op. 2, no. 1, Menuetto in packet

W. Mozart, Piano Sonata K. 284, iii, Theme in packet

Refer to my blog post from last week for links to recordings. Professor Roig-Francolí discusses some of the textbook examples in the book.

I will look at your annotations and/or give a mini-quiz covering this homework on Tuesday. For each example, you are to decide on the keys expressed (there will be at least two in each example, but some may have more than two keys). Additionally, be ready to explain (as best you can) how the composer gets from each key to the next for each excerpt.

Videos explaining CLOSELY-RELATED KEYS and DIATONIC PIVOT CHORDS

The linked videos focus on Closely Related Keys [click here] (a type of key relationship) and Diatonic Pivot Chords, part 1 and part 2 (a technique by which a composer can get from one key to another). (There are two videos for Diatonic Pivot Chords because I was interrupted while making them

Recordings on "Introduction to Modulation" packet

Analysis directions are given on the handout. In brief, I want you to listen to the pieces and explain how the modulation occurs, to the best of your ability. You may discuss this as formally or informally as you like.

Below you will find the pieces with links to the recordings (for pieces in the textbook, you can find the excerpts on the textbook website. Remember, the student edition is HERE; use the "choose one" drop-down menu on the left to choose Chapter 20).

W.A. Mozart, Piano Sonata K. 333, i, mm. 1-16. Example 20.2; recording on Harmony in Context website.

C. Schumann, “Ich stand in dunklen Träumen,” opening to m. 13. Example 20.4 in textbook,
full score and recording here (these give a better overall context; it’s a short piece).

J. Haydn, String Quartet op. 64, no. 2, Menuetto, mm. 1-14. Example 20.8; recording on Harmony in Context website.

E. Grieg, “The Death of Åse,” from Peer Gynt, mm. 1-16. Example 20.15; recording on Harmony in Context website.

L.v. Beethoven, Piano Sonata op. 2, no. 1, Menuetto. Recording.

W.A. Mozart, Piano Sonata K. 284, iii, Theme. Recording.

J.S. Bach, Menuetto from French Suite no. 3, BWV 814. Recording.

F. Chopin, Prelude in C minor, op. 20, no. 20. Recording.


J. Brahms, "Die Wollust in den Maien", WoO 34, no. 11. Recording.

L. v. Beethoven, "Ich liebe dich"

Performed by Karita Mattila and Ilmo Ranta

Videos on secondary leading-tone chords (watch for Thursday 9/12)

See videos (part 1 and part 2) introducing secondary leading-tone chords. There will be a mini-quiz Tuesday.

I go over a handout. Here are the bullet points:

• Just as a diatonic leading tone (LT) chord can substitute for the dominant, a secondary LT chord can be used to tonicize a chord 
• Secondary LT chord may be a triad or 7th chord 
• (Triads barely mentioned in textbook) 
• Part-writing, qualities, etc. are analogous to diatonic LT chords: 
• Triads will typically occur only in 6/3 position (viiº6/X) 
• LT 7th chords can be half-diminished (viiø7/X) or fully diminished (viiº7/X) 
• Fully diminished may tonicize any quality; half-diminished typically only tonicizes a MAJOR chord 
• (If using viiø7/X beware parallel 5ths) 
• Voice-leading into and especially resolving secondary LT chords should be stepwise/common tones to the extent possible, including: 
• Applied leading tone should go to what it’s leading to 
• Chordal 7th must resolve down by step 
• Secondary LT chords may appear in any inversion, although:
• Root position probably most common 
• Third inversion probably least common

Instructional videos about secondary dominant chords

In Part 1, I give the nuts-and-bolts of secondary dominant chords.

In Part 2, I follow up a little (with applied chords in minor keys specifically).

After watching Part 2, try your hand at spelling the following applied dominant chords.

Part 3 provides the answers.

Secondary dominant listening examples

Example 1. Haydn, String Quartet op. 76, no. 2,second movement, mm. 1-4

Example 2. Mendelssohn, Song without Words op.62 no. 1, mm. 1-6

 

Example 3. Haydn, Symphony no. 94 (“Surprise”), second movement, mm. 1-8

Example 4. Schubert, Impromptu in Bb, D. 935(op. 142) no. 3, mm. 1-8

Music Theory 4 - Assignment for Thursday 8/29

1) Do the syllabus quiz (on Sakai, under "Tests & Quizzes"

2a) Write a brief essay (double-spaced, 12-point font, 1-inch margins; minimum 1 page, maximum 2 pages) describing/analyzing the "Waltz" by Amy (Mrs. H.H.A.) Beach, op. 36, no. 3. Consider this an opportunity to experiment with what you think is the best way to write about music. We will discuss in small groups and start to revise these essays on Thursday. Try to apply what you have learned about writing in general (e.g., in your College Composition classes) to writing about music.

2b) Rules for the brief essay: you may discuss your thoughts with other people, but you must write the text yourself. It should not include historical information; everything that you write should come directly from the music (from listening/reading the score/playing). As you get to know the piece, pay attention to your own thought processes. What strikes you as interesting or cool? What is in here that exemplifies concepts you have learned in theory class? Are there any moments you have questions about?

3) Submit your essay to Sakai (under "Assignments"; you may copy/paste into the box or attach a file in either pdf, doc, or docx format) AND bring a hard copy to class.

Recordings:
Beach, "Waltz" op. 36/3

Other related pieces:
Schumann, Kinder-Sonata op. 118a
Bauer, "Coyote Song"

Ear training 3 - answer key to practice dictation final exam

Mark corrections and write a self-assessment for a small bonus.

Take 2

Oliver Composition

Morgan Composition

JB Composition Recital Draft

Not yet titled composition

Mary composition

Composition chord progression and melody

Composition Draft

Composition recital information and deadlines

On the last day of Theory class (Thursday 4/25), we will have a composition recital of pieces composed by you! Tuesday will be a workshop day, so the closer your piece is to being complete, the better.

Criteria for your compositions/performances:

• Performance
• Each student must perform on at least one piece (your own or a classmate's)
• Each piece must have at least one student performer from our class. Other performers are welcome if you would like to invite them
• Be sure to get a commitment from your performer(s) before deciding on your instrumentation

• Composition
• Your piece should be a minimum of 16 measures and two phrases long. Longer is acceptable (within reason; 5 minutes maximum length)
• It should conform to common-practice norms ... one goal for this project is for you to demonstrate your understanding of these norms
• (If you want to write and perform a non-common practice piece, you may do so, but only IN ADDITION to your common-practice piece. Grading will be based on the common-practice piece)
• The piece should contain at least three concepts covered this semester. These may be harmonic (for example, mediant or submediant triads, diatonic seventh chords), phrase-structural (e.g., sentence structure, parallel interrupted period), thematic (diminution, inversion, etc.), or harmonic sequences. At least one of these concepts should be harmonic, and at least one should be something other than harmonic. As you see, we did a lot this semester!

I suggest you start with a framework in which you sketch out the harmonic progression and phrase structure, possibly with some main notes, and subsequently work these into a melody. Feel free to choose whatever meter and key you find appropriate. It would be a good idea to work with your performers to get feedback about what is idiomatic for their instrument/voice type.

One of the learning objectives of the composition project is to help you develop your written communication skills. Therefore, the project includes two written components.

For the performances on Thursday, you should also write at least one paragraph of Program Notes. This should be written in a relatively formal style similar to program notes you have seen on student or guest recitals. Program notes are written for a lay audience (assume your readers are intelligent people, but not necessarily trained musicians; therefore, program notes don't include musico-technical vocabulary). Ideas that may be included are: the mood you hope to evoke with your piece; specific instrumental or vocal techniques that you use; your reasons for choosing the particular key and meter you did; and the style or styles you are referring to with your composition. Program notes should be somewhere in the neighborhood of 100 words. A bit more or less is OK within reason (500 words or 20 words are not acceptable lengths).

Additionally, write a brief analytical paragraph (for me, not for public distribution) explaining your use of the theoretical concepts. This will not duplicate the content in the program notes (but may refer to some of the same ideas). This represents a different kind of writing, where you will demonstrate skill in explaining musical concepts to a specialized audience, your professor, who understands musical terminology and concepts. You will hand in an annotated score (showing the concepts); your analytical paragraph may refer to this.

What/when to submit:

• Due Tuesday, April 23, 12:30 PM:
• A draft of your composition. Bring these to class (one copy should be enough, also post a picture to the blog, so that all class members can provide feedback).
• Due Wednesday, April 24, 6:00 PM:
• Title, personnel, program notes (Use this form)
• Final version of composition. You should have at least two hard copies. One will be the annotated score, which will be handed in to me. (Annotations will be things like a roman numeral analysis, markings showing any motivic relationships, sequences, phrase structure, cadences, etc.) The other one(s) will be used for your performer(s) to read off. Also hand in the brief analytical essay at this time.

Handel arias with harmonic sequences

G. F. Handel, V'adoro, pupille (from Guilio Cesare), performed by Renee Fleming.

G. F. Handel, "Rejoice Greatly, O Daughter of Zion," from Messiah, performed by Kathleen Battle.