From the workbook, Exercise 8.1 (2 and 3). The instructions are on p. 72. Parts 2 and 3 refer to examples in the anthology, which starts on p. 241 of the workbook.

Also complete this handout.

Assignment 12, using submediant and cadential 6/4 chords.

The pdf is in iLocker. Youtube videos of the analysis examples are below.

Mozart, Quintet in A Major, K. 582 (I) (music starts around 45 seconds)

Schubert, Die Winterreise, D. 911, No. 11 “Frülingstraum” (analysis portion begins with the start of the voice part, after a short piano introduction)

Workbook, Ch. 4, pp. 51 – 53.

Exercise 4.1, Example 4.4.

• Provide a RN analysis of mm. 15 – 16, and 18 – 19. Although m. 15 and 18 start with incomplete triads, consider them in context relating to m. 16 and m. 19.

Exercise 4.3 a and b.

• Remember to raise the LT in minor.
• Try to use voice exchange when moving from root position to first inversion triads (between S and B). Try really hard. It is worth points.

Exercise 4.4 a and b (only)

• Provide a RN analysis.

Exercise 4.5 a only. Melody Harmonization.

• Follow the guidelines from class. I’ll post them soon.
• You may use I, IV, V in root position or first inversion, and ii in first inversion.
• Note the harmonic rhythm (marked R), and the indication to use first inversion triads where indicated by the number 6. One time it indicates a prolongation through change from root position to first inversion. The other time it indicates a first inversion triad that should indicate to you the middle chord of a three-chord group (we went over this 3-chord beauty in class today).
• You are free to use first inversion triads even when there is no indication to do so.

Workbook Exercises with instructions as listed below (THESE DIFFER FROM THE BOOK IN SOME CASES):

Exercise 3.1

1. Provide a Roman numeral examples 3.1 and 3.2 (Mozart and Verdi).
2. 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.

Wkbk Ex. 2.3: a, b, c, e, f  (pp. 42 – 43)

Be sure to follow the instructions for each example. It would also be a very good idea to label the scale degrees of the soprano (above the soprano), in addition to the required Roman numerals below the bass.

Due Friday, 10/9:

Wkbk pp. 38 – 39, 1.2, 1.3, 1.4

For 1.2, remember the technique for writing close- or open-spaced chords. With close-spaced chords, pick a moderately low soprano note, and proceed down through the Alto and Tenor voices without skipping any chord tones. The Bass can be any distance, and will be determined by the figured bass abbreviation. Open-spaced chords should start with a moderately high Soprano note, and you must skip a chord tone as you move down through the Alto and Tenor parts. If you skip one, and only one chord tone between parts, you will end up with a complete triad in the upper voices, with one of them doubling your Bass voice.

1.3 requires you to change the voicing for each of the repeated chords. Examples are on page 146 of the textbook. If the chord position remains the same between the two instances, you can move two or three of the upper voices. If the position changes (like c, d, and e) then you must keep one upper voice static.

1.4 involves simple voice leading between two chords. I will go over this on Monday, or you can read page 147 in the textbook.

Wkbk:

• E1 (all)
• E2 (Treble, Bass, and Alto -TBA- clefs for “Root Given”; Treble, Bass, and Tenor – TBF – for “Third Given”; and Treble and Bass for “Fifth Given”)
• E3 (all, but I haven’t talked about it yet)
• E4 (TBA clefs)
• E5 (TBT clefs)
• E6 (all)
• E7 (TBA clefs)
• E8 (TB clefs)
• E9 (TBT clefs)
• F1 (first two lines)
• F2 (DMaj and Fmin)
• F3 (Gmin and Amaj)
• F4 (EbM and Dmin)
• F5 (Bmin and Ebmaj)
• F6 (Cmaj and Bmin)
• F8

Wkbk pp. 19 – 20, D1 – D3

Please work on the melodies before Monday’s class so that I can go over any questions you have. Try your hand at D2 as well, knowing that you can erase mistakes and make corrections based on what we talk about Monday.

Due Friday, 9/4:

Wkbk: pp. 11, 12, and 15 — C1, C2, C3, C8 a and b. SKIP ALL PROBLEMS IN ALTO OR TENOR CLEF.

Wkbk, pp. 7 – 9, B1 – B7