Canon Project- Glory pt. 2

In canon 8.4 for three voices, there are four different reoccurring measures. In measure 1,  the V chord is outlined. In measure 2, the V chord is outlined in the first half and the I chord in the second half. In measure 3, the VI chord is outlined in the first half and the I chord in the second half. In measure 4, I would argue that it is more-so passing tones, but could be changing chords each quarter note, going ii, I, V, IV.

Canon Project- Glory

In canon 5.16, for four voices, there are two different measures that alternate. The first measure (first within the bracket) outlines a I card in the first half of the measure and a vii chord in the second half of the measure.  The second measure (the starred ones) outlines a I chord throughout the chord, with Fa in the second half as a passing tone.

cannon project Mary Horzempa

8.4

This is a cannon for 3 voices

By Haydn

In the key of G minor

8.6

This is a cannon for 4 voices

Song from Germany

In the key of G Major

Recordings on new handout - listen for Jan. 31

Here are links to excerpts on the handout "Phrases -- construction and combinations"
Listen to each example several times and mark cadences on the score.

Example 1. Beethoven,Variations on an original theme, WoO 34

  
Example 2. Schumann,“Knight Rupert,” from Album for the Young,Op. 68, opening.

Example 3. Paul Simon, “Kodachrome,” from There Goes Rhymin’ Simon (1972), first verse (aural analysis/no score; mark cadences by timestamps on the recording and/or words).
 

Example 4. Mozart, Piano Sonata in D Major, K. 284, iii.

Example 5. Haydn, Piano Sonata no. 15, in C Major, HOB XVI:13, ii

Example 6. Mozart, Variations on an Original Theme, K. 500, theme.

Example 7. Beethoven, Sonata for Violin and Piano, in C Minor, op. 30, no. 2, i.

Example 8. Mozart, Piano Sonata in C Major, K. 545, ii.

Canon composition project, phase 1 (the analysis part)

We will write canons for ear training class, starting on Wednesday and finishing on Friday. The first step will be to analyze canons that we have already performed in class, which we will discuss on Wednesday.

Choose two canons from the textbook (from any chapter up to 9). For your canons, be ready to explain how and why they work as canons. This will include at minimum, a roman numeral analysis, but you will probably have something else to say as well regarding melodic rhythm, motives, embellishing tones, or other musical factors.

Chapter 10 videos (watch for Thursday)

Deceptive cadence
Plagal cadence
Phrygian cadence

Recording for New Cadence Types (Thursday)

We will do an Inquiry-based-learning (IBL) exercise on the new types of cadences (while simultaneously reviewing the old types). The types of cadences you will need to know are:

Perfect Authentic Cadence (PAC)
Imperfect Authentic Cadence (IAC)
Half Cadence (HC)
Phrygian Cadence (PhC)
Plagal Cadence (PC)
Deceptive Cadence (DC)

You may use your textbook or other resources to find the specific definitions of these terms. Be able to identify where there seems to be a cadence in each example (the textbook author marks some of them), and discuss each cadence's harmonic and melodic characteristics. 

Each of these types is represented at least once in the handout (most are from the textbook). Audio examples can be found at the links below.

• Robert Schumann "Folk Song," op. 68 (this is the recording from the textbook)
• Josephine Lang, "Arabesque" mm. 1-16
• Mariana Martines, Sonata in E, first movement, mm. 1-23 

• W.A. Mozart, Rondo for Violin and Orchestra in B-flat Major, K. 269, mm. 256-268

• Telemann, Violin Fantasia no. 5 in A Major, mvt.2 (complete movement)

• F.J. Haydn, Piano Sonata in C Major, Hob.XVI:35, mvt. 1, mm. 1-16

• George Frideric Handel, "And the Glory of the Lord" from Messiah, ending

• Chorale-J.S. Bach (BWV 368)/Joseph Klug [?] "In dulci jubilo" 

• (This organ recording is the only one I could find with the same arrangement of voices. However, it's a bit hard to hear the soprano voice in the texture. You will really need to focus on the top voice in your mind's ear. Consider each fermata to represent a cadence. They are NOT all in the same key. We will learn about specific techniques of modulation--key changes--later on, but your ear should be able to tell you what the key is for now.)

• W.A. Mozart, String Quintet K. 614, mvt. 1, opening 

• Listen to this example several times until you are sure you understand where there are pausing points in the music. It won't be obvious from just looking at the score.

You may listen to other examples in the textbook at the following link: http://highered.mheducation.com/sites/0073137944/information_center_view0/index.html

From the box labeled "Online learning center" on the left, click "Student Edition." Then, on the top left, choose "mp3s" from the drop-down menu, followed by the specific chapter or "Anthology." Some chapters have a pdf for Additional Study

Zach

Glory Dami

Videos on the leading-tone triad

Watch the following three videos that cover the leading-tone triad. A bit of the content may duplicate what we discussed in class.

Part 1 (was interrupted)
Part 2
Part 3

Haydn, Keyboard Sonata HOB XVI:24, ii

Haydn, Keyboard Sonata HOB XVI:24, ii

Professional recording by Richter

My reduction

Here's the post for Thursday 1/10

FA18 - Level 2 classes (continued from SP18): The dominant seventh chord: parts 3-5 (this was or...: 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 ...

Here's the post with videos for Tuesday