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