Due Monday, 11/2 (we’re trying to catch up)
Workbook Exercises with instructions as listed below (THESE DIFFER FROM THE BOOK IN SOME CASES):
Exercise 3.1
- Provide a Roman numeral examples 3.1 and 3.2 (Mozart and Verdi).
- For both of these examples, indicate the role of the subdominant harmony (tonic prolongation [T-prol], or predominant [PD]).
A very nice recording of this movement performed by Charles Rosen is on YouTube, and embedded below. The passage starts around 3:17. Notice the grace notes at the beginning of each measure. These create a “rolled” chord in each case, which will keep sounding through the entire measure (the pianist will hold the pedal down, again with some “finesse,” to keep that chord sustaining through a good portion of each measure).
The Verdi features an “oom-pah” or “boom-chick” bass-afterbeat pattern. Thus, even though the bass notes are brief eighth notes in this piano reduction (to emulate the pizzicato bass in the actual orchestra score), those bass notes function as the chordal bass through the entire measure in which they are featured. A nice recording of the Verdi featuring Luciano Pavarotti can be heard on YouTube. Move to 1:56 seconds into the clip.
Example 3.2 all.
Example 3.3, parts a and b.
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