Category: lectureNotes_musth3
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(musTh211) Final Exam Stuff
Just an update to aid in your feverish studying this weekend. The exam will have: Three analysis examples. At least one will modulate enharmonically. Others might use some altered common chord, or other chromatic chords (like common-tone °7, V7 – Ger65, respellings of vii°7, et.c) Short (3 chords) part writing problems, with Neapolitan chords, N…
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(musTh211) Enharmonic Modulations (Mod to Foreign Keys, II)
From Chapter 40 of the Gauldin: Enharmonic spellings as part of modulations New keys with enharmonic spellings. We’ve already seen this some with modulations to bII and bVI. If you start in Ab major and modulate to bII, it’s easier to read as A major rather than Bbb major. Pivot chords with enharmonic spellings. In…
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(musTh211) Linear Chromatic Chords
Today’s lecture covered chromatic chords derived from linear motion. Chopin’s Prelude No. 4 in E minor was the example piece, found on pp. 326 – 7 in the Anthology. The piece begins with a first inversion tonic triad, moving to a V7 in m. 10 (with iv6 as an embellishment) – 12. The chords in…
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(musTh211) Books to bring on 10/29
For class on 10/29 (Monday), bring: Workbook Textbook You can leave the Anthology at home for the day.
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(musTh211) Chromatic Embellishing Chords
Chromatic embellishing chords are by definition never essential harmonies. As described by Gauldin in Ch. 32, they usually function as passing or neighbor embellishments to other harmonies. Types Augmented Triads. Augmented triads usually supply a dominant function (primary or secondary). Gauldin says that you usually find augmented triads on V or I, but the I…
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(musTh211) Sonata Form, continued
The main topic today was analyzing sonata forms that don’t present big sectional “billboards.” (PAC’s to end the first theme group, strong HC with a pause at the end of the transition, etc.) Beethoven’s Piano Sonata, Op. 2, No. 1, provides an excellent example of a piece without typically strong divisions in the exposition. Here’s…
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(musTh211) Ch. 31, Single-Movement Sonata Form (Development and Recapitulation)
Continuing our discussion of Sonata Form… Development The development usually starts in the secondary key, but quickly moves to tonicize a number of other key areas. These tonicizations are usually brief. If the sonata is a Classical-era work, you can usually identify the start of the development as immediately after the interior repeat sign. Some…
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(musTh211) Ch. 31, Single-Movement Sonata Form (Overview and Exposition)
Leading up to the Midterm exam (the Monday after Fall Break, 10/22) we’ll be learning about extended formal designs. Our first topic is the single-movement sonata form. Sonata Form (single-movement sonata form) The sonata form represents an expansion of the tonal scheme and formal proportions of the two-reprise design, specifically the rounded, continuous two-reprise form.…