Category: musicTheory2
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(musTh211) Review Materials: Writing and Resolving V7 Chords
Resolving The Dominant Seventh Chord Both Chords Complete Both chords can be complete only if the leading tone is not in the soprano. The chordal seventh (ˆ4) always resolves to scale degree ˆ3, downward by step. There are no exceptions! If the leading tone of a V7 occurs in an inner voice, it will normally…
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(musicTheory2) Assignment: Ch. 25, Analysis Project 1
Note: Ch. 25, Project 2 will be an in-class assignment for 4/23 and 4/25. You need to bring your workbook and be in class BOTH DAYS to receive credit. Due Wednesday: Wkbk: Ch. 25, 1 (pp. 233 – 235) Listen Important instructions (from the Workbook): Make a voice-leading reduction Provide a Roman numeral analysis Comment…
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(musicTheory2) Analysis of Rondo Form, Listening Link
OK, my bad… Listen to Beethoven, Piano Sonata No. 8 in C Minor, Op. 13, III (this really is a link) I also fixed it in the original assignment post. Now I’ve fixed here, Now I’ve fixed it there, Now I’ve fixed it everywhere. I wonder if Dr. Seuss Enterprises will get litigious all over…
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(musicTheory2) Assignment: Ch. 24, Analysis of Rondo Form
Wkbk: pp. 222 – 232 Beethoven: Piano Sonata No. 8 in C Minor (“Pathetique”), Op. 13, III (Listen) Your analysis should include the following: A Roman numeral harmonic analysis of mm. 1 – 17. (you need the practice) A voice-leading reduction of mm. 1 – 17. (ditto) An analysis of the movement’s sectional and overall…
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(musicTheory2) Assignment: Ch. 24, Analysis of Two-Reprise Form
Due Monday, 4/16: Wkbk pp. 208 – 209, Beethoven, Piano Sonata in D Major, Op. 28, III, up to, but not including the Trio. Listen to the sonata. Keep in mind a few things: Although there are not repeat signs around the first 32 measures, compare mm. 1 – 16 and 17 – 32 and…
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(musicTheory2) Lecture Notes: Ch. 24, Analysis
A musical analysis of a piece should provide insight into how a particular piece of music works. Gauldin talks about the interaction of Formal Design and Tonal Structure as being essential to analysis. Another way to understand analysis is to find interactions between between different musical and structural elements, the small-scale event and the large-scale…
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(musicTheory2) Lecture Notes: Ch. 24, One-Part and Binary Form
Terms and concepts covered from Chapter 24, so far: content and form formal design and tonal structure one-part form binary forms (two-reprise forms) Content refers to the specific compositional elements present in a composition. Form is the organization of content. Formal Design refers to sectional divisions, the relationship of themes and motives to each other,…
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(musicTheory2) Assignment: Ch. 24, Analysis of One-Part Form
Wkbk, Ch. 24, number 1 (205 – 207), Bach Prelude in F Major from Clavierbuchlein Audio Example Due Wednesday (4/11): Roman numeral analysis and reduction (two or three voices, depending on need). You will show me your work in class on Wednesday for credit. In class we will discuss how to produce a written comment,…
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(musicTheory2) Lecture Notes: Harmonic Sequences of 7th chords, Ch. 23
Using 7th chords as part of a harmonic sequence brings up a few things to remember: If all the chords are 7th chords, then the sequence will almost always be by descending fifths. If the texture is 4 voices, then successive 7th chords will have to alternate between being Complete and Incomplete (fifth omitted). Always…