Ear training 3: answer key for practice exam

Recordings for new handouts (thematic transformation/Chapter 12)

Below are the recordings for the new handout. Listen to each excerpt a few times. Try to figure out why each excerpt is on the handout--what does it exemplify? (FYI, some actually have more than one concept.) The vocabulary from the handout is listed below. You should use your textbook (first half of chapter 12) as a resource to try to figure out the concepts. I'll call on students to give their best shot at explaining each example.

When there are two excerpts for the same example (29 and 32), you should compare the motives in both to each other.

Concepts/vocabulary

Repetition

Transposition

Melodic Sequence (specify tonal or real)—also modified sequence

Imitation (only briefly mentioned in textbook)

Intervallic contraction OR intervallic expansion

Inversion

Augmentation

Diminution

Change of mode

Melodic Retrograde

Fragmentation

Example 20. Mozart, Piano Sonata in D Major, K. 284, third movement, Theme

Example 21. Mozart, Piano Sonata in A Major, K. 331, third movement 

Example 22. J.S. Bach, Two-Part Invention no. 1 in C Major, BWV 772 (This recording has an audio glitch, but Gould is very important, so you should be aware of him)

Example 23. Haydn, Canon "Thy voice, O harmony, is divine"


Example 24. Beethoven, Piano Sonata op. 10 no. 1, i (opening)

Example 25. Wagner, Overture to Tannhauser, mm. 12-23

Example 26. Beethoven, Piano Sonata op. 10, no. 2, ii, mm. 1-15

Example 27. Beethoven, Piano Sonata op. 31, no. 2, i, mm. 1-12

Example 28. Beethoven, Symphony no. 5, i, mm. 1-12

Example 29. Brahms, Handel Variations op. 24, Fugue

• a) mm. 1-5
• b) mm. 48-62

Example 30. Brahms, Intermezzo op. 118, no. 2, mm. 1-8

Example 31. Franck, D-minor Symphony, mm. 1-6

Example 32. Dvorak, New World Symphony, iv

• a) mm. 10-16
• b) mm. 293-297

Example 33. Barbara Strozzi, "Hor che Apollo" from Arie, op. 8

Not the Canon in D you all know

Morgan

Glory's Canon in E Major

Canon in A Minor

Zach's Canon in G minor ;P

Mary's Canon

Listening homework for Thursday - new handout "Phrases - further considerations"

Listen to the first five excerpts (through example 13).

Example 9. Beethoven, Piano Sonata op. 2, no. 1, i

Example 10. Haydn, Piano Sonata no. 38, HOB XVI:23, ii

Example 11. Mozart, Violin Sonata K.14, Menuetto secondo en Carillon

Example 12. Mozart, Piano Sonata K.281, iii

Example 13. Beethoven, Piano Sonata op. 26, i

Example 14. Mozart, “Die Zufriedenheit,” K. 349

Example 15. Beethoven, Piano Sonata no. 11, op. 22, iii

Example 16. Beethoven, Piano Sonata no. 7, op. 10, no. 3, iii

Example 17. Mozart, Piano Sonata K. 309, i

Example 18. Beethoven, Piano Sonata op 2, no. 3, i

Example 19. Mozart, Serenade in G major, K. 525 (“Eine kleine Nachtmusik”), i

Example 20. Mozart, Piano Sonata K. 309, iii, mm. 1-40

Canon project, phase 2 (the writing part) - due Wednesday 2/6

Having gained an understanding of how canons work through analyzing several examples, you are now ready to compose your own canon! This will be handed in on Monday. I will copy all the canons and distribute them to the class.

Your canon should have at least three different voice parts that enter at equal time intervals (that is, if Voice 2 comes in two measures after Voice 1, then Voice 3 should come in two measures after Voice 2, and so on). Follow a harmonic progression of your choice; any embellishing tones should match up together. You may choose the key, clef, and time signature. Your canon needs to be singable (by you and the class). I will include it on your hearing.

Please write your canon legibly, to facilitate performance by your classmates. Feel free to give it a clever title.

This assignment will be counted as part of the "Other" category listed on the syllabus.

Elizabeth's Canon Assignment

7.24 (Canon for 4 voices)

This canon is written in tenor clef, time signature of 3/4, key of G Major. The phrases are 2 measures long, alternating between V and I chords, beginning on dominant and ending in a PAC. The rhythm is consistent between the voices for the majority of the exercise.:

(dotted quarter note-eighth note-quarter note) (quarter-quarter-quarter)

The only exceptions to this is in measure 6 and measure 8. Measure 6 repeats the rhythm in measure 5, and measure 8 only has 2 quarter notes as opposed to 2 quarter notes. There are three embellishing tones in the exercise, all in the second half. Two are contrasting neighboring notes on the 'and of 2' in measures 5 and 7. The first is an upper NN on the root of the chord while the second is a lower NN on the fifth of the chord. The third embellishing tone is in the 6th measure, accentuating the altered rhythm with a passing tone between the fifth and third of the chord.

Zach Canon Assignment

Canon 5.16 is in the key of D minor. I understood the chord progression to go 1-7-1. While that is a bit weird, the chords were clearly spelled when putting all the parts over each other. 

Canon 12.9 is in the key B major. Analyzing it once put together was a bit rough because all of the passing tones made it a bit confusing; however, from what I was able to understand, the progression goes 1six-4-1six-1six. 

In canon 8.19 in D flat Major, the chord progression is a little odd, going I-IV6/4-V-IV6-I6/4-vii0-IV-V-I6
Still, the canon parts do line up to make the chord progression sensible.


In canon 5.16 in D minor, a much simpler example, the chord progression seems to go i-vii-i
The four voices line up to make these harmonies when sang at the correct times.